Tretyakov Gallery: halls and their description. Museum per hour: Tretyakov Gallery, famous icon from the Tretyakov Gallery annually
The exhibition "Masterpieces of Byzantium" is a large and rare event that cannot be missed. The first time in Moscow was brought by a whole meeting of Byzantine icons. This is especially valuable because to get a serious idea of \u200b\u200bByzantine icon painting on several works that are in the Pushkin Museum is not so easy.
It is well known that the whole Old Russian iconography came out of the Byzantine tradition, which a lot of Byzantine artists worked in Russia. There are still disputes about many Domongolian icons about the one they are written - Greek artists-icon painters who worked in Russia, or their talented Russian students. Many know that at the same time with Andrei Rublev, like his senior colleague and, probably, the teacher, the Byofan Greek, was working. And he, apparently, was by no means the only of the great Greek artists who were creating in Russia at the turn of the XIV-XV centuries.
And therefore, for us, the Byzantine icon is almost indistinguishable from Russian. Unfortunately, accurate formal criteria for the definition of "Russianness", when we are talking about art until the middle of the XV century, science did not work out. But this difference exists and in this one can make sure the first at the exhibition in the Tretyakovka, because of the Athenian "Byzantine and Christian Museum" and some other meetings came to us several real masterpieces of Greek icon painting.
I want to thank you once again who organized this exhibition, and first of all the initiator and curator of the project, the researcher of the Tretyakov Gallery of Elena Mikhailovna Senkov, the head of the department of Old Russian art, Natalia Nikolaevna Scharediga, and the whole department of Old Russian art, who took an active part in the preparation of this A unique exhibition.
Lazarus Resurrection (XII century)
The earliest icon at the exhibition. Small size, located in the center of the hall in the shop window. The icon is a part of the drill (or epistry) - a wooden painted beam or a big board, which in the Byzantine tradition was put on the overlap of marble altar obstacles. These timber were the first-axis future high iconostasis, which arose at the turn of the XIV-XV century.
In the XII century, 12 great holidays were usually written on epistry (the so-called Dodecayton), and in the center there were often Deesus. Icon, which we see at the exhibition - a fragment of such epistry with one scene "Resurrection of Lazarus". We are valuable that we know where this epistry is going on - from Athos. Apparently, in the XIX century it was painted on the parts, which were in completely different places. In recent years, researchers managed to detect several parts.
Resurrection of Lazarus. XII century. Tree, tempera Byzantine and Christian Museum, Athens
"Lazarus Resurrection" is located in the Athenian Byzantine Museum. Another part, with the image of the "Transfiguration of the Lord", was in the State Hermitage, the third - with the stage of the "Last Supper" - is located in the Watoped Monastery on Athos.
Icon, being not Constantinople, not metropolitan work, demonstrates the highest level that the Byzantine iconography has reached in the XII century. Judging by the style, the icon belongs to the first half of this century and, with great probability, was written on the Athos itself for monastic needs. In painting, we do not see gold, which has always been expensive.
The traditional golden background for Byzantium is replaced with red. In a situation where at the disposal of the master was not gold, he used a symbolic zeal substitute - red.
So, in front of us, one of the early examples of the Redfon Byzantine Icons - the origins of the tradition, which has developed in Russia XIII-XIV centuries.
Our Lady with a baby (beginning of the XIII century)
This icon is interesting not only by its stylistic solution, which does not fully fit into a purely Byzantine tradition. It is assumed that the icon is written in Cyprus, but perhaps the Italian master took part in its creation. Stylistically, it is very similar to the icons of southern Italy, during the centuries in the orbit of the political, cultural and religious influence of Byzantium.
However, Cypriot origin can also be eliminated, because at the beginning of the XIII century there were completely different style manners in Cyprus, and the Western masters worked next to Greek. It is possible that the special style of this icon is the result of the interaction and a peculiar Western influence, which is expressed, first of all, in the violation of the natural plastics of the figure, which the Greeks were usually not allowed, and the deliberate expression of the drawing, as well as the decorativeness of the parts.
Curious iconography of this icon. The baby on it is shown in a white and blue long shirt with wide stripes that go from shoulders to the edges, while the baby's legs are naked. Long shirt covers a strange raincoat, more like drapery. According to the author of the author, the icon, in front of us - some kind of gloom, in which the body of the baby is wrapped.
In my opinion, these apparels have a symbolic meaning and are associated with the theme of the priesthood. Baby Christ is represented in the image of the high priest. With this idea, wide bandwalks are associated with the shoulder to the lower edge - an important distinguishing feature of the bishop scenery. The combination of white and blue and gold-bearing clothes, apparently, is associated with the theme of covers on the altar throne.
As you know, the throne and in the Byzantine temple, and in Russian has two main cover. The lower robe is the shroud, linen cover, which is placed on the throne, and the precious indium is already laid out, often made of precious fabric, decorated with gold embroidery, symbolizing heavenly fame and royal dignity. In the Byzantine liturgical interpretations, in particular, in the famous interpretations of Simeon of the Symeon of the Solun beginning of the XV century, we meet exactly such an understanding of the two coverings: the burial gardery and robes of heavenly lord.
Another very characteristic detail of this iconography - the legs of the baby are naked to the knees and the Mother of God clap his right heel. This accentuation of the baby's heel is present in a number of a number of Virgin Iconographies and is associated with the theme of the sacrifice and the Eucharist. We see here a rollback with the theme of the 23rd Psalm and the so-called Eden promise that the son of the wife will hit the tempter in the head, and the temptist himself is horrified by this son in his heel (see Gen. 3:15).
Thus, the naked heel is at the same time a hint of the victim of Christ and the coming salvation - the embodiment of the high spiritual "dialectics" of the well-known Easter chant "death death".
Saint George's embossed icon (mid XIII century)
Relief icons that are unusual for us are well known in Byzantium. By the way, in the relief quite often been depicted by Saint George. Byzantine icons were made of gold and silver, and there were quite a lot of them (we know about it from the consecration of the Byzantine monasteries that had reached us. Several such wonderful icons have been preserved, and they can be seen in the treasury of San Marco Cathedral in Venice, where they hit as the trophies of the fourth crusade.
Wooden embossed icons - an attempt to replace the jewels with more economical materials. In the tree attracted the possibility of sensual connamement of the sculptural image. Although in Byzantium, the sculpture as an icon technique was not very common, it must be remembered that Konstantinople's streets before the ruin of his crusaders in the XIII century were tested by antique statues. And the sculptural images were by the Byzantines, which is called "in the blood".
On the icon, the growth is shown by the Holy George, which appeals to Christ, as if to fly from heaven in the upper right corner of the furnace of this icon. In the fields - detailed gortgage cycle. The two archangels are shown above the manner, which are flank not the preserved image of the "throne of prepared (ethimasia)". It introduces a very important temporary measurement to the icon, reminding about the upcoming second coming.
That is, it is not about real time, or even the historical dimension of the ancient Christian history, but about the so-called icon or liturgical time, in which the past, present and future woven the past.
In this icon, as in many other icons of the middle of the XIII century, certain Western traits are visible. In this epoch, the main part of the Byzantine Empire is engaged in crusaders. It can be assumed that the customer of the icon could be related to this medium. This is not talking about this not by the Byzantine, not the Greek shield George, who very much resembles shields with the coat of arms of Western knights. At the edges of the shield surrounds a kind of ornament, in which it is easy to find out the imitation of arabic cufic writing, it was especially popular in this era and was considered a sacred sign.
In the lower left part, at the feet of St. George - a female figure in a rich, but very strict journey, which in prayer comes to the feet of the saint. This is an unknown customer of this icon, apparently a coem one of the two saints depicted on the back of the icons (one signed by the name "Marina", the second martyr in royal robes is the image of St. Catherine or Holy Irina).
Saint George is a patron saint of warriors, and, given this, it can be assumed that the icon ordered by an unknown wife is a common image with a prayer about her husband, which in this very turbulent time somewhere fights and needs the very direct patronage of the main warrior from the Nine Martyrs.
Icon of Our Lady with a baby with a crucifixion on the back (XIV century)
The most wonderful artistic attitude of this exhibition icon is a big icon of Our Lady with a baby with a crucifixion on the back. This masterpiece of Constantinople painting, with a huge probability written out outstanding, can even be said, a great artist in the first half of the XIV century, the heyday of the so-called "Palestog Renaissance".
This era appears the famous mosaics and frescoes of the Khora Monastery in Constantinople, many famous under the Turkish name Cachrie-Jami. Unfortunately, the icon suffered a lot, apparently, from targeted destruction: from the image of Mother of God with a baby, a literally several fragments have been preserved. To the great regret, we see basically late Dopsy. The turnover with the crucifix is \u200b\u200bpreserved much better. But here someone purposefully destroyed the faces.
But even what has been preserved, speaks about the hand of an outstanding artist. And not just a big master, but a person of an outstanding talent, which set themselves special spiritual tasks.
He removes the crucifixion from the scene is all too much, concentrating on three main figures, in which, on the one hand, an antique basis is read, never disappeared in Byzantine art - a stunning sculptural plastic, which, however, is transformed with spiritual energy. For example, the figures of Our Lady and John the Theologian - as if they were written on the verge of real and supernatural, but this face is not surrender.
The figure of Our Lady, bought in the robes, was written by a lazurite - very expensive paint, appreciated literally on the weight of gold. Along the edge of the Maforia - Golden Cimea with long brushes. Byzantine interpretation of this part has not been preserved. However, in one of its works, I suggested that it is also connected with the idea of \u200b\u200bpriesthood. Because the same brushes around the edge of robes, even supplemented with gold bells, were an important feature of the robes of the Old Testament High Priest in the Jerusalem Temple. The artist is very delicately reminders of this inner relationship of Our Lady, which brings sacrificing her son with the theme of priesthood.
The Galgot Mountain is shown as a small holmik, a low wall of the city of Jerusalem is visible behind him, which on other icons is significantly more impressive. But here the artist seems to show the scene of the crucifixion at the aviation level. And therefore, the Wall of Jerusalem is in depth, and all the attention due to the selected angle concentrates on the main figure of Christ and the Figures of John the Theologian and the Mother of God, creating the image of an elevated spatial act.
The spatial component is of fundamental importance for understanding the plan of the entire bilateral icon, which is usually a prooferly perceived in space and movement. The combination of two images - the Lady of Odigitria on the one hand and crucifixion - has its own high prototype. The same two images were on two sides of the Palladium of Byzantium - the icons of Odigitria Constantinople.
Most likely, this icon of unknown origin reproduced the theme of Odigitria Constantinople. It is possible that she could be associated with the main wonderful action, which occurred with Odigitria Constantinople every Tuesday, when she was taken out to the square in front of the monastery of Odikon, and there was a weekly miracle - Icon began to fly in a circle on the square and rotate around her axis. We have a testimony about this many people - representatives of different peoples: Latinyan, and Spaniards, and Russians who have seen this amazing action.
Two sides of the icons at the exhibition in Moscow remind us that the two sides of the Constantinople icon formed a non-invalid two of the embodiment and the redemptive sacrifice.
Icon of Our Lady Cardiotism (XV century)
Icon is chosen by the creators of the exhibition as the central one. Here is the rare case for the Byzantine tradition, when we know the name of the artist. He signed this icon, in the lower field in Greek written - "Angel's Hand." This is the famous Angelos Akantatos - an artist of the first half of the XV century, from which a sufficiently large number of icons remained. We know more about him than other Byzantine masters. A number of documents have been preserved, and including his will, which he wrote in 1436. He did not need the will, he died significantly later, but the document was preserved.
Greek inscription on the icon "Mother of God of the Cardiotissa" is not a feature of the iconographic type, but rather epithet - characteristic of the image. I think that even a person who is not familiar with the Byzantine iconography can guess what matters about: we all know the word cardiology. Cardiotissa - cardiac.
Icon of Our Lady Cardiotism (XV century)
Especially interesting from the point of view of the iconography is the pose of a baby, who, on the one hand, hugs the Mother of God, and on the other - as if tilting back. And if the Mother of God looks at us, then the baby looks in heaven, no matter how in the distance from her. A strange posture, which sometimes in the Russian tradition was recruiting. That is, on the icon, it seems to be a playing baby, but it plays rather strange and not very infant. It is in this posture of the tilting body that there is an indication, a transparent hint on the topic of removal from the cross, and, accordingly, the suffering of the Godhead at the time of the crucifixion.
Here we meet with the Great Byzantine Dramaturgia, when the tragedy and celebration are united into one, the holiday is the greatest mountain, and at the same time a wonderful victory, the salvation of mankind. Playing baby will hold his coming sacrifice. And the Mother of God, suffering, takes divine ideas.
In this icon, the infinite depth of the Byzantine tradition, but, if you look closely, we will see the changes that will lead to a new understanding of the icon in very short time. Icon is written in Crete, belonging to the epoch of Venetians. After the fall of Constantinople, he became the main center of iconography in the whole Greek world.
In this icon of an outstanding master of Angelos, we see how it balances on the verge of turning a unique image in a kind of cliché for standard reproduction. Already several mechanistic images of light spaces that look like a hard grid laid on a lively plastic base, which artists have never allowed.
Icon of Our Lady Cardiotism (XV century), fragment
Before us is an outstanding image, but in a certain sense there is already a border, standing at the turn of Byzantium and post-Byzantium, when living images are gradually turning into cold and somewhat soulless replicas. We know what happened on the same Crete less than 50 years after writing this icon. We reached the contracts of Venetians with the leading icon painters of the island. According to one such contract, 1499 in 40 days, three icon-painted workshops were supposed to produce 700 icons of Our Lady. In general, it is clear that the art industry begins, the spiritual ministry through the creation of holy images turns into a craft to the market for which thousands of icons are written.
The beautiful icon of Angelos Akantatos is a bright line in the centuries-old devaluation process of the Byzantine values, the heirs of which we are all. Thus, knowledge of genuine Byzantium is becoming more important and more important, the opportunity to contemplate it with the victim, which we provided a unique "masterpiece exhibition" in the Tretyakov Gallery.
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!
The Tretyakov Gallery is one of the most famous museums in Russia, and all over the world. An extensive exposition covers the period from the eleventh century until today. It is difficult to imagine that the Tretyakov Gallery, the halls of which became a reflection of Russian art from antiquity to modernity, began with a private collection.
Home Collection
The house in Lavrushinsky Lane Tretyakov acquired in 1851. The head of the family, Pavel Mikhailovich, was a lucky businessman, but at the same time he was a famous philanthropist, invested funds in many charitable programs. He was a passionate collector, collected paintings, sculptures, icons and other works of art.
He had a global goal - to create a national gallery, and not just a museum. The beginning of the collection was ten paintings written by Dutch masters. Initially, the Tretyakov Gallery, the halls of which were open only for family members and guests, was in the house where Tretyakov lived. But the collection has grown very quickly, and there was not enough space for the demonstration. During the lifetime of the owner, numerous restructuring was made. And during Pavel Mikhailovich, the citizens had the opportunity to visit such a cultural institution as the Tretyakov Gallery. The halls expanded, and the exposure grew constantly. The popularity of the museum says the fact that in the first four years its visitors over 30 thousand people.
40 years after the beginning of the collection was put, handed over it as a gift to Moscow. The meeting was complemented by works of art stored by the Second Brother, Sergey. So appeared in Moscow "Gallery Paul and Sergey Tretyakov". Another famous frost pathetics handed over the masterpieces of Renoara, Van Gogh, Monet. Despite the transfer of the city, both patrons continued to replenish the collection. After the death of the Tretyakov, the whole house in Lavrushinsky Lane moved to the city.
New Life Collection
In 1913, I. E. Grabar was appointed a trustee and director of the gallery. He was not only a talented artist, architect and historian of arts, but also by the organizer. It was he who held a tremendous work to systematize the collection. He distributed the canvas in historical periods so that visitors had the opportunity to trace the path of development of Russian art. During it, the restoration workshop was also founded. At the end of the year, the work, hanging in the Tretyakov Gallery Hall, were available for inspection with a general public.
After the revolution, the entire assembly was nationalized and transferred to the young republic. The "State Tretyakov Gallery" was created, the halls of which were accessible to all segments of the population. The collection has significantly expanded due to the unification with other museums and the transfer of private assembly, which were nationalized during the years of Soviet power.
During the war, museum funds were taken to Novosibirsk. The fascists bombed merciless to the capital. Two fugasic bombs in 1941 were pleased directly in the Tretyakov, applying significant damage. But the next year began the restoration of the museum, and by 1944 the doors of the gallery, the doors of the gallery, turned open to the visit.
Tretyakov Halls
From the very beginning of the gallery, the building was repeatedly rebuilt. There were new transitions and additional premises so that the collection appears in all its glory. To date, the exposition is posted in 106 halls. The majority is located in the building in Lavrushinsky Lane, there are 62 there. Also in the complex includes the Museum-Church of St. Nicholas, the Museum of the Museum of Golubina, Vasnetsov House Museum and Korina House Museum. Each room in the Tretyakov Gallery is an opportunity to touch art, see brilliant masterpieces. There are over 150 thousand exhibits in the collection, most of whom are familiar to everyone since childhood. Reproductions of many paintings were included in the school textbooks of the whole country. According to these pictures, you can learn Russia. After all, we have the sea, like on the forests - like Shishkin, nature, like Levitan. Even the best portrait of Pushkin, known to each schoolchild, is exhibited here.
Hall iconopysis
In each corner of the Tretyakov there are canvas, which captures the Spirit. But, perhaps, one of the most mysterious halls is the hall of iconopys. When the collection of Pavel Mikhailovich, Pavel Mikhailovich, together with the paintings, passed 62 icons from their assembly. Now in the museum there are several hundred. Each of them reflects the path of Orthodoxy in Russian Earth. Among them are the works of Rublev, Feofan Greek and other well-known icon painters. And in the house temple of the Tretyakov, one of the most revered and ancient images - the Vladimir Lady Mother. She is more than 900 years old.
Exposition in Lavrushinsky Lane
In the building in Lavrushinsky Lane, with the famous Vasnets facade, the main part of the collection is concentrated. In 62 halls divided into 7 zones, the works of the best masters of Russia and not only are set in chronological order. As great and diverse, the Tretyakov Gallery. The description of the halls would take several volumes of the printed publication. Going on an excursion, it is better to choose a specific artist or a picture to dedicate the main time. Otherwise, acquaintance with galleries will be very superficial and incomplete. The names of the rates of the Tretyakov Gallery corresponds to the collections exhibited in them.
So, ancient Russian art is represented by icon painting.
And in the halls of the XVIII-XIX centuries, the canvas of the Great Masters of Levitsky, Rockotov, Ivanov, Bryullov are exhibited. To demonstrate the painting of Ivanov, the "phenomenon of Christ the people" was built a special premises. And Rockies became famous for the largest number of portraits of unknown. He was important to capture and pass the features and character of a person on the canvas, but he didn't have to be famous at all. From the works of Bryullov, you can note the workshop performed by the work "Horseman", where a young girl with an amazing grace sits riding on a magnificent stallion.
The hall also captures the hall, where the works of artists of the second half of the XIX century are presented. Here you can plunge into the magical world of realistic art, where each detail is made with amazing thoroughness. In the paintings of Repin physically fishes, as the sun is harnessed on the lawn, like each leaf from the wind pegs. And "Three Bogatyr" Vasnetsov seems to be protected by the frontiers of the country from the unsolicited invaders. By the way, here you can see the works of Vasnetsov-Jr..
Pictures of Surikova "Boayer Morozova" or "Morning Strelets" transmit the emotional heat of each participant of those events. There is not a single indifferent person or a random character. Everything is spelled out with the accuracy of imaginable imagination.
In the section reflecting painting the turn of the XIX-XX centuries, the works of such geniuses like serov, Vrubel, as well as representatives of the Union of Russian artists are presented.
Treasures of Russian art
Great and diverse the Tretyakov Gallery. Halls, paintings, sculptures, graphics will not leave anyone indifferent. A separate part of the exposition is the "Treasury", where items from precious metals and gems are exhibited. Slim work of jewelers fascinates.
Graphics
A separate hall is devoted to graphic art. All works presented in this technique are very afraid of light, these are fragile creations. Therefore, special lighting is mounted for their demonstration, slightly muted. The largest collection of Russian graphics is exhibited. And a small, but no less valuable collection of portar miniatures.
Modern Art
In a building on the belonging to the Tretyakovka, art is presented from the Soviet period to the present day. Visitors are watching with interest as ideology affects the artist.
Hall masters
In the meeting there are isolated works, and there are whole collections of paintings by one master. The hall dedicated to the artist in the Tretyakov Gallery accommodates only his work of different periods. Such will be the exposition of the works of Shishkin. But other masters of the brush were awarded such a honor.
Since its opening, the Tretyakovka became the richest collection of painting and art objects. Even the Russian Museum, created at the state level, lost its popularity to this particular meeting.
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!
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.