In the 17th century, the art of icon painting in Rus' became stratified in several directions.
Firstly, in the court and aristocratic spheres of Moscow, icons for which characteristic feature unprecedented sophistication and sophistication appeared. This kind of iconography, called “Stroganov letters,” influenced not only circles close to the sovereign, but also the provincial centers of Ancient Rus'.
Secondly, intensive development received icon painting centers of the Volga region, where the main place was occupied by both the preservation and development of the originality of national ancient Russian traditions.
Thirdly, in the monastic environment the art of icon painting found itself in stagnation. Here it was the most traditional and even conservative.
In general, icon painting of the 17th century is characterized by graphic floridity, contrasts, formal passions, a craving for beauty, the idea of the “vanity of vanities” of everything that exists, instructiveness and even edifyingness of icon representations.
The icons created over the course of a century seemed to collect religious themes. Icon painting turned out to be interested in subject diversity, multi-subject intricacy, in visual richness and patterning, but not in the sensory manifestation of the depth of the represented events of the Orthodox faith.
During this period, ornamentation reached the limits of the possible, forcing iconography to fragment into plot twists. Icons more and more often represent numerous Christian subjects that were not previously worthy of visualization and less and less often open a visual path to God for the souls of believers.
In the middle and second half of the 17th century, the Armory Chamber, located in the Moscow Kremlin, became the center of fine art of Ancient Rus'. The most significant ancient Russian icon painters, who previously existed separately, were concentrated here. Various local icon traditions were melted down in the Armory into a single all-Russian national icon painting art.
Icons “Nativity of the Mother of God”, “Nativity of Christ”, “Trinity of the New Testament”, “Our Lady of the Life-Giving Spring”, “Our Lady of Tikhvin”.
Simon Fedorovich Ushakov (1626-1686) - the largest master of the 17th century, icon painter, artist, writer, art theorist, teacher, organizer. Simon Ushakov led artistic activity in the Russian state for more than thirty years. In 1664, by royal decree, Simon Ushakov was transferred to the armory and took up the position of “royal isographer” and chief expert on fine arts.
In Ushakov’s work, elements of the “Stroganov school” merged with the traditions of the “Moscow school” of icon painting. From the first, Ushakov inherited a love of detail, golden writing, and graphic design. From the Moscow icon-painting tradition in Ushakov’s works there is a passion for narration, for storytelling, for illustrative presentation.
In some icons of Simon Ushakov there is also archaization, that is, the desire to adhere to ancient icon images, the desire to preserve ancient Russian icon painting traditions.
At the end of the 1650s, Ushakov crystallized his famous “Ushakov style,” which represents a particularly complex and quite successful integration of iconographic and pictorial features.
Icons “Savior Not Made by Hands”, “Planting the Tree of the Russian State”, “Trinity”.
The icon “Planting the Tree of the Russian State (Praise to the Mother of God of Vladimir)” comes from the Trinity Church in Nikitniki. This work was created by Simon Ushakov in 1668.
The composition of the icon is full of deep symbolism: in the center of the icon-painting space there is a medallion with the image of “Our Lady of Vladimir” - the palladium and the capital city of Moscow, and the ancient Russian state as a whole.
The miraculous icon is represented surrounded by the branches of a symbolic tree growing from the Assumption Cathedral of the Moscow Kremlin. Metropolitan Peter and Grand Duke John Daniilovich Kalita, carefully monitoring its successful growth.
On the branches of the tree there are medallions with half-length images of Moscow princes, kings, church hierarchs, saints, holy fools. Among the ancient Russian figures there are images of Alexander Nevsky, Tsars Fyodor Ioannovich and Mikhail Fedorovich, Tsarevich Dmitry, Sergius of Radonezh, St. Basil the Blessed and other outstanding ascetics and statesmen who, with their exploits and piety, established the authority of Ancient Rus' and Moscow as an all-Russian spiritual and political center.
Each of the characters depicted in the medallions holds in their hands a white unfolded scroll with text from the Akathist - a chant glorifying the Mother of God.
Among other things, the iconography of this work includes images of the then-ruling Tsar Alexei Mikhailovich Romanov and his first wife Maria Ilyinichna, as well as their sons - Tsarevich Alexei Alekseevich and Fyodor Alekseevich. The royal family is represented in the space of the walls and towers of the Moscow Kremlin.
The Trinity icon comes from the Gatchina Palace, it was created by Simon Ushakov in 1671.
In his composition, Ushakov returns to the iconic scheme of Andrei Rublev. It is noticeable that the master carefully studied the works of his great predecessor.
According to the thoughts of Simon Ushkov, expressed in his “Word to the Careful Painting of Icons,” “... painting is superior to other forms of art, because it depicts the represented object more delicately and vividly, more clearly conveying all its qualities. through various arts, making what is conceived easily visible.”
Features of portrait painting of the 17th century
In the 1670s, the role of painters was determined in the icon-painting workshop of the Armory Chamber. If previously the functions of painters who worked oil paints, were limited to purely decorative work on painting walls and chests, now they were involved in executing orders for secular easel portraits of kings and patriarchs, that is, painting parsuns (persons).
A picturesque easel portrait was first painted, like an icon, on a board and gave either the main or shoulder image of the character, sometimes produced from life, but mainly from memory.
Gradually, portraits began to be painted on canvas, first in the icon painting technique, and then in the painting technique. Full-length portraits also appeared. If initially the main attention was paid to the face of the character being portrayed, then later the interpretation of the costume and the surrounding space acquired importance. Gradually, portrait compositions executed by domestic masters were enriched with images of interiors and numerous attributes. A three-quarter turn of the depicted character has become a favorite in Russian portrait art.
The development of parsuna is associated with the acquisition of increasing secular quality, and therefore with an increase in portraiture, three-dimensionality and realism of the image.
Characteristic features of portrait images of the 17th century:
1) A combination of iconographic and painting techniques in one image.
2) Preservation of the same compositional scheme: with a three-quarter turn of the head, the body of the depicted model is presented from the front or in a slight turn in the same direction as the head.
3) When creating portrait works, both outdated and innovative artistic techniques of painting are used. For example, the face of the depicted character can be modeled three-dimensionally using purely pictorial techniques of chiaroscuro, while a planar solution is generally allowed in the rendering of clothing and figures.
4) Only the faces of the characters depicted were painted from life. The painting of arms, legs and torso was most often done from memory.
5) Picturesque portraits created by domestic masters were almost never accompanied by the date of creation of the work and the signature of the author. Sometimes portrait images are accompanied by verbal information about the activities of the person represented.
Portrait in Russian art of the 17th century: “Prince Mikhail Vasilyevich Skopin-Shuisky”, “Tsar Ivan Vasilyevich IV”, “Patriarch Nikon with the clergy”, “Tsar Alexei Mikhailovich”
The main portrait “Tsar Fyodor Ioannovich” was made on a wooden base using the egg tempera icon painting technique.
The portrait remained for two centuries in the Archangel Cathedral of the Moscow Kremlin above the tomb of Tsar Fyodor Ioannovich.
The king's face is shown facing three-quarters to the left. Fyodor Ioannovich is depicted with a high forehead, large, wide-open eyes, a thin hooked nose, and short-cropped curly hair. The oval of the face, strongly tapering downwards, is decorated with a small pointed beard.
Modeling the volume of the sovereign's face was achieved by applying colorful highlights in close proximity to the dark facial areas.
The group portrait “Patriarch Nikon with the Clergy” was painted in 1685-1686 by a team of painters from the Armory Chamber under the direction of Ivan Bezmin.
In the space of the interior, equipped with a pulpit covered with a carpet, on the right is a full-length depiction of Patriarch Nikon himself in sakkos and miter, with a staff in his left hand.
On the left in front of Nikon is a group of eight clerics. Here are depicted people who were associated with Patriarch Nikon in different time, but were united with each other by common activities for the glory of the Orthodox Church.
Nikon's face, like the faces of the other eight portrait characters, is executed in a broad, painterly manner. Each character in the image is given an individual portrait characteristic.
The appearance of Nikon himself has a number of features: a wide-cheeked, fleshy face, a large nose and gaze, addressed to the audience from under slightly swollen eyelids. Images of stiff clothing made of golden fabric, a staff in the left hand and a high miter enhance the sense of strength and power of the represented patriarch.
Great Russian icon paintersThe Orthodox Churches of the world are organized according to the type of ancient Greek city-states - each has its own self-government, but at the same time they are all connected into the One Orthodox Church. Each has its own cultural characteristics, languages, including mental differences. But at the same time, they are all brother churches in Eucharistic communion.
Each church is famous for something of its own. Today I would like to talk about the most important feature of the Russian Orthodox Church (in my opinion). What was captured for centuries was preserved in eternity and gave tangible, material fruits. Large-scale development and spread of icon painting. And this is no coincidence; Russian Orthodoxy is largely visual. Bright gilded domes of temples, bright clothes of clergy, bright gilding of altars. Everything plays with colors, emotions, grandeur, scale, thanks to the Creator. This is a cross-section of Russian visual culture, which was formed long before the Baptism of Rus'. The traditions of visual art in Rus' are a legacy of past centuries, organically and completely revived after Epiphany.
Many masters worked on Russian icons.
Someone, having served God and people, never immortalized his name. And someone became famous for centuries. The latter will be discussed today. In chronological order.
1) Theophanes the Greek (about 1340 - about 1410)- the greatest icon painter of his time, born in Byzantium in 1340. During for long years painted the temples of Constantinople, Chalcedon, Galata, Kafa, Smyrna. But Feofan’s icons, frescoes and paintings made in Rus' brought worldwide fame.
Already a mature husband, Theophanes the Greek came to Rus', to Veliky Novgorod, in 1370. His first and only fully preserved work is the painting of the Church of the Transfiguration on Ilyin Street. Time did not spoil them, sparing the frescoes with the famous chest-to-chest images of the Savior Pantocrator with the Gospel, with the figures of Adam, Abel, Noah, Seth and Melchizedek, as well as images of the prophets Elijah and John.
In addition to icon painting, Theophanes the Greek was engaged in calligraphy, and also created artistic miniatures for books and designed the Gospels.
Traditionally, his authorship is attributed to “The Dormition of the Mother of God”, “The Don Icon of the Mother of God”, “The Transfiguration of the Lord” and the Deesis rite of the Annunciation Cathedral of the Kremlin.
Venerable Macarius the Great, fresco from the Church of the Transfiguration on Ilyin Street, Veliky Novgorod.
2) Daniil the Black (about 1350 - about 1428)
He was a talented teacher and mentor of Andrei Rublev. A self-sufficient artist, icon painter, monk, he differed from many of his contemporaries not only in his unique gift as a painter, but also in his ability to work with composition, color and the nature of the drawing.
He left behind a rich legacy of frescoes, mosaics, and icons, the most famous of which are “Abraham’s Bosom” and “John the Baptist” (Assumption Cathedral of Vladimir), as well as “Our Lady” and “Apostle Paul” (Trinity-Sergius Lavra).
Daniel was buried in the Spaso-Andronikov Monastery, where his remains were probably recently discovered. The fact that Daniil always worked in collaboration with Andrei Rublev creates the problem of separating the work of the two artists. Icon painters of the 15th century did not leave autographs. Researchers are looking for a way out by trying to identify special stylistic techniques characteristic of each master. Considering Daniil Cherny to be an artist of the older generation, I. Grabar proposed to attribute to him the authorship of those works in which the features of the previous school of writing of the 14th century, borrowed from Byzantine masters, are visible. An example of such an “old tradition” is the fresco “Abraham’s Bosom”, which is part of the painting of the Vladimir Assumption Cathedral, the composition of the southern nave, the southern slope of the central nave, a number of fragments on the northern wall of the main altar, as well as part of the icons from the iconostasis.
Fresco "Abraham's Bosom". Assumption Cathedral, Vladimir city 
3) Andrei Rublev (about 1360 - about 1428)- world-famous Russian icon painter, monk-artist, canonized. For hundreds of years it has been a symbol of the true greatness of Russian icon painting. Rublev's work developed on the basis of the artistic traditions of the Moscow principality; he was also well acquainted with the Slavic artistic experience.
The earliest known work by Rublev is considered to be the painting of the Annunciation Cathedral of the Moscow Kremlin in 1405, jointly with Theophanes the Greek and Prokhor from Gorodets. After completing this work, Rublev painted the Assumption Cathedral in Zvenigorod, and later, together with Daniil Cherny, the Assumption Cathedral in Vladimir.
Rublev's unsurpassed masterpiece is traditionally considered the icon of the Holy Trinity, painted in the first quarter of the 15th century - one of the most multifaceted icons ever created by Russian icon painters, which is based on the plot of the appearance of God to the righteous Abraham in the form of three young angels.
Fresco "The Savior Not Made by Hands", Spassky Cathedral of the Andronikov Monastery, State Tretyakov Gallery, Moscow 
4) Dionysius (about 1440 - 1502)- the most famous Moscow icon painter and isographer of the late 15th - early 16th centuries. The earliest known work of Dionysius is the miraculously preserved painting of the Church of the Nativity of the Mother of God in the Pafnutievo-Borovsky Monastery near Kaluga (15th century). More than a hundred years later, in 1586, the old cathedral was dismantled to build a new one. Stone blocks with frescoes of Dionysius and Mitrofan were used in its foundation, where they were successfully discovered many years later. Today these frescoes are kept in the Moscow Museum of Ancient Russian Culture and Art and the Borovsk branch of the Kaluga Museum of Local Lore.
In 1479, Dionysius painted an iconostasis for the wooden Church of the Assumption in the Joseph-Volokolamsk Monastery, and 3 years later - the image of the Mother of God Hodegetria on a charred Greek icon from the Ascension Monastery destroyed in 1929 in the Moscow Kremlin.
The work of Dionysius in northern Russia deserves special mention: around 1481 he painted icons for the Spaso-Kamenny and Pavlovo-Obnorsky monasteries near Vologda, and in 1502, together with his sons Vladimir and Theodosius, he painted frescoes for the Ferapontov Monastery on Beloozero.
Interesting fact: Dionysius’s style of writing can be judged by the perfectly preserved frescoes of that same Ferapontov Monastery on Beloozero. These frescoes have never been rewritten or undergone major restoration, thus remaining as close as possible to their original appearance and color scheme.
Icon of St. Demetrius of Prilutsky, Ferapontov Monastery, Kirillo-Belozersky Historical, Architectural and Art Museum Reserve, Arkhangelsk Region. 
5) Gury Nikitin (1620 - 1691)- the largest Kostroma master of Russian mural painting of the 17th century. Nikitin's biblical frescoes are distinguished by their festive decorativeness and richness of symbolism; a desire to secularize art emerges. Under his leadership, the most significant ensemble of Russian fresco painting of that century was completed - the painting of the Church of Elijah the Prophet in Yaroslavl.
It was during the period of Nikitin’s creative maturity - and this is approximately the 60s of the 17th century - that the rise of Russian monumental and decorative art occurred - and these trends do not bypass the young master.
In 1666, a difficult year for the Russian church, Guriy Nikitin took part in the renewed work on painting the Archangel Cathedral of the Moscow Kremlin - Nikitin’s brushes included images of martyred soldiers on pillars, as well as individual parts of the monumental composition “The Last Judgment”. After 2 years, Nikitin painted 4 icons for the Moscow Church of St. Gregory of Neocessary.
"Song of Songs" by King Solomon. Fresco of the Trinity Cathedral of the Ipatiev Monastery in the city of Kostroma. 
6) Simon Ushakov (1626 - 1686)
A favorite of Tsar Alexei Mikhailovich, the favorite and only icon painter of the top officials of the state, an unsurpassed master of drawing and color, Simon Ushakov, in a certain sense, marked with his work the beginning of the process of “secularization” of church art. Fulfilling orders from the Tsar and Patriarch, royal children, boyars and other important persons, Ushakov painted more than 50 icons, marking the beginning of a new, “Ushakov” period of Russian icon painting.
Many researchers agree that Ushakov had no equal in painting faces - and it is by the way he wrote them that it is easiest to track what changes - logically coinciding with church reform Patriarch Nikon - occurred with Russian icon painting. In Ushakov, the face of the Savior, traditional for Russian icon painting, acquired “new, hitherto unknown features. The Novgorod Savior was a formidable God, the new Savior is infinitely more affectionate: he is a God-man. This humanization of the Divine, his approach to us, brought warmth to the stern appearance of the ancient Christ, but at the same time deprived him of his monumentality.”
Another important historical feature Ushakov's creativity is due to the fact that, unlike the icon painters of the past, Ushakov signs his icons. At first glance, an insignificant detail actually signifies a serious change in public consciousness of that time - if previously it was believed that the hand of the icon painter was guided by the Lord himself - and at least for this reason the master did not have the moral right to sign his work - now the situation is changing to the completely opposite and even religious art is acquiring secular features.
Icon "The Last Supper" Dormition Cathedral of the Trinity-Sergius Lavra, Moscow region. 
7) Theodore Zubov (about 1647 - 1689)
Researchers of Russian icon painting agree that the main merit of Fyodor Zubov was the desire to restore spiritual significance and purity to the depicted faces of saints. In other words, Zubov tried to combine the best achievements of 17th-century icon painting with the achievements of more ancient traditions.
Like Simon Ushakov, Zubov worked at the royal court and was one of the five “compensated icon painters.” Having worked in the capital for more than 40 years, Fyodor Zubov painted a huge number of icons, among which were images of the Savior Not Made by Hands, John the Baptist, Andrew the First-Called, the Prophet Elijah, St. Nicholas and many other saints.
An interesting fact: Fyodor Zubov became a “paid icon painter” of the royal court, that is, a master who received a monthly salary and through this a certain confidence in the future, according to the principle “if there was no happiness, but misfortune would help.” The fact is that in the early 1660s, Zubov’s family was left with virtually no means of subsistence, and the icon painter was forced to write a petition to the tsar.
Icon "Our Lady of All Who Sorrow, Joy of All Who Sorrow." Icon painting workshop of the Armory Chamber, Moscow. 
With. 37¦ Since the eighties of the 17th century, Yaroslavl icon painters have been recognized as one of the best in Rus'. Artels of their masters go to work in Moscow, Vologda, and the Trinity-Sergius Monastery. Yaroslavl residents paint icons commissioned by Novgorod residents and wealthy Solvychegodsk merchants, the Stroganovs. They know no shortage of work in their hometown.
Exactly at last years The 17th century created images of the gilded carved iconostasis in the Church of Elijah the Prophet. Among them, the icons of the lower, local row stand out: the temple image of “Elijah the Prophet in the Wilderness”, the icon of the “Savior of Smolensk” with two female figures falling at his feet (ill. 62), image "Resurrection - Descent into Hell" (ill. 64), frame depicting scenes on the themes of the akathist around the icon “Our Lady of the Sign”, icon “Annunciation” 26. Compared to the painting of the mid-17th century, these images have more splendor, although in terms of the craftsmanship they have become more standard, and their coloring is distinguished by a certain monotony in the selection of colors. From now on, gold plays a decisive role in the color scheme of Yaroslavl icons. The folds of clothing are generously painted with created gold; sheet gold is applied not only to the background, but also to clothing and architectural details. Sheet and melted silver are also used abundantly. An indispensable decoration of the icon are gilded or silver frames, crowns and tsats with inserts of colored glass or even precious stones. The compositions of icons are overloaded, the main content of the plot becomes confused, and often the participants of secondary importance in a given scene push the main characters of the event into the background. Icons such as the images in the local row of the iconostasis of the Church of Elijah the Prophet can only be viewed close up; from a distance, even the central, large figures are poorly visible on them. But, looking at them closely, you are involuntarily amazed at the imagination and observation of the Yaroslavl isographers of the late 17th century, their With. 37
With. 38¦ the ability to turn a strict iconographic plot into an entertaining short story with many participants engaged in sometimes mundane, everyday activities. So, for example, on the temple icon “Elijah the Prophet in the Desert”, among the rocky landscape in the foreground of the composition, you can see a funny figure of a young man walking along a humpbacked boardwalk (ill. 66). The young man bent under the weight of the bag placed on his shoulders. On the icon of the Annunciation, in the depths of the architectural scenes, against which the Archangel Gabriel and the Virgin Mary are depicted, you suddenly notice a small figure of Joseph carrying an ax on his shoulder. In the icon "Resurrection - Descent into Hell" the scene "The Miraculous Fishing of the Apostles" is interpreted in a completely genre-appropriate manner. (ill. 65). Many interesting paintings are contained in the frame stamps for the icon “Our Lady of the Sign”. Ships of various types, battle scenes, and all kinds of parables are depicted here. Particularly interesting are the stamps on the theme of the legend about the siege of Novgorod in 1169 by the troops of Andrei Bogolyubsky. One of them shows how Suzdal archers are shooting at the shrine of Novgorod - the image of the Mother of God (ill. 63). The frame marks also contain an image of the artist Evangelist Luke, who, according to legend, painted the first icon of the Mother of God from life.
26 This edition preserves the traditional dating of icons from the local row of the iconostasis of the Church of Elijah the Prophet to the 1680s. It was adhered to by I. E. Grabar and A. I. Uspensky, N. G. Pervukhin, N. E. Mneva and other historians of ancient Russian art who wrote about Yaroslavl painting of the 17th century. In 1974–1975 icons from the local row of the iconostasis of the Church of Elijah the Prophet were completely freed from later records by the restorer E. P. Yudina. This made it possible to evaluate their artistic merits differently and differentiate them by their manner of execution. T. E. Kazakevich singled out among the icons works created in the 1650s, apparently by Yaroslavl icon painters brothers Stefan and Ivan Dyakonov, and painted in the 1660s. famous master, Ustyug resident Fedor Evtikhiev Zubov. She attributes the icon “Savior of Smolensk with his deeds” to the works of Stefan Dyakonov, and the temple image “Elijah the Prophet in the Wilderness” to the works of Fyodor Zubov. Following S. S. Churakov, she is inclined to see in the stamps of the frame for the icon “Our Lady of the Sign” the work of the Yaroslavl icon painter Fyodor Ignatiev, completed in 1696. See: Kazakevich T. E. Iconostasis of the Church of Elijah the Prophets in Yaroslavl and its masters. - In the book: Monuments of Russian architecture and monumental art. M., 1980, p. 13–63.
Compared to the slightly elegiac, sophisticated scenes in Spiridonov’s icon stamps, the compositions in the works of Yaroslavl icon painters are always permeated with rapid movement: horsemen gallop, people do not walk, but run, their gestures are pathetic, actions are always presented at the moment of highest tension. When arranging figures, artists strive not so much for the semantic expressiveness of the image, but rather to fill, if possible, the entire surface of the icon with them. Sometimes it seems that the figures of the characters on the plane of the icon board are scattered at random; it is not immediately possible to find the beginning of the scene and understand what should be the main thing and what should be secondary in this flow of events. Yaroslavl masters are no longer satisfied with the image schemes that have been in use among Russian icon painters since ancient times. As in monumental painting, they increasingly use Western European engravings as “models” and create new compositions even for strictly canonized images. At the end of the 17th century, Yaroslavl icon painters compiled, for example, an edition of the image of such a plot from the cycle of the Twelve holidays as the Nativity of Christ, which had not changed for centuries among Russian artists, which was based on, along with the usual schemes for depicting individual figures, motifs borrowed from engravings of Dutch masters . Main topic Images are given very little space here, but pictures of all the events that happened during the birth of the baby Jesus are given in detail.
On a large icon of the late 17th century in the Yaroslavl Historical and Architectural With. 38
With. 39¦ museum-reserve (ill. 67), which can rightfully be called one of the best examples of this new edition, the events that happened during the birth of Christ are illustrated no less thoroughly than in the cycle of wall paintings. It shows the Magi galloping on horses, King Herod giving the order to kill all born babies, the murder of Zechariah, the salvation of Elizabeth with the baby John in the depths of the mountain, the worship of the Magi (ill. 69) and shepherds, beating infants by soldiers (ill. 68), various scenes of Joseph's visions, flight into Egypt. All these events are presented against the backdrop of pompous architectural scenes and a mountain landscape, skillfully combined into a multifaceted composition, the colorful spots of which form a kind of bright, flowery carpet.
At the end of the 17th century, Yaroslavl masters executed several large images of “John the Baptist, Angel of the Desert, in the Life.” The best of them was in the Assumption Cathedral in Yaroslavl, and from there in 1920 it was taken for restoration and in 1930 transferred for permanent storage to the Tretyakov Gallery (ill. 70). As on the icons of the second half of the 16th century, John the Baptist is depicted in the image of a “desert angel” - dressed in hair shirt, with a cup in his hands and wings behind his back. Artists of the late 17th century continued to like the strict, idealized image of an ascetic created by the imagination of masters who lived during the cruel years of Ivan the Terrible’s reign. But if in the central figure they remained faithful to the canon, then in depicting scenes from the life of the Forerunner they no longer followed the models of the 16th century, but the schemes developed in the first half of the 17th century by the masters of the Stroganov school. Following the example of the works of Stroganov’s isographers, John the Baptist in a large image from the Assumption Cathedral is presented against the backdrop of a forest landscape. But the foreground of the landscape on the icon of the late 17th century is occupied by images of bizarre buildings, so prized by Yaroslavl artists, the forms of which were inspired by Western models. On the spurs of hills overgrown with leafy trees, miniature figures of people are scattered - in size they could well fit among the characters on small icons made by Stroganov masters - equally small figures of animals and strange monsters, allegedly seen by John in the desert and very similar to dinosaurs (ill. 71). These figures are difficult to distinguish even close up, but the artist’s passion for the thoroughness of the story, for saturating the iconic plot with all sorts of details was irresistible, and he went to a clear violation of all the norms of logic and placed very tiny ones next to the huge image. The craving for narrative, for the abundance of all kinds of images among Yaroslavl icon painters of the late 17th century often overpowered common sense. Wanting to tell as much as possible, they sometimes forgot not only about the harmony of the whole, but also that the figures were too small With. 39
With. 40¦ inappropriate in the compositions of images placed in the temple at a considerable distance from the viewer, and even icons intended to be placed in the second and third tiers of iconostases were enthusiastically painted with miniature images.
On Yaroslavl icons the second half XVII centuries, as in the paintings of temples, the world was revealed to the viewer as generous, favorable for human activity. Experiencing the joy of creativity, the artists sought to convey this mood to all people. They tried to evoke in them a feeling of genuine admiration for the beauty of earthly existence and therefore depicted the world on icons and frescoes as attractive as paradise itself, traditionally represented in the image of heavenly Jerusalem and a wondrous garden. The lands on which the lives of saints take place in icons are rich and welcoming to people. Beautiful cities stand on them, and in the shady forests and labyrinth of bizarre mountain ranges you can reliably hide from persecution, live alone, in peace with animals and birds, indulging in prayer and conversations with God. In love with earthly life, Yaroslavl masters of the late 17th and early 18th centuries tried to glorify it in all its diversity of events. They glorified the birth of man, his labors, exploits in the name of faith, while being able to impart a completely calm mood to tragic scenes, without emphasizing their hopelessness. Most of all, they liked to write compositions full of joy and celebration, glorifying the earthly life of people. Icons based on the text of Psalm 148, “Praise the Lord from Heaven,” were dedicated to this theme, depicting a festively decorated procession of people and animals to the throne of Christ Emmanuel, and other allegorical compositions.
Despite all the innovations and passion for storytelling, the works of Yaroslavl masters carefully preserved many traditions of the high art of Ancient Rus' until the very middle of the 18th century. At its core, their painting remained faithful to that great style, the principles of which were formed in ancient times and developed for a long time in miniature painting. Along with “petty” images, Yaroslavl icon painters, back in the 18th century, also painted compositions in which the love for large masses, for strict and laconic silhouettes, for a clear and clear structure of scenes in the stamps is palpable in the same way as in the works of masters of the 15th–16th centuries . In such works, the sense of a truly monumental style remained unchanged, even when they used forms inspired by Western European models. And it is no coincidence that the works of Yaroslavl artists of the second half of the 17th and early 18th centuries were recognized in Russia for a long time as examples of old national art. They were collected by admirers of ancient icon painting - Old Believers, and carefully studied by the artists of Palekh and Mstera, who continued to paint icons in the traditions of Russian medieval painting in the 18th–20th centuries . With. 40
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ICONOPTING OF THE 17TH CENTURY. FINDS AND LOSSES
Russian icon painting of the 17th century is in many ways inferior to the painting of the “golden age” or, more precisely, the “golden era” - the 15th–16th centuries.
The reasons for this can be found in the history of art and in the history of the country. With the accession to the throne of the Romanov dynasty, peace and tranquility reigned in Russia for many years. But it was not without reason that it was believed that revolutions and cataclysms, with all their general destructiveness for art, stimulate the emergence of new directions and new names in it.
XVII century - an era of peace, not to say stagnation. In any case, in political life and... icon painting. The traditional manner of performance becomes dominant. Especially in the provinces. However, it was in the provinces, that is, outside Moscow, that people were born in the 17th century. and bright names, and original schools, and it was in the provinces, according to the remark of the researcher of Russian icon painting M.V. Alpatov, that it was possible in the 17th century. find outstanding names.
“How can this be,” exclaims a sophisticated lover of our ancient art. The great Ushakov worked at the court of Alexei Mikhailovich!
The author of these notes treats the Moscow master with great respect, but cannot but agree with the logic of M.V. Alpatov, who wrote in his fundamental monograph “ Old Russian icon painting"The following: "Simon Ushakov bribed high patrons, especially Alexei Mikhailovich, with moderate eclecticism and a smooth manner of writing. And his “Archangel Michael Trampling on the Devil,” despite all the virtuosity of its execution, is not such a highly artistic work.”
What does M.V. Alpatov compare the Muscovite’s creations with? Yes, with a provincial icon!
Here is what he writes: “The provincial work of the same time, the icon “Archangel Michael the Voivode,” a poetic vision of a fiery avenging angel, is more faithful to the traditions of high style than the work of court and capital masters who were tempted by the dubious advantages of the so-called. "Friazi".
Historian M. Alpatov criticizes the works of icon painting of the 17th century. for sameness, for stubborn adherence to old canons. But isn’t this what iconography is based on, as opposed to ordinary painting?
“Indeed,” Mikhail Vasilyevich himself wrote earlier, “an icon is not a painting, and it reproduces not what the artist has before his eyes, but a certain prototype that he must follow. And the veneration of the icon follows from the veneration of the prototype; miracles and healing are expected from icons. Icons are worshiped because they depict Christ, the Mother of God, and other saints. Icons participate in church rituals.” Icon painting, according to M. V. Alpatov, is “ritual art.”
So is it possible to judge the development of the art of icon painting from an art historical perspective, speaking in the usual way about the combination of tradition and innovation? - Yes and no.
The history of Russian icon painting and its connection with the history of our country has no analogues at all, either in the history of peoples or in the history of schools and movements in art. Everything is very closely connected and intertwined.
All icons in Rus' were objects of worship, but only those that were also works of art entered the history of painting. The rest may be of interest to a historian of culture, but not of art. A subtlety that is difficult to distinguish at first glance. Each icon is a historical fact - parishioners of the temple prayed to it, it was connected with the history of this temple, it could be in the house of a prince, warrior or farmer - and in this case it became part of the history of his family. Like any object of a particular era, an icon is part of the cultural layer of this era. It’s just that it doesn’t always become part of artistic culture or art. We are interested in everything connected with the distant 17th century. The whole question is in what context to consider the “echo of history” that has reached us.
The church fathers rightly believed that if an icon of the 17th century. was consecrated if the icon was not kept in some closet, but was in the temple, in the “red corner” of the home, that is, if it is a “prayed” icon, it already deserves veneration.
In this debate, both are right.
But for historians who study not the very process of development of the Orthodox Church and not the process of development of human society in Russia, but... the era, everything is interesting: both a masterpiece and the most modest, traditionally and simply made icon. Iconography, especially iconology, can give a lot to the understanding of ancient icon painting. However, this is not the only possible way to study ancient heritage.
The canonization of iconographic types is natural for the 17th century. condition, and art critics can view this as a sign of the ossification of tradition, the impoverishment of iconographic creativity. The exceptions are so insignificant that an art critic may not even pay attention to them...
For a historian of the era, such exceptions constitute a special charm. And he will notice: in the 17th century. even within the framework of the gospel stories, with all the respect for traditions, masters in Rus', especially provincial ones, always tried to add something of their own, to rethink the ancient model, to create something new. That is why the study of the Russian provincial school of icon painting of the 17th century. provides rich food for thought for a historian studying the era - well, say, about the mentality of the Russian people of pre-Petrine Rus'.
It is also very interesting to consider changes in the interpretation of traditional themes and images in the context of the country's history. In the iconography, both in the main compositions and in the hallmarks of life, the fight against the enemy - as in life - is victorious, and the rebuilding of cities and villages after the victory... Moreover, the icon can depict, for example, the battle of Novgorodians with Suzdal in ancient times , and the artist and the parishioners of the temple had in mind, first of all, the victory of the Russians over foreigners at the beginning of the 17th century... Traditions in icon painting may have developed too slowly in this era, if we talk about the pictorial manner, about visual means, but the formation of something familiar for the second half XVII–XIX centuries Russian Orthodox mentality, which presupposes not national self-abasement, but a sense of one’s strength and the unity of the entire people, is an extremely interesting and attractive thing.
Or such a common subject for Russian icon painting - “The Assumption”. In the icons of the great painters of the 15th–16th centuries. In such a plot, the despair of the apostles and the sadness of the saints gathered around the dying Mary still prevail. In the icons of the 17th century, born after the liberation of Rus' from the occupiers, after the turmoil that tore the country apart, universal animation dominates, the joy of the unity of people singing the glory of Mary. The plot is the same, but a different era, a different mentality. For the Byzantine icon, which for a long time dictated icon-painting canons in Rus', the main thing was to show the mystery of death, but for the Russian painter of the mid-17th century. - the mystery of life conquering death...
In the words of M.P. Alpatov, studying the historical background of the historical and cultural basis of ancient icon painting helps to better understand its role in the life of a specific era in the history of Russia. Of course, the development of icon painting has its own artistic, internal pattern. However, it is important to constantly keep in mind that an icon in Russia is also a historical phenomenon, part of the history of Russia. And just as icon painting from the heyday of this type of art - from the end of the 14th to the middle of the 16th century - is the art of a people who realized their unity and freed themselves from the Tatar yoke, so the iconography of the 17th century. - this is the art of a people who went through the withering tragedy of the “Troubles” and the Polish-Lithuanian invasion and again, even with greater strength, because in a new round, they felt their unity as a people.
And, as in the era of the “golden age” of Russian icon painting, in tough times of battles, betrayals, deaths and deprivations, in the depths of a talented and kind people, not cruel, dark art is born - icon painting amazes with its light tonality, optimism, hope and enlightenment.
In the 17th century, perhaps to a greater extent than in the previous era, the social heterogeneity of Russian society became evident. And in the previous era, in the 15th–16th centuries, the master and peasant styles coexisted in icon painting. Sometimes this division followed the principle of “capital” - “province”, sometimes regionally - central Russia - “Northern letter”. But more often, luxurious, sophisticated works of icon painting were created at the place of birth of the icon - in the capital, princely centers, boyar icon-painting workshops. Posad and peasant craftsmen, who had materials, more modest colors, and most importantly - a different mentality, a look at the past and present, a different taste and a different attitude towards nature, surrounding life in general - created things that were simple in the manner of execution, but sometimes unusually deep in the philosophy of life . At the same time, the iconography remained common for the capital’s masters, and for the icon painters of the Yaroslavl, say, princely workshop, and for the peasant or monk from the Russian Obonezhie in the North...
In this sense, it is interesting to compare icons from “princely” workshops and icons born in the monastery of the North or a peasant hut - painted on the same subject. As M. V. Alpatov aptly put it, in “folk replicas” much of the creative findings of “professionals” from princely workshops is lost - the shapes are angular, the colors are straightforward, but they have immeasurably more sincerity and warmth...
The same M.V. Alpatov compared, in particular, two icons created in different conditions, but dedicated to the same subject - “Archangel Michael”. On the icon of the court painter of Tsar Alexei Mikhailovich Simon Ushakov, “Archangel Michael Trampling on the Devil,” there is noble, exquisite painting, but there is no passion, there is no feeling that the artist himself ever experienced fear of the invasion of the enemy or the punishment of the Lord. The icon “Archangel Michael the Voivode” from the collection of P. D. Korin is completely different, both in mood and in the development of the plot. This is not a struggle with the tempter, as in Simon Ushakov, but a victory over the enemy.
Painted shortly after the liberation of Rus' from the Polish-Lithuanian intervention, in the first half of the 17th century, in the places from where the Russian militia, led by Minin and Pozharsky, went to liberate the Fatherland, the icon is still perceived today as a hymn to the liberators.
The red-faced horseman rushes to the right on a fiery horse. With a spear he strikes a brown demon crawling under the front legs of a rearing horse. The fiery horse rose above the blue-black abyss. A hail engulfed in fire crashes into the dark waters. The horse's neck is surrounded by a precious necklace with a suspended heavy gold tassel. The gold and niello studded with stones and pearls rival the wealth of Michael’s golden armor.
Inscription on the upper field: “And the Sovereign Jesus Christ had the holy Archangel Michael, the terrible terrible commander and representative of the throne of God, the creator of the will of the Lord and the fulfiller of his commandments, enlightening the universe. Enemies who are quick to capture, who are never slow, who are ever vigilant in the glory of God, who never fail, but always...” (then the white of the letters crumbled).
It would be naive to see in the person of the archangel specific military leaders of the 17th century, but it is indisputable that the icon of the creation of the first half of the century bore certain spiritual guidelines characteristic of Russian society, freed from unrest, discord and foreign domination.
A somewhat dismissive attitude towards the icon of the 17th century, in comparison with the admiration for the art of the 15th–16th centuries. (even in the works of outstanding art historians) has its reasons.
Indeed, the masters of the 17th century. more and more often they blindly follow the best works of the previous era, engaging in imitation and repetition - sometimes this is dictated by customers, princes and boyars, sometimes - at the behest of their hearts, being carried away by the monuments of the recent past. But in this case, the living spirit of creativity inevitably disappears.
Icons are increasingly being created by artisans. At the same time, the technique may be virtuosic, but the poetic insights of the masters of the previous era give way to pedantic precision and execution.
With the coming to power of Peter I, icon painters increasingly, to please the sovereign, or out of their own motivation dictated by the general pro-Western orientation, began to imitate the Western style. Despite all the prospects of using the experience of the Renaissance, the loss of one’s own, truly Russian (although originating in distant Byzantium, but becoming Russian after a thousand years of existence) sadly affects the development of Russian icon painting - it loses its originality and charm.
The color also changes. Under the influence of fashion for restrained Western coloring, bright, piercing, festive and disturbing, even tragic colors are disappearing from Russian icons. The prevailing tones are dark, dull, at the beginning of the 17th century. still rich, sonorous, noble, and then more and more earthy... Even the goldenness inherent in the Stroganov icons of the 17th century does not, according to M. Alpatov, compare with the radiant colors of the same Dionysius...
“The Stroganov School” is a special page in the history of Russian icon painting of the 17th century. Gradually, in the icon-painting workshops of the northern merchants, the immensely wealthy Stroganovs, a style of painting unique to them developed. Working in small icon chambers, the craftsmen also knew wall writing and also understood the method of writing large altar boards and icons for the Deesis rite. However, more often they painted small icons, marked on the back with a monogram-mark of a trading house, accustomed to strictly accounting for its property.
“Stroganov Letter” is its own school, distinguished by high professional skills. Sometimes the high class of their icons was explained by the fact that the best Moscow painters worked for the rich Stroganovs. The author of these lines is closer to the concept of V.I. Antonova, the author of the wonderful book “Ancient Russian Art in the Collection of Pavel Korin,” who believed that the style of the “Stroganov masters” was more influenced not by Muscovites, but by the icon painters of the Russian North of the 15th–16th centuries, who preserved the best traditions of icon painting of the northern regions of still appanage Rus'.
It is interesting that in the 17th century. In the Stroganov icon chambers, entire dynasties of icon craftsmen gradually formed. Thus, the Savin family of artists became especially widely famous, the founder of which was Istoma, the author of a number of amazingly beautiful folding works (see about them: M. P. Stepanov “Temple-tomb in the name of Sergius of Radonezh in the Chudov Monastery in Moscow,” M., 1909) . Istoma began as a master of the Stroganov workshop, and only then, upon achieving fame, became the sovereign's icon painter in Moscow. Impeccable drawing and exquisite coloring made his art attractive both in the eyes of strict connoisseurs - the Russian sovereigns, and in the minds of the incredulous Stroganovs, and in the perception ordinary people. Researcher Antonova sees clear traces of the influence of northern writing in Istoma’s works, and reads the origins of color in the masterpieces of Dionysius created in the North. Istoma’s sons, the passionate Nazariy and the restrained Nikifor, also became sovereign painters.
It’s a shame that we pronounce with gratitude the names of the Italian dukes who “sponsored” the work of outstanding masters of the Renaissance, and do not find a kind word for the Solvychegodsk merchants Stroganovs, who essentially raised an entire art school of masters in the icon-painting chambers. And “Savior Emmanuel” by Nazarius Savin, and “Our Lady of Pechersk, with the upcoming Nikita the Warrior and the Great Martyr Anastasia” or “Selected Saints” by Nicephorus Savin are, undoubtedly, the same masterpieces, the peaks of Russian Orthodox culture, as the peaks of icon painting of the 15th–16th centuries . in Russia or the best paintings of the late Renaissance in Italy.
And again, kind words to the Stroganovs. People who were initially far from art, they developed their taste, knew how to appreciate success, and, what is even more important, they were quite open to new things, allowing different styles, manners, and personalities to coexist in their workshops.
So Istoma Gordeev and Prokopiy Chirik grew up next to the Savins, the former a strict and open isographer, the latter a subtle master of nuance. But their works, so different, were equally worth their weight in gold in the gold frames with which their creations were “covered” in the 19th century. The fact that the enlightened taste of the Stroganovs has preserved for us works executed in very different manners allows us to significantly expand our understanding of icon painting of the 17th century, which is far from being so unambiguous, boring and dull, as was commonly believed.
An interesting historical detail is highlighted in this case by the history of icon painting. Using the example of the Rostov master Posnik Dermin, who led the draftsmen at the Moscow court of the sovereign, we see such an important role of the Stroganovs in the history of Russian culture: during the time of Moscow devastation at the beginning of the 17th century. they collected and preserved the best monuments of the Moscow icon-painting school from destruction and removal by the invaders as trophies.
And when the Fatherland was freed from the invasion of foreign troops, the rescued masterpieces began to return to Moscow, the wonderful master icon painters scattered around the outskirts of Russia, including those supported by the Stroganovs in the North, began to return to Moscow, which had become stronger from the turmoil.
In the second half of the 17th century, the royal isographs, and this is how the icon painters who worked in the capital began to be called, were under the jurisdiction of the Armory Order, where, according to V. Antonova, a kind of ancient Russian “academy of arts” emerged, of which Simon Ushakov became a brilliant representative.
And just as the Moscow masters, who by chance at the beginning of the century found themselves on the outskirts of Russia, fleeing from unrest and invasions, ultimately have a positive impact on the local provincial school, so the provincial masters, either at the invitation of the sovereigns or through their own risky courage, moved from the outskirts to the capital, they bring their own style, their local manner, which then influenced the style of Moscow isographers.
There are many examples of this. One of them is Ustyug resident Fyodor Evtikhiev Zubov, author, in particular, of the famous icon “Fyodor Stratilates with Selected Saints.” It is assumed that it is the original measured icon of Tsar Fyodor Alekseevich, named Fyodor Stratelates. The news has been preserved that three years after the death of this tsar in 1685, Peter and Ivan Alekseevich, who replaced him, gave an order to the Armory Chamber to paint an icon of their deceased brother. It should be said that by the time the icon was painted, Fyodor Zubov was already a salaried painter, i.e., in addition to “feed” (piecework payment), he also received a monthly salary. This is noted by A.I. Uspensky in the book “Royal icon painters and painters of the 17th century. Dictionary" (M., 1910). The story of the icon’s adventures before it came into Pavel Korin’s collection is also interesting, but this is a topic for another genre. Here it is important to emphasize that each icon is a testament to history, a monument to an era, and a part of culture.
However, the outstanding work of the ancient isographer is also a monument of art. The icon of Fyodor Zubov is precisely an important confirmation of the thesis that the art of icon painting in the 17th century. has not faded, has not faded, has not faded away.
Of course, not all icons of the 17th century. meet the requirements for masterpieces. All the more rewarding is the task of a researcher who, in an icon distinguished by its outstanding pictorial merits, also finds important historical evidence of a long-gone era.
The collection of Pavel Korin, one of the best in terms of a holistic view of the work of 17th-century isographers, preserves the icon of Simon Ushakov, the undisputed leader of the era, “The Savior Not Made by Hands.” The icon was created in the last quarter of the 17th century in the Armory Chamber of the Moscow Kremlin. Made in a realistic chiaroscuro style, it is distinguished by both powerful character and exquisite color. Pre-revolutionary historians - Mr. Filimonov, the already mentioned A.I. Uspensky were convinced both of the authorship of Simon Ushakov and of the fact that the decoration of the icon was made by masters of the Armory in the last quarter of the 17th century.
Which gives us an idea of the working style of the Sovereign Armory Workshop.
On the lower field, on both sides of the slotted enamel plate, already in the 19th century. The signature was engraved: “The icon belonged to Tsarina Marfa Matfeevna, from the family of Counts Apraksin. The icon was inherited in 1866 by Count Ivan Aleksandrovich Apraksin.”
Marfa Matveevna Apraksina, wife of Tsar Fyodor Alekseevich, was buried in 1715 in the Cathedral of the Peter and Paul Fortress in the wall on right side under the bell tower. What was the inscription about under the bottom key of the icon - a paper sticker with an ink note in 19th century handwriting.
Just as in the history of painting, in the history of culture everything is closely intertwined, and if the mutual influence of eras in the icon is read by art historians, historians of a broader profile who deal with the history of the era do not ignore the complex intertwining of the destinies of people, things, times...
Icons were passed down from generation to generation, newlyweds were blessed with them, and the gaze of a dying man rested on them for the last time. The same icon united several generations of Russian people, about which irrefutable historical evidence was often preserved.
Thus, on the icon in the collection of Pavel Korin “The Savior Not Made by Hands” (late 17th century, school of the Armory Workshop) there is a late entry preserved:
“In this way, the Empress Elizaveta Petrovna blessed her niece Marfa Simonovna Grf. Gendrikova, passing her off as Gen. Mich. Ivan. Safonova. Marfa Simonovna blessed her daughter Marfa Mich. Dmitriev-Mamonov, the latter - her daughter Evdokia Sergeevna Rozhnova ... "And so on, until the icon ended up in the collection of Pavel Korin, an outstanding Russian art restorer and collector, giving researchers of later times an excellent example of the connection between times in the history of Russia and the history of its icon painting art.
...If for Moscow the “golden era” of icon painting was the 15th–16th centuries, then for another famous school of icon painting, the Yaroslavl school, the 17th century is considered the time of its greatest flowering. This is a time of both economic and cultural development of the principality. The city becomes one of shopping centers Rus'. One-sixth of all Russian merchants who trade with foreign countries live here. Various crafts are actively developing. And in terms of population, Yaroslavl becomes the second city in Rus' after Moscow. More and more temples are springing up throughout the city, merchants and even artisans generously contribute to the construction of stone churches. During only three quarters of the 17th century, up to forty temples were built here!
In a city where there are so many churches, the work of an icon painter cannot but be appreciated. Many icons are being ordered for new churches. The local school of icon painting is becoming widely known, and Yaroslavl masters are already ordering icons for churches in other cities, including Moscow. Many of them were accepted among the “competent royal isographers.”
By a curious coincidence, it was the Yaroslavl icons and precisely in the 17th century. are ideal sources for studying the history and culture of everyday life of the era. Hagiographic icons are full of important details of the life of Yaroslavl residents and everyday life.
For the Yaroslavl school, the hagiographic icon becomes a kind of calling card: the life of this or that saint or a detailed story about some historical event appear in a series of successively replacing each other marks. Sometimes a different technique is used: life scenes or individual historical events are presented in the main composition of the icon as long-range plans around the central composition.
Of particular interest to the historian are the icons of the Yaroslavl school associated with events in local history.
At the end of the 40s. XVII century In the Assumption Cathedral, a large new icon was installed depicting the Yaroslavl miracle workers, the princes of the first dynasty, Vasily and Constantine. Thirty-one stamps showed scenes from the life of Yaroslavl in the first half of the 17th century, including the famous battle on Tugovaya Mountain.
A number of icons of the Yaroslavl school are dedicated to the events of the time when they were painted. Thus, in 1655, by order of the clergy of the Tolga Monastery, the icon “Our Lady with Stamps” that has come down to us was painted.
In the hallmarks of the image, along with the events from the beginning of the monastery in 1314, scenes from the life of Yaroslavl during the days of the pestilence - an epidemic that struck the city in 1654 were presented. So, if about the beginning of the 14th century. While icon painters could judge only from chronicles, they wrote about recent events with the accuracy of eyewitnesses.
The scenes in the stamps not only very reliably convey the life of Yaroslavl residents, but also document and accurately depict modern architectural structures. The stamps show log and stone buildings and even show the construction of a wooden church; the shapes of the buildings and the nature of their decoration are reproduced with great accuracy.
Created in the middle of the 17th century, it remains a remarkable historical source. Icon "Sergius of Radonezh in the Life".
In the middle of the icon, the saint is depicted against the background of a hilly landscape, on the spurs of which scenes from Russian history of the late 15th – early 17th centuries are depicted.
The titles of the plots of the stamps on the icon are like the headings of chapters of a monograph on the history of Rus': “The Arrival of Sophia Paleologus to pray at the Trinity-Sergius Monastery”, “The Siege of the City of Opochka”, “Annexation of the Cheremis Mountains and the Construction of the City of Sviyazhsk”, “The Capture of Kazan”, “The Siege Trinity-Sergius Monastery and Moscow by the Poles."
The author of a number of very interesting observations about icons as sources for the study of history, V. V. Filatov, believed that these subjects were taken by Yaroslavl isographers from the text of the life of the saint, published in 1646 according to the list of the new edition, which was compiled by the cellarer of the Trinity-Sergius Lavra Simon Azaryin.
According to the observation of another researcher of ancient Russian art, S. Maslenitsyn, as in the icon of the “Tolga Mother of God”, images of architectural structures occupy a large place in the hallmarks of the icon “Sergius of Radonezh in the Life”. The historian believes that the isographers were especially accurate in conveying the details of famous architectural monuments of their time, and not only Yaroslavl, but also Moscow.
In the second half of the 17th century. a large board with a multi-figure composition “The Legend of the Massacre of Mamaev” was added to the icon of Sergius at the bottom. The plane of the sideboard is divided into two registers of unequal width. In the upper, wider one, it is shown how military forces are gathering against Moscow from different cities of Rus', including Yaroslavl, neighboring Kurba and Rostov the Great.
The image of Moscow occupies the central part of the composition. Nearby is an image of the Battle of Kulikovo, the climax of which is the duel between the monk of the Trinity-Sergius Monastery of Peresvet and the Tatar hero.
Alas, unfortunately, both in history and in art, the development of peoples, countries, schools depends on an absurd accident. In 1658, a terrible fire destroyed about one thousand five hundred houses, three monasteries, twenty-nine churches, the ancient fortress fence of the Kremlin, shopping arcades, bridges...
And again the axes are knocking, the stone is being cut - new stone churches are being erected one after another in the settlements and settlements of Yaroslavl, in some ways better than the previous ones, but unable to replace the old ones. So it is with icons. Are written in large quantities new boards for new churches. However, they irretrievably disappeared into oblivion, leaving only mentions and descriptions of themselves in the literary monuments of the era, old icons.
Isographers from all over Rus' are coming to help Yaroslavl residents. The wonderful master Semyon Spiridonov came from distant Kholmogory. The peculiar style of this master fell in love with the residents of Yaroslavl and he was entrusted with painting the most important temple and “local” images. 12 icons of this isograph have survived, many of which are signed and dated. The earliest – “Basily the Great in the Life” – dates back to 1674.
An amazing source for studying the history of the 17th century. A world of unknown cities appears before the viewer, but the silhouettes of the temples are recognizable. Palaces, churches, groves, scenes from the lives of saints. The occupations of people correspond as much to the descriptions in the Life as they do to the scenes from the life of Yaroslavl residents in the 17th century.
The master fell in love, and fame was soon replaced by fame. And what was supposed to happen happened: the provincial isographer was “transferred to work” in the capital. At the head of an artel of Yaroslavl craftsmen, he is involved in “sovereign work” in the Armory Order.
Instead of intrigue and opposition, he encounters assistance and support from the famous Simon Ushakov. However, for unknown reasons, after some time Spiridonov returns to Yaroslavl. And, according to art historians, Spiridonov wrote his best work here, in 1678, and it became one of the most “ornate” works of icon painting of the 17th century. in Rus' in general.
In this composition he again showed his amazing ability convey the originality of Russian architecture. Moreover, Spiridonov’s fabulous buildings, despite all their conventionality and fantastic nature, abound in elements of Russian architecture of the late 17th century!
And what’s surprising is that Spiridonov not only writes in his stamps scenes of the work of artisans, farmers, builders, military scenes, but also episodes in which philosophers appear, having an argument, students learning to read and write.
Repeatedly, he produces compositions that are completely rare for ancient Russian painting, for example, an artist painting icons...
The scenes of ceremonies in the royal palace, solemn services, noisy feasts of princes and boyars are unusually colorful, lush and authentic (let’s not forget that he also worked in the Moscow Kremlin). He carefully studied contemporary ships, the complex designs of ships of both Kholmogory and Yaroslavl shipbuilders, and reliably depicted them in icon marks.
Since the 80s XVII century Yaroslavl isographers are already recognized as among the best in Rus', their artels are increasingly invited to Moscow, Vologda, and the Trinity-Sergius Monastery. Yaroslavl residents are increasingly writing at the request of the Solvychegodsk merchants the Stroganovs.
All or almost all art historians, having come into contact with the original work of Yaroslavl isographers, noted the amazing combination in the works of these masters of fidelity to the traditions of Ancient Rus', artistic innovation and historical authenticity, which makes them today the most important sources for a historian fascinated by this strange era - the 17th century ., counting from Troubles, peace and prosperity...
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It is believed that the hand of the icon painter is moved by God. We will tell you about seven masters whose work has elevated Russian icon painting to the category of the greatest achievements of both national and world culture.
Theophanes the Greek (about 1340 - about 1410)
In miniature: Don Icon Mother of God brushes by Theophanes the Greek. One of the greatest icon painters of his time, Theophanes the Greek was born in Byzantium in 1340 and over the course of many years honed his unique expressive style, painting the temples of Constantinople, Chalcedon, Genoese Galata and Kafa. However, not a single one of the frescoes from that period has survived to this day, and the master’s worldwide fame lies in the paintings made in Rus'.
He arrived in Novgorod (in 1370) as an already accomplished icon painter. Theophan's first work in Novgorod was the painting of the Church of the Transfiguration on Ilyin Street - the only surviving monumental work of Theophan the Greek. Time has spared the frescoes with the famous chest-length image of the Savior Pantocrator with the Gospel, with the figures of Adam, Abel, Noah, Seth and Melchizedek, as well as images of the prophets Elijah and John.
Twelve years later, Feofan the Greek moved to Moscow, where he supervised the work of masters in painting the temples of the Moscow Kremlin. Not everyone knows: the original frescoes of Theophanes the Greek and his students have not survived, but individual fragments of their composition were reproduced again and again on the walls of the Kremlin cathedrals. The fact that the Annunciation Cathedral of the Moscow Kremlin, together with Theophan the Greek, was also painted by Elder Prokhor of Gorodets and Andrei Rublev deserves special mention.
In addition to icon painting, Theophanes the Greek created miniatures for books and designed the Gospels - for example, the great Byzantine master wrote the ornamental decorations of the famous Gospel of the Moscow boyar Fyodor Koshka.
Interesting fact: Theophanes the Greek is credited with the authorship of icons from the iconostasis of the Annunciation Cathedral in the Moscow Kremlin. This is the first iconostasis in Russia with figures of saints depicted in full height. Also, the Don Icon of the Mother of God and the Icon of the Transfiguration of Jesus Christ on the Mountain, stored in the Tretyakov Gallery, belong to the brush of the Greek e Favor.
Andrei Rublev (about 1360 - 1428)
In miniature: Icon “Trinity” by Andrei Rublev.
Andrei Rublev can be called the most famous and - if such a definition is possible in a conversation about a canonized monk-artist - popular Russian icon painter, whose work for hundreds of years has been a symbol of the true greatness of Russian art and absolute devotion to his chosen path in life.To this day, neither Rublev’s place of birth, nor even the name given to him at birth is known - he was named Andrei already when he was tonsured a monk - however, the paucity of factual information about the master, in a certain sense, even adds expressiveness and brightness to his image.
The earliest known work by Rublev is considered to be the painting of the Annunciation Cathedral of the Moscow Kremlin in 1405, jointly with Theophanes the Greek and Prokhor from Gorodets. After completing this work, Rublev painted the Assumption Cathedral in Zvenigorod, and later, together with Daniil Cherny, the Assumption Cathedral in Vladimir.
Rublev's unsurpassed masterpiece is traditionally considered the icon of the Holy Trinity, painted in the first quarter of the 15th century - one of the most multifaceted icons ever created by Russian icon painters, which is based on the plot of the appearance of God to the righteous Abraham in the form of three young angels.
Interesting fact: narrating the painting of the Annunciation Cathedral of the Moscow Kremlin, the Trinity Chronicle mentions the name of the “monk Rublev” as the last in the series, Theophanes the Greek-Prokhor from Gorodets-Rublev, which, according to the chronicle tradition, means that he was the youngest in the artel. At the same time, the very fact of working together with Feofan the Greek makes it clear that by that time Rublev was already an accomplished master.
Daniil the Black (about 1350 - 1428)
In miniature: Fresco “Abraham’s Bosom” by Daniil Cherny.Many books and articles about Russian icon painting also often remember the monk Daniel only in the context of his collaboration with the author of the great “Trinity”, however, in fact, his services to Russian culture are by no means exhausted by this.
Daniil Cherny was not only Rublev’s senior comrade and mentor (according to the famous “Spiritual Letter” of Joseph Volotsky), but also an absolutely self-sufficient and experienced artist, distinguished from many of his contemporaries not only by his truly unique gift as a painter, but also by his ability to work with composition, color and the nature of the drawing.
Among the original works of Daniil Cherny there are both frescoes and icons, the most famous of which are “Abraham’s Bosom” and “John the Baptist” (Assumption Cathedral of Vladimir), as well as “Our Lady” and “Apostle Paul” (Trinity-Sergius Lavra)
Interesting fact: The joint works of Daniil Cherny with Andrei Rublev presented historians with the difficult problem of separating their works, an interesting solution to which was proposed by the art critic Igor Grabar. Icons and frescoes by Daniil Cherny must be recognized as those whose features show signs of the previous school of writing of the 14th century. The impeccable logic of this decision is as follows: in comparison with Rublev, Daniil Cherny can be considered an artist of the older generation, therefore, all the signs of “old” icon painting are the work of his hands.
Dionysius (about 1440 - 1502)
On the thumbnail: Icon “Descent into Hell” by Dionysius. The name of Dionysius personifies, perhaps, the best and greatest achievements of Moscow icon painting of the 15th-16th centuries. Historians and art historians consider him a kind of successor to the traditions of Andrei Rublev, who takes his place of honor among the greatest Russian icon painters.
The earliest known work of Dionysius is the miraculously preserved painting of the Church of the Nativity of the Mother of God in the Pafnutievo-Borovsky Monastery near Kaluga (15th century). More than a hundred years later, in 1586, the old cathedral was dismantled to build a new one. Stone blocks with frescoes of Dionysius and Mitrofan were used in its foundation, where they were successfully discovered many years later. Today these frescoes are kept in the Moscow Museum of Ancient Russian Culture and Art and the Borovsk branch of the Kaluga Museum of Local Lore.
In 1479, Dionysius painted an iconostasis for the wooden Church of the Assumption in the Joseph-Volokolamsk Monastery, and 3 years later - the image of the Mother of God Hodegetria on a charred Greek icon from the Ascension Monastery destroyed in 1929 in the Moscow Kremlin.
The work of Dionysius in northern Russia deserves special mention: around 1481 he painted icons for the Spaso-Kamenny and Pavlovo-Obnorsky monasteries near Vologda, and in 1502, together with his sons Vladimir and Theodosius, he painted frescoes for the Ferapontov Monastery on Beloozero.
Interesting fact: Dionysius’ writing style can be judged by the superbly preserved frescoes of that same Ferapontov monastery on Beloozero. These frescoes have never been rewritten or undergone major restoration, thus remaining as close as possible to their original appearance and color scheme .
Gury Nikitin (1620 - 1691)
On the thumbnail: Icon “Martyrs Cyric and Julitta” by Gury Nikitin) Frescoes Kostroma icon painter Guriy Nikitin is not only an example of the splendor and symbolism of Russian icon painting, but a truly unique combination of decorativeism and monumentality within one work for his time. The fact is that it was precisely during the period of Nikitin’s creative maturity - and this is approximately the 60s of the 17th century - that the rise of Russian monumental and decorative art occurred - and these trends do not bypass the young master.
In 1666, a difficult year for the Russian church, Guriy Nikitin took part in the renewed work on painting the Archangel Cathedral of the Moscow Kremlin - Nikitin’s brushes included images of martyred soldiers on pillars, as well as individual parts of the monumental composition “The Last Judgment”. After 2 years, Nikitin painted 4 icons for the Moscow Church of St. Gregory of Neocessary.
However, perhaps the main “professional achievement” of Gury Nikitin was the mural painting in the Yaroslavl Church of Elijah the Prophet and the Kostroma Ipatiev Monastery. During these years, he was already leading a group of icon painters, performing the most difficult part of the work - he single-handedly drew the contours of all the frescoes, which were then completed by the students.
Interesting fact: if you believe the Watch Book of 1664, it turns out that Nikitin is not the surname, but the patronymic of the famous icon painter. Full name masters - Gury Nikitin (Ni Kitovich) Kineshemtsev.
Simon Ushakov (1626 - 1686)
In miniature: Icon of the Virgin Mary “Tenderness” by Simon Ushakov.
Favorite of Tsar Alexei Mikhailovich, the favorite and only icon painter of the top officials of the state, an unsurpassed master of drawing and color, Simon Ushakov, in a certain sense, marked with his work the beginning of the process of “secularization” of church art. Fulfilling orders from the Tsar and Patriarch, the Tsar’s children, boyars and other important persons, Ushakov painted more than 50 icons, marking the beginning of a new, “Ushakov” period of Russian icon painting.Many researchers agree that Ushakov had no equal in painting images - and it is precisely by the way he painted them that it is easiest to track what changes - which logically coincided with the church reform of Patriarch Nikon - occurred in Russian icon painting. In Ushakov, the face of the Savior, traditional for Russian icon painting, acquired “new, hitherto unknown features. The Novgorod Savior was a formidable God, the new Savior is infinitely more affectionate: he is a God-man. This humanization of the Divine, his approach to us, brought warmth to the stern appearance of the ancient Christ, but at the same time deprived him of his monumentality.”
Another important historical feature of Ushakov’s work is the fact that, unlike the icon painters of the past, Ushakov signs his icons. At first glance, an insignificant detail essentially signifies a serious change in the public consciousness of that time - if previously it was believed that the Lord himself leads the hand of the icon painter - and at least for this reason the master does not have the moral right to sign his work - now the situation is changing to the completely opposite and even religious art takes on secular features
s. Like Simon Ushakov, Zubov worked at the royal court and was one of the five “compensated icon painters.” Having worked in the capital for more than 40 years, Fyodor Zubov painted a huge number of icons, among which were images of the Savior Not Made by Hands, John the Baptist, Andrew the First-Called, the Prophet Elijah, St. Nicholas and many other saints.Interesting fact: Fyodor Zubov became a “paid icon painter” of the royal court, that is, a master who received a monthly salary and through this a certain confidence in the future, according to the principle “if there was no happiness, but misfortune would help.” The fact is that in the early 1660s, Zubov’s family was left with virtually no means of subsistence, and the icon painter was forced to write a petition to the tsar.
Dmitry Merkulov
