The image of the icons of the Vladimir Mother of God. History and meaning of the Vladimir icon of the Mother of God

Vladimir icon of the Mother of God is one of the most revered Orthodox icons. Her story is migrated. According to the legend, Vladimir icon of the Mother of God was written by an evangelist on Luke on the board of that table, behind which Jesus Christ, the Virgin and Joseph Wrapper. Until 450, the image was in Jerusalem, then was transported to Constantinople, and in the XII century he got on Russia.

Orthodox Christians believe that the icon written by two millennia reached us in primeval form. However, impartial scientists dating the Virgin Vladimir began the beginning of the XII century and believe that if it is related to the icon of the Gospel's Brush Luke, is only a list from her more ancient lists. According to art historians, Virgin Vladimirskaya was written in Byzantium.

Around 1131, Konstantinople Patriarch Luke Chrysierg as a gift to the prince of Mstislav sent it to Kiev. The icon was placed in the Mother Original Monastery of the town of Vyshgorod, hence the Ukrainian name of this icon is Vivgorodskaya. In 1155, Prince Andrei Bogolyubsky suffered her to Vladimir, so in Russia Icon is known as Vladimirskaya. The shrine was kept in the main temple of the city - Assumption Cathedral. The prince commanded to decorate her expensive salary, for the manufacture of which, if you believe legend, 5 kilograms of gold took.

In 1237, Vladimir was captured by Mongolian Khan Batym. His troops plundered the Assumption Cathedral, broke a lot of icons, but with Vladimir Mother of God only removed the salary, and the image itself was left unscathed.

Many miracles are connected with the Vladimir icon of the Mother of God. In 1395, during the devastating invasion, Khan Khan Tamerlana The shrine was brought to Moscow to protect the city from the enemy. Rassaying one city after another, Tamerlana's troops, reaching Moscow, stopped and, stood in one place for two weeks, turned reversal. According to the legend, Tamerlan was a vision: a high mountain appeared before him, with which the saints were descended in golden clothes, and in the sky, surrounded by radiance, was the Virgin and ordered the commander to leave the limits of Russia. Tamerlana has trained inexplicable fear, and he gave an order to retreat.

The wonderful salvation of the city from destruction tied up with the Vladimir icon of the Mother of God. At the site of the meeting ("Considation") Muscovites with a miraculous shrine was erected by the Sretensky Monastery, who gave the name of Sretenka Street.

Icon Vladimirskaya Our Lady (Detail)

In 1451, another wonderful getting rid of Moscow from the invaders occurred. Nogai Tsarevich Mazovich with his army asked the city. Muscovites whose forces were too small to confront the enemy, decided to resort to the help of their heavenly defenders. They took the Vladimir icon from the Assumption Cathedral, where she had been from the insumunity of Tamerlan, and made the crosses of the city along the walls of the city, praying for the intercession of the Virgin. The next day, the unpretentious hordes of the massens retreated. The legend states that the invaders have heard an unusually strong noise. They decided that they had a huge army and were sent to escape in fear.

The next miracle associated with the Vladimir icon of the Mother of God occurred in 1480, during the epochal "standing on the Ugra River", which put the end of the Tatar-Mongolian IGU in Russia. The Grand Duke Ivan III refused to pay tribute to Horde, and Khan Ahmat sent his troops to punish recurrent. The Russian and Tatar army met on the River Ugra, and no one decided to first forcing the water barrier. Russian wars held the Vladimir icon of the Mother of God in the first rows. Tatars never risked to go to the attack. They retreated and never returned to Russian land.

The wonderful salvation of Russia is also associated with the wonderful salvation of Russia from the invasion in 1521 of the Crimean Hana Makhmet-Gurya. The pedestal army of the enemy, the devastating swirl sweat on Russian lands and reaching Moscow, unexpectedly turned reversed. This is a miracle, like other supernatural deliverances from the invaders, Orthodox Christians consider the fishery of the Lady-Intercession.

After so many miracles associated with the Vladimir Icon, she began to be honored with one of the main Russian Orthodox shrines. Before her, they brought the oath to the loyalty of Russia, they made prayers, going to the military campaigns, elected patriarchs and Metropolitans.

Until 1918, the image was kept in Assumption Cathedral of the Moscow KremlinWhere, after the closure of the temple, was moved to the Tretyakov Gallery. Today, Vladimir Icon is located in the Museum-Museum of Nicholas St. Tolmachy. Her luxurious precious salary has become a separate exhibit that replenished the collection of the Armory Chamber.

Vladimir icon of the Mother of God. Video film

Vladimir Icon of the Mother of God belongs to the iconographic type of Elyus or "Uming". The babe of Christ sniffed to the cheek to the cheek of the mother whose head is inclined to son. From other Icons like Elyus, Vladimir icon is characterized by the fact that the left leg of the baby is bent in a special way and it is visible to her feet.

For the nine centuries of its existence, Vladimir Icon was at least 4 times recorded by a new painting, and also survived several restorations. During one of the umbilies, at the beginning of the XV century on the back side of the icon board, a plot depicting the Etimias was written - the throne, prepared for the Second Coming of Christ, and the instruments of the Passion of Christ.

The last large-scale restoration of the icon was carried out in 1919 in order to liberate ancient painting from later layers. Unfortunately, only small disparate fragments remained from the initial letter.

With the Vladimir icon, a huge number of lists were written. Many of them are worshiped as miraculous, for example, the well-known Pskovo-Pechersk icon of the Mother of God "Uming" (1524). In addition, the famous shrine has become the basis for creating new iconographic stories, such as the "Tale of the Vladimir Icon", "Vladimir Icon with Akathist", "Presentation of the Vladimir Icon" and "Praise Vladimir Icon of the Mother of God. Tree of Russian state. "

According to the materials of the works of I. I. Mosina. Other articles about Old Russian art - see below, in the block "More on the topic ..."

Rejoice, Rus Orthodox who loved; Rejoice, faith the true in it approved ... Rejoice, our prayer is warm; Rejoice, diligent intercession! Rejoice, the most accurate, from the icon of a mercy to us sourcing.

From akathist to the Most Holy Virgin
in honor of the icon of its Vladimir

Grad Moscow and the miraculous image of the Mother of God Vladimirskaya are inseparable and forever. How many times she saved white-named from enemies! This image knitted by the apostolic times and Byzantium, Russia Kiev and Vladimirskaya, and then the Moscow - the third Rome, "and the fourth is not life." Thus, the Moscow state was formed, fanning a mystical connection with the ancient empires, the historical experience, the tradition of other Orthodox lands and peoples. The symbol of unity and continuity was the miraculous image of Vladimir.

It is difficult to describe this amazing icon in words, for they all seem empty before looking at us. In this gaze all: life and death, and resurrection, eternity, immortality.

According to the oldest legend, the Holy Evangelist, the doctor and the artist Luka wrote three icons of the Virgin. Having looked at them, the prechistus said: "The grace born from me and my May will be with holy icons." One of these icons is known to us under the name of Vladimirskaya.

Until 450, this image of the lady was in Jerusalem, and then moved to Constantinople. In the first half of the XII century, the Patriarch of Tsargrad Luka Khizhizhriver sent an icon (along with another Virgin, known as "Pirochnaya") as a gift to the Great Prince Yuri Vladimirovich Dolgorukhu, who put an image in the Vyshgorod Devius Monastery near Kiev, in the area that once belonged to the Holy Equal-Apostles Great Princess Olga. In 1155, Vyshgorod became the lot of Prince Andrei, the son of Yuri Dolgoruky.

Having decided to move to his native Suzdal Earth for him, Prince Andrei without the knowledge of the Father took the icon with him. In the way, incentive served in front of her prayer. Residents of Vladimir-on-Klyazma met their prince with diligence and joy; From there, the prince went to be further, in Grad Rostov. However, moving away from Vladimir no more than ten miles, horses stood on the shore of Klyazma and, despite the punch, did not want to go further. Bored fresh, but did not go. The prisoner fell by Prince Andrei before the icon and tearfully began to pray. And then he was the Virgin Mary with a scroll in his hand and commanded the way his image in Grada Vladimir, but on the site of this his phenomenon to build a monastery in honor of her christmas.

Prince put an icon in Vladimir, and from this time - from 1160 - she received the name of Vladimirskaya.

In 1164, Siah, I was accompanied by Prince Andrey Bogolyubsky in a campaign on the Volga Bulgar. Before the battle, the prince confessed and fell; Pava also preped into the way the Mother of God, he exclaimed: "I don't really die on the lady, I will not die!" All the military following his prince with tears was attached to the miraculous and, calling about intercession to the limit, moved into battle. The wicked were broken.

After the victory on the field of Brahi, a mulabal was made to the holy icon. During him in sight of the whole Russian troops, a miracle was revealed: from the image and from the life-giving Cross cut the wonderful light, who starved the whole terrain.

And at the other end of the Christian world, but exactly the same day and hour, the Byzantine Emperor Manuel said the light from the Cross of the Lord and, supported by SIM sign, who defeated his enemias-Saracin. For the intercourse of Prince Andrew with the emperor of the second Rome on August 1, a holiday of origin (depreciation) of honest trees of the life-giving cross of the Lord, famous for the people as the first saved.

Many other miracles were revealed from the miraculous image.

In 1395, Tamerlan with Horde Tatars approached Moscow. The people of Christian remained hope only for the help of God. And then the Grand Duke Moscow Vasily Dmitrievich commanded the icon from Vladimir to Moscow. Ten days lasted the path of the laddy from the shores of Klyazma. On both sides of the road stood the cranked people and, stretching their hands to the icon, called: "Mother of God, save the earth Russian!" A solemn meeting was waiting for a solemn meeting: a procession with all urban clergy, the family of the Grand Prince, boyars and ordinary Muscovites came to the city walls on Kuchkovo field, met and spent the miraculous to the Assumption Cathedral of the Kremlin.

It was 26 August. "All degrees in the influence of the icon on the penitution of it," the chronicler testifies. Metropolitan, great prince, "men and wives, boys and maids, children and babies, orphans and widows, from Mala to Velika, from crosses and icons, from the Psalms and with songs of spiritual, the row decreases with tears, and not to find a person I do not cry with sputter and sobbing. "

And the Mother of God won the mission of those who worked on her. At the very hour of the miraculous on the shore of the Moscow River River, Tamerlan in his tent was shown by a sleepy vision: the High Mountains were descended by the saint with the Zalads, and on them in the unspecified majesty, a radiant wife flew in the shine of bright rays; Countless Suns of Angels with fiery swords surrounded her ... Tamerlan woke up, trembling horror. The wise men convened, the elders and fortune holders of Tatar, clarified that the wife was seen in a dream there is an intercession of the Orthodox, the Mother of God, and that its strength is irresistible. And then the Iron Chromeman ordered its Hordes to reverse.

And the Tatars, and the Russians were amazed by this event. The chronicler concluded: "And Tamerlan fled, chasing the power of the Blessed Virgin!"

Grate Muscovites built a Sretensky Monastery on the site of the meeting on the site of August 26, 1395: "Does not forget people of God." So after a 242-year stay on the shores of Klyazma, the icon of the Virgin Vladimirskaya passed to Moscow and was delivered in the Kremlin Cathedral in honor of the success of the Most. Her fertile strength Moscow is obliged to get rid of Khan's raids in 1408, Nogai Tsarevich Mazovshi in 1451, his father, Hana Sedi-Ahmet in 1459.

In 1480, the Odean Khan Ahmat moved to Moscow and reached the river Ugra in the Kaluga limits. Great Prince Moscow John III was waiting on the other bank of the river. Suddenly, the Tatars attacked such a strong and unfortunate fear that Ahmat did not dare to go to the Russian rhe and touched back, in the steppe. In memory of this event, the congestion from the Assumption Cathedral in the Sretensky Monastery began to take annually. And the river UGR has since hear the belt of the Virgin.

In 1521, Kazan Khan Makhmet-Garyu led to Moscow Tatar Kazan and Nogai. Metropolitan Varlaam and all the people were diligently prayed before Lick Vladimir. Grand Duke Vasily Ivanovich barely managed to collect an army to meet the Tatars on the far side, on the Oka River. Having restrained their onslaught, he slowly moved to Moscow.

On the very night of the siege of Inokin, the Kremlin Voznesensky Monastery, saw the saint, carrying the miraculous Vladimirsky in the hands of the Assumption Cathedral. It was previously those who lived in two centuries of the Saints Metropolitans Moscow Peter and Alexy. And I also saw Inokin, as the Spasskaya Tower met the procession of St. Warlas Khutinsky and Sergius Radonezh - and the NIC fell in order, praying to not leave the Cathedral of the Uspensky and the people of Moscow. And then returned the intercession through the door was locked.

Inokine hurried to tell about the vision of citizens. Muscovites gathered in the temple and began to pray hotly. And the Tatars again wondered "the army of the Great, the armor shining", and they fled from the walls of the city.

So unlikely, the fatherland is saved by the prayer of the People's Population in the miraculous way of Vladimirskaya. In memory of these deliveries and established a celebration of the Vladimir Icon: May 21 - in memory of Moscow's salvation from the invasion of the Crimean Khan Makhmet-Hire in 1521; June 23 - in memory of Moscow's salvation from the invasion of Khan Akhmat in 1480; August 26 - in memory of Moscow's salvation from the invasion of Tamerlane in 1395.

The special fault of the Vladimir Icon is referred to as the "Moskovsky State Tree". The first such icon was written on the outcome of ancient Russia, in 1668, the Tsarist icon painter Simon (Pimen) Ushakov for the Church of the Trinity in Nicnics in China City. It shows the saints of Peter and Alexy, watering a magnificent tree growing due to the Kremlin wall; On the branches are medallions with a host of Russian saints, and in the center - oval image of Vladimir. As in the icon, the "praise of Our Lady" the biblical prophets are written with unfolded scrolls, on which the words of the Akathist, and in this image of the Heavenly patrons of Russia, are famous and praised the most pressing, praying for intercession for the Russian state.

Tropear, voice 4

Messenger brightly bouncels a sorry hail Moscow, Yako Zarava Sunny susceptors, Vladychitsa, Miraculous Icon, now we are fighting and praying for you, Crow the Sita: about the stubborn task, the Virgin, pray from you the embodied Christ to our God, will delight the hay and all Grades and countries of Christian is invalid from all the enemy, and our soul will save, Yako Mercy.

Prayer

ABOUT THE UNIVERSE MIRSUM Virgin, Heavenly Queen, a disgraceful intercession, nashe hope! Thanks to the ladder of people by Russian from you by Russian from you, before, before you, your molim: I will save it (or: all this; or: Say's holy abode) and the upcoming of your slaves and all the Russian land from the glad, destructive , shaking lands, flooding, fire, sword, invasions of the invalid and interference branches. Save and save, Mrs., Velikago Mr. and our father (the name of the rivers), the Holy Patriarch of Moscow Moskogo and All Russia, and Mr. Ours (the name of the rivers), the pre-secregnation of the bishop (or: archbishop; or: Metropolitan) (title), and all previous Metropolitans , Archbishops and bishops of Orthodox. Give them the church is a Russian good to manage, the faithful sheep of Christ are non-liberals to observe. Roman, Vladychitsa, and the entire priestly and monastic chin, the Heart Sogray of their jealousy about the Bose and worthy of the title of His go to the coherer strengthen. Save, Mrs., and hindle and all the slaves of yours and give us the path of the earthly way, without a vice. Protothes. Approve us in the faith of Christ and in the devious to the Orthodox Church, put in the hearts of our Spirit of God, the spirit of piety, the spirit of humility, in the victims of patience to us, in the prosperity - abstinence, to the neighbor love, to the enemy, in good prunes. Get rid of us from all the temptation and from the fostener of involving, in the terrible day of the trial of the trial of your petition of your heart, the sole of our God, the God of our God, he likes any glory, honor and worship with the Father and the Holy Spirit, now and in the eyelids. Amen.

From the ancient times, Vladimir icon of the Mother of God created wonders and is rightfully considered one of the most revered and famous in the Orthodox world. In honor of her there are several large holidays: May 21, June 23, August 25. In memory of Moscow's salvation from: Mohammed-Girea, Ahmat and Tamerlane, respectively. These days it is customary to read the Tropean by Vladimir Icon.

The meaning of the Vladimir icon

Molbi before this icon are able to protect people from misfortune, they are treated for help in a variety of situations. In a person's life there are very difficult periods and then they resort to prayers. Every believer, which sincerely asks for the help of higher strength, receives it. Vladimir Our Lady is a protector and guarded at home from the misfortune, helps in different everyday situations.

Each Orthodox person is simply obliged to have this image at home. Many different stories are written about the meaning and miraculousness of the icons, miracles happened hundreds of years ago, the same time happened.

Miraculiarity icon

Throughout the time there were miracles associated with the Vladimir Icon.

• Three times plenty of people about salvation of their own land were heard. Strangers led Russian land for various reasons.
• When the icon was in Vyshgorod, unauthorized movements of the icons were seen. Three times the image turned out in different parts of the monastery.
• Water that was washed by the shrine had medical properties, parishioners were repeatedly healed from various bodily ailments.
• The wife of one of the clergymen, waited for a child, she often prayed in front of the Vladimir icon of Our Lady and once a miracle of her life was saved from the hunted horse.
• The abundant of the monastery was healed from blindness. The girl just drank the water from the Holy Face and said a prayer.
• Once, in the city of Vladimir, the Golden Gate collapsed for twelve people, all these people suddenly found themselves under the rubble. One of them read the prayer in front of the formation of the Virgin, then all these people managed to escape. None of them got serious injury.
• The baby was washed by holy water, and he escaped from evil char.
• For many years I had a serious heart disease for many years, she gave the priest all his gold jewelry and sent a priest to the temple where I was icon. He brought the woman of Holy Water, she drank her and prayed, and after a while the woman was completely healthy.

This is still not a complete list of miracles that are connected with the Vladimir Icon. Moreover, miracles were not only associated with the original icon, but with its numerous copies.

What helps the icon of the Vladimir Mother of God

This shrine was a witness of almost all important events in the history of Russia. She saw war hiking, as the coronation of monarchs, as well as the appointment of many patriarchs. The prayer facing the icon helps to have enmity, reduce the level of wrath and passion.

A large number of parishioners appealed for help to ink to make a fateful solution, strengthen their own spirit and gaining vitality during the disease. To the question than the Vladimir icon helps, you can answer like this:

• comes to help when making an important decision, shows the path true;
• strengthens faith and gives forces that are practically on the outcome;
• helps in healing diseases, people with blindness and various illness of the heart are often healing;
• ensures evil intentions and sinful thoughts.

Also, the Mother of God helps in the formation of a happy marriage, as a happy and strong family - a pledge of a strong and successful country.

What does Vladimir icon look like

This icon refers to the type "cares." This image is considered the most lyrical of all the images of the Virgin.

Everyone can see the face of the Virgin, she holds her little son with his left hand.

They fell comfortable to each other, thereby opening the other side of the communication of the Virgin with her son. The original icon was written on a wooden cap from the table.

Only two figures: the Virgin and her son are depicted all over the canvase. He head is inclined to the baby Christ, he lifts his mother with his left hand for the neck.

A distinctive feature of this icon from everyone else is that the leg of Christ is curved so that he can see his feet.

Miraculous lists

Throughout the time a very large number of diverse lists of the Vladimir Icon were created. Some of them also acquired the miraculous properties and received special names:

• Vladimir Volokolamskaya, which was created in 1572;
• Vladimirskaya-Seligarskaya, was established in 1528;
• Vladimirskaya-Oranskaya, dated 1634.

All these images also have a miraculousness, and all Orthodox often come to them to read the Akathist of the Vladimir icon of God.

History of Vladimir Icon

The legend says that this icon was written by an evangelist bowl, a dining table lid was used as the basis. He was taken by the eating Major Mother and Joseph Wrap. And when God's Mother saw the image, she became very joyful and said the following words: "From now on, I will be plenty of MDSI."

Initially, Icon was in Jerusalem, later she moved from this city to Constantinople, she was there for a long time. Then, Yuri Dolgoruky received this icon as a gift from one influential patriarch.

In the city of Vyshgorod (not far from Kiev), the monastery was completely recently built, there was an image. Almost immediately, the icon began to glorify all sorts of miraculous acts. The son of Yuri Dolgoruky was very strong to have such an icon and brought her to the city of Vladimir, there she found a new home. Since then, she got a name - Vladimirskaya.

This icon very often saved the soldiers who went to war. In the battle against the Volzhsky Bulgarian, the icon of godometer helped the prince to win a difficult victory in battle.

Thirty years later was a terrible fire, then the cathedral in which I icon was burned, but it was preserved completely unharmed. In 1237, Vladimir attacked the city and completely ruined him, but this time Icon managed to survive.

The further history of the icon is fully connected with Moscow, where she got only in 1395, when Han Tamerlan came on Russia. The conqueror completely plundered Ryazan and sent his army to Moscow, they were destroyed on his way. The prince without losing a minute, gathered a big army and ordered them to go to the attack to meet the invaders. Metropolitan at that time urged the highest strength to help them. Then the prince and Metropolitan decided to postpone the icon in Moscow.

When the shrine fell into Moscow and brought it to the cathedral, incredible things began to occur. As the chronicle says, the conqueror was simply in one place for a few weeks, he did not go to the offensive, but did not retreat. But suddenly he won his fear, he turned back and left the Moscow limits.

A little later, when the invasion did not even expect in Moscow, suddenly the huge army of the invaders appeared in front of the walls of the city. Thence of the prince realized that he would not have enough time and the skills to collect a worthy army to resist the alien and simply left the capital with his family. Vladimir Brave, who suddenly had to manage Moscow, was an experienced commander and gathered a big army, yes such that the Horde did not solve the assault on Moscow. However, they began to rob neighboring cities.

At this time, all Orthodox people prayed to the Vladimir Icon, calling the Mother of God to help their people. And again, the prayers were heard, the unit (the leader of the Horde) received news of the coup and was forced to leave Russian land. So the Virgin Once again saved his people from enemies.

Prayer Icon Vladimir

About the all-consant posts of Mrs. The Mother of God, Heavenly Queen, a mestless intercession, Nashe Hope! Thanks to you about all the great blessings, in the childbirth of people by Russian from you former than you, before the prettiest way to your molima: I will save Herland (the whole of this; the holy abode of this) and the upcoming slaves of yours and the whole land of Russian from the glad, destructives, lands Flood, fire, sword, invasions of the invalid and internecine branches! Save and save, Mrs., Great Mr. and our father (Name), His Holiness Patriarch of Moscow and All Russia and Mr. Ours (Name), Having Harvested Bishop (Archbishop, Metropolitan) (title), and all the preseign Metropolitans, Archbishops and Bishops Orthodoxy. Give them the church is a Russian good to manage, the faithful sheep of Christ are non-liberals to observe. Roman, Vladychitsa, and the entire priestly and monastic chin, the Heart Sogray of their jealousy about the Bose and worthy of the title of His go to the coherer strengthen. Save, Mrs., and hindle and all the slaves of yours and give us the path of the earthly way, without a vice. Approve us in the faith of Christ and in the devious to the Orthodox Church, in the heart of our Spirit of God, the spirit of piety, the spirit of humility, in the victims of Patience to us, in the prosperity - abstinence, to the near love, to the enemy, with good deceit. Get rid of us from all sophistication and from the fostener of involving, in the terrible day of the trial of the trial of your pets of your son, the slander of our God, the Honor and worship with the Father and the Holy Spirit, now and in the eyelids and the Holy Spirit, are also confeded. Amen.

Conclusion

It is a very ancient and strong icon, it is one of the most revered faces of the Virgin. Three times with the help of the icon, it was possible to stop alien invaders. A huge number of people received spiritual and physical forces, praying in front of her.

From a long time, the Vladimir icon of the Mother of God is considered a patronage of Russia.

Her story dates back to the I century, when, by legend, the evangelist of Luke wrote her on the board from the table, behind which the holy family trapes when Jesus was still a child.

History of the icons of Vladimir Mother of God

The initial stay of the icon was Jerusalem, in the 5th century it was transported to Constantinople. It is known that the icon of Vladimir's Mother of God fell on Russia: Patriarch of Constantinople presented it at the beginning of the 12th century by Prince Mstislav. She was delivered to Vyshgorod Monastery near Kiev and soon became famous for the miraculous.

He having heard about it, Prince Andrei Bogolyubsky decided to transport it to the north, but the real miracle happened on the way: near Vladimir Koni with a wagon on which the icon was lucky, suddenly became, and they could not move them away from the place. Deciding that this is God's sign, there was also aware of God, and during the prayer of the prince there was a vision: the Virgin Mary had commanded to leave his icon in Vladimir, and at the site of the parking lot the monastery with the temple in honor of her Christmas. So, Vladimir Icon of the Blessed Virgin Mary received its name.

Creation of Vladimir Icon

In 1395, the Horde of Tamerlane was granted on Rus, which moved to Moscow, taking one city by one. At the request of the Grand Prince Vasily I Dimitrievich, who was expected to attack the Tatars, was sent to Vladimir to the Miraculous Vladimir Icon of the Virgin, and in 10 days she was conveyed to Moscow. On the way and in Moscow itself, the icon met hundreds and thousands of cranked people who took her prayer about the salvation of Russian land from enemies. The solemn meeting (rescue) of the Vladimir icon occurred on September 8.

On the same day, Tamerlane, who stopped with the army on the bank of Don, was a vision: he was harmful to the masterful wife, who fell over the saint, who commanded him to leave Rus. Courtful interpreted this vision as the phenomenon of Our Lady, the Great Defender of the Orthodox. Suvervice Tamerlan fulfilled her order.

In memory of how the Russian land was miraculously delivered from the enemy invasion, the Sretensky Monastery was built and on September 8, the celebration of the Presentation of the Vladimir Icon of the Blessed Virgin Mary was established.

The meaning of the Vladimir icon of the Mother of God

The meaning of this icon for Russia and all of its Orthodox is impossible to overestimate - it is our national shrine. In front of it in the Assumption Cathedral of the Kremlin, anointing of sovereigns on the kingdom and election of the High Priests took place. More than once the Queen of the Heavenly, the patron of Russia, saved her: in 1480 he saved from the Ordane Khan Ahmat (celebration on June 23), and in 1521 - from the Crimean Khan Makhmet-Girea (celebration on May 21).

The Mother of God saved not only the state, but also many people with their strength.

The fact that Vladimir icon is miraculous, it was widely known, and it was flocked with her pleads from all over Russia.

There are a lot of stories of miraculous healing and other assistance in troubles and misfortunes. Moreover, the miraculous force possessed not only the icon itself, which was in Moscow, but also its numerous copies, such as the Vladimir icon of the Mother of God Orange, who saved in 1771 by Nizhny Novgorod from the epidemic of the plague or Vladimir Zonichevskaya Icon of the Mother of God, famous for numerous healings, etc.

Currently, the Vladimir Icon of the Mother of God is located in the Tretyakov Gallery, namely in the Temple-Museum of St. Nicholas at the Tretyakov Gallery.

Description icons

Before you give the characteristic of the Vladimir icon of the Mother of God, it should be noted that in terms of iconography it refers to the type of "Elyus", which has developed in Byzantine icon painting in the 11th century. This is translated from Greek as a "murgeant", but in ancient Russia it was called "Uming", which is much more accurately transmitted the essence of the image.

And indeed, the image of a mother with a baby would express only her lunizing, if it were not for the eyes, filled with an incredible tragedy in the foresight of the flour, which was doomed to her child. The baby in his innocent ignorance hugs his mother, reaching her cheek to her cheek. Very touching item - a naked left leg, looking out from under his robe, so that the sole is visible, which is typical of all lists from the Vladimir icon.

What helps Vladimir icon

Vladimir Icon of the Mother of God has repeatedly saved the Holy Rus. In the grave times of processions and nationwide prayers with this icon brought to get rid of enemy invasions, turmoil, split, epidemics; In addition to this way, the wedding of Russian monarchs was held to the kingdom, they brought the oath to loyalty.

The prayer of the Virgin in front of her Vladimir Icon will strengthen the spirit and faith, give a determination and will help you choose the right path, the bad thoughts will tear off, the wrath and bad passion will bring healing from the ailments of physical, especially heart and eyes. She is also praying for strengthening family ultrasound and well-being of the family.

Prayer icon

To whom we reopen, Vladychitsa? Who resorted to our sorridge, not to you, the king of heaven? Who is crying our and rehabilites, it is not so you, a forelocked, hopes of Christians and refuge us sinful? Who is in a lot of you, in grace? Your ear your ear to us, Vladychitsa, Mati of our God, and do not despose your requireful help: hear the wedding of our, the desires of our sinners, the doctor, and teach, the tsarice of Heaven, and not retreat from us, the slave, Vladychitsa, for Rapting our, but Buddes us Mati and the intercession, and handing us with the gracious cover of your son. The arrangement of us, how will your will be Holy Will, and bring us sinners to a quiet and serene life, and we have been planted about Gresh Oh, and I will always rejoice with you, now and are constantly connected and forever. Amen.

Double-sided icon

The first third of the XII century.

• Onasch 1961: XI-XII centuries.
• Antonova, MNEV 1963: The beginning of the XII century.
• Bank 1967: The first half of the XII century.
• Kamenskaya 1971: beginning of the XII century.
• Onasch 1977: XI-XII centuries.
• Alpatov 1978: The first half of the XII century.
• Lazarev 1986: The first half of the XII century.
• Βοκοτοπουλος 1995: The first third of the XII century.
• GTG 1995: The first third of the XII century.
• Icons of the Assumption Cathedral 2007: The first third of the XII century.
• Bulkin 2008: beginning of the XII century.
• Bayet 2009: the beginning of the XII century.

The beginning of the XV century. Andrei Rublev (?).

The Mother of God presses her son sitting on her right hand. Having raised a rising rounded face, he fell asleep to the cheek of the bembered mother and hugged her neck. The right hand of the baby Jesus is extended and touches the shoulder of Our Lady. Maria supports his left hand covered from. 58.
from. 59.| Intrusive movement of a child, asked for her widely opened round eyes. Close the subtle lips of a small mouth, Maria looks right in front of him with great oblongacities, as if illuminating her narrow, elongated face. The left leg of the baby is bent so that the sole of the foot 2 is visible.

2 This item has become an indispensable attribute of the iconography of Vladimir Mother of God from the XV century.

Vladimir Icon, according to restoration works of 1918, was recorded four times: in the first half of the XIII century, after Batueva ruffles; at the beginning of the XV century; In 1514, during work on the decoration of the Moscow Assumption Cathedral, and, finally, in 1896, O. S. Chirikov and M. I. Dicarev restorers. Minor chinks were also made in 1566 and in the XVIII and XIX centuries 3. Persons, unlike the other parts of the icon, were recorded without imposing a new layer of Levkas, directly on top of the old olifa, which contributed to their safety.

3 chronicles retained information about the progress of the monument only in 1514 (PSRL, T. XIII, SPb., 1904, "Sofia second chronicle". - In the book: PSRL, vol. 6, St. Petersburg., 1853, about the observation of the painting of the Assumption Cathedral) and 1566 ("antiquities of the Russian state", Dep. 1, M., 1849, Text, p. 5).

To the ancient painting of the XII century painting. Persons of the mother and baby, part of the blue shepz and Kaima Mafhoria with a golden assist, part of the fucking with the golden attitude of the Chiton baby with a sleeve to the elbow and a clear edge of his shirt, the brush left and part of the baby's right hand, And also the remains of the gold background with fragments of the inscription: "MR. .. "

Coloring of the original painting is based on a combination of deep, saturated shades of cherry-red, blue, orange-yellow and greenish-olive with gold.

In greenish preparations made a drawing; The face modeling was performed by hooland with Bellyls and a cinnabar; After the imposition of reddish shadows, a layer of ocher was applied, after which the greenish shadows were written. The face of the child is also done, but the preparation of his lighter, and the addresses (plave - consistent overlapping of different shades of paints) more.

The mother's face is made by a transparent pinkish hooland associated with the help of tonal transitions with greenish shadows written in oval of the face, on the temples, under the eyebrows and lower eyelids, near the nose, mouth and neck. Easy-up dark blush merges with the whole color range. Rich with diverse shades transparent layers of red paint lie on cheeks, forehead, eyelids, eyebrows, along the nose and on the chin. Free leather smears are laid on the shape of the nose and above the left eyebrus. The eyes are light brown, with red tears. The lips are written by a cinnabine of three shades. Cepets blue with dark blue, almost black edge.

The baby's face was also hoora, but Belil is adding. Reddish transparent tones rounded his face, cheek and chin. At the tip of the nose and on the lips, there are dark cinnabar strokes marking tears. Belil is lying on the most illuminated places: above the right eyebrow, on a swear of the tip of the nose and on the chin. Lighter than the mother, the color scheme transmits the children's skin of the face, a small brush of the left hand and a part of the right hand lying on the dark from. 59.
from. 60.| Maternal clothes. Jesus's eyes are filled with brown and green tones. Above the convex foreheads are survived light-brown hair.

At the torsa of the baby is a fragment of chink chinks of the XIII century, which comes from the shoulder to the belt. Immediately the ends of the fingertips of the left hand were preserved, originally located above and to the left than the painting of the XVI century that came to us at this site.

By the beginning of the XV century (about 1411) include parts of the clothes of Our Lady and baby on the left below; parts shoulder and baby hands, his feet, hair and neck; The right hand of Our Lady, her ear, part of the dark green chepts and the golden Kaima Maforia. On these fragments, the painting of the feet of the baby's feet, thin transparent payments of the right hand of the mother, the massive neck of the baby and the chestnut curls of his hair is stopped. The deep tone of the brown mafhoria, combined with the greenish ocher of a baby harness, decorated with a golden assist, forms a characteristic range of cold colors 4. The artist, who performed the restoration of the early XV century, was most likely, Andrei Rublev 5.

4 of the same sonorous combinations of clean, cold shades are composed of coloring the rough side of the icon with the image of the throne, performed, in all likelihood, at the same time.

5 By this conclusion, the colors of parts of the Vladimir Icon relating to the beginning of the XV century, with its copy made by Andrei Rublev in 1395, is the so-called "Spare Vladimir

It is also significant that the drawing of the baby's feet at the Vladimir GTG is close to these details of the frescoes of Andrei Rublev on the Altar Pilon of the Assumption Cathedral in Vladimir. To this conclusion, the colors of the parts of the Vladimir Icon relating to the beginning of the XV century leads to the beginning of the XV century, with its copy made by Andrei Rublev in 1395, is the so-called "Spare Vladimir", which is also in the Assumption Cathedral of the Moscow Kremlin.

Until the XVII century. The information was survived that Rublev was the author of one of the Kremlin icons of Our Lady. In 1669, in the figurative chamber was kept "Basins (Case. - V. A.) Prechy Rublev Letters" (A. I. Uspensky, Church-Archaeological Storage at the Moscow Palace in the XVII century, M., 1902, p. 68) .

"Spare Vladimirskaya" is written, unlike the composition of the original ancient icon, somewhat shortened: this is not a bastard, but rather the sulk image. Both brushes of the Our Lady are on the same level; Her eyes are directed not right in front of him, but to the left, in the other side where her head is tilted.

Vladimir's Rublevsky variant gained widespread in the XV century. This is explained by the Slava Rublev and the fact that the work written by them was in the Assumption Cathedral of the Moscow Kremlin.

Deposits of the Moscow Noble in Trinity-Sergiev Monastery retained the excellent samples of this type of Vladimirskaya (see Yu. A. Olsufyev, inventory Icons Trinity-Sergiyev Lavra, Sergiev, 1920, p. 83, contribution M. V. Exodinova).

Detailed argument of the attribution "Spare Vladimir" Andrei Rublev see V. I. Antonova, Moscow artist Andrei Rublev. Report at the session dedicated to the 600th anniversary of Andrei Rublev at the Academy of Arts of the USSR, read on September 17, 1960

It is also significant that the drawing of the baby's feet at the Vladimir GTG is close to these details of the frescoes of Andrei Rublev on the Altar Pilon of the Assumption Cathedral in Vladimir.

The third significant rejection of the Vladimir Icon in the news of the Sofia Temperator is associated with the paintings of the Moscow Assumption Cathedral, executed in 1514. Then the Mathnius, her left hand, her left hand, was written before our time, most of the clothes of the baby and the brush of his right hand 6.

6 At the same time, Kivot was made for Vladimir, decorated with silver and gold.

The paints of the restoration of the beginning of the XV and XVI century were chosen in accordance with the color of the original painting very darkened by this time. Golden payments of the early XV century, as well as the dark voltage and deaf paint of the XVI century do not violate the restrained, almost monochrome gamma of the monument of the monument.

The bright yellowish gas began the beginning of the XV century with the letters "ө", "IC xs" and the darker, orange shade, the protection of the XVI century was replaced against the background and fields lost initial gold. Judging by the nature of the background and fields, they immediately reveal them when they were closed by salary 7.

7 Ipatiev School under 1155 maintained information about the Oaklade of Vladimir, made by Andrey Bogolyubsky. In 1176, Yaropolk removed its precious segment from the icon; She herself was in the hands of Gleb Ryazansky (PSRL, T. I, St. Petersburg, 1846, p. 159, 161). In 1237, the Tatars "... Holy Virror divorce, a chusan icon of evident, decorated with gold and silver and a stone of dragia ..." (ibid., P. 197). In 1411, Tatars Tsarevich Talycha again kidnapped the salary of Vladimir. At this time, Metropolitan Moscow Fothy was in Vladimir; Tatars (PSRL, vol. Xi, St. Petersburg, 1897, p. 216) were chased behind him. It is possible that in memory of his salvation, Fotiy did on the Vladimir salary, instead of the stolen by Tatars: I suppose that it was then, Andrei Rublev restored and the very icon that was in Vladimir.

Until our time, her two UBOR was reached, stored in the state. Weapon Chamber in the Moscow Kremlin. It is possible that the first with a chased Golden Deesus in the rise at the top relating to the XIII century, connected to the gold bass XV century, is compiled for the so-called "Spare Vladimir" - a copy attributed to Andrei Rublev. The second, until 1918, was at the initial Vladimir, consists of parts of the beginning of the XV century. Made as mentioned above by order by Metropolitan Fothia (1410-1431, see M. Alpatoff, Die Frühmoskauer Reliefplastik ... - "Velvedere", Wien, 1926, No. 9-L0) and parts 1656-1657. performed by Master Peter Ivanov (see I. E. Zabelin and brothers Holmogorovy, Materials for history, archeology and statistics of Moscow churches, Part I. M., 1884, p. 30).

On the back side (the beginning of the XV century) was written to the throne with gentle guns, covered with a red, decorated with a gold ornament with pink spaces and blue zero kaymami. It stands on a lilac with brown divorces, depicting the floor with colored marble. On the throne there are blue nails, a book with a blue edge and a gold, decorated with pearls and precious stones with a lid, as well as a hiker crown. White dove with golden nimba and red paws stands on the book. Olive-green in two tones cross, spear with blue edge and cane 8 rises above the throne. Background of pale yellow, fields hidden, XVI century.

8 The throne on the turnover of the Vladimir icon in drawing, flavor and ornamentation is similar to the image of the throne in the "Wine Distribution" from the festive number of the iconostasis of the Trinity Cathedral of Trinity-Sergiye Lavra associated with the last stage of Rublev's creativity. The manner of drawing the throne could hardly change for a decade that shares compared monuments, which speaks in favor of the attribution of the work under consideration by Andrei Rublev.

Lime board, with later accommodations from all sides. Below the traces of handles are preserved. Pavolok (?), Levkas, egg tempera. Initial size 78 x 55, size with finishes - 100 x 70. from. 60.
from. 61.¦

Opened in 1918 in the Commission on the Disclosure of the Old Russian Painting G. O. Chirikov.

Around 1136, the icon was brought from Constantinople along with the icon of Our Lady of Piercing and put in Vyshgorod near Kiev 9. In 1155, he was taken from Vyshgorod to Vladimir Knyazh, Andrey Bogolyubsky (Lavrentievskaya and Ipatiev Chronicles). In 1395, brought to the Assumption Cathedral of the Moscow Kremlin with a led. kn. Vasily Dmitrievich (PSRL, t. XXV, M.-L., 1949, p. 222-225).

9 between 1131 and 1136. The Church of Our Lady of Piercing in Kiev (N. Zagrevsky, Description of Kiev, vol. 2, M., 1868, pp. 713-717).

After 1395, the icon of Vladimir's Mother of God was returned to Vladimir 10; It was recently brought to Moscow in 1480. The following information was preserved about this: 1. The chronicle, telling about the already mentioned raid to Vladimir Tatar Tsarevich Talycha in 1411, they say that in the Assumption Cathedral of the Tatars "Drawing the door of the church and entered in Nu (church. - V. A.), Icon Chudnyy Hoddes of the Virgin Mary Odrasha and Torztde and other icons "(PSRL, t. XXV, M.-L., 1949, p. 240). 2. In the following Psalti of the XVI century, the Library of Trinity Sergiye Lavra No. 321 says on June 23: "... Priide Chudvynaya Icon of the Mother of God from Volodymyr in Grad Moscow 6988 (1480)." On the final movement only at the end of the 15th century, the establishment of the Vladimir Icon celebrations in Moscow on June 23, 1480. Since no other remarkable event on this day happened, it is very likely that Vladimir Icon arrived on this day in Moscow, where he stayed to the present day.

10 Return of Vladimir between 1395 and 1480. Vladimir could be caused by even strong at that time, the presentation of the specific separation of parts of the future Russian state. It was believed that the dots had a predominant right to monuments related to their history. In addition, Vladimir is the city, from where the Grand Dictionaries passed to Moscow, enjoyed the special attention of Moscow princes. So, for example, Prince Moscow Vasily Dmitrievich His masters of Andrei Rublev and Daniel Black renewed in 1408. Murals of the Assumption Cathedral in Vladimir.

It is possible that around 1395 who made in Moscow, the same Andrei ruble "Spare Vladimir" refers to the Moscow chronicles of the news of 1471 (PSRL, t. XXII, St. Petersburg., 1901, p. 130).

In 1480, when Moscow became a focus of the Russian state, and the Assumption Cathedral of Her Kremlin - the Russian Pantheon, the final movement to Moscow ancient icon is quite natural (see about it, L. A. Dmitriev, about dating "Tale of Mamaev Boy." - In the book: "Proceedings of the department of the ancient Russian literature of the Institute of Russian Literature of the Academy of Sciences of the USSR", X, M.-L., 1954, p. 195-197).

He came from GIm in 1930. from. 61.
¦

from. 35.¦ 1. Our Lady Vladimirskaya
First third of the XII century
Konstantinopol.
On the turn:
Passion and tools
Beginning of the XV century (?)
Moscow

Tree, tempera 104 × 69; Initial size 78 × 55
Inv. 14243.

Image of the Mother of God is a waist, like "Uming". The Mother of God holds the baby of Christ on his right hand, her head is inclined to the right. The baby presses the cheek to the face of Our Lady and hugs her with her left hand over the neck, his face draws up. The right hand hand is stretched forward and touches the shoulder of Our Lady. The legs of Christ to the feet closed with hiton, the left is bent so that the foot is visible.

The common tone of the carnation of the Lob's Light Light, it determines the combination of a greenish-olive sanctuary, which translucent places through the upper layer and left almost uncovered in shadow places, and lightly pinkish anchion. All the paints are so fused that their transitions are almost elusive by the eye. On the cheeks, the light-pink cooling is imperceptibly moving into an intense blush. It is also gradually the transition from pink tone, laid on top of green shadows. On the upper eyelids, the pink tone gradually thickens to dark red. The smooth bending of Abris NOS is emphasized.

Red tear performed in the corners of the eyes, pupils are blonde, greenish brown, with black dot in the center, eyelashes and pupils are circled with a dark stripe. The nose line is highlighted by two bright flares. Like the light of light, but the softer, given by the thin layer of pink and Belil lying on the forehead. The little mouth with thin lips is written by bright red paint, which has barely noticeable transitions from light tone to darker. Deep green shadows lie around the eyes, near the nose, above the bridge, on the chin and on oval face.

The baby's face has a lighter tone of the carnation. The manner of writing his wide and picturesque. On top of the greenish sanctuary lies a thin layer of Okher with the addition of Belil. On the forehead, on the right temple, the pink color is put on the cheek, thickening to the contour, the gradual gain of the red is designated by the abis of the nose. The red color of the subwoofers and contour shadows contrasts with sumps and bright ledge glare on the chin, the tip of the nose. Footprints of the leather engines are visible over eyebrows, over the lip and on the cheek near the eye. The eyelids are circled brown, the top is darker. Pupils are light brown with a dark point in the center.

The border between the faces of Our Lady and the Baby is not indicated by the contour line, but is given by the color comparison of the green shadow on the cheek of the baby and the pink cheek of Our Lady. The only contour line is a brown stroke of the left handle of Christ lying on the neck of Our Lady.

Initially, the Mother of God was a cherry-red mafeli with a dark border, decorated with gold lines (small fragments are visible above the baby's head), bright blue cape. Hiton and Himathy of Christ Owl Tone with a Gold Linear Cut. From under the sheathon sleeves, a white transparent shirt is visible.

The background was golden (fragments of the initial background are visible at the top).

Luzga is cool, the initial fields are narrow (later adopted from all sides). Nimbi have not been preserved.

Inscriptions. At the top of the montogram of a cinnaber: μρ θυ (letters M and the rest, fragmentary) preserved from the author's painting); Below to the left is the late monogram Cynicar: IC HC.

Coverage. The throne is depicted with pink-red cover, decorated with gold ornament and blue border with golden cutting. On the throne lie: a closed gospel with a blue edge in a gold salary, ornamented stones and pearls, four nails and a crown. On the gospel - the symbol of the Holy Spirit is a white pigeon with a golden nymb. A high eight-spin cross towers behind the throne. On the sides of him a spear and a cane with a sponge at the end.

Background pale yellow, fields hidden. Pose, imitating marble, lilac with brown lines of divorces.

Inscriptions. On the parties to the crossing of IS HC; below nor

Board of two parts of unequal width. The fields of the icons are increasing from all four sides to the salary no later than the beginning of the XV century. one . The two lower sheets are composed of four parts, as they fill the gaps between the preserved parts of the ancient plug of the handle, which was done in the lower field. The lower part of it is unscluded when building fields for salary.

1 cm about it Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 187, 238. The dimensions of the icons, in all likelihood, were increased at the beginning of the XV century, when a new gold scanned salary for the icon of Our Lady Vladimir was made at Metropolitan Fotia. He was probably done by visiting Greek masters. In the XVII century In the patriarch Nikona icon decorated (1657) golden rice. In 1919, when restoration, icons, the salary and riza were removed (located in the GOP). On the salary, see

• Alpatoff M. Die Frühmoskauer Reliefplastik. Beschlags Der Ikone Der Gottesmutter Von Wladimir und Ein EvangeliumDeckel Des Sergiev-Troitzky Klosters. BELVEDERE, 1926, NR. 9-10, p. 237-256;
• Piselskaya L. V. Monuments of the Byzantine art of the V-XV centuries in the State Weapon Chamber. M.; L., 1964, p. 18, 19, Table. XIX-XXV;
• Postnikov-Loseva M. M., Protasyeva T. N. The facial gospel of the Assumption Cathedral as a monument to the ancient Russian art of the first third of the XV century // Old Russian art of the XV - early XVI century. M., 1963, p. 162-172;
• Bank A. V. Byzantine art in the meetings of the Soviet Union. L.; M., 1966, Table. 291-295, p. 329, p. 23-24;
• Grabar A. Les Revêtements EN Or EN Argent Des Icones Byzantines du Moyen Age. Venise, 1975, No. 41, r. 68-72, Fig. 88-97;
• Nikolaev T. V. Applied art of Moscow Rus. M., 1976, p. 20, 176;
• Margin A. V. Monuments of Paleologovsky style in the Moscow silver of the first half of the XV century: a report at the II International Symposium in Georgian art. Tbilisi, 1977, p. nine;
• Tolstaya T. V. Assumption Cathedral of the Moscow Kremlin: to the 500th anniversary of the unique monument of Russian culture. M., 1979, p. 28, 29, Il. XVIII, 111, 116, 117;
• Margin A. V. Salary of the Gospel of the Assumption Cathedral of the Moscow Kremlin (to the question of the jewelry workshop of Metropolitan Fetiya) // Old Russian art. Handwritten book: Sat. Articles. M., 1983, p. 146-150;
• Bobrovnitskaya I. A. Golden salary with a deesus rank icons "Our Lady Vladimirskaya" // Assumption Cathedral of the Moscow Kremlin: Materials and Research. M., 1985, p. 215-234.

Front side. The ark is deep, with a steep husk; Levkas thin; Pavoloka - under the late inserts 2, as well as on the fields icons.

2 A. I. Anisimov assumed that "faces and, perhaps, the most figures were sublayed with canvas; On the background, Levkas lay directly on the board. " In notes. It indicates that the nature of the state of the facilities lying on Levukas, dotted cracks, at the edges of which the soil rose, makes the presence of the presence of a fastening passavoli below. Otherwise, the painting could not hold on and crumbled ( Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 234). However, the study of the icons in X-ray rays showed the presence of Pavoli only in the fields and under the late inserts, in other places there is no passavoli. The radiograph of the icons was made by M. P. Vikturina in 1974 in GTG.

Coverage. The ark is the same as on the facial, the passAll thin weaving, Levkas.

Save. Front side. From the initial painting, Mary and Baby faces are preserved, hair on his forehead, part of the right hand and brush left; Fragments of the Blue Chuspets of Our Lady, Dark Red Maforia and Kaima near her right eye, part of the hidden with the Golden Assistant of the Chiton Baby and the transparent shirt, the remains of the gold background and letters from under him.

Icon has repeatedly understood. According to restoration works of 1918 3, it is spelled out four times: in the first half of the XIII century, at the beginning of the XV century, in 1514, during work on the decoration of the Assumption Cathedral of the Moscow Kremlin, and, finally, in 1895-1896 to the coronation of Nicholas II Restorers O. S. Chirikov and M. I. Dicarev 4. Minor chinks were also made in 1566 and in the XVIII and XIX centuries.

• OR GTG, f. 67, units. xp 252;
• Anisimov A. I. History of the Vladimir Icons in the light of restoration // Proceedings of the Art Story of the Institute of Archeology and Art Consciousness. M., 1928, vol. 2, p. 92-107, Table. VIII, IX;
• Anisimov A. I. Vladimir Icon of the Mother of God // Seminarium Kondakovianum. Praha, 1928, p. 105-189.

• Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 179, 230, 427.

From the initial restoration of the XIII century. The fragment of the dark purple robe of Christ is lower below the shoulder with the tips of the two fingers of the left hand of Our Lady 5.

5 "Partial samples showed that in this place, under the record of the XIII century, still painting the original. The latter is left, however, not disclosed to preserve the only surviving fragment of the first restoration of the icon "( Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 253).

By the time of the second pronounced at the beginning of the XV century, there are parts of the clothes of Our Lady and Baby: Dark Maforius and Yellow, Olive Shade, Chiton Christ with a Golden Assist (left below); part of the shoulder and hands of the baby; Both of its legs (except the top of the right foot), hair and neck; The right hand of Our Lady (up to the ends of four fingers), parts of the Maforia with a yellow border and dark acids (near the left handle of the baby) and fragments of a light yellow background with dark-red letters "IC" "xs" and "θ".

The third rejection refers to 1514, and the fragments of this restoration occupy the largest area: a significant part of the Maphoria of Our Lady and her left hand, as well as the fingers of the right hand, the middle part of the Chiton of the Baby Red-Brown, the right hand of Christ, part of his right legs and fragments dark -culty background, which also painted fields icons.

With the rejoices of the icon, most of the ancient painting was not preserved, the old Levkas was cut off and the new one was applied. The exception was only the painting of the faces, which were spelled out on top of the old Oliflates, which is why the ancient layer remained completely not damaged. On the face of Our Lady near the chin of Christ and next to his left hand - two inserts; Mostly the safety of the faces is good.

Coverage. The painting XV century is preserved., There are minor fallouts with loss of painting and Levkas, mainly in the joints of the boards. Most significant: in the lower left corner (three large losses that exposed the passavoka); In the lower right corner, a large left-handed insert, going on the joint of the board, is relevant to the image of the crown through the entire furnace; Left insert along the luzga at the right field.

Restoration. In December 1918 - April 1919 disclosed G. O. Chirikov under the supervision of I. E. Grabar, A. I. Anisimov and A. I. Grishchenko in the Commission. Olifil Icon F. A. Modor. The scheme with the reference fragments of painting was performed by I. A. Baranov 6. from. 35.
from. 37.¦

• OR GTG, f. 67, units. xp 252;
• Anisimov A. I. History of the Vladimir Icons in the light of restoration // Proceedings of the Art Story of the Institute of Archeology and Art Consciousness. M., 1928, vol. 2, p. 82-107, Table. VIII, XX.

In 1929, O. Chirikov made a copy of an ancient painting fragment with the image of the faces of Our Lady and Baby of Christ (size 27 × 19; Wood, tempera, GTG, Inv. DR-472).

Origin. From Constantinople. About 1130 7 brought to Kiev and placed in the Women's Monastery of the Virgin in Vyshgorod. In 1155, Prince Andrei Bogolyubsky suffered the icon of Our Lady from Vichigoren to Vladimir, decorated her expensive salary and placed in the Assumption Cathedral 8, built in 1158-1161 9. A. I. Anisimov, analyzing the ancient "Tale of the wonders of the Vladimir Icon ...", makes the assumption that the icon was in the altar near the throne, occupying the place of the "prestolol" image 10. After the murder of Prince Andrei Bogolyubsky in 1176, Prince Yaropolk Rostislavovich removed an expensive session with Icons 11, and she was at Gleb Ryazansky. Only after the victory of Prince Mikhail, the younger brother Andrei, above Yaropolk, Gleb returns an icon and a join in Vladimir 12. When taken from. 37.
from. 38.| Vladimir Tatars, during the fire of the Assumption Cathedral in 1237, the cathedral was looted and from the icon of Our Lady was Skala Salad 13. The Book Power says about the restoration of the Assumption Cathedral and the renewal of the Icon of Our Lady of Knight Yaroslav Vsevolodovich 14. In 1395, on August 26, during the invasion of Tamerlan at Prince Vasily Dmitrievich Icon was solemnly postponed to Moscow, and on the same day Tamerlan retreated and left the limits of the Moscow state. Icon was placed in the Kremlin Assumption Cathedral, to the right of the royal gates 15. Probably, after that, she was repeatedly held in Vladimir. The return of the icon in Moscow in 1480 is particularly noted as the second transfer of the icon 16. In 1812, the icon of Our Lady Vladimir was taken away for several months in Vladimir and Moore, and then returned to Moscow to the Assumption Cathedral, where she was before 1918, when was taken for restoration. From 1926 to 1930 was in Gim.

7 Icon is brought along with another icon of Our Lady, called the Piercing, for which the church was built. Ipatiev chronicle under 6640 (1132) The year reports: "In the summer, the saint of the church of Kaman, the Holy Virgin, the Rama Potochka ( T. 2: Ipatiev chronicle. St. Petersburg, 1843, p. 12) and indicates the end of construction in 6644 (1136) ( Complete collection of Russian chronicles: T. 2: Ipatiev chronicle. St. Petersburg, 1843, p. fourteen). Lavrentievsky chronicle speaks of the bookmark of the church of the Piercing in 1131 ( Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 132), i.e. both icons were brought from Constantinople before the construction of the church of the feet.

8 Lavrent'evskaya and Trinity Chronicle under the 1155 year report on the transfer of Andrei Bogolyubsky Icons to Vladimir: "The same summer I will judge Andrei from my father, and I will bring Ida to the icon of the Holy Virgin, southerly brought in a single ships with Poroshchi from Tsaryaganda; And Vkovs in Nude Bole Threess Hryvnaya Gold, except for silver and stones of drag and pearls, and decorate and post and in the church of their Volodya "( Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 148). In the oldest "Legend of the wonders of the Vladimir Icon of the Mother of God, which dates back to the second half of the XII century., We read:" Prince Andrei, I also have a reinforcement to Rostov land, and Gaznozati about icons, who told him the icon in Vyshgorod in the Women's Monastery, Most Master Virgin ... and pripe to church, and begins to look in icons, this same way, I icon Yako prevented all images. Vijev Yu and Sava on the ground Praying the verb: about the Most of the Mother of the Mother of Christ of Our God, People's Khostess of the Intercession of Friendly Rostov Earth, visit newly promoted people, and they will be all si. And then we will with the icon of the Moha for Rostov Earth "( [Klyuchevsky V.] Tale of the wonders of the Vladimir Icon of the Mother of God. (Monuments of ancient writing, XXX). St. Petersburg., 1878, p. 29-31). After transferring the icon Andrei Bogolyubsky, she began to be memorable like Palladium of the city of Vladimir, why and was named Vladimir.

9 Ipatiev chronicle, speaking about the construction of the Assumption Cathedral in Vladimir, calls dates: year bookmarks - 1158 and end - 1161 ( Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 150).

• [Klyuchevsky V.] Tale of the wonders of the Vladimir Icon of the Mother of God. (Monuments of ancient writing, XXX). St. Petersburg., 1878, p. 31-37;
• Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 289.

• Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 159;
• Antonova V. I., Mnova N. E. State Tretyakov Gallery: Catalog of the ancient Russian painting of the XI - early XVIII century. Experience of historical and art classification. M., 1963, vol. 1, 2, vol. 1, p. 62, notes. 7.

• Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 161.

13 "Tatarov the same power of the church door to the door, and the video of the camp (launched with the bishop of Mitrofan in the temple) firing, the OAI of the same weapon to the end of the death is traveled; The holy Virror divorce, a chudual icon of evident, decorated with gold and silver and a stone dragim ... "( Complete collection of Russian chronicles: T. 1: Lavrentiev and Trinity Chronicle. St. Petersburg., 1846, p. 197).

14 "And Ottol Siy Miraculor Bogorodichin Image Like the Still of his own adventure of a decent decoration acceptance" ( Power book. M., 1775, part 1, p. 541).

15 "and unscluded [icon] in the presented temple of Slavnago Assumption, and there is a great Cathedral and Apostolic Church, Russian Metropolia, and put in kyot in a gum country, an idea and up to now seek and worship everyone" ( Power book. M., 1775, part 1, p. 552).

16 See more for details. Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 217-227. A. I. Anisimov cites words from Take validation (1627) On the occasion of removal of Ahmat from UGRI on June 23, 1480, where the secondary brings the miraculous icon of Our Lady Vladimir to Moscow: "I heard the Say of Prince Great Ivan Vasilyevich All Russia after Vladimir on the miraculous icon of the Most Holy Mother of God and I bring the second to Moscow , in the favage of the reigning hail of Moscow and the whole Russian land. "

Admission. In 1930 of Gim.

Iconography. Front side. The iconographic type of Our Lady, holding a baby in the hands of Christ, who pressed his cheek to her face, got the name "Delicate". Such a composition is known in early Christian art. She received widespread in the XI century. Details about the history of the iconographic type of Our Lady "Uming" ("Elyus") see

• Kondakov N. P. Monuments of Christian art on Athos. St. Petersburg, 1902, p. 164;
• Alpatoff M., Lazareff V. Eine Byzantinisches Tafelwerk Aus der Komnenepoche. Jahrbuch Der Preussischen Kunstsammlungen. Berlin, 1925, BD. 46, S. 140-155;
• Lazarev V. N. Byzantine painting: Sat. Articles. M., 1971, p. 282-290;
• Grabar A. L'Hodigitria et l'Eleusa // Zborrik for links oddness. Novi Garden, 1974, No. 10, p. 8-11;
• Grabar A. Les Images de la Vierge de Tendresse. Type iconographique et thème // Zogra. Beograd, 1975, No. 6, p. 25-30;
• Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983, p. 166-173, 252-258;
• Tatiћ-ђurћ M. Virgin Mary of Vladimirsk // Zborrik for links an oddality. Bograd, 1985, [Issue] 21, p. 29-50.

Coverage. The throne with the Gospel (the throne of prepared - "Ethimathia") symbolizes the invisible presence of God and is interpreted on the basis of the texts of the Holy Scriptures and the comments of the Fathers of the Church, depending on which image is connected with this image.

The throne concrete the secret in the evening, and the coffin of Christ, and His Resurrection, and the Second Coming on the Day of the Terrible Court; Cross, cane, copies and nails - the redemptive sufferings of Christ. The throne with the image of the gospel and the pigeon next to the cross and guns of passions symbolically represents the trinity. The image of the ethimassia in monumental paintings was often placed in the apse (this was special distribution in the XII century) and disclosed the meaning of the Eucharistic victim ( Bogyay 1960., S. 58-61; Babic 1966., from. 9-31). The revolving and front side of the icons have a single symbolic-dogmatic content. The cross and instruments of passions reveal the sorrowful meaning of the image of Our Lady, pointing to the coming sufferings of Christ.

• Bogyay 1960 \u003d. Bogyay, T. Von. Zur Geschichte der Hetoimasie. Akten Des Xi International Byzantinischen Kongresses. München, 1958. München, 1960, S. 58-61.
• Babic 1966 \u003d. Babi Christ therapy in the XII century and the worst of the Byzantic churches. Archnerji service Pred Hetimasiji and archraith service before the Lamnets // Zborrik for links an oddality. Novi Garden, 1966, BR. 2, p. 9-31 (on Serbohorvatsk. Lang.).

Attribution. Front side. According to the church legend, the Icon of Our Lady Vladimir is written by the Evangelist Ruke himself. L. A. Uspensky speaks of the icons attributed to the evangelist Luka: "The authorship of the Holy Evangelist Luke here needs to be understood in the sense that these icons are lists (or rather, lists from the lists) with the icons written by the Evangelist" ( Uspensky L. 1989., from. 29).

A. I. Anisimov attributed an icon to the second half of the XI century. ( Anisimov 1928/1 (1983), from. 183, 184; Anisimov 1928/3 (1983), from. 272). V. I. Antonova dated the beginning of the XII century. ( Antonova, MNEV 1963, t. 1, No. 5). In subsequent works, V. N. Lazarev and A. Grabar called the execution time - the first half of the XII century. ( Lazarev 1967, p. 204, 257, NOTA 82; Grabar 1974, p. 8-11). One thing is clear - the icon is written before it is transferred to Kiev, i.e. until 1130.

• Uspensky 1989 \u003d. [Assumption L. A.] Theology icons of the Orthodox Church / Ed. Western European Exarchate. Moscow Patriarchate. [M.], 1989.
• Alpatoff, Lazareff 1925 (1978/1) \u003d Alpatoff M., Lazareff V. Lazarev 1978/1, from. 9-29.
• Anisimov 1928/1 (1983) \u003d Anisimov A. I. Anisimov 1983, from. 165-189.
• Anisimov 1928/3 (1983) \u003d Anisimov A. I. Anisimov 1983, from. 191-274.
• Antonova, MNEV 1963 \u003d Antonova V. I., Mnova N. E.
• Lazarev 1967 \u003d. Lazarev V. Storia Della Pittura Bizantina. Torino, 1967.
• Grabar 1974 \u003d. Grabar A. L'Hodigitria et l'Eleusa // Zborrik for links oddness. Novi Garden, 1974, No. 10, p. 8-11.

Coverage. Probably, icon is already in the XII century. It was bilateral. This is said by the character of the ark and luzgi, the same as on the front of the icon. Numerous examples of the ancient images of the cross on the circulation of Icons of Our Lady (see Sotiriou 1956-1958, Fig. 146-149; Grabar 1962, p. 366-372). It is possible that from the very beginning, on the back of the icons "Virgin Vladimir", there was an image of the throne with the Gospel, Cross and instruments of passion, which was understood at late restorations. Similar iconography is found in the Byzantine art of the XII century. (see the cross with enamel images from the county of the Cathedral in the Kozozitice, which is placed in a circle under the "crucifix" image of the throne with a red cover, a copy and cane on the sides, on it - nails, a bowl and sv. Spirit in the form of a pigeon ( Talbot Rice 1960., TABL. Xxiv). Researchers who wrote about the icon dated the painting of turnover by the beginning of the XV century. And it was associated with the second submission of the face, that is, with the era of Andrei Rublev. A detailed substantiation of this point of view was given by A. I. Anisimov ( Anisimov 1983, from. 186, 187, 262-266), I was supported by V. I. Antonova and N. E. Mnov, believing that the obverse of the front and rounds of the beginning of the XV century. Made by Andrey Rublev ( Antonova, MNEV 1963, t. 1, No. 5).

• Sotiriou 1956-1958 \u003d. Sotiriou G. et M. Icones de Mont Sinai. Athénes, 1956-1958, t. 12.
• Grabar 1962 \u003d. Grabar A. SUR LES ICONES BILATERALES // CAHIERS ARCHÉOLOGIQUES. Paris, 1962, Vol. 12, p. 366-372.
• Talbot Rice 1960 \u003d Talbot Rice D. The Art of Byzantium. New York, 1960.
• Anisimov 1983 \u003d. Anisimov A. I. About Old Russian Art: Sat. Articles / Ministry of Culture of the USSR. All-Union Restoration Research Institute. M., 1983.
• Antonova, MNEV 1963 \u003d Antonova V. I., Mnova N. E. State Tretyakov Gallery: Catalog of the Old Russian painting of the XI-XVIII centuries. M., 1963. T. 1-2.

The study of the icon under the binocular microscope confirmed the dating XV century. Background and letters are spelled out at a later time, perhaps at the end of the XIX century.

Exhibitions.

• 1920 Moscow;
• 1926 Moscow;
• 1974 Moscow, No. 7;
• 1975 Leningrad / 1977 Moscow, No. 468 (not exhibited).

Literature.

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