What does a miraculous image mean? Savior not made by hands

Origin

There are two groups of legends about the origin of the relic, which served as the source of iconography, each of which reports its miraculous origin.

Reconstruction of the Constantinople Icon of the Savior Not Made by Hands

Eastern version of the legend

The eastern version of the legend about the Image Not Made by Hands can be traced in Syrian sources from the 4th century. The miraculous image of Christ was captured for the king of Edessa (Mesopotamia, modern city of Sanliurfa, Turkey) Abgar V Ukkama after the artist he sent failed to depict Christ: Christ washed his face, wiped it with a cloth (ubrus), on which an imprint remained, and handed it to the artist. Thus, according to legend, the Mandylion became the first icon in history.

A linen cloth with the image of Christ was kept in Edessa for a long time as the most important treasure of the city. During the period of iconoclasm, John of Damascus referred to the Image Not Made by Hands, and in 787 the Seventh Ecumenical Council, citing it as the most important evidence in favor of icon veneration. On August 29, 944, the image was bought from Edessa by Emperor Constantine VII Porphyrogenitus and solemnly transferred to Constantinople, this day became a church calendar as a general church holiday. The relic was stolen from Constantinople during the sack of the city by participants in the IV Crusade in 1204, after which it was lost (according to legend, the ship carrying the icon was wrecked).

The closest to the original image are considered to be the Mandylion from the Temple of San Silvestro in Capite, now located in the Santa Matilda Chapel of the Vatican, and the Mandylion, kept in the Church of St. Bartholomew in Genoa since 1384. Both icons are painted on canvas, mounted on wooden bases, have the same format (approximately 29x40 cm) and are covered with a flat silver frame, cut along the contours of the head, beard and hair. In addition, the wings of a triptych with the now lost centerpiece from the monastery of St. can testify to the appearance of the original relic. Catherine in Sinai. According to the most daring hypotheses, the “original” Savior Not Made by Hands, sent to Abgar, served as the mediator.

Western version of the legend

Holy Face of Manopello

The Western version of the legend arose according to various sources from the 13th to the 15th centuries, most likely among Franciscan monks. According to it, the pious Jewish woman Veronica, who accompanied Christ on His way of the cross to Calvary, gave Him a linen handkerchief so that Christ could wipe the blood and sweat from his face. The face of Jesus was imprinted on the handkerchief. The relic called " Veronica's board"Kept in the Cathedral of St. Peter's in Rome. Presumably, the name Veronica, when mentioning the Image Not Made by Hands, arose as a distortion of Lat. vera icon (true image). In Western iconography, a distinctive feature of the images of the “Plate of Veronica” is the crown of thorns on the head of the Savior.

At one time, the now canceled constellation was named in honor of the “Plate of Veronica”. On the scarf, when held up to the light, you can see the image of the face of Jesus Christ. Attempts to examine the image revealed that the image was not made with paint or any known organic materials. IN given time scientists intend to continue research.

At least two “Veronica’s Fees” are known: 1. in St. Peter's Basilica in the Vatican and 2. “The Face from Manopello”, which is also called “Veil of Veronica”, but there is no crown of thorns on it, the drawing is positive, the proportions of the parts of the face are disturbed (the lower eyelid of the left eye is very different from the right, etc. ), which allows us to conclude that this is a list from the “Savior Not Made by Hands” sent to Abgar, and not “Veronica’s Plath”.

Version of the connection between the image and the Shroud of Turin

There are theories connecting the Image of the Savior Not Made by Hands with another famous common Christian relic - the Shroud of Turin. The Shroud is a life-size image of Christ on canvas. The plate depicting the face of the Savior, exhibited in Edessa and Constantinople, according to theories, could be a shroud folded several times, thus the original icon could not have been lost during the Crusades, but taken to Europe and found in Turin. In addition, one of the excerpts of the Image Not Made by Hands is “ Savior Not Made by Hands - Don’t cry for Me, Mother» ( Christ in the tomb) researchers elevate the shroud to a historical prototype.

Icon of the Savior Not Made by Hands in Russian Letter

First samples. The beginning of the Russian tradition

Icons of the Savior Not Made by Hands come to Rus', according to some sources, already in the 9th century. The oldest surviving icon of this iconographic type is the Novgorod Savior Not Made by Hands (second half of the 12th century). The following iconographic types of the Miraculous Image can be distinguished: “ Spas on the ubrus" or simply " Ubrus", where the face of Christ is placed on the image of a board (ubrus) of a light shade and " Spas on the Chrepii" or simply " Chrepie"(in the meaning of "tile", "brick"), " Ceramide" According to legend, the image of Christ appeared on the tiles or bricks that hid a niche with the icon of the Savior Not Made by Hands. Occasionally, on this type of icon, the background is an image of brick or tile masonry, but more often the background is simply given in a darker color (compared to ubrus).

Of water

The most ancient images were made on a clean background, without any hint of material or tiles. The image of a smooth rectangular or slightly curved veneer as a background is already found on the fresco of the Church of the Savior on Nereditsa (Novgorod) from the end of the 12th century. Ubrus with folds began to spread from the second half of the 13th century, primarily in Byzantine and South Slavic icon painting, on Russian icons - from the 14th century. Since the 15th century, a draped cloth can be held by the upper ends by two angels. In addition, various versions of the icon “ Savior Not Made by Hands with deeds", when the image of Christ in the middle of the icon is surrounded by stamps with the history of the image. From the end of the 17th century. in Russian icon painting, under the influence of Catholic painting, images of Christ with a crown of thorns appear on the board, that is, in iconography “ Veronica Plat" Images of the Savior with a wedge-shaped beard (converging to one or two narrow ends) are also known in Byzantine sources, however, only on Russian soil they took shape into a separate iconographic type and received the name “ Spas Mokraya Brada».

In the collection of the State Museum of Art of Georgia there is an encaustic icon from the 7th century called “ Anchiskhatsky Savior", representing Christ from the chest and considered the "original" Edessa icon.

The Christian tradition considers the Miracle Image of Christ as one of the proofs of the truth of the incarnation of the second person of the Trinity in human form, and in a narrower sense - as the most important evidence in favor of icon veneration.

According to tradition, the icon of the “Savior Not Made by Hands” is the first independent image that is entrusted to be painted by an icon painter who has completed an apprenticeship.

Various images of the Savior

Vyatsky Savior Not Made by Hands

Until 1917, the copy of the miraculous Vyatka icon of the Savior Not Made by Hands hung on the inside above the Spassky Gate of the Moscow Kremlin. The icon itself was delivered from Khlynov (Vyatka) and left in the Moscow Novospassky Monastery in 1647. The exact list was sent to Khlynov, and the second one was installed above the gate of the Frolov Tower. In honor of the image of the Savior and the fresco of the Savior of Smolensk on the outside, the gate through which the icon was delivered and the tower itself were named Spassky.

A distinctive feature of the Vyatka Savior Not Made by Hands is the image of angels standing on the sides, whose figures are not fully depicted. Angels do not stand on clouds, but seem to float in the air. One can also highlight the unique features of the face of Christ. On a vertically hanging panel of ubrus with wavy folds, a slightly elongated face with a high forehead is depicted frontally. It is inscribed in the plane of the icon board so that the center of the composition becomes large eyes, endowed with great expressiveness. Christ's gaze is directed directly at the viewer, his eyebrows raised high. Lush hair falls in long strands flying to the side, three on the left and on the right. The short beard is divided into two parts. Strands of hair and beard extend beyond the circumference of the halo. The eyes are painted lightly and transparently, their gaze has the attractiveness of a real look. The face of Christ expresses calmness, mercy and meekness.

After 1917, the original icon in the Novospassky Monastery and the list above the Spassky Gate were lost. Nowadays it is kept in the monastery list XIX century, which occupies the place of the original in the iconostasis of the Transfiguration Cathedral. The list left in Vyatka was kept until 1929, after which it was also lost.

In June 2010, with the help of researcher Vyatsky art museum Galina Alekseevna Mokhova established exactly what the miraculous Vyatka icon looked like, after which a new accurate copy of the Savior Not Made by Hands was written and at the end of August sent to Kirov (Vyatka) for installation in the Spassky Cathedral.

Kharkov Spas Not Made by Hands

Main article: Spas Renewed

Historical facts

All-Russian Emperor Alexander III had a copy of the ancient miraculous Vologda Icon of the Savior Not Made by Hands with him during the train crash near Borki station. Almost immediately after miraculous salvation By decree of the Ruling Synod, a special prayer service was compiled and published in honor of miraculous image Savior Not Made by Hands.

Notes

Links

Hegumen Innocent (Erokhin). The miraculous image of the Savior as the basis of icon painting and icon veneration on the website of the Vladivostok diocese
Sharon Gerstel. Miraculous Mandylion. The image of the Savior Not Made by Hands in Byzantine iconographic programs
Irina Shalina. Icon “Christ in the tomb” and the image miraculously on the Shroud of Constantinople
Military relics: Banners with the Image of the Savior Not Made by Hands

The most ancient Russian icons
Greek (Korsun)	Our Lady of Vladimir Our Lady of Smolensk 1 Savior Golden Robe Peter and Paul Saint George

The Savior Not Made by Hands, the miraculous Mandiliomn is a special type of image of Christ, representing His face on the ubrus (plate).

There are two types of legends about the origin of this shrine, which serves as a source of iconography, each of which reports its miraculous origin.

The tradition preserved in the Eastern Church about the Image Not Made by Hands is older, mentioned from the first half of the 4th century. The story is connected with the king of Edessa Abgar, who was suffering from illness, and his receipt of a payment (a piece of cloth, a piece of cloth, a towel), on which was imprinted the imprint of the face of Christ, who washed his face and wiped it with this cloth. Abgar sent the painter Ananias to Palestine to paint the face of Christ. Abgar wanted to be consoled in his illness by at least the fact that he could see the face of Christ, in whom he believed, although he had not even seen Him in person. But according to the Providence of God, the works of Ananias, when he reached Jerusalem and found Christ, were not crowned with success, and he could not write anything, looking at the Savior. Christ Himself called the artist to Himself, read Abgar’s message, washed His face with water and wiped it with a piece of cloth, on which the likeness of His face immediately appeared. Since the Savior’s beard was wet after washing, it was imprinted on the board with one large wedge-shaped strand, and therefore this image is sometimes called “Wet Beard of the Savior.” http://lib.eparhia-saratov.ru/books/05d/dimitrii_rost.. Demetrius, Metropolitan of Rostov Lives of the Saints Memory August 16

Thus, Saint Mandylion (from the Greek “ubrus”, “mantle”, “woolen cloak”) became the first icon in history.

Eusebius of Caesarea describes this in his work “Ecclesiastical History.” http://www.vehi.net/istoriya/cerkov/pamfil/cerkovist/.. Eusebius of Caesarea Ecclesiastical History book 1.13. Eusebius of Caesarea, as confirmation, cites two documents from the archives of Edessa, translated by him from Syriac: the request of Abgar and the answer of the Savior. http://www.odinblago.ru/istoriya_drevney_cerkvi/evsev.. Eusebius of Caesarea. Church history BOOK TWO Ephraim the Syrian also talks about the letters of Abgar and Christ.

Also, the correspondence between the king and Christ and the story about the bringing of the image of Christ’s face by Abgar’s ambassadors are included in the book “History of Armenia” by the Armenian historian of the 5th century Moses of Khorensky. “This message was brought by Anan, the messenger of Abgar (Abgar), along with the image of the face of the Savior, which is kept in the city of Edessa to this day.” http://www.vehi.net/istoriya/armenia/khorenaci/02.html MOBCEC XОPEHACI “HISTORY” ARMENIA" BOOK TWO, 30 Sending the princes by Abgar to Marin, on which occasion they saw our Savior Christ, from where Abgar's conversion began.

Abgar was also visited by Thaddeus. After the Crucifixion, Resurrection and Ascension of Christ, Saint Thaddeus, one of the seventy Apostles, came to Edessa. Having told Abgar in detail about Christ, Thaddeus baptized him, after which Abgar was finally delivered from his illness. Together with the king, his entire family and household were also baptized, and later all the inhabitants of Edessa were baptized. The pagan idol installed on the gates of the city was destroyed. At this place, Avgar made a recess in the wall, which made it possible to protect it from precipitation; placed a board with the image of Christ on a board made of wood that does not rot and is resistant to external influences, decorated the resulting icon with gold, precious stones and installed it in this recess in the city wall above the entrance to the city. In addition, he also made the inscription: “- Christ God! Whoever trusts in You will not be ashamed.” . Procopius of Caesarea tells about this event, telling about the siege of Edessa by the Persian king Khosrow in his book “War with the Persians. War with the Vandals. Secret history": according to him, Avgar suffered from severe gout in old age. http://www.alanica.ru/library/Prokop/text.htm "War with the Persians. War against vandals. Secret History" Procopius of Caesarea War with the Persians. Book 2, XII. There is also apocryphal evidence unknown authors about this event: The Teachings of Addai the Apostle (V-VI centuries) and later Old Russian version of the legend of Avgar, a manuscript of the 13th century. http://khazarzar.skeptik.net/books/mesher01.htm#g02 The Teachings of Addai the Apostle, http ://www.gumer.info/bogoslov_Buks/apokrif/Avgar_Rus.. Meshcherskaya E. Apocryphal Acts of the Apostles CONTENTS Old Russian version of the legend of Avgar based on a 13th-century manuscript.

In addition, the evidence of Egeria “Pilgrimage to holy places” has also been preserved http://www.krotov.info/acts/04/3/palomn.htm Egeria (Eteria) “Pilgrimage to holy places”.

A linen cloth with the image of the face of Christ was kept in Edessa for a long time as the main relic of the city. For the first time, the history of the Icon Not Made by Hands was outlined by Emperor Constantine VII Porphyrogenitus. According to his story, Abgar decorated the image of the Savior not made by hands and installed it in a stone niche above the entrance to the city, so that everyone who entered could honor the shrine with worship.

Meanwhile, after some time, one of Abgar’s descendants returned to paganism, then, in order to protect the pagans, he was laid in a niche with bricks (tiles) and he was hidden for a long time until the invasion of the Persian army of Khosrow. According to the version given by Emperor Constantine, at the moment of laying the icon with a brick, a burning lamp was installed in front of it. During the war with the Persians, one night Eulalia, the bishop of this city, was given knowledge: he saw a certain woman who told him: “Above the city gates is hidden the miraculous image of the Savior Christ. By taking it, you will quickly deliver this city and its people from troubles,” and pointed to this place. Early in the morning the bishop dismantled the brickwork and discovered the image of the Savior Not Made by Hands. According to the testimony of Emperor Constantine, the lamp continued to burn without going out or damaging the icon; in addition, the exact image of the Savior, imprinted from the icon, remained on the bricks. Thus, a second image was obtained, an exact copy of the first, called “The Savior Not Made by Hands on a Skull” or Ceramide. http://old.stsl.ru/manuscripts/medium.php?col=1&m.. 681. (410.) Menaion four months August, half oral, written 1627 by German Tulupov. The Word of Constantine Porphyrogenite, about Christ the King of the Greeks, the Tale of various stories collected about the message to Abgar of the miraculous and divine Image of Christ our God, and how he was brought from Edes to the all-prosperous and reigning city of Constantine. (translation of St. Maxim the Greek), http://www.gumer.info/bogoslov_Buks/apokrif/Addai.php Meshcherskaya E. Apocryphal Acts of the Apostles Teachings of Addai the Apostle. Sheet 558.

During the period of iconoclasm, defending icons from the attacks of iconoclasts, John of Damascus referred to the Image Not Made by Hands. http://www.orthlib.ru/John_of_Damascus/vera4_16.html Exact summary Orthodox faith. Book 4 Chapter XVI About icons. Gregory II, Pope of Rome, when he learned about the beginning of iconoclasm in Constantinople in 730, he wrote two letters to Emperor Leo the Isaurian, in which he urged him to stop and stop the persecution of icons. In the first letter, he writes the following about the Image Not Made by Hands: “When Christ was in Jerusalem, Abgar, the then prince and ruler of Edessa, having heard about the miracles of Christ, wrote a message to Him, and Christ sent him a handwritten answer and a holy, glorious image of His Face. Send for look at this Image Not Made by Hands. The peoples of the East flock there in great numbers and offer prayers." In 787, the Seventh Ecumenical Council used the fact of the existence of the Image Not Made by Hands as the most important evidence in favor of icon veneration.

On August 29, 944, Emperor Constantine VII Porphyrogenitus received the image and solemnly transferred it to Constantinople. This date was included in the church calendar as a general church holiday. Later, the relic was stolen from Constantinople during the sack of the city by participants in the IV Crusade in 1204, after which it was lost (it is assumed that the ship transporting the icon to Europe was wrecked and sank along with all the cargo and crew, including the image of the Savior Not Made by Hands ).

Western European medieval legend offers another version of the origin of the image of the Savior Not Made by Hands. This version of the legend was first mentioned approximately between the 13th and 15th centuries, and probably arose among the Franciscan monks. According to him, the Jewish Veronica, who accompanied Christ among others on His way to Golgotha, wiped the sweat and blood from His face with a piece of linen cloth, on which the imprint of His face remained. The Western version of the legend arose according to various sources from the 13th to the 15th centuries, most likely among Franciscan monks. According to it, the pious Jewish Veronica, who accompanied Christ on His way of the cross to Calvary, gave Him a linen handkerchief so that Christ could wipe the blood and sweat from his face. The face of Jesus was imprinted on the fabric. The shrine, the so-called "Veronica's plaque" is kept in Rome, in St. Peter's Basilica. It is assumed that the name of this woman arose later in the legend, as a corruption of the Latin phrase veraicon ("true image"). The main distinguishing feature of the image of “Veronica’s Cloth” from “The Savior Not Made by Hands” is the crown of thorns on the Savior’s head, as it was imprinted on the towel given by Veronica while Jesus Christ was carrying the cross. Hence arises characteristic image in Western European painting, Christ is predominantly with a crown of thorns on his head, which, it should be noted, was not in the form of a diadem, as is usually depicted, but was a kind of helmet that completely covered the head and tormented the skin with thorns, according to assumptions, tearing soft tissue to the bones.

On the board, when held up to light, you can see the image of the face of Jesus Christ. Attempts to examine the image revealed that it was not created using paints or any known organic materials.

At least two so-called “Veronica’s Fees” are known:

1. in St. Peter's Basilica in the Vatican;

2. “The Face from Manopello”, also called “Veil of Veronica”, but there is no crown of thorns on it, upon closer examination it becomes obvious that the drawing is man-made, in the positive, the proportions of the parts of the face are violated. From this, researchers conclude that this is a list from the “Savior Not Made by Hands” sent to Avgar. http://kyanina.livejournal.com/4258.html Way of the Cross - Plath of Veronica, Sudarium from Oviedo, Shroud of Turin.

There are theories that relate the image of the Savior Not Made by Hands to another common Christian shrine - the Shroud of Turin. It is a full-length image of Christ, miraculously captured on the linen canvas with which His body was wrapped after the crucifixion and removal from the cross. It is assumed that the plate exhibited in Edessa with the image of the Image Not Made by Hands could be the Shroud of Turin folded several times, therefore, the Savior on Ubrus was not lost, but was nevertheless taken to Europe and preserved. In addition, one of the excerpts of the Image Not Made by Hands - “Savior Not Made by Hands - Do not weep for Me, Mother” (Christ in the tomb) is attributed by researchers to the shroud as a historical prototype.

It is necessary to say about two copies of the image of the Savior Not Made by Hands, revered as two great shrines in Italy. These are two icons close in size, approximately 40x29 cm, covered with a flat silver frame that reproduces the outline of a face. One of them is located in Rome, the other in Genoa in the Armenian Church of St. Bartholomew and was presented in 1384 by the Byzantine Emperor John V to the Genoese captain Leonardo Montaldo. Pripachkin I.A. Iconography of the Lord Jesus Christ. - M.: Pilgrim, 2001. - 223 pp. Both images have common iconographic features: a pointed beard and flowing hair, one strand on each side of the face. According to some researchers, for example H. Belting, one of these images could be the middle of the Sinai triptych of the 10th century, from which only the side parts have reached us. The height dimensions of both of the above-mentioned images and the side wings of the triptych are almost identical. Belting H. Image and cult: The history of the image before the era of art. - M.: Progress-Tradition, 2002. - 752 p.

From the second half of the 15th century. images of Veronica's Fee and the Roman icon of the Savior Not Made by Hands are combined. This is confirmed by the Utrecht miniature of the second half of the 15th century, as well as the altar image for the Veronica Chapel in the Cathedral of St. Peter's in Rome, painted by Hugo da Carpioc. 1525, where St. Veronica holds the Roman icon of the Savior Not Made by Hands. According to N. Kondakov, the Genoese icon of the Savior Not Made by Hands formed the basis of the iconographic type of Saint Mandylion, known in Russia as the “Savior Mokra Brada” Kondakov N. Facial iconographic original: Volume 1 Iconography of the Lord God and our Savior Jesus Christ. - St. Petersburg: Partnership of R. Golike and A. Vilborg, 1905. - 97 pp. German researchers K. Onash and A. Shniper believe that the name “wet ford” comes from Novgorod. Onesh K. Shniper A. Icons: a miracle spiritual transformation. - M.: Interbook, 2001. - 301 p. The legend about Avgar is more consistent with the image of the Savior with wet hair, as noted above. It should be noted that images of the Savior with a wedge-shaped beard and hair collected in two strands around his face spread through Novgorod in Russia and through the western regions of Ukraine, located on the border of the Catholic and Orthodox worlds.

The traditions of depicting the Savior Not Made by Hands in Ukraine date back to the 11th and 12th centuries. The oldest monument is the icon of the Savior Not Made by Hands from the 12th century. from the State Tretyakov Gallery, Lazarev V. N. Novgorod icon painting. - M.: Art, 1981. - pp. 10-11. defined by V.N. Lazarev as Novgorod, since the icon was taken by Ivan the Terrible from Novgorod, in addition, also due to the similarity of the angels depicted on the reverse side of the icon with the paintings from Nereditsa. However, V.N. Lazarev himself drew attention to the stylistic difference between the front and back sides of the icon and admitted that the sides were written at different times. Ibid.. Modern science believes that this icon comes from Kiev. Ovsiychuk V. Krvavych D. Opovіd about the icon. - L.: Institute of Popular Studies of the National Academy of Sciences of Ukraine, 2000. - 396 p. In this icon, Christ's hair is divided into four strands, his beard hangs down; the icon painter does not depict Plath, following the legend according to which Abgar ordered Plat to be pulled onto a board. In this state, the lining could not form folds. Sterligova I. A. Precious attire of ancient Russian icons of the 11th-14th centuries: Origin, symbolism, artistic image. - M.: Progress-Tradition, 2000. - 264 p..

The tradition of not depicting the folds of the ubrus continues until the second half of the 13th century. Pripachkin I.A. Iconography of the Lord Jesus Christ. - M.: Pilgrim, 2001. - 223 p.

Since the 15th century, images of the Savior Not Made by Hands have appeared on a canvas covered with folds, held by Angels or Archangels. Pripachkin I.A. Iconography of the Lord Jesus Christ. - M.: Pilgrim, 2001. - 15 p.

The depicted Angels express the idea of the conciliar presence of the angelic world and people to the Image Not Made by Hands, the Lord Himself. The reason for the appearance of such a composition was the festive service to the Image of the Savior Not Made by Hands (August 1629), where there are the words: “By His coming the Angel gathered together with men a multitude...” (verse of the 4th tone at Great Vespers), “The heavenly ones rejoice with the earthly ones... I will appear today to the Divine image" (at Matins, another canon, tone 6, song 7). “Rejoice, most honorable image, worshiped by the Angels... desired by man...” (at Matins, at the praises of the stichera on 4, tone 5).

This version was widely spread in the 16th-17th centuries, which is confirmed by the icon under study. However, if the oldest surviving monument of Russian iconography is the Pskov icon of the Savior Not Made by Hands, in its main features the Face follows the models of previous eras, then most Ukrainian icons of the Savior Not Made by Hands come from Western combined images created from the combination of the icons of the Image Not Made by Hands and the Plath of Veronica. It is noteworthy that in the XV-XVI centuries. The traditional iconographic type of Veronica's Plaid, with the face of Christ in a crown of thorns, has not yet taken final shape, and in Western European works there are images of the Savior with and without a crown.

Russian images of the “Savior Mokra Ford” mostly depict four strands, sometimes practically combining them into two.

Images of Plata Veronica wearing a crown of thorns have appeared in Orthodox iconography since the end of the 17th century. A classic example in the Ukrainian tradition is the icon created by Job Kondzelevich in 1722. The appearance of the crown of thorns on the head of Christ in this icon appears to be a logical continuation of those that existed in Ukrainian iconography over the previous centuries in Ukrainian iconography. In the icon of I. Kondzelevich we see the same two strands of hair and a pointed beard, as on the Savior Not Made by Hands, to this is added the crown of thorns, which by that time had become a mandatory iconographic attribute of Veronica’s Cloth.

The combination of Saint Ubrus and the Eucharist, unusual for eastern iconography, also has its basis. The tradition of placing additional images around St. Mandylion, explaining the meaning of veneration of this icon, originates in the post-iconoclast period, when there was an urgent need for such images. The doors of a triptych from the 10th century that have survived to this day. from the Sinai Monastery give grounds to assert that iconography was established by God Himself. The icon painter visually presents the legend about St. Ubrus, introducing into the icon the apostolic testimony in the person of the holy Apostle Thaddeus. There are few examples of such juxtaposition of plots. The most famous are the Greek miniature from Menology No. 9 from the Moscow Historical Museum and high relief images on the frame of the above-mentioned Genoese icon. From the 16th century The excerpt “The Savior Not Made by Hands with His Deeds” is being distributed, known in a large number of lists from the second half XVII V. Dating to the 16th century, these include an icon from the Slovak National Gallery in Bratislava. Tkac S. IkonySlowackieod XVI to XIX wieku. - Warszawa, Bratyslawa: Arkady, Tatran, 1984. - S. 27 On the icons “The Savior Not Made by Hands with His Deeds” the history of the shrine is placed in the hallmarks. Pripachkin I.A. Iconography of the Lord Jesus Christ. - M.: Pilgrim, 2001. - 21-23 p.. There is an Old Believer icon of the second half of the 19th century, where St. Ubrus is superimposed on a four-part image. In the first, the Mother of God is written in the iconographic type “The Sign”, with two Cherubim, in the second - “Savior Good Silence”, in the third - the Beheading of John the Baptist, in the fourth - St. Basil the Great, Gregory the Theologian and John Chrysostom. This can be explained as follows: The Sign of the Most Holy Theotokos with the Cherubim - the Old Testament expectation of the coming of the Messiah, the Good Silence of the Savior - the Logos before the Incarnation, the Beheading of John the Baptist - the execution of the last prophet who spoke about the coming of the Messiah and the beginning of the New Testament, the New Testament Church, the image of the saints, like universal teachers and creators of the order of liturgy, i.e. God became man. All these four scenes, showing the history of the Incarnation, end with the image of the Savior Not Made by Hands, which is strong evidence of the coming to earth of God in the flesh. All of the listed iconography options reveal the dogma of the Incarnation.

The icon “The Savior Not Made by Hands with the Eucharist” from the collection of the Kharkov Art Museum reveals the Image Not Made by Hands as a Eucharistic symbol. Judging by the size of the icon and the image of the Eucharist, this image once completed the Royal Doors.

The scene of communion with bread is located with right side; in the foreground is the Throne, on it are placed a paten, a knife and a prosphora. Christ gives the Apostles bread. In the scene of communion with bread, located on the right side of the Savior Not Made by Hands, a throne is depicted in the foreground. On the throne there is a paten, a knife and a prosphora. On the right side, Christ, depicted in profile, gives bread to the apostles. In the scene of communion with wine, which is constructed in a similar way, a wine vessel and a chalice are depicted on the throne. Christ holds a chalice in his left hand and blesses with his right. The scenes of the communion of the apostles in the icon from the ХХМ form one whole with the Image of the Savior Not Made by Hands. The German researcher H. Belting, noting the peculiarities of the veneration of Plath in Rome, mentioned that the reality of the Eucharist was combined with the desire to see the real flesh of Christ. Belting H. Image and Cult: The History of the Image before the Age of Art. - M.: Progress-Tradition, 2002.-265 p. It is in this sense that the iconography of this icon should be understood. Russian researcher L. Uspensky also noted, “that Christ in the Holy Gifts is not shown, but given. Christ is shown in the icon.” Uspensky L. Theology of the icon of the Orthodox Church. M.: Publishing house. Western European Exarchate. Moscow Patriarchate, Pilgrim, 2001. - 474 p. Thus, the icon of the Savior Not Made by Hands from the ХХМ, with its iconographic program, shows Christ given in the Eucharist, and for this purpose the icon of the Savior Not Made by Hands was chosen as the main evidence of the real Incarnation of God. Evidence of the reality of the Eucharist, shown on this icon, could be a reaction to the spread of Protestantism in Western Ukrainian lands, which is mentioned by P. Zholtovsky Zholtovsky P. M. Ukrainian painter XVII - XVIII centuries. - K.: Naukova Dumka, 1978. - 327 p.. In Protestantism, the Eucharist is understood as a symbol, as a remembrance of the Gospel Last Supper. This icon is intended to testify to the reality of the main sacrament of the Orthodox Church.

So, let’s summarize the review of iconographic versions of the icon “Savior Not Made by Hands”:

1) “Savior Not Made by Hands” (“Savior of Wet Brad”);

2) “The Savior Not Made by Hands with Angels (Archangels)”;

3) “The Savior Not Made by Hands with the Eucharist”;

4) “The Savior Not Made by Hands with His Deeds.”

So, let us turn again to the Holy Mandylion, transferred from Edessa to Constantinople. Let us trace the history of the development of its iconography and the emergence of new versions in Rus'. First, let's look at what he was like. Descriptions compiled by witnesses of his stay in Constantinople are unclear. Pseudo-Simeon Magister, a Byzantine author, reports that after the arrival of the shrine, Emperor Roman Lecapinus, his sons and Constantine Porphyrogenitus contemplated the image “on the holy cloth of the Son of God,” but the image on the plate was difficult to distinguish. According to some sources, it was possible to make out only that this was a face; according to others, ears were also visible. Only lists from the shrine have survived to this day, but we don’t know what the painting depicted by Christ actually looked like.

In Italy, two lists have been preserved, which got there under different circumstances in different time: one of them is kept in the papal palace in the Vatican and is set in a cast frame with images of angels; dates back to 1208. The exact dating and circumstances of its arrival in Rome are not known; some scientists attribute it to the 6th century. The image is small in size, executed on a piece of primed canvas, painted as if from an actual imprint of the face: only a low forehead, small eyes, a wedge-shaped beard and two small strands of hair are visible; there is no image of folds and a halo; the color scheme is monotonous.

Another list is similar to this image, stored in the monastery of San Bartalomeo degli Armeni in Genoa (the above-mentioned Roman and Genoese Saviors Not Made by Hands.) The images are very similar, the difference lies mainly in the fact that this icon is already made on a board, created apparently on eight centuries later and covered with a frame with chased hallmarks telling the history of the Mandylion; the dimensions of the Roman and Genoese Saviors are almost exactly the same, external characteristics almost the same. It is obvious that both images had the same prototype. The image from San Bartolomeo was sent to Genoa in 1360 as a gift to Leonardo Montaldo by Emperor John V for special merits. Montaldo revered this icon as the original Mandylion and later donated it to the monastery.

At the time the icon was ordered for Leonardo, the original Mandylion no longer existed in Constantinople, but believers kept copies of it. One of them was brought to Rus' in 1354 by Saint Alexy, who received it from the hands of the Patriarch of Constantinople, at the time of his elevation to the Russian see. In Moscow, the saint founded a monastery on the Yauza to store the great shrine. The first rector of the monastery in the name of the Savior Not Made by Hands, where the icon was kept in the main cathedral, became the student of Sergius of Radonezh, Andronik, whose name the monastery itself subsequently acquired.

This cathedral in its architecture resembled Byzantine reliquary temples, and the monastery was perceived as a small copy of Constantinople, as evidenced by local toponomics.

The image was kept in the altar for several centuries, until the order of Tsarina Evdokia Lopukhina in the 17th century to place it in the local row of the iconostasis to gain access to the shrine and free veneration.

The image was kept in the monastery until late XIX century. In 1905, researcher N.P. Kondakov published a reproduction of the icon, which later helped to find the Savior Not Made by Hands, lost in 1917, in 2000. During preparation for the exhibition at the Andrei Rublev Museum, located on the territory of the monastery, “The Savior Not Made by Hands,” the icon was discovered in the storeroom of the Novodevichy Convent museum. The icon was heavily written down, but retained its original features.

It has been suggested that this particular icon is in the most ancient way“The Savior Not Made by Hands”, since the facial features and dimensions of the board coincide with Italian icons.

In Rus', the icon from the Andronikov Monastery was copied, copies were made, which were quickly distributed among believers; These were mainly household icons that were passed down from generation to generation.

In addition to the type of iconography presented on this and Italian icons of the Savior, other types appear, arising under the influence of many processes. The changes generally originated in Byzantium, later spreading to other Orthodox countries.

Small in size and modest in features, the images did not convey the idea of the triumph of the Savior in the world, so the icons of the Savior Not Made by Hands began to be painted much larger, giving them features perfect beauty, without reproducing exactly the first lists.

One of these icons includes the Savior Not Made by Hands from Novgorod of the 13th century for the Church of the Image Not Made by Hands on Dobrynina Street: large elongated eyes, curved eyebrows, lush hair, falling into two soft strands on both sides, marked with golden lines; the face is written against the background of a large halo with a wide crosshair. WITH reverse side Another icon is written on the board: a cross worshiped by angels, and the instruments of the Passion of Christ: in general, both sides personify the idea of the Incarnation and the atoning sacrifice of the Lord. Such icons were intended for veneration during Holy Week. The face of Christ, despite its rather small size, is apparently so expressive because it served as a remote image and it was necessary to distinguish its features from a great distance.

The second oldest icon depicting the Holy Face comes from Rostov the Great: it is close in size to the Novgorod one, but made in the traditions of Russian art of the 13th century. There is nothing written on the back of it; The Savior is depicted frontally, with large features, the hair is divided into an unequal number of strands, the beard breaks up into many small curls; a stretched board appears, which is completely absent in the Novgorod icon; the inscriptions: “King of Glory” are applied to it; the beard and hair extend beyond the edges of the halo, which indicates the indissolubility of the face and the fabric itself. In Rus', the fabric itself was given a holy image great importance, since material shrines have always been highly revered in Orthodoxy.

By the 14th century, the Savior Not Made by Hands became the main image in Russian art. There is a 14th century Rostov icon with blue, with many folds falling in a semicircle and with knots at the upper ends. This is due to the fact that the shape and size of the plate are not indicated in written sources, but apparently, this tradition of depiction goes back to the ritual of worshiping icons, when they were carried out draped in cloth. But rather, the board symbolically depicts the sky, confirmation of which is in the texts of the service for August 16. The face on this icon can be perceived as the Face in heaven, in addition, the golden halo, especially on a blue background, is perceived as a symbol of the heavenly body, “Christ the sun of truth.”

In the 14th century, a new type of image of the Savior emerged, distinguished by its scale and expressiveness. An example of an icon from this period is an image from the end of the 14th century from the collection of the Andrei Rublev Museum. A very large board, the size of a human being, contains a board with many vertical folds, described by a double line along the bottom edge and the amazing face of Christ, with a very wide forehead and significantly and sharply tapering towards the chin, with an active turn to the left, but a straight, intense gaze . The icon, in its characteristics, belongs to Byzantine monumental art: an expressive, large face against the background of large folds of fabric. Christ is presented as a formidable judge, which is explained by the eschatological sentiments in society at that time.

Due to its large size, this icon was not portable, but was intended for an altar barrier. Before the appearance of high iconostases in the 15th century, they were made of stone, up to two and a half meters high, and the Royal and Deacon's doors were covered with fabric. Next to such altar barriers, in comparison with them, the icon with the image of the Face on the fabric with many folds acquired an even more acute eschatological character, giving the icon a new meaningful emphasis. The altar is interpreted as an image of the Heavenly Jerusalem, the Kingdom of Heaven - the place where the Lord resides, the place where the Bloodless Sacrifice was offered and the Eucharist was celebrated. The Face of the Lord appeared as the Image of the Judge on the border of the real and spiritual worlds, on the border of the temple and the altar. Thus, with the combination of pictorial and architectural techniques, the eschatological ideas of Christianity were emphasized and conveyed.

IN XV-XVI centuries icons of the Savior acquire new features. Small remote icons appear in churches. Intended for the lectern, where they were taken out for worship not only on August 16, but also in other three service circles, pointing to the truth of the Incarnation of God and leading to His suffering.

One of these icons is the tablet icon from Veliky Novgorod: it combines several ancient canons: the features of the first Russian icon of the Savior Not Made by Hands - a narrow face and two narrow strands of hair on the sides - and the features of images from the second half of the 14th century - divided into two strands beard and draped cloth. A new version of iconography, combining two independent images, was first created in Moscow during the development of iconography. The icon from Novgorod has absolute calm and detachment.

In the art of the XV-XVI there were also exact repetitions of ancient iconography, such as the icon from Veliky Ustyug, painted by a Rostov master: there is no board, the face is placed on a gold background, the halo is inscribed in the plane of the board, close in format to a square, as in the Novgorod one, the first mentioned above icon, although the master himself may not have known or seen this image, but worked with a list of it from 1447, which becomes clear from extant written sources. This list served as the prototype for all Ustyug icons of the Savior Not Made by Hands. This icon was installed in the city tower to apparently get rid of the plague; Conciliar walks with prayers were made to it, which was the established tradition of religious processions in Rus' in imitation of the prayer processions of Constantinople. For such religious processions, special remote icons appear, mounted on poles.

As you can see, by the 16th century several editions, types of iconography, equally revered, had appeared. At the end of the 15th century, another type appeared, associated with Sophia Paleologus, who became the wife of Prince Ivan III and brought with her an icon of the Savior, the dating of which is difficult to establish. Tsar Fyodor Alekseevich commissioned a precious frame for the image. The dimensions of the icon are unusually large for home use, 71x51 cm: usually there were several small icons in the boyars' chambers, but this icon coincides in size with the image from noble European houses, where, judging by the engravings, one icon was installed. The main source of information about the icon brought by Sophia is this moment is a frame that repeats the outlines of the image: lush hair, a beard divided into strands, and two angels supporting the ends of the curtain from above, painted in the form of small semi-hidden figures. This iconography is not known either in Russian art or in Byzantine art, but is becoming widespread in Catholic art, based on the image of angels carrying a shield with the image of Christ Emmanuel, presented on sarcophagi. The spread of such iconography occurred during the time of Pope Urban V in the second half of the 14th century: angels were part of the composition of his personal coat of arms.

The special Roman iconography of Mandylion was presumably chosen for the blessing of the Byzantine princess due to the fact that after the final Turkish conquest of Byzantium, the nephews of the last Byzantine emperor lived in Italy at the expense of Pope Paul II, under the tutelage of Cardinal Bessarion, who converted from Orthodoxy to Catholicism and was looking for a groom for Sophia according to throughout Europe. The marriage of the princess with the Moscow prince occurred at the time of the accession to the papal throne of Sixtus IV, who especially revered the Holy Mandylion. The Byzantine princess took to her new homeland an image of a Roman relic reminiscent of Constantinople. The new iconography was quickly and organically accepted by Russian masters and just as quickly spread. Copies of this icon are known, executed in the 16th century, such as the image placed by Princess Anna Trubetskoy in the Trinity-Sergius Monastery in memory of her husband. The white board, as if held with effort by the angels, reminded of the overhanging canvas of the sky.

Such iconography quickly spread to the outskirts of the Moscow state and began to be placed in iconostases, including as the centerpiece of the Deesis row or as the icon crowning the Royal Doors in conjunction with the Eucharist, when the idea of the real incarnation of the Lord was combined with the desire to see His flesh and transmit it in Eucharistic communion. One of the icons with an angel was especially glorified; this is an image from the city of Khlynov (now the city of Kirov), where it has not survived to this day; only a photograph is known, from which a copy was made by a modern icon painter.

The composition with angels was organically included in the two-part composition “Savior Not Made by Hands. Do not weep for Me, Mother”: in the upper part the Savior Not Made by Hands is presented with life-size angels (they are also depicted in full height near the ubrus, and not just as small figures protruding somewhat from behind it), in the lower part the Savior is shown against the background of a cross with the Mother of God and Saint John the Theologian. This composition can be considered an expanded illustration for one of the songs of the Canon of Cosmas of Mayum, performed at the service of Holy Saturday during Holy Week.

In the 17th century, the veneration of the Savior Not Made by Hands especially increased: many churches were dedicated to Him, and stamps were depicted with scenes from the story of Constantine Porphyrogenitus, describing the history of Mandylion. In the first half of the century, icons depicting individual brands became widespread, especially the healing of King Abgar.

The events of the history of Ubrus are written sequentially in stamps, the middle is the two-part composition “Don’t cry for Me, Mother,” often the history of Ubrus is interspersed with scenes from the earthly life of Christ. The stamps include the image of the Seventh Ecumenical Council in Nicaea, when Saint Ubrus was used as an argument for the necessity and Divine veneration of icons.

In the 17th century, the pictorial language of the masters changed, as did the icons themselves, including the Savior Not Made by Hands. The iconography itself remained unchanged, but the face began to be painted in the style of lifelikeness: the face of Christ was painted in the likeness human face, was tangible, fleshy, with a blush, voluminous; boards with soft silky folds. The creator of the first such icon was the icon painter Simon Ushakov, combining the traditions of earlier Western masters and Russian traditions of icon painting. Ushakov wrote several small ones, similar to actual size human face icons of the Savior. For church iconostases, he also created an icon of the “Savior Not Made by Hands” with flying angels supporting a curtain in the form of a curtain and texts of prayers to Christ or correspondence between Christ and Abgar.

The 17th century was the last century of traditional Russian icon painting: the realistic trends of Russian art of the 18th century led to the emergence of a new image of the “Savior Not Made by Hands”: it is painted in accordance with the new ideal of beauty and in new, realistic forms. The idea of a generalized face created by a miracle is becoming a thing of the past; the Holy Face begins to resemble a portrait.

Let us summarize the line of development of the iconography of the “Savior Not Made by Hands”:

1) Images of the Savior as close as possible to the original Mandylion.

2) In general, maintaining the features of the Mandylion, but painting large, impressive images designed to emphasize the triumph of Christ (without payment).

3) The image of the face is unchanged, the board appears.

4) The appearance of images on the board with folds, characterizing Christ as the “Light of the World” on the heavenly canvas.

5) Exacerbation of eschatological sentiments and giving the image special severity.

6) Connection of the lists of the original Mandylion and the iconography developed in Rus'.

7) The Savior on the ubrus with half-length Angels.

8) The Savior on the ubrus with angels/archangels waist-length/full-length, with the Mother of God and John the Baptist in prayer/Eucharist/the composition “Do not weep for Me, Mother.”

9) Icons with marks from the story of Saint Ubrus: the middle is usually a two-part composition with “Don’t cry for Me, Mother.” Icons with individual scenes of the story.

10) Gradual transition to liveliness.

11) Icons, almost similar in image to portraits.

Bibliography

face miraculous image icon

1) Evseeva L. M. The Miraculous Image of the Savior. St. Petersburg 2013 - 7-55 p.

2) L. Uspensky. Theology icons Orthodox Church" Publishing house Western European exarchate Moscow Patriarchate, 1989

3) Mokhova G. A. The miraculous image of the Savior on Vyatka land. - Kirov, 2010.

4) Robin Cormack. Icons. British museum. Publication in Russian, translation into Russian, design. "FAIR Publishing House", 2008

5) Church of the Savior on Senya in Rostov the Great. Moscow, Northern Pilgrim, 2002.

6) Belik Zh. G. John the Baptist. St. Petersburg, 2013.

7) Gusakova V.O. Dictionary of Russian religious art. "Aurora", St. Petersburg 2008.

Great for believers is the icon “Savior Not Made by Hands” - one of the very first Orthodox images that depicts the face of Christ. The significance of this image is equal to the crucifixion. There are several lists submitted by famous authors.

“Savior Not Made by Hands” – origin story

Many people wondered where the image of Christ's face came from, if nothing is said about it in the Bible, and the church tradition retained a minimum of descriptions of appearance? The history of the icon “Savior Not Made by Hands” indicates that details about the face were conveyed to people by the Roman historian Eusebius. The ruler of the city of Edessa, Abgar, was seriously ill, and he sent an artist to Christ to paint his portrait. He was unable to complete the task because he was blinded by the divine radiance.

Then Jesus took the linen (ubrus) and wiped his face with it. A miracle happened here - the imprint of the face was transferred to the matter. The image is called “miraculous” because it was not created by human hands. This is how the icon called “Savior Not Made by Hands” appeared. The artist took the fabric with the face to the king, who, taking it in his hands, was healed. Since that time, the image has created many miracles and continues to do so to this day.

Who wrote “The Savior Not Made by Hands”?

The first lists of icons began to appear immediately after the establishment of Christianity in Rus'. It is believed that these were Byzantine and Greek copies. The icon of the “Savior Not Made by Hands,” the author of which was the Savior himself, was kept by King Abgar, and its description has come to us thanks to documents. There are several important details that you should pay attention to when considering a portrait:

The imprinted material was stretched over a wooden base and this image is the only image of Jesus as human personality. On other icons, Christ is represented either with some attributes or performing certain actions.
The image of the “Savior Not Made by Hands” is compulsorily studied at the school of icon painters. In addition, they must make a list as their first independent work.
Only on this icon is Jesus represented with a closed halo, which is a symbol of harmony and indicates the completeness of the world.
Another important nuance icons “Savior Not Made by Hands” - the face of the Savior is depicted symmetrically, only the eyes are slightly slanted to the side, which makes the image more lively. The image is symmetrical for a reason, as it indicates the symmetry of everything that God created.
The Savior's face expresses neither pain nor suffering. Looking at the image you can see balance and freedom from any emotions. Many believers consider him the personification of “pure beauty.”
The icon shows a portrait, but in paintings they depict not only the head, but also the shoulders, but here they are absent. This detail is interpreted differently, so it is believed that the head indicates the primacy of the soul over the body, and it also serves as a reminder that the main thing for the church is Christ.
In most cases, the face is depicted against a background of fabric with different types folds There are options when the portrait is presented against a brick wall. In some traditions, the canvas is supported by the wings of angels.

“Savior Not Made by Hands” Andrey Rublev

The famous artist presented the world with a large number of icons, and the image of Jesus Christ was important to him. The author has his own easily recognizable features, for example, soft transitions of light into shadow, which are completely opposite to contrasts. The icon of the “Savior Not Made by Hands”, whose author Andrei Rublev, emphasizes the extraordinary softness of the soul of Christ, for which a gentle warm palette was used. Because of this, the icon is called “luminiferous.” The image presented by the artist was the opposite of Byzantine traditions.

“Savior Not Made by Hands” Simon Ushakov

In 1658, the artist created his most famous work - the face of Jesus “Savior Not Made by Hands”. The icon was painted for a monastery located in Sergiev Posad. It has small dimensions - 53x42 cm. The icon of Simon Ushakov “The Savior Not Made by Hands” was painted on wood using tempera and the author used artistic techniques characteristic of that time for painting. The image stands out due to the full depiction of facial features and the light and shadow transfer of volume.

How does the icon “Savior Not Made by Hands” help?

The great image of Jesus Christ can become a faithful protector of people, but for this you need to establish a prayer dialogue with him. If you are interested in what the “Savior Not Made by Hands” icon protects from, then it is worth knowing that it protects from numerous diseases and various negativity directed at a person from the outside. In addition, you should pray in front of the image for the salvation of the soul, for loved ones and children. Sincere appeals will help improve well-being and cope with various worldly affairs.

Prayer “To the Savior Not Made by Hands”

You can address the image in your own words, the main thing is to do it from the heart. The most simple prayer, which is known to every believer - “Our Father.” It was given to people by Jesus himself during his earthly life. There is another simple prayer, “To the Savior Not Made by Hands,” the text of which is presented below. Read it every day at any time when your heart requires it.

Akathist “To the Savior Not Made by Hands”

A hymn of praise or akathist is used to turn to the Higher powers for help. You can read it yourself at home. The akathist “To the Savior Not Made by Hands,” the text of which you can simply listen to, helps you get rid of bad thoughts, receive invisible support and believe in yourself. Please note that it must be sung while standing, except in special cases (when there are health problems).

Origin

There are two groups of legends about the origin of the relic, which served as the source of iconography, each of which reports its miraculous origin.

Reconstruction of the Constantinople Icon of the Savior Not Made by Hands

Eastern version of the legend

A linen cloth with the image of Christ was kept in Edessa for a long time as the most important treasure of the city. During the period of iconoclasm, John of Damascus referred to the Image Not Made by Hands, and in 787 the Seventh Ecumenical Council, citing it as the most important evidence in favor of icon veneration. On August 29, 944, the image was purchased from Edessa by Emperor Constantine VII Porphyrogenitus and solemnly transferred to Constantinople; this day was included in the church calendar as a general church holiday. The relic was stolen from Constantinople during the sack of the city by participants in the IV Crusade in 1204, after which it was lost (according to legend, the ship carrying the icon was wrecked).

Western version of the legend

Holy Face of Manopello

At one time, the now canceled constellation was named in honor of the “Plate of Veronica”. On the scarf, when held up to the light, you can see the image of the face of Jesus Christ. Attempts to examine the image revealed that the image was not made with paint or any known organic materials. At this time, scientists intend to continue research.

Version of the connection between the image and the Shroud of Turin

Icon of the Savior Not Made by Hands in Russian Letter

First samples. The beginning of the Russian tradition

Of water

The Christian tradition considers the miraculous image of Christ as one of the proofs of the truth of the incarnation of the second person of the Trinity in human form, and in a narrower sense - as the most important evidence in favor of icon veneration.

According to tradition, the icon of the “Savior Not Made by Hands” is the first independent image that is entrusted to be painted by an icon painter who has completed an apprenticeship.

Various images of the Savior

Vyatsky Savior Not Made by Hands

After 1917, the original icon in the Novospassky Monastery and the list above the Spassky Gate were lost. Nowadays the monastery houses a list from the 19th century, which takes the place of the original in the iconostasis of the Transfiguration Cathedral. The list left in Vyatka was kept until 1929, after which it was also lost.

In June 2010, with the help of a researcher at the Vyatka Art Museum, Galina Alekseevna Mokhova, it was established exactly what the miraculous Vyatka icon looked like, after which a new accurate list of the Savior Not Made by Hands was written and at the end of August sent to Kirov (Vyatka) for installation in the Spassky Cathedral.

Kharkov Spas Not Made by Hands

Main article: Spas Renewed

Historical facts

All-Russian Emperor Alexander III had a copy of the ancient miraculous Vologda Icon of the Savior Not Made by Hands with him during the train crash near Borki station. Almost immediately after the miraculous salvation, by decree of the Ruling Synod, a special prayer service was compiled and published in honor of the miraculous image of the Savior Not Made by Hands.

Notes

Links

Hegumen Innocent (Erokhin). The miraculous image of the Savior as the basis of icon painting and icon veneration on the website of the Vladivostok diocese
Sharon Gerstel. Miraculous Mandylion. The image of the Savior Not Made by Hands in Byzantine iconographic programs
Irina Shalina. Icon “Christ in the tomb” and the image miraculously on the Shroud of Constantinople
Military relics: Banners with the Image of the Savior Not Made by Hands

The most ancient Russian icons
Greek (Korsun)	Our Lady of Vladimir Our Lady of Smolensk 1 Savior Golden Robe Peter and Paul Saint George

They say that this happened during the Savior’s earthly life. The ruler of the city of Edessa, Prince Avgar, was seriously ill. Having heard about the countless healings that Jesus Christ performed, Abgar wanted to look at the Savior. He sent a painter to paint the face of Christ.

However, the artist was unable to complete the assignment. Such radiance emanated from the Lord’s face that the master’s brush could not convey His Light. Then the Lord, having washed himself, wiped His most pure face with a towel, and His Image was miraculously displayed on it. Having received the Image, Avgar was healed of his illness.

The icon of the Savior Not Made by Hands on the front side of the reliquary is the greatest shrine of the Christian world,
lost in 1204 during the sack of Constantinople by the crusaders.
According to Tradition, she was miraculously imprinted on a piece of cloth with which the Lord wiped his face after washing. Jesus Christ gave His image to the servant of the Edessa king Abgar, who was sick with leprosy. The image healed the king and made him a Christian. The miracle of healing in an image not made by hands was the first performed not by the Lord Himself, but by His image. It became a sign of the holiness of the images of the Church, the miraculousness of Her icons. According to tradition, the icon of the “Savior Not Made by Hands” is the first of the images that is entrusted to be painted by an icon painter who has completed an apprenticeship.

Sometimes this image, like a number of others, is called the Golden-Haired Savior (Savior Zlatovlasy), since Christ’s hair is lined with golden lines. The halo is in the form of a cross and occupies almost the entire field of the icon. Christ's gaze is turned to the left. In the upper corners of the centerpiece there is an inscription: IС ХС.

The miraculous, miraculous image of the Savior, located in the Novospassky Monastery, constituting its main shrine, was, at the same time, an all-Russian church treasure, deeply revered by the Orthodox Russian people.

In the West, the legend of the Savior Not Made by Hands became widespread as the legend of the Payment of Saint Veronica. According to one of them, Veronica was a student of the Savior, but she could not accompany him all the time, then she decided to order a portrait of the Savior from the painter. But on the way to the artist, she met the Savior, who miraculously imprinted his face on her plate. Veronica's cloth was endowed with the power of healing. With its help, the Roman Emperor Tiberius was cured. Later another option appears. When Christ was led to Calvary, Veronica wiped the sweat and blood stained face of Jesus with a cloth, and it was reflected on the material. This moment is included in the Catholic cycle of the Passion of the Lord. The face of Christ in a similar version is depicted wearing a crown of thorns and with dripping drops of blood.

In the Orthodox Church, the glorification of the Image of the Savior Not Made by Hands spread in the 10th century, after the transfer of the plate with the face of the Savior from Edessa to Constantinople in 944. In Ancient Rus', the Savior Not Made by Hands is known in the 12th century temple paintings of the Spaso-Mirozh Cathedral of 1156. and the Savior on Nereditsa 1199.

During the time of the iconoclastic heresy, defenders of icon veneration, shedding blood for holy icons, sang a troparion to the Image Not Made by Hands. As proof of the truth of icon veneration, Pope Gregory II (715-731) sent a letter to the Eastern Emperor, in which he pointed out the healing of King Abgar and the presence of the Icon Not Made by Hands in Edessa as a well-known fact. The Miraculous Image was placed on the banners of the Russian troops, protecting them from enemies. In the Russian Orthodox Church there is a pious custom, when a believer enters the church, to read, along with other prayers, the troparion to the Image of the Savior Not Made by Hands.

According to the Prologues, four Images of the Savior Not Made by Hands are known:

1) In Edessa, King Abgar - August 16.

2) Kamulian; Its discovery was described by Saint Gregory of Nyssa (January 10). According to the legend of St. Nicodemus the Holy Mountain (1809; commemorated July 1), the Kamulian image appeared in 392, but he meant the image of the Mother of God - on August 9.

3) Under Emperor Tiberius (578-582), from whom Saint Mary Synclitia received healing (August 11).

4) On ceramics - August 16.

The celebration in honor of the transfer of the Image Not Made by Hands, held on the feast of the Dormition, is called the third Savior, “Savior on canvas.” Special veneration of this holiday in the Russian Orthodox Church was expressed in icon painting. The Icon of the Image Not Made by Hands is one of the most common.

Miracles of the holy icon of the Savior.

The first miracle, which marked the beginning of the all-Russian glorification of the holy icon of the Savior, was revealed from it on July 12, 1645 in the city of Khlynov (Vyatka) in the Church of the All-Merciful Savior. Historical church documents confirm that a resident of the city, Peter Palkin, who suffered from complete blindness for three years, after praying before the icon of the Savior, received healing and received his sight. After this, wondrous miracles from the image began to happen one after another, and the fame of the miraculous image quickly spread throughout the Russian Land. Having heard about the extraordinary miracles from the icon, the then reigning pious sovereign Alesei Mikhailovich, on the advice of Archimandrite Nikon, later the Patriarch, who was the rector of the Novospassky Monastery, decided to transfer the icon to the capital of Moscow. In fulfillment of the royal will, with the blessing of Patriarch Joseph, an embassy headed by the abbot of the Moscow Epiphany Monastery Paphnutius was sent to the city of Khlynov for the holy icon.

On January 14, 1647, literally all of Moscow came out to meet the Image of the Savior Not Made by Hands. The meeting took place at the Yauz Gate. As soon as the icon became visible to the people, a ringing sound was heard in all Moscow churches, everyone knelt down, and a thanksgiving prayer began. At the end of the prayer service, the miraculous image was transferred to the Kremlin and placed in the Assumption Cathedral. The gates to the Kremlin through which the image was brought in, which had been called Frolovsky until that time, were ordered to be called Spassky from now on. In addition, the royal decree followed that everyone should take off their hats when passing through the gates.

The image was kept in the Assumption Cathedral of the Kremlin until the reconstruction of the Transfiguration Cathedral in the Novospassky Monastery was completed. As soon as the day for the consecration of the cathedral was set, September 19, 1647, the icon was solemnly transferred to the monastery in a procession of the cross.

In 1670, the image of the Savior was given to help Prince Yuri, who was going to the Don to pacify the rebellion of Stepan Razin. The revolt was suppressed, and by royal command the image was decorated with a gilded chasuble, studded with diamonds, yachts and large pearls.

On August 13, 1834, a terrible fire occurred in Moscow. At the request of the residents, a miraculous image of the Savior was brought from the Novospassky Monastery, which they began to wear around the fire. In front of everyone, the fire, as if by an invisible force, was kept from spreading beyond the line where the icon was being carried. Soon the wind died down and the fire stopped. Since then, the image began to be taken out for prayer services at home. During the cholera that raged in Moscow in 1848, many patients received miraculous help from the icon.

In 1839, the icon was decorated with a gilded silver chasuble with precious stones to replace the one stolen by the French in 1812. In the summer, the image was in the Transfiguration Cathedral, and in the winter it was transferred to the Intercession Church. In the St. Nicholas and Catherine churches of the monastery there were exact copies of the miraculous image.

Until 1917, the icon was in the monastery. Currently, the whereabouts of this holy image are unknown. In the Novospassky Monastery there is a preserved copy of the miraculous image. It is located in the local row of the iconostasis of the Transfiguration Cathedral - where the miraculous icon itself was previously placed.

“The Savior left us His holy image, so that we, looking at it, would constantly remember his incarnation, suffering, life-giving death and redemption of the human race,” it was said at the VI Ecumenical Council.

Iconography of the image of the Savior Not Made by Hands.

The Savior Not Made by Hands is a special type of image of Christ, representing His face on a ubrus (plate) or chrepiya (tile). According to the Orthodox iconographic canon, the Savior Not Made by Hands is written in the form of a middle-aged man, in the words of the iconographic original: “in the image of a husband she is perfect,” which corresponds to the fifth week (from 28 to 35 years) of the Old Russian calculus human life. The icon “Savior Not Made by Hands” depicts only the Divine face of the Savior. Moreover, this image may be different. The face of the Lord is either simply inscribed in the halo, or depicted on the ubrus, and sometimes the ubrus is held by Angels.

All these icons are painted from the “genuine original”. Christ is depicted with long dark hair, parted in the middle, and a short beard. Generally speaking, it is customary to paint both Christ’s hair and beard wavy, but on Russian icons sometimes there are images with straight, as if wet hair.

Icons “The Savior Not Made by Hands” are usually divided into main types: “The Savior on the ubrus” or simply “Ubrus”, where the face of Christ is placed on the image of a board (ubrus) of a light shade and “The Savior on the skull” or simply “The Savior”, “Ceramide”. According to legend, the image of Christ appeared on the tiles or bricks that hid a niche with the icon of the Savior Not Made by Hands. Occasionally, on this type of icon the background is an image of brick or tile masonry, but more often the background is simply given more dark color compared to Ubrus.

We magnify Thee, Life-Giving Christ, and venerate all the glorious images of Thy Most Pure Face.