The main thing about the Byzantine exhibition in Tretyakovka. How does the ancient Vladimir Icon of the Mother of God live in the temple, which is admired by any generation of her who saw it, is the Trinity of Andrei Rublev

Tomorrow in Lavrushinsky Lane will open an exhibition of unique exhibits from the collections of Greek museums

State Tretyakov Gallery
February 7 - April 9, 2017
Moscow, Lavrushinsky Lane, 10, Hall 38

The exhibition is organized as part of the cross-year of culture of Russia and Greece. In 2016 in Athens, the Ascension icon of Andrei Rublev and a whole exhibition of Russian icons and sculptures of the XV-XIX centuries from the GTG meeting were shown. The response exhibition in Moscow will present 18 exhibits (12 icons, 2 illustrated manuscripts, the objects of liturgical use - the processing cross, air, 2 kates) from the assembly of the Byzantine and Christian Museum in Athens, the Benaki Museum, the collection of E. Veliazisa - H. Margaritis.

Exhibits are dated to the end of the X - the beginning of the XVI century and give an idea of \u200b\u200bvarious periods of Byzantine art and various art centers. The exhibition allows you to evaluate the perfection of the work of the masters, as well as understand the paths of comprehension of the spiritual world in the Middle Ages, opening the nuances in the refined flavor of the icons, in the luxurious miniatures of manuscripts, on the pages of which artists of Byzantium sought to recreate the beauty of the world's world.

At the exhibition, each of the works is a unique monument of its era. Exhibits make it possible to present the history of Byzantine culture and trace the mutual influence of the traditions of Eastern and West Christian art. The earliest monument in the exposition is a silver processing cross of the end of the 19th century with the images of Christ, the Lame and Saints engraved on it.

The art of the XII century is represented by the icon "Resurrection of Lazarus", embodying the sophisticated, refined painting style of this time. In the meeting of the Tretyakov Gallery there is an icon "Our Lady Vladimir" of the same era, created in Constantinople in the first third of the XII century and then brought to Russia.

One of the brightest exhibits of the exhibition - the relief with the image of the Great Martyr George with scenes of life. It serves as an example of the interaction of the Byzantine and Western European masters, which posted the beginning of the phenomenon of the workshops of the Crusaders - the most interesting page in the history of the XIII century. The technique of carving in the tree, in which the figure of St. George was performed is not characteristic of the Byzantine art and was obviously borrowed from the Western tradition, while a magnificent framing from the stamp was created in accordance with the canons of Byzantine painting.

The icon "Our Lady with a baby", written in the early XIII century, presumably, the Cypriot Master, demonstrates another path of mutual influence of medieval art of the East and the West. In the artistic culture of this period associated with the revival of the empire and the Dynasty of Paleologists, the movement towards ancient tradition was perceived as a search for their cultural identity.

Mature style of the art of the paleologists belongs to the bilateral image "Our Lady of Odigitria, with the two-month holidays. The throne of the prepared "end of the XIV century. This icon is a contemporary of the works of Feofan Greek. Both masters use the same artistic techniques - in particular, thin lines that permeate the licks of the mother and infant, symbolizing the energies of the Divine Light. This image is obviously a list with a miraculous Constantinople icon of odigitria.

Several items are told about the wealth of decorative and applied art of Byzantium, among which Katsoy (cencing) depicting the Great Martyrs of Theodore and Dimitria and the seasy air (cover) to the holy gifts.

Special virtuosity was the technique of artists who adorned manuscripts with complex refined ornaments in screensavers, initials and miniatures with the images of evangelists. The level of their skills demonstrates the two codes of the Gospel - XIII and the beginning of the XIV century.

The post -anzantine period is represented by three icons of Greek masters who went to Crete after the fall of Constantinople in 1453. These works allow you to trace the synthesis of creative finds of European art and the traditional Byzantine canon.

The Byzantine Art Tradition stood at the origins of the formation of the art of many nations. From the very beginning of the spread of Christianity in Kiev Rus, Greek artists and architects were transferred to Russian masters of temple construction, fresco painting, iconography, books, jewelry arts. This cultural interaction has continued for many centuries. From the X to XV century, Russian art has passed the path from the apprenticeship to high mastery, keeping the memory of Byzantium as a fertile source, for many years spiritually fed Russian culture.

The exhibition "Masterpieces of Byzantium" is located next to the halls of the constant exposition of the ancient Russian art of the XI-XVII centuries, which allows the viewer to trace the parallels and see the features of the works of Russian and Greek artists.

Curator of the project E. M. Saenkova.

A source: PRESS RELEASE GTG

From the very beginning of his collective activities, the founder of the Museum P.M.Tretyakov plots the creation of a "publicly available (popular) art museum", whose collection would reflect the "translational movement of Russian art", according to Pavel Mikhailovich himself. The implementation of this dream he devoted his whole life.

The first icons Pavel Mikhailovich acquires in 1890. His meeting has numbered only sixty-two monuments, but according to the Russian scientist, the historian Nikolai Petrovich Likhacheva (1862-1936), the collection of P.M.Trevyakov was considered "precious and instructive."

At the time in Moscow and in St. Petersburg, private collectors were known in St. Petersburg, collectors Icons - I.L. Silin, N.M. Svetnikov, E.E. Egorov, S.A.Gorov and others. Some of them are trains of icons. According to a fair remark of the famous artist and art historian, director of the Tretyakovskaya Gallery of Igor Emmanuilovich Grabar (1871-1960), the Tretyakov was different from other collectors in that he was not the first among the gatherers to the icons not on the plots, but by their artistic meaning and the first one openly recognized Their authentic and great arts, having joined their icon assembly to the gallery. "

Savior in power

The testament was performed in 1904 - the icons acquired by P.M. Tretyakov, first included in the exposure of the gallery. She was organized by Ilya Semenovich Ostrukhov (1858-1929) - an artist, a member of the Gallery Council, as well as the famous collector of icons and paintings (after his death, in 1929, the collection entered the gallery meeting). For the device of the new Icon Hall, he invited Nicodemia Pavlovich Kondakov (1844-1925) and Nikolai Petrovich Likhachev, who developed the concept, were able to scientifically systematize and group monuments, publish a catalog.

Unknown icon painter, end of the XIV century. Discussion Chin ("Vysotsky")
1387-1395
Tree, temperature
148 x 93.

The name and dating of the rank are associated with the events of the life of his customer - Hegumen of the Serpukhov Vysotsky Monastery Athanasiya-senior.

The famous Russian artist Viktor Mikhailovich Vasnetsov became the designer of this exposition (1848-1926). According to his sketches in Abramtsevsky workshops, there were shop windows, imitating kyots - in them, and all collected by the Tretyakov Icons were presented. The icons did not exist then in any Russian Art Museum. (It should be noted that some icons were exhibited back in 1862 in the Moscow Rumyantsev Museum and in 1890 a goal in the historical museum, but the icons were exhibited while the objects of church antiquity, and not as works of art. They were not restored, were dark, polluted, with Losses of the colorful layer).

Andrei Rublev
Savior in power
1408

It is noteworthy that the opening of the Hall of Old Russian Icon Pouring in the gallery occurred in the early years of the XX century - the period of the origin of the restoration case in Russia, when a professional scientific study began ancient Russian art.

In 1918, despite the tragic post-revolutionary events, the "Commission on the Conservation and Disclosure of Ancient Painting Monuments in Russia" was organized. This commission was headed by the then director of the Tretyakov Gallery I.E. Grabar. The Commission took up the systematic identification of ancient monuments, expedition and exhibition activities.
In 1929-30, after restoration exhibitions, the decision of the then government was decided to turn the Tretyakov Gallery as the largest museum of Russian art, to the Center for the Study of the Cultural Heritage of the Ancient period of our history. In those years, our museum received many monuments of Old Russian art from a variety of sources, including from reformed museums and private assembly. These revenues are mainly and formed the current collection of Old Russian art in the gallery.

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"Image" in Greek - icon. In an effort to emphasize the purpose and character of the painting of the Byzantine Orthodox world, often to it entirely, and not only the actual to icons include the term "iconist".
The icon is played an important role in ancient Russia, where it became one of the main forms of fine art. The earliest old-Russian icons had traditions, as already mentioned Byzantine icon painting, but very soon in Russia there were their original centers and schools of icon paintings: Moscow, Pskov, Novgorod, Tverskaya, Middle Russian principalities, "Northern letters", and others. There were also own Russian saints , and our own Russian holidays (the Pokrov of the Virgin, etc.), who found a bright reflection in icon painting. Art language Icons have long been understood by any person in Russia, Icon was a book for illiterate.
In a number of fine arts of Kievan Rus, the first place belongs to monumental "painting". The church painting system, of course, the Russian masters were perceived from the Byzantines, and folk art affected the ancient Russian painting. The painting of the temple was supposed to convey the main provisions of Christian creed, serve as a kind of "Gospel" for illiterate. " To strictly follow the canon, prohibiting Scripture from nature, the icon painters used in the form of samples by either ancient icons, or icon paintings, intelligent, which contained a verbal description of each icon painting plot ("Prophet Daniel John Kudrevat, George's Cooks, in the header, clothes, a zead, top Cynicar ", etc.), or facial, i.e. Illustrative (processes - graphic image of the plot).
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In the mid-1930s, the Gallery created the Scientific Department of the Old Russian Art and Restoration Workshop. A new exposition was opened, in which the principles of the historical and art show of the monuments were observed, the main centers, stages and directions in the Iconopy of the XII - XVII centuries were presented.
A number of valuable icons, sometimes very ancients, entered the gallery as a result of expeditions across the Russian North and the central regions held by the gallery employees in the 1960s and 1970s.

Now the collection is already over six thousand storage units. These are icons, fragments of frescoes and mosaics, sculpture, small plastic, applied art items, copies of frescoes.

In Doparerovskaya Rus, almost all painting was exclusively religious. And we can call all painting with full right icon painting. All the desire for the beautiful, thrust for beauty, glowing and aspiration in return, in the Spirit area to God, found their permission in church icons. In the skill of creating these sacred images, the talented representatives of the gifted Russian people reached the genuine peaks of world sound.

Unknown icon painter, middle of the XVI century
"The military of the heavenly king ..." (the church is militant)
Mid XVI century
tree, temperature
143.5 x 395.5

The icon was executed for the Assumption Cathedral of the Moscow Kremlin, where it was located in a special cyote near the tsarist site. The name is borrowed from the liturgical chants of the octyha dedicated to martyrs. The content of the icon echoes with the chants of octyha and other liturgical books in which martyrs are glorified, who donated their lives for the sake of true faith and received heavenly bliss in a reward. The idea of \u200b\u200bthe icons is connected with specific historical events: as the majority of researchers believe, it was fulfilled in memory of the taking of Kazan by Russian troops in 1551. Under the leadership of Archangel, Mikhail on the winged horse of the warriors move three rows from the burning city (apparently, it means Kazan) to the tent of Heavenly Grad (Heavenly Jerusalem), standing on Mount. The winners are celebrating the Mother of God with a baby Christ and flying to the army of angels with the crowns.
Judging by numerous historical testimonies, contemporaries saw in the Kazan campaign of Ivan the Terrible, rather, the struggle for approval and spread of Orthodox faith. It is not by chance in the midst of the troops on the icon, the Holy Equal-Apostle Konstantin Great in Imperial Robes, with a cross in hand. Apparently, in the image of Konstantin on the icon, Ivan Grozny himself was to be symbolically present, which was perceived as a successor of his business. The topic of distribution and approval of true faith was further emphasized by the presence of the first Russian Saints Vladimir, Boris and Gleb (they are depicted almost immediately for Konstantin). Multifiguration and narrative composition of the composition, the unusual format of the board is due to the fact that, in fact, this is not a completely icon-painted image, but rather a church-historical allegory that glorifying the victorious Orthodox military and the state performed in the traditional forms of icon writing.
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The flourishing of Russian icon painting as such is to the Dopurerovsk era. Tested in the process
there are several bright and amazing development in the form and the workshop of the incarnation of the religious-theological tasks of the takeoffs who stood in front of them, the Russian icon painted after the Petrovsky era comes in decline, continuously degrades, turning, finally, in the handicraft works of the handles. At the beginning of the 20th century, talented artists of Nesterov, Vasnetsov, and others, tried to bring Russian icon painted from that congestive position in which it was, but a number of objective and subjective reasons did not allow the opportunity to come to the true revival of this holy art and did not create anything that could stand in one A row with the immortal creations of the spiritual painting of Doparyrovskaya Rus.

According to its own tasks, according to its own purpose, the icon is fundamentally different from close, it would seem, and similar to her worldly portrait painting. If a portrait necessarily implies the existence of some kind of nature, the artist accurately reproduces, trying not to shy away from portrait similarity, then the icon painter, in whose tasks is to reproduce the sacred image or some definite theological thought, clothed in the most intelligent embodiment, maybe in their talent and Razumion, to a certain extent shy away from the "iconographic originals" approved by the church practice and give their solution to the task in front of him.

Unknown icon painter, beginning of the XIII century. Delius: Savior, Virgin, John the Forerunner
The first third of the XIII century. Derevo, tempera 61 x 146

From here it becomes clear that the importance of the old church rules of the personality itself and the behavior of the artist-icon painter during work on the icon. Thus, in the famous collection of the resolutions of the Cathedral of the Cathedral of 1551, known under the name "Stoglav", the requirement is given that the icon painter is "Smiren, meek, benwich; He lived in a post and prayer, keeping with every fear of physical and physical clean. " In the same "Stallow" we will find a certain requirement of an indispensable consequence of antique "icon-painted origins" so that the sacred images created by again, did not bring up with the traditions established since the tradition and were immediately familiar and they are understandable to everyone with a prayer.

The icon depicts the wonderful transformation of Christ on Mount Favor in front of his students - the apostles Peter, Jacob, John, the phenomenon of the prophets of Ilya and Moses, and their conversation with Christ. The composition is complicated by the scenes of the climb of Christ with the apostles on the mountain of Favor and the convergence of them from the mountain, as well as images of the prophets who brought by angels. Icon may be expected to be considered as a work of Feofan Greek or his workshop.

The main principle that is laid in the work of the icon painter is sincere religious inspiration; The artist knows that in front of him there is a challenge for the mass of believers image, an icon intended for prayer.

From the Annunciation Cathedral in the Moscow Kremlin, where did she come in 1591 (?) From the Assumption Cathedral in Kolomna. According to an inaccurate legend, the icon was brought by the Don Cossacks by Dmitry Ivanovich before the Kulikov battle in 1380 (the preface to the Deposit Book of the Don Monastery, compiled in 1692). In front of it prayed on July 3, 1552, Ivan Grozny, going to the Kazan campaign, and in 1598 the Patriarch Jobs are out of the kingdom of Boris Godunov. Since the copies of the icon of the Donature are related to Moscow, it is most likely its implementation in the 90s of the XIV century, when Feofan moved with his workshop from Novgorod and Nizhny Novgorod to Moscow. With intercession of the icon (after the prayer of the king Fyodor Ivanovich in front of her) They associated the salvation of Moscow from the raider of the Crimean Tatar Khan Kaza-Girea in 1591. In memory of this event, the Don monastery was founded in Moscow, for which the exact list from the original was made. One of the most distortions in Russia is miraculous icons. Refers to the iconographic type "Uming".

Its defined and firmly discharged Russian icon painting produces in the XIV century. It will be the so-called Novgorod school. Researchers see here direct compliance with the artistic dawn of Byzantium of the era of Paleologists, whose masters worked in Russia; One of them is the famous Faofan Greek, signed between 1378 and 1405. Some Novgorod and Moscow cathedrals were a teacher of the ingenious Russian master of the XIV-XV centuries. Andrei Rublev.

Andrei Rublev.

Icon Andrei Rubleva "Trinity" entered the meeting of the State Tretyakov Gallery in 1929. She came from the Zagorsk Historical and Art Museum-Reserve, which is now called Sergiev Posad Museum. Icon Rublev "Trinity" was calculated among the very first monuments at the birth of a restoration case in Russia, in the era of the Silver Century. There are still very many secrets who are known to the current masters, did not know, honorably, especially honored icons were covered with almost every century, recorded again, covered with a new paint layer. The restoration work is such a term, disclosure from the later picturesque layers of the first author's layer. Icon "Trinity" was cleared in 1904, but as soon as the icon came again in the iconostasis of the Trinity Cathedral, she quickly darkened quickly, and had to reveal it again. And it was finally disclosed in the Tretyakov Gallery Ivan Andreevich Baranov. Then it was already knew that this was Andrei Rublev, because inventory was preserved, it was known that the icon was ordered was the successor to Sergius Radonezh Nikon Radonezh in the praise of Starta Sergia. Icon cannot ride the exhibition, because the condition of preservation is quite fragile.

The power of the ruble "Trinity" in its noble and human-loving aspirations. His wonderful paints - delicate, delicate. The whole building of painting is a highly poetic, charmingly beautiful.

"Trinity" means infinitely a lot of things, it carries a very deep symbolic meaning, it carries the experience and interpretation of centuries-old Christian dogmas, the centuries-old experience of Christian spiritual life.
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Rublev and his followers belong to the Moscow School. His creativity is the next step compared to Feofan Greek, whose works are typical for the Novgorod school and its varieties, more archaic Pskov.

The Novgorod school is characterized by major massive sainch figures, with a large size of the icons themselves. They were intended for extensive and majestic temples, generously erected, rich and piously "Mr. Veliky Novgorod". Tone icons reddish, dark, bluish. The landscape is the stepped mountains and architecture of buildings - portico and columns - largely close to genuine nature of the territory of Alexandria and related areas where events from the life of the saints depicted on the icons and martyrs occurred.

Unknown icon painter, Novgorod school
Fatherland with selected saints.
Beginning of the XV century
tree, temperature
113 x 88.

Icon comes from the private Assembly of M.P. Kotkin in St. Petersburg. This is relatively rarely found in Orthodox art type of the image of the Trinity, which represents the Father's God in the form of an elder, the god of a son in the form of a period or baby and the Holy Spirit in the form of a pigeon (in Russian art, it is ancient from the images of this type that have come down to us). On the throne - an elder in white clothes with a cross beds: he blesses his right hand, he holds a scroll in his left. On his knees, he has a young Christ who holds the sphere in his hands with a dove. Over the back of the throne, two six-square seraphim are symmetrically depict, and about the foot - "thrones" in the form of red wheels with eyes and wings. On the sides of the throne, on the Towers, "Pillar", Daniel and Simeon casualties are presented in brown monastic mantle. On the right below is the young apostle (thoma or philip) with a scroll. An old man in white clothes with a cross-nimber represents a special iconographic type based on the Old Testament Vision of the Prophet Daniel (Dan. 7).

Unknown icon painter, XIV - beginning of the XV century
Nikola with Life.
End of XIV - early XV century
Tree, temperature
151 x 106.

According to the legend, brought from Constantinople to Moscow in the XIV century by Metropolitan Pimen and put in the Altar of the Assumption Cathedral of the Moscow Kremlin. Such icons were especially valued by Russian masters. Odigitria translated from Greek means a guide.

The type of the Faces of Saints and Our Lady is also not Russian: oblong, "Byzantized". This characteristic detail in the future, in Moscow: School, more and more accepts the Slavic shade, turning, finally, in the works of the ingenious "tsaristimi" XVII century Simon Ushakov and his schools in typical Russian round faces.

Comes from the Church of Mikhail Archangel in Ovchinniki in Zamoskvorechye. Received in 1932 from the TSGM.
Accordingly, it is possible, no doubt, it will also be to note the very concept of divinity and holiness, which both these schools were invested. In turnover, the inscription: summer 7160 (1652) was written off by this icon with a miraculous icon of the Most of the Virgin Vladimirskia and Measure, but wrote Sovereign icon painter Simman Fedorov. June 19, 19 day (hereinafter referred to).

Magnificent brilliant Byzantium, the capital of which Tsargrad, according to the testimony of all historians and memoirs, was the richest city in the world, and her emperors considered themselves as if earthly representatives of the Almighty God, demanding for themselves almost divine worship. Naturally, with the help of icons, they sought to strengthen their credibility and strength. The Saints of the Byzantine School, in most, in the same way, as we passed on the walls of the Novgorod Councils and the monasteries of their reflection - harshs, punish-strict, majestic. In this sense, the amazing frescoes of Feofan Greek will be characteristic, who (leaving aside all the differences between eras and receptions) involuntarily resemble the harsh-fried figures of the Roman frescoes of Michelangelo.

In the middle of the XVII century, the famous "Tsarsky Isograph" Simon Ushakov became famous in Russia, personified a new Moscow school, which reflected the magnificent and wealth of the Moscow Tsarian Dwaria and Boyarskoye, who had stabilized after the troubled time and foreign intervention.

The works of this master are characterized by special softness and roundness of lines. The Master is striving for expression not so much and not only inner spiritual beauty, how much external beauty and, we would even say, "the beautiful" of their images.

Researchers are not without reason see Western influence in the work of this school and first of all "the Netherlands Italian Masters of the Second Half of the XVI century."

Tsarist Gate
Mid XV century

If the works of Ushakov and his comrades were mainly intended for temples, the need for wealthy people in a beautiful "measured" Icon for homemade was satisfied by the Stroganov school, the most famous masters of which: Family Borozdin, Eastom Savin, First, Prokoki Chirin, fully presented in the gallery, According to its artistic credo, the Ushakov school is pretty. No wonder most of them worked with great success in Moscow.

Unknown icon painter of the XII century. Complex is unspecified. (Right)
The second half of the XII century. Derevo, temperatures 77 x 71

The remote bilateral icon was located in the Assumption Cathedral of the Moscow Kremlin, which was, in all likelihood, was brought in the middle of the XVI century from Novgorod. As some researchers believe, it could be executed for the Church of the Holy Image on Dobryninskaya Street in Novgorod (there is a chroniclel news about the update of this temple in 1191). Orthodox church legend attributes the creation of an initial non-manual image of Christ himself and considers this icon as evidence of a awareness, the coming of the Son of God into the world in a human image. The main goal of the award was human salvation carried out through the redeeming sacrifice. The symbolic image of the atoning sacrifice of the Savior is represented by the composition on the turnover, where the Calval Cross, crowned with a crown, and Archangel, Mikhail and Gabriel, carrying instruments of passion - spear, cane and sponge. The cross is empty at Calvary with a cave, in which the Skull of Adam is located (this item is borrowed from the iconography of the crucifixion), and the seraphims, cherubs and allegorical images of the Sun and the Moon are presented above it.

Daerahler. I had a lot of one photo. So it looks like. Suitable impressive!
We must see!

Free Visits Days in the Museum

Each Wednesday entrance to the permanent exposition "Art of the twentieth century" and temporary exhibitions in (Crimean shaft, 10) for visitors without an excursion free (except for the exhibition "Ilya Repin" and the project "Avangard in three dimensions: Goncharov and Malevich").

The right of free visits to expositions in the main building in Laureli Lane, engineering building, new Tretyakovka, House-Museum V.M. Vasnetsova, Museum-Apartment A.M. Vasnetsova is provided in the following days for certain categories of citizens:

The first and second Sunday of each month:

for students of higher educational institutions of the Russian Federation, regardless of the form of training (including foreign students-students of Russian universities, graduate students, adjuncts, alternators, age-standing) upon presentation of a student ticket (does not apply to persons who have student tickets "Student-intern" );

for students of secondary and secondary special educational institutions (from 18 years) (citizens of Russia and CIS countries). Students-holders of ISIC cards on the first and second Sunday of each month have the right to free visits to the exposition "Art of the XX century" of the new Tretyakov.

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Please note that the conditions for free visits to temporary exhibitions may differ. Specify information on the pages of exhibitions.

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Visiting the Museum on Festive Days

Dear visitors!

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Even at school, we were not taught us seriously to religious art. Well, there - they did not know the prospects, could not realistically depict a person and so on. Dyakon Kuraev in his lecture about the iconography, recalls funny facts about the Soviet idea of \u200b\u200bicons.

I discovered Russian icons in the Tretyakovka. I think, if you recognize the right to painting only for realism, it is impossible to evaluate the beauty of the icon.

Under the clue, the icons turned out to be absolutely new for me. While completely self-sufficient on one side and simple on the other.

Russian icon painting, a little history.

Russian (Byzantine) icon appeared on the wreckage of ancient art. To the IX century, after the period of iconocrust, the ancient tradition in the East ceased to exist. There was a completely new art, distant from the ancient tradition - an icon. She arose in Byzantium and continued to develop in Russia.

However, with the acquaintance of Russia with Western European art, the iconograph of though continued to exist, but she was no longer considered the limit of perfection. The Russian elite loved Baroque and realism.

In addition, the icons in the Middle Ages were covered with Olife. And she in time dark. In addition, often on top of the old image was superimposed. Even more often, the icons were hidden in salaries. As a result, it turned out that most icons were hidden from eyes.

Old Russian art was again open at the end of the XIX century, and at the beginning of the 20th century, real recognition experienced.

It was a period when people began to show interest in the ancient national art and the restoration technique appeared. Openedi am as a result of the restoration of images, shook contemporaries.

Perhaps this is exactly how the impetus in the development of Russian abstract art. The same Henri Matisse, considering the collection of Novgorod art in 1911, said: "French artists should go to study in Russia: Italy in this area gives less."

Images of the Mother of God

One of the greatest Byzantine icons is exhibited in the Tretyakov Gallery - this is the icon of the Vladimir Mother of God.

She was created in Byzantium and fell into Russian land in the XII century. Then Vladimir Prince Andrei Bogolyubsky built for her

The image of the Mother of God with an attached to her baby belongs to the type of influxing icon. Such images began to spread in Byzantine and Russian art in the XI - XII centuries. Then appeared "Canon on crying the Blessed Virgin Mary". In the western tradition he is called Stabat Mater.

"About the terrible christmas and strange, my son, my mother-in-law is elevated to all mothers: but alas to me, now you see the trees on the tree, we break up your womb.

Glory: I see my womb on my arms, in nheom baby holding, with a musty tree, a broadcast is clean: but nickname, alas to me, this Dada.

And now: it is my light, sweet, hope and belly of my good, God is my fool on the cross, breaking the womb, Virgo, Walling, verbal. "

The image of the Mother of God with a baby by type "Uming" strengthens the text of the canon.

Another beautiful icon on the same topic "Uming" - the Don Lady Mother of Fefan Greek, is also located in the Tretyakov Gallery.

More Ancient Image of Our Lady can also be selected in the Collection of the Tretyakov Gallery.

Our Lady Incarnation - Icon of the 13th century from the Collection of the Tretyakov Gallery

Such an icon is called - Orantabut. There are many similar images in the catacombs and early Christian churches. Here, the main point is attached to the briefness of the Son of God through the Virgin. In this interpretation, Maria is "gates of light," through which grace comes to the world. In other words, a pregnant man is depicted here.

Images of Holy Trinity

Another icon, which is admired by no generation of her seven, is the Trinity of Andrei Rublev. To understand and evaluate the beauty of this work, I propose to also plunge into the history of the issue.

Trinity: Father, Son and the Holy Spirit was still in the Allen Tradition - the cult of God Dionysus. I don't know whether she moved away from there to Christianity, or from somewhere from the East, but this idea is much ancient than the New Testament and the Symbol of Faith.

New Testament Trinity (God Father, Son and Holy Spirit) in the Orthodox tradition could not be depicted. This would contradict the concept of eternal, incomprehensible and Triune God: " God did not see anyone and never" You can only depict the Troita Old Testament.

Justice for the sake, despite the canonical ban, imagesNew Testament Trinity Widely distributed to this day. Despite the fact that the definitionBig Moscow Cathedral 1667. Such imagesforbidden.

Icon "Fatherland with selected saints" XIV century Novgorod. In my opinion here is clearly depicted by the New Troita Trinity

In the Catholic tradition, the New Testament Trinity was often depicted.

Robert Campin "Trinity". In the Catholic tradition, the Trinity was literally depicted: Father, Crucified Jesus, Holy Spirit in the form of an angel. Picture from the Hermitage

The image of the Old Testament Trinity was based on Abraham's legend.

The Book of Genesis describes the episode when Abraham is God in the form of three angels.

"And the Lord of the Lord of the Dubrava Mamra appeared when he was sitting at the entrance to the tent, during the daily daytime. He erected his eyes and looked, and now, three husbands stand against him. Seeing, he ran towards him from the entrance to the tent and bowed to the earth, and said: Lord! If I gained your favor before your eyes, do not pass by the slave of yours; And they will bring some water, and your legs are omotive; And take a break under the SIM tree, and I will bring bread, and you will support your heart; then go; Since you go past the slave of yours ... and took oils and milk and the calf prepared, and put in front of them, and it was beside them under the tree. And they ate "(Gen. 18: 1-8)

It is this plot and is depicted as a holy Trinity, it is also called "Hospitality of Abrahamovo".

Trinity XIV Century Rostov

In the early images, this plot was depicted with the maximum details: Abraham, his wife Sarah, Oak, Chamber of Abraham, a challenging caller. Later, the historic plan of the image is completely ousted with symbolic.

In Trinity Andrei Rublev, there is nothing superfluous. Only three angels that are perceived as a whole. Their figures form a closed circle. It was the Rublevskaya Trinity that became a canonical image and served as an example for subsequent generations of icon painters.

Methods and techniques icon painting, reverse perspective

For the correct understanding of iconopusses, it should be borne in mind that the icon painters did not seek to portray reality. They had another task - to portray the world of the Divine. From here and the techniques are not peculiar to realistic painting.

For example, use the reverse perspective. (This is when the lines to the horizon do not converge, but diverge).

However, this was not always used, but only when the artist wanted to emphasize the special intimacy of the object to us. Also, a parallel perspective is also used in the icon - when the lines do not converge on the horizon, but are in parallel.

Interesting icon of the workshop of Feofan Greek "Transfiguration".

There are also events taking place at different times.

I love this icon very much, it's difficult for me to tear myself.

Here is the transfiguration of the Lord is not Mount Favor. The divine light comes from Jesus, the NICs of the Apostles Peter, Jacob and John theologians were taken below. From above, the prophets of Moses and Elijah. Above them, angels who bring them to this place. Under the mountain of the group of the apostles, one group rises uphill, the other descends from the mountain. These are the same apostles depicted at different times.