2010. május 23., vasárnap
2010. május 15., szombat
"And God left off on the seventh day" / "És megpihent Isten a hetedik napon" / "И почи Бог в день седьмый"
Есть у меня такая книга, да, увы, только на английском языке (Oleg Tarasov. Icon and Devotion. Sacred Spaces in Imperial Russia. London Reaction Books 2002). Там на стр. 315 есть илл. 165 - видимо с этой же иконой.
И почил Бог в день седьмый
Вторая половина XVIII в.
Государственный музей истории религии (ГМИР), Санкт-Петербург.
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Век:XVII
Место создания:Россия
Реставрация:Реставрирована Е.В.Ильвесом (КСНРПМ) в 1993 году Икона опилена по боковым полям.
Размер:116,6x81,5 см
Материал:Дерево, темпера
Персоналии:
Иконографическая справка:Иконография иконы восходит к первому клейму Четырехчастной иконы середины XVI века из Благовещенского собора Московского Кремля. Отличается лишь изображением Саваофа в центре верхнего региста композиции: он не возлежит на одре, а восседает на престоле. По-видимому, такое изображение было более понятно и привычно автору иконы. В отличие от сюжета "Единородный Сыне", который рано обособился и часто повторялся, первый сюжет Четырехчастной иконы как самостоятельная композиция встречается значительно реже.
Искуствоведческое описание:Высокий уровень исполнения иконы, сложность программы и свобода интерпретации свидетельствуют о том, что она была выполнена костромскими иконописцами, работавшими в сводных артелях по росписи соборов Московского Кремля.
Икона сотворение мира с избранными святыми. ("И почи Бог в день седьмый") Строгановская Школа Конец XVI - начало XVII века. Дерево, темпера. Размер - 35,7 х 30,2 см. Икона врезана в новую доску. На полях живопись XIX века.
«Четырехчастная» икона, Середина XVI в., 190 × 151 см Благовещенский cобор Московского Кремля, Москва, Россия Инв. Ж-1321; 3059 соб.
ПОЧИ БОГ В ДЕНЬ СЕДЬМЫЙ
XVII век. Соловки.
Из церкви во имя Святителя Филиппа.
2010. április 22., csütörtök
The "Tikhvin" Icon of the Mother of God
According to tradition, this wonderworking image belongs to those three "basic" images, which are, as it were, contemporaries of the Mother of God herself.
In the fifth century, this icon was transferred from Jerusalem to Constantinople, where the Blachernae church was built for it. In the year 1383, seventy years before the taking of Constantinople by the Turks, the icon disappeared, and in a brightly beaming light it appeared over Lake Ladoga within the boundaries of Novgorod the Great.
The fourteenth-fifteenth centuries are the critical epoch of Russian consciousness. While not rejecting the principles of Greek Orthodoxy and in no way exalting itself, Russian Orthodoxy is formed.
At this time, two enormous events occur, which shake the trust of Russian people in the Greeks: the Florentine Unia with the Catholics and the taking of Constantinople by the Turks. The idea of Moscow, as the third Rome, is born; stories arise about the flight of holy objects from the disgraced centers of ancient Greek piety. The appearance in Russia of a great Byzantine holy object, the Tikhvin Icon of the Mother of God, which received its appellation from the place chosen by Her for its appearance in Russia, also dates to this period.
A most interesting story, very characteristic of that time, concerning the miraculous voyage of Saint Anthony the Roman on a rock from Rome to Novgorod the Great, who brought with him various relics of saints of the ancient Church, dates to that same time.
"In I. S. Ostroukhov's collection of icons", we read in Prince Trubetskoi, "is a depiction of this miraculous voyage… Over the holy refugee from Rome, who is sailing along the Volkov, the golden domes of Novgorodian Russian churches gleam: in them is the goal of his wandering and the sole worthy place of abode for the holy objects entrusted to him by God" (Prince E. N. Trubetskoi, "Speculations in Colors",page 124).
In 1613-1614, the Swedish army, having captured Novgorod, more than once attempted to annihilate the monastery in which the Tikhvin Icon was located; but through the succor of the Mother of God, the monastery was saved. Thus, once, in sight of the approaching Swedish army, the monks decided to flee from the monastery, taking the wonderworking icon with them; but they could not move it from the spot. This miracle stopped the fainthearted, and they remained in the monastery, trusting in the defense of the Mother of God. The defenders of the monastery, who were insignificant in number, successfully repulsed the attacks of the adversary's forces, which far surpassed their own. A numerous host of Russians coming from Moscow, a kind of heavenly army, arose before the attacking Swedes, and they turned to flight. After the miraculous victory over the Swedes, royal emissaries arrived at the monastery. Having made a copy of the wonderworking icon, they set out for the village of Stolbovo, at fifty versts [thirtythree miles] from Tikhvin, where peace was concluded with the Swedes on the 10th of February 1617.
The main surety of the peace on the Russian side was the copy of the wonderworking icon that had been brought. Subsequently, this copy was brought to Moscow and placed in the Dormition Cathedral, and then, at the request of the Novgorodians, the participants in the war with the Swedes, it was sent to Novgorod and placed in the Cathedral of the Holy Wisdom.
At the present time, the holy image of the Tikhvin Mother of God is located in Chicago, after it was brought to the USA from Riga. The holy image arrived in Riga during the German occupation. Till then, the image was located for a long time in a secret place, where it was hidden from the Bolsheviks.
It is impossible not to pay attention to the fact that this image departed beyond the borders of Russia with the second emigration, just as the KurskRoot Icon did with the first emigration.
In the iconographic sense, it is a Hodigitria. The Tikhvin Icon differs from the Smolensk Icon of the Mother of God in the slightly inclined position of the Mother of God toward the Infant, Who is depicted on the left side of the image. The hand of the Mother of God is raised toward her breast as a sign of silent worship of her Son.
(Basic information from the book by Prot. Alexander Kiselev, "Wonderworking Icons of the Mother of God in Russian History", New York, 1976.)
2010. április 19., hétfő
Icon painting on the web / Ikonfestészet a neten (Links) 2 Russian Icon Painting
http://www.wco.ru/icons/#Liter | |||||||||||||||
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2010. február 16., kedd
Holy Trinity Icon (NewTestament Trinity - Paternity) / Szentháromság-ikon (Újszövetségi Szentháromság - Paternitás)
Paternity (Otechestvo). Vertical, antropomorph representation of Persons of the Holy Trinity.
Paternitás (Otyecsesztvo). A Szentháromság Személyeinek antropomorf, vertikális ábrázolása.
Novgorod, 14th c.
Lit.: Bigham, Steven, Image of God the Father in Orthodox Theology and Iconography, Studies in Orthodox iconography, St Vladimir's Seminary Press, 1995, ISBN 1879038153, 97818790381.
http://en.wikipedia.org/wiki/Holy_Trinity_Icon#cite_note-0
The New Testament Trinity, depicts the Father, the Son and the Holy Spirit distinctly, and although far more familiar from Western models, and now disapproved of in Russian Orthodoxy at least, is actually of Greek origin. Christ may be shown either as an adult, (in this case he is sitting to the right of his Father) or as an infant sitting on his Father's knees, which is the norm in early Greek depictions. This type is also called the Paternity icon, and is found from the 11th century onwards, although it did not become widespread in Orthodox art until after the Fall of Constantinople, under Western influence, when an adult Christ is the norm.[1] The Father is painted as the Ancient of Days, a white-bearded man with a very special type of nimbus (it contains two rombic figures: one is red, another is blue, or is a triangle).
cca. 1680, Moscow, Oruzheinaia Palata
Невьянск. 1780.
Karelia, 17th-18th c.
Karelia, 17th-18th c.
Moscow, Arkhangelsky Sobor, 17th c.
Nikitsky monastery, 17th c.
Onlybegotten Son of God / Istennek Egyszülött Fia.
Невьянск. Мастерская Богатыревых.
Nikifor Savin, Moscpw, 16th-17th c, Moscow Tretyakov Gallery
1600 k. Recklinghausen
Kostroma, Ipatiev monastery, Trinity Cathedral
17th c., Netherlanden
19th c., Russia
17th c., priv. coll. England
17th c.
Jaroslavl, 17th c.
Shestodnev / Hexameron. Six days of the Creation / A teremtés hat napja
Palekh, 16th c.
Deity in three hypostases / Három hüposztatiszú Istenség. Moscow, 1570/1580
"Приидите, людие, трисоставному Божеству поклонимся"
Palekh, 19. c.
Paternitás (Otyecsesztvo). A Szentháromság Személyeinek antropomorf, vertikális ábrázolása.
Novgorod, 14th c.Lit.: Bigham, Steven, Image of God the Father in Orthodox Theology and Iconography, Studies in Orthodox iconography, St Vladimir's Seminary Press, 1995, ISBN 1879038153, 97818790381.
http://en.wikipedia.org/wiki/Holy_Trinity_Icon#cite_note-0
The New Testament Trinity, depicts the Father, the Son and the Holy Spirit distinctly, and although far more familiar from Western models, and now disapproved of in Russian Orthodoxy at least, is actually of Greek origin. Christ may be shown either as an adult, (in this case he is sitting to the right of his Father) or as an infant sitting on his Father's knees, which is the norm in early Greek depictions. This type is also called the Paternity icon, and is found from the 11th century onwards, although it did not become widespread in Orthodox art until after the Fall of Constantinople, under Western influence, when an adult Christ is the norm.[1] The Father is painted as the Ancient of Days, a white-bearded man with a very special type of nimbus (it contains two rombic figures: one is red, another is blue, or is a triangle).
cca. 1680, Moscow, Oruzheinaia Palata
Невьянск. 1780.
Karelia, 17th-18th c.
Karelia, 17th-18th c.
Moscow, Arkhangelsky Sobor, 17th c.
Nikitsky monastery, 17th c.
Onlybegotten Son of God / Istennek Egyszülött Fia.
Невьянск. Мастерская Богатыревых.
Nikifor Savin, Moscpw, 16th-17th c, Moscow Tretyakov Gallery
1600 k. Recklinghausen
Kostroma, Ipatiev monastery, Trinity Cathedral
17th c., Netherlanden
19th c., Russia
17th c., priv. coll. England
17th c.
Jaroslavl, 17th c.
Shestodnev / Hexameron. Six days of the Creation / A teremtés hat napjaPalekh, 16th c.
Deity in three hypostases / Három hüposztatiszú Istenség. Moscow, 1570/1580"Приидите, людие, трисоставному Божеству поклонимся"
Palekh, 19. c.
2010. február 15., hétfő
Holy Trinity Icon (Old Testament Trinity, Philoxenia) / Szentháromság-ikon (Ószövetségi Szentháromság)
Icons of the Trinity depict the event recounted in Genesis where "three young men" appear before Abraham and his wife Sarah and foretell, despite their advanced age, the birth of their son. Early Christian theologians interpreted Abraham's use of the singular - he addresses the three visitors as "My Lord" - as an epiphany or divine manifestation of God; in this case in his triune form. Three Angels are seated at a table; in the background a tree; buildings on the left, a hill on the right; with these simple elements Russian iconography symbolically depicts the Trinity as the three young men who appeared to the Patriarch (praotets) Abraham at the Oak Of Mamre, as recorded in chapter 18 of the Book of Genesis.
Russians generally do not distinguish the three persons of the Trinity in this type by inscription, though some understand them thus: Christ at the centre, above whom is the tree, signifying the wood of the cross; the Father to the left before a building symbolizing the Church; the Holy Spirit on the right below a hill signifying spiritual ascent.
The image of the Trinity, that corresponds most fully to the teaching of the Church as regards both its content and its artistic expression, is to be found in the greatest of works, known as the Trinity by Andrei Rublyov, painted by him in the monastery of the Trinity and St. Sergius, probably between 1408 and 1425; it is now in the Tretyakov Gallery in Moscow.
Formerly, painters stressed the narrative elements of the story and included the figures of Abraham and Sarah and the sacrificial calf. Rublyov's composition dispensed with these and reduced the design to its most basic elements thereby giving priority to its mystical and symbolic meaning. His icon from then on was the prototype on which later painters modeled their work.
Genesis 18
Rublev: Holy Trinity, beginning of the 15th c.
Andrej Rubljov: Szentháromság, 15. sz. eleje
Tyihon Filatyev: Ószövetségi Szentháromság. Moszkva, Uszpenszkij-Székesegyház, 17. sz. (14. századi ikonra festve)
Nazarij Isztomin (?), Moszkva, 17. sz.
Rosztov - Szuzdal, 16. sz.
Szolvicsegodszk, Örömhírvétel-székesegyház. 1579 előtt.
Szentháromság a Teremtés könyvének jeleneteivel. Szolvicsegodszk, 1579 előtt
Ravenna
Kosztroma
Szentháromság a Teremtés könyvének jeleneteivel. 1587 előtt.
Szentháromság a Teremtés könyvének jeleneteivel. Novgorod, 17. század.Szegélyképek elrendezése:
1 2 3 4 5 6 7 8
10 9
12 11
14 13
16 15
18 17
19 20 21 22 23 24 25
Szegélyképek tartalma:
1. A világ teremtése
2. A sátán és a démonok bukása
3. A teremtés 5. napja - az állatok teremtése
4. Ádám és Éva teremtése
5. Paternitás.
6. Bűnbeesés.
7. Kiűzetés a paradicsomból
8. Noé bárkája.
9. Árvíz.
10. Noét megáldja Isten az árvíz után.
11. Bábel tornya.
12. Ábrahám fogadja a vendégeit
13. Ételt készít a vendégek számára.
14. Vendégfogadás a Mamré-tölgyesében.
15. Ábrahám elkíséri a zarándokokat.
16. Sodoma pusztulása.
17. Ábrahám áldozata.
18. Jákob lajtorjája.
19. Lót.
20. El nem égő csipkebokor.
21. A zsidók átkelnek a Vörös-tengeren.
22. Mózes vizet fakaszt a sziklából.
23. Mózes meghallja Isten hangját. Áldozat a rézbikának.
24. Mózes megkapja a törvénytáblákat
25. Áron áldozata
Orosz ikon. 16. sz. közepe
Paleh. 18. század.
Feofan Grek. Novgorod, Szpasz Preobrazsenyije na Iljinye. 1374.
A Szentháromság megjelenik Szt. Alekszandr Szvirszkijnek.
16. századi moszkvai ikon. Magángyűjtemény
19. századi másolat Krill Ulanov 1700 körül festett ikonjáról
Moscow, cca. 1800
Orosz ikon. 17. sz. körül Németországi magángyűjtemény.
Jaroszlavl, 17. sz. vége
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