2024 № 2
Статьи
A b s t r a c t
The large icon of the Mother of God of Tenderness, taken to the State Russian Museum in 1931 from the iconostasis of the Transfiguration Cathedral in Belozersk, was recorded there in descriptions of local historical sources at the beginning of the 17th century, and judging by them, was a honor city image. There was no doubt about its original from this northern center, which largely determined the prevailing opinion about the nature of the artistic style of the work. Belozersk has long belonged to the Rostov princes, and in 1238 it became a separate principality, becoming the inheritance of the younger prince Gleb Vasilkovich (1237–1279). The appearance of a monumental image of the Mother of God here was associated with this event. However, the work, as a thorough study of the painting shows, belongs to the work of a Novgorod master, which significantly changes existing ideas. In our opinion, the image of the Mother of God of Tenderness of the second quarter of the 13th century, as well as a slightly earlier image of the apostles Peter and Paul (State Russian Museum), ended up in Belozersk only at the end of the 15th century, and in ancient times they were painted for one of the large Novgorod churches.
K e y w o r d s
Belozersk, Novgorod, scribal and sentinel books, icon, the Mother of God of Tenderness, Old Russian painting, 13th century, State Russian Museum.
A b s t r a c t
The article examines the typology of the fabrics of the bishops' vestments of the 14th–16th centuries woven or embroidered with a pattern of multiple (or only four) crosses and traces their attribution to specific historical persons. The dating of the phelonion of such kind from the collection of the Novgorod Museum-Reserve, in the State Catalog of the Museum Fund of the Russian Federation accompanied by dating to the 15th century, is revised; the assumption is justified about the possibility of its attribution to the Novgorod Archbishop Moses (†1363). Based on the analysis of the changes in the typology of the decoration of some phelonionpolystavrion and phelonion with four crosses figured as liturgical vestments in the frescoes, icon painting, illuminated manuscripts and liturgical embroidery of the 12th–16th centuries, as well as a more careful interpretation of written sources, the attribution of some cross-decorated felonies of the Novgorod bishops is clarified.
K e y w o r d s
Applied art, felonion, polystavrion, Old Russian embroidery, fabrics, holy bishops, Damask fabric (kamka), vestments.
A b s t r a c t
The reverse side of the miraculous icon of the Mother of God Hodegetria (Georgian) from the Pokrovsky Monastery in Suzdal with the image of Christ Pantocrator had a basma revetment (riza), which has never been the subject of scientific research. The history of its admission to the Tretyakov Gallery, which can be traced through archival documents, deserves special attention, since it gives an idea of the composition of the riza and the state of their preservation at the time of the icon's removal from the monastery. Archival photographs of basma on the icon have been preserved upon receipt of the two-sided image at the Central State Restoration Workshops, where the basma riza was dismantled. The modern results of its comprehensive study give grounds to recognize that the basma revetment exactly was the original one for the icon of the Savior. As the X-ray showed, the front side of the icon with the image of the Mother of Gog had a similar basma revetment (riza). Basma appeared on a two-sided image no later than the beginning of the 16th century during the reign of Vasily III, who had a special zeal for arranging temples and decorating icons. Chronicle sources report the involvement of a large staff of craftsmen, including silversmiths, invited by the prince to work on his order.
K e y w o r d s
Pokrovsky Monastery in Suzdal, double-sided icon, archival photo, basma revetment on the reverse side, basma mounting
A b s t r a c t
The bone carved pectoral icon "Descent into Hell" from the collection of the State Tretyakov Gallery belongs to the number of unconditional masterpieces. Iconographic and stylistic analogies suggest that it was created no later than the first third of the 16th century. From the point of view of iconography, the work combines Novgorod and Moscow features. There are practically no Novgorod features in the carving style. The author's style is so individual that it finds no direct analogies. The bizarre intertwining of Moscow and Novgorod features with elements of Western influence indicate that such an icon could have been created in Novgorod, at a time when the Novgorod department was headed by Archbishop Makarii, a protege of Moscow. Moscow scribes, local cadres, and a significant number of foreigners worked side by side in the archbishop's scriptorium. It was in such an atmosphere, on the one hand, cultivating the Novgorod specifics, and on the other, open to various influences, that such an original monument as this icon could be created.
K e y w o r d s
Descent into hell, bone carving, pectoral icon, iconography, Moscow iconography, Novgorod iconography, Archbishop Makarii, Western influences.
A b s t r a c t
The paper discusses the connection between the images of saints on the shroud depicting the Entombment from the Trinity-Sergius Monastery and the family name list of the contributor, Prince Ivan Ivanovich Golitsyn († 1607). This example of pictorial embroidery is considered in the general perspective of secular and monastic naming of the 16th century. Knowledge of the baptismal names of the prince himself and his relatives helps explain the appearance of St. Moses, St. Stephanida, and St. Euphrosyne in the central field of the shroud.
K e y w o r d s
Face embroidery, secular Christian homonymity, monastic names, commemorative practices.
Bisserka Penkova. Two Post-Byzantine Icons from the Rozhen Monastery
A b s t r a c t
The article examines two icons of the Mother of God kept in the Rozhen Monastery of the Nativity of the Mother of God, located near the medieval town of Melnik in southwestern Bulgaria. The icon of Our Lady of Tenderness is a fairly accurate reproduction of a copy of the miraculous Vladimir Icon of the Mother of God, which came to the Balkans shortly after its creation in Moscow in the first half of the 16th century. Dendrological analysis of the icon board showed that it was probably made in the region from a local species of pine. On the other hand, the rare epithet Alithini has its roots among the knights of the Crusaders on Rhodes. The second icon with the unique epithet of Rhetorissa reproduces the iconography of the Hodegetria, but in the hands of the Mother of God, in addition to the Child, there is a stone wall with a tower, behind the wall a half-length image of Christ the Great Hierarch, on the other side of the tower there is a stone with a tree, a ladder and a red wheel, above it a large arc. In this form, all these objects are unknown in the works of Byzantine and post-Byzantine art, but some of them are part of only Russian iconographic types of the Mother of God of the Uncut Mountain and the Mother of God of the Burning Bush. The creator of the Rozhen icon borrowed elements from both, interpreting them in the context of the Byzantine tradition. The key to the unusual program is the unique epithet. The icons from the Rozhen Monastery are unique works of post-Byzantine Balkan painting, which reflect the most characteristic moments in the artistic thinking of the era between the Middle Ages and the Modern Era.
K e y w o r d s
Icons, Rozhen monastery, Mother of God «Η Αληθινή», Mother of God «Rhetorissa», Mother of the Burning Bush, Mother of God of the Uncut Mountain.
A b s t r a c t
The Church of the Vladimir Icon of the Mother of God in Kitay-gorod, erected "by the vow" by the Queen Natalia Kirillovna in 1691–1694 and destroyed in 1934, is the most famous temple building of this queen, her patron saint's day coincided with the day of celebration of the Presentation of the the Vladimir Icon of the Mother of God (August 26, old style). The newly revealed graphic materials (dimensional drawings) allow us to more accurately imagine the architecture of the lost temple, which belonged to a certain typological direction of the Naryshkin style. The main single-domed tiered volume of the church with a rectangular altar was erected in 1691–1692, and the refectory was added two years later. The temple had a separate bell tower with cells of the clergy. The materials presented in the article allow us to more fully imagine the appearance of the lost monument, identify the sources of compositional and decorative solutions, as well as assess the role of the royal order in the spread of the Naryshkin style both in the Moscow region and in the provinces.
K e y w o r d s
The Naryshkin style, the royal order, tiered composition, destroyed churches
A b s t r a c t
For the first time, the article examines the issues of depicting precious stones in the sacred space of the Starodub-Vetkovo icon painting of the late 18th–19th centuries with an analysis of stylistic features, including the modeling of pearls and stones of different cuts, with the identification of stable decor options that survived in the icon painting of the region until the early 20th century.
K e y w o r d s
Starodub icon painting, precious stones, pearls, cutting, cabochon, modeling, border, pearl necklace, Armoury traditions.
Публикации
A b s t r a c t
The article is devoted to the study of a lost monument of ancient Russian epigraphy— a temple-made building inscription of the middle of the 16th century, which was located on the wall of the Assumption Church of the Brusensky Monastery in Kolomna. The interest in this monument is due to the fact that its various readings lead to different conclusions about the history of both the monument itself and the entire monastery. In the text, the authors have attracted all references to the inscription found at the moment and variants of its reading.
K e y w o r d s
Успенский монастырь, Коломна, строительная надпись, эпиграфика, древнерусская архитектура
A b s t r a c t
The first paper in the series “Temple Builders of Moscow Russia” is devoted to the parish priest from Tula, Theophylact Feodorov, the restoration of his biography, family and personal ties on the basis of a comprehensive analysis of different categories of historical sources. Having accepted monasticism with the name Theodosius, he passed the way from the economist of the New Jerusalem Monastery to the bishop's house builder in Astrakhan. On his cell funds in 1691/1692 he built the stone Annunciation Church in Tula, and at the turn of the 17th–18th centuries he organised the construction of churches in Astrakhan.
K e y w o r d s
Russian architecture of the late 17th— early 18th century, temple builders, epigraphy of Moscow Russia, Corpus inscriptionum Rossicarum, funeral culture, Church of Annunciation in Tula, hieromonk Theodosius (Theophylact) Fedorov, New Jerusalem Monastery, Astrakhan and Tersk diocese.
Svetlana Baranova. Tiles of the Moscow Kremlin towers: restoration of the 1940s
A b s t r a c t
An article based on materials published for the first time from the archive of A.V.Filippov, is dedicated to restoration work in the 1940s covering the towers of the Moscow Kremlin with tiles made according to samples, recipes, technological processes and technical conditions developed by the Ceramics Laboratory of the USSR Academy of Architecture. They were carried out under the leadership of A.V.Filippov, becoming, according to the developers, “the first experience of introducing mass production of glazed ceramics into factory practice.” Simultaneously with the restoration of A.V.Filippov has been researching the history of the production and use of tiles on Russian monuments since the 16th century.
K e y w o r d s
Building materials, pottery tiles, history of restoration, A.V.Filippov, laboratory of ceramics.
Дискуссии
A b s t r a c t
The authors tried to summarize the results of a long-term discussion about the dating of the stone church Nicholas of the Antoniev Krasnokholmsky Monastery, begun by V.P.Vygolov. Except for the dubious late materials on which it was based, the complex of economic documents of the monastery archive of the second half of the 16th century has been preserved, from which the course of construction follows and the dates of its completion are determined— the beginning of the 1560s.
K e y w o r d s
Russian architecture of the 16th century, the organization of stone construction in the monastery, Bezhetsky Verh, Nikolaevsky Antoniev Krasnokholmsky monastery, monastic corporations.
