Icons in the Tretyakov Gallery - underrealism or abstract art? Icons in the Tretyakov Gallery - ragioniere Collection of icons of the Tretyakov Gallery.

WHAT WE BROUGHT: 18 works of art, including 12 icons.

Despite the rather small number of works (the exhibition occupied only one room), the project fully justifies its name “Masterpieces of Byzantium”. Almost every exhibit here is truly a masterpiece. Firstly, their antiquity is impressive - we can see here objects from the end of the 10th to the beginning of the 16th century. Secondly, they are all very beautiful and, as they say, excellent in their own way. artistic level. Surviving the fall of Constantinople in 1453 and the collapse of the Byzantine Empire, carefully preserved during Ottoman rule over Greece and neighboring Orthodox lands - now they are not only objects of worship or works of painting, but also evidence of the tragedies of history.

A typical example is the 14th-century Crucifixion icon (with Hodegetria on the back) - one of the finest examples of Byzantine art of the Palaiologan era. Elegant, delicate writing, pleasing to the eye harmony of gold and azure - and at the same time, the faces of the saints are barbarously destroyed.

WHERE: The Athens Byzantine and Christian Museum shared its exhibits with Moscow.

Unfortunately, it is known only to connoisseurs, and tourists who come to Athens for ancient art often forget about it. However, this is one of the most interesting museums in the city. Founded in 1914, it was originally located in a small villa that once belonged to socialite, wife of a Napoleonic officer, Duchess of Piacenza. By the end of the twentieth century, the mansion, which stood in the middle of a luxurious park, clearly ceased to accommodate everything huge collections Byzantine Museum. For the 2004 Olympics, the museum opened after reconstruction - three underground floors were located under the lawns and flower beds of the park, deep in the ground, while the mansion remained untouched on the surface. The colossal underground space is literally filled with sacred art of the Byzantine and post-Byzantine periods. And its visitors probably won’t notice that some things have flown to Moscow.

However, the absence of the famous “Saint George” of the 13th century from the permanent exhibition will clearly strike the eyes of visitors to the Athens museum. This unusual icon is made using the relief technique. Orthodox artists did not usually do this, but this work was created during the Crusades, under the influence Western European masters. But the frame is familiar, canonical - made from stamps.

Another important exhibit of the exhibition, by the way, placed by the curators in the most spectacular place in the hall is the large-scale icon “Our Lady Cardiotissa”. This epithet is translated from Greek as “Hearty” and is a variant of the iconography of “Glycophilus” (“Sweet kiss”). When looking at the masterpiece, you understand that this canon of images received such tender nicknames for a reason: the Baby so affectionately reaches out to the Mother, so sweetly presses his cheek to her, that you almost forget that in front of us is an object of cult, and not a sketch from life . The name of the icon painter has also been preserved (this is not very common in Rus', but Greek masters often signed their works). Angelos Akotantos lived and worked in Crete, which at that time was under the rule of the Venetian Republic. He is considered one of the most important Greek artists of the 15th century.

Probably, an icon comes from the Constantinople workshops of the late 14th and early 15th centuries, which will be of interest to all owners of the popular name “Marina” in Russia. The fact is that Saint Marina of Antioch is depicted quite rarely in traditional Orthodox art. The Late Palaiologan icon, in which the saint appears wearing a bright red maforia and holding a crucifix (a symbol of martyrdom) in her hand, comes from the Church of St. Gerasimos in Argostoli on the island of Kefalonia and is one of the oldest surviving images of the great martyr.

OTHER MEETINGS: In addition to this museum, Greek private collectors took part in the exhibition in Moscow. You understand, seeing things from such collections is a unique chance.

From the collection of E. Velimesis - H. Margaritis comes a small but very exquisite icon “John the Baptist Angel of the Desert” from the 16th century. This plot is also familiar to Russian icon painting - John the Baptist is depicted with wings, his own severed head lies on a platter at his feet, and on the other side an ax is stuck between the trees. However, the subtlety and harmony of the writing will suggest that this beauty comes from those lands where the icon-painting tradition established in the Byzantine icon-painting workshops did not disappear for centuries.

From the Athens Benaki Museum, founded in 1930 by millionaire Emmanuel Benakis, came the oldest exhibit in the exhibition - a silver processional cross created at the end of the 10th century. This double-sided piece features delicate engravings of Christ and saints. In addition to John Chrysostom, Basil the Great and other popular saints, a rare saint is depicted on the cross - Sisinius. From the inscription on the handle it is known that he was the patron saint of the customer of this cross.

PLACE: the exhibition was located in the main building of the Tretyakov Gallery in room No. 38 (usually hanging there Malyavin and the Union of Russian Artists). The curators of the exhibition especially emphasize that in the neighboring halls there is a permanent exhibition ancient Russian art. And, having enjoyed the Athens exhibition, it is worth taking two steps and seeing what they were doing at the same time in the northern corner of the Orthodox lands.

TICKETS: no need to buy in advance. The exhibition takes place in a hall located among the permanent exhibition, and to get to it you just need to buy a regular admission ticket to the museum. Good news for those who are tired of being besieged by a website with online sales of tickets for an exhibition of masterpieces from the Vatican in the neighboring Engineering Corps(which was recently extended until March 1).

Days of free visits to the museum

Every Wednesday, entry to the permanent exhibition “Art of the 20th Century” and temporary exhibitions in ( Krymsky Val, 10) is free for visitors without a tour (except for the exhibition “Ilya Repin” and the project “Avant-garde in three dimensions: Goncharova and Malevich”).

Right free visit exhibitions in the main building in Lavrushinsky Lane, the Engineering Building, the New Tretyakov Gallery, the house-museum of V.M. Vasnetsov, museum-apartment of A.M. Vasnetsov is provided on the following days for certain categories of citizens:

First and second Sunday of every month:

for students of higher educational institutions of the Russian Federation, regardless of the form of study (including foreign citizens-students of Russian universities, graduate students, adjuncts, residents, assistant trainees) upon presentation of a student card (does not apply to persons presenting student cards “student-trainee” );

for students of secondary and secondary specialized educational institutions (from 18 years old) (citizens of Russia and CIS countries). Students holding ISIC cards on the first and second Sunday of each month have the right to free admission to the “Art of the 20th Century” exhibition at the New Tretyakov Gallery.

every Saturday - for members of large families (citizens of Russia and CIS countries).

Please note that conditions for free admission to temporary exhibitions may vary. Check the exhibition pages for more information.

Attention! At the Gallery's box office, entrance tickets are provided at a nominal value of “free” (upon presentation of the appropriate documents - for the above-mentioned visitors). In this case, all services of the Gallery, including excursion services, are paid in accordance with the established procedure.

Visiting the museum on holidays

Dear visitors!

Please pay attention to the opening hours of the Tretyakov Gallery on holidays. There is a fee to visit.

Please note that entry with electronic tickets is on a first-come, first-served basis. With return policy electronic tickets you can find it at .

Congratulations on the upcoming holiday and we are waiting for you in the halls of the Tretyakov Gallery!

Right preferential visit The Gallery, except in cases provided for by a separate order of the Gallery management, is provided upon presentation of documents confirming the right to preferential visits to:

• pensioners (citizens of Russia and CIS countries),
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• students of secondary and secondary specialized educational institutions (from 18 years old),
• students of higher educational institutions of Russia, as well as foreign students studying at Russian universities (except for intern students),
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Free visit right The main and temporary exhibitions of the Gallery, except in cases provided for by a separate order of the Gallery’s management, are provided to the following categories of citizens upon presentation of documents confirming the right of free admission:

• persons under 18 years of age;
• students of faculties specializing in the field visual arts secondary specialized and higher educational institutions of Russia, regardless of the form of education (as well as foreign students, students at Russian universities). The clause does not apply to persons presenting student cards of “trainee students” (if there is no information about the faculty on the student card, a certificate from educational institution with the obligatory indication of the faculty);
• veterans and disabled people of the Great Patriotic War, combatants, former minor prisoners of concentration camps, ghettos and other places of forced detention created by the Nazis and their allies during the Second World War, illegally repressed and rehabilitated citizens (citizens of Russia and the CIS countries);
• conscripts Russian Federation;
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• disabled people of groups I and II, participants in the liquidation of the consequences of the disaster at the Chernobyl nuclear power plant (citizens of Russia and CIS countries);
• one accompanying disabled person of group I (citizens of Russia and CIS countries);
• one accompanying disabled child (citizens of Russia and CIS countries);
• artists, architects, designers - members of the relevant creative unions Russia and its subjects, art historians - members of the Association of Art Critics of Russia and its subjects, members and employees Russian Academy arts;
• members of the International Council of Museums (ICOM);
• employees of museums of the system of the Ministry of Culture of the Russian Federation and the relevant Departments of Culture, employees of the Ministry of Culture of the Russian Federation and ministries of culture of the constituent entities of the Russian Federation;
• museum volunteers - entrance to the exhibition “Art of the 20th Century” (Krymsky Val, 10) and to the Museum-Apartment of A.M. Vasnetsova (citizens of Russia);
• guides-translators who have an accreditation card of the Association of Guides-Translators and Tour Managers of Russia, including those accompanying the group foreign tourists;
• one teacher of an educational institution and one accompanying a group of students from secondary and secondary specialized educational institutions (with an excursion voucher or subscription); one teacher from an educational institution that has state accreditation educational activities during the agreed training session and having a special badge (citizens of Russia and CIS countries);
• one accompanying a group of students or a group of conscripts (if they have an excursion package, subscription and during a training session) (Russian citizens).

Visitors to the above categories of citizens receive a “Free” entrance ticket.

Please note that the conditions for discounted admission to temporary exhibitions may vary. Check the exhibition pages for more information.

Back in school we were taught not to take religious art seriously. Well, they didn’t know the perspective, couldn’t depict a person realistically, etc. Deacon Kuraev, in his lecture on icon painting, recalls fun facts about the Soviet idea of ​​icons.

I discovered icons in the Tretyakov Gallery. At that time, I was prepared to perceive the icon, since I have long been interested in abstract art. I think that if we recognize the right to painting only for realism, it is impossible to appreciate the beauty of the icon.

Upon closer examination, icons turned out to be a completely new art for me, an absolutely self-sufficient art, on the one hand, and simple, on the other.

The Russian (Byzantine) icon appeared on the ruins of ancient art.

By the 9th century, after a period of iconoclasm, the ancient tradition in the east ceased to exist. A completely new art appeared, far from the ancient tradition - icon painting. It originated in Byzantium and continued to develop in Russia.

However, with Russia’s acquaintance with Western European art, although icon painting continued to exist, it was no longer considered the limit of perfection. Russian elite I fell in love with baroque and realism.

In addition, in the Middle Ages, icons in the Middle Ages were covered with drying oil for preservation, and it darkened over time, often a new one was superimposed on top of the old image, and even more often the icons were hidden in frames. As a result, it turned out that most of the icons were hidden from view.

Old Russian art was rediscovered at the end of the 19th century, and at the beginning of the 20th century it experienced real recognition.

This was the period when people began to show interest in the ancient national art and restoration techniques appeared. Opened As a result of the restoration, the images shocked the world's contemporaries.

Perhaps this is what gave impetus to the development of Russian abstract art. The same Henri Matisse, looking at the collection of Novgorod art in 1911, said: “ French artists should go to Russia to study: Italy gives less in this area.”

Images of the Mother of God

One of the greatest Byzantine icons is exhibited in the Tretyakov Gallery - this is the icon of the Vladimir Mother of God.

It was created in Byzantium and came to Russian soil in the 12th century. Then Prince of Vladimir Andrei Bogolyubsky built the Assumption Church for her in Vladimir

The image of the Mother of God with the baby clinging to her belongs to the type of Tenderness icon; such images began to spread in Byzantine and Russian art in the 11th - 12th centuries. At the same time, the “Canon on Lamentation” appeared Holy Mother of God" IN Western tradition it is called Stabat mater.

Our Lady Simona Shakova

“About Your terrible and strange Christmas, My Son, I was exalted above all mothers: but alas for Me, now seeing You on the tree, my womb is burning.

Glory: I see My womb in my arms, in which I held the Child, from the tree of reception, the Pure thing: but no one, alas for Me, gave this.

And now: Behold My Sweet Light, Hope and My Good Life, My God extinguished on the Cross, I am inflamed in my womb, Virgin, groaning, said.”

The image of the Virgin and Child in the “Tenderness” type reinforces the text of the canon.

Another beautiful icon on the same theme “tenderness” - Donskaya mother of God Theophanes the Greek, also located in the Tretyakov Gallery

A more ancient image of the Mother of God can also be seen in the collection of the Tretyakov Gallery

Our Lady of the Incarnation - 13th century icon from the collection of the Tretyakov Gallery

This icon is called Oranta. There are many similar images in the catacombs and early Christian churches. Here the main meaning is given to the descent of the son of God to earth through the Mother of God, who in this interpretation is the “gate of light” through which grace comes into the world. In other words, the pregnant Mother of God is depicted here.

Another icon that has been admired by every generation who has seen it is Andrei Rublev's trinity.

To understand and appreciate the beauty of this work, I suggest you also plunge into the history of the issue.

The Trinity: father, son and holy spirit was still in the Hellenic tradition - the cult of the god Dionysus. I don’t know whether it migrated from there to Christianity, or from the east, but this idea is much older than the New Testament and Creed.

New Testament Trinity(God the father, son and holy spirit) could not be depicted in the Orthodox tradition. This would contradict the concept of an eternal, incomprehensible and triune God: “ No one has ever seen God" You can only depict the Old Testament trinity.

In fairness, despite the canonical ban, imagesNew Testament Trinityare widespread to this day, although it seems to be the definition Great Moscow Council of 1667 were prohibited.

In the Catholic tradition, the New Testament Trinity was often depicted.

Robert Campin "Trinity". In the Catholic tradition, the Trinity was depicted literally: the Father, the crucified Jesus, the holy spirit in the form of an angel. Painting from the Hermitage

Based on the image Old Testament Trinity the legend about Abraham began. The book of Genesis describes an episode when God appears to Abraham in the form of three angels. “And Mr. appeared to him the Lord at the oak grove of Mamre, when he sat at the entrance to the tent, during the heat of the day. He lifted up his eyes and looked, and behold, three men stood against him. Seeing, he ran towards them from the entrance to the tent and bowed to the ground and said: Master! If I have found favor in Your sight, do not pass by Your servant; and they will bring some water and wash your feet; and rest under this tree, and I will bring bread, and you will strengthen your hearts; then go; as you pass by your servant... And he took the butter and the milk and the calf that had been prepared, and set it before them, and he himself stood beside them under the tree. And they ate" (Genesis 18:1-8)

It is this plot that is depicted as the holy trinity; it is also called “Abraham’s hospitality.”

Trinity XIV century Rostov

In early images, this plot was depicted with maximum detail: Abraham, his wife Sarah, an oak tree, the chambers of Abraham, a servant slaughtering a calf. Later, the historical plan of the image was completely replaced by the symbolic.

There is nothing superfluous in Andrei Rublev's Trinity. Only three angels who are perceived as a single whole. Their figures form a vicious circle. It was Rublev’s Trinity that became a canonical image and served as an example for subsequent generations of icon painters.

Methods and techniques of icon painting, reverse perspective

For correct understanding In icon painting, it is necessary to keep in mind that icon painters did not strive to depict reality, they had another task - to depict the divine world. This is where techniques not typical for realistic painting come from.

For example, using reverse perspective. (This is when the lines to the horizon do not converge, but diverge).

However, this was not always used, but only when the artist wanted to emphasize the special proximity of the object to us. The icon also uses parallel perspective - when the lines do not converge on the horizon but run parallel.

An interesting icon from the workshop of Theophanes the Greek “Transfiguration”. It also depicts events taking place at different times.

I love this icon very much, it’s hard for me to tear myself away from it. The transfiguration of the Lord on Mount Tabor is depicted here. Divine light emanates from Jesus; the apostles Peter, James and John the Theologian fell on their faces below. Above are the prophets Moses and Elijah. Above them are angels who bring them to this place. There are groups of apostles under the mountain, one group goes up the mountain, the other goes down the mountain.

The Transfiguration of the Lord is a very important plot in the Orthodox tradition; it seems to show the path of salvation, communion with divine glory. By observing the light emanating from Christ, we become people “who will not taste death until they see the Son of Man coming into His Kingdom” (Matthew 16:28)

A visit to the Tretyakov Gallery, which I previously associated only with “Morning in pine forest"and St. Petersburg snobbery forced me to pass by this art gallery, led me to the idea that we need to be more attentive to what is nearby, maybe brilliant things are closer than we think and it is not at all necessary to go to Italy for them.

When writing the article, materials were used from the book “Masterpieces of the Tretyakov Gallery” Iconography, Moscow Tretyakov Gallery, 2012.

The exhibition “Masterpieces of Byzantium” is a great and rare event that cannot be missed. For the first time, a whole collection of Byzantine icons was brought to Moscow. This is especially valuable because to gain a serious understanding of Byzantine icon painting from several works located in Pushkin Museum, not so easy.

It is well known that all ancient Russian icon painting came out of the Byzantine tradition, that many Byzantine artists worked in Rus'. There are still disputes about many pre-Mongol icons about who painted them - Greek icon painters who worked in Rus', or their talented Russian students. Many people know that at the same time as Andrei Rublev, the Byzantine icon painter Theophanes the Greek worked as his senior colleague and probably teacher. And he, apparently, was by no means the only one of the great Greek artists who worked in Rus' at the turn of the 14th-15th centuries.

And therefore, for us, the Byzantine icon is practically indistinguishable from the Russian one. Unfortunately, science never developed precise formal criteria for determining “Russianness” when we talk about art until the middle of the 15th century. But this difference exists, and you can see this with your own eyes at the exhibition in the Tretyakov Gallery, because several real masterpieces of Greek icon painting came to us from the Athens “Byzantine and Christian Museum” and some other collections.

I would like to once again thank the people who organized this exhibition, and first of all the initiator and curator of the project, researcher at the Tretyakov Gallery Elena Mikhailovna Saenkova, the head of the department of ancient Russian art Natalya Nikolaevna Sharedega, and the entire department of ancient Russian art, which took an active part in the preparation of this unique exhibition.

Raising of Lazarus (12th century)

The earliest icon on display. Small in size, located in the center of the hall in a display case. The icon is a part of a tyabl (or epistilium) - a painted wooden beam or large board, which in the Byzantine tradition was placed on the ceiling of marble altar barriers. These chapels were the basis of the future high iconostasis, which arose at the turn of the 14th-15th centuries.

In the 12th century, the 12 great holidays (the so-called Dodekaorton) were usually written on the epistyle, and the Deesis was often placed in the center. The icon that we see at the exhibition is a fragment of such an epistyle with one scene of “The Raising of Lazarus.” It is valuable that we know where this epistyle comes from – from Mount Athos. Apparently, in the 19th century it was sawn into pieces, which ended up in completely different places. Behind last years researchers were able to discover several parts of it.

The Raising of Lazarus. XII century. Wood, tempera. Byzantine and Christian Museum, Athens

The Raising of Lazarus is in the Athens Byzantine Museum. The other part, with the image of the Transfiguration of the Lord, ended up in State Hermitage, the third - with the scene of the Last Supper - is located in the Vatopedi monastery on Athos.

The icon, being not Constantinople, not a metropolitan work, demonstrates that highest level, which Byzantine icon painting reached in the 12th century. Judging by the style, the icon dates back to the first half of this century and, with high probability, was written on Mount Athos itself for monastic needs. In painting we do not see gold, which has always been an expensive material.

The traditional gold background for Byzantium is replaced here by red. In a situation where the master did not have gold at his disposal, he used a symbolic substitute for gold - the color red.

So here we have one of the earliest examples of red-background Byzantine icons - the origins of a tradition that developed in Rus' in the 13th-14th centuries.

Virgin and Child (early 13th century)

This icon is interesting not only for its stylistic decision, which does not quite fit into the purely Byzantine tradition. It is believed that the icon was painted in Cyprus, but perhaps an Italian master took part in its creation. Stylistically, it is very similar to the icons of Southern Italy, which for centuries was in the orbit of the political, cultural and religious influence of Byzantium.

However, Cypriot origin cannot be ruled out either, because at the beginning of the 13th century, completely different stylistic styles existed in Cyprus, and Western masters also worked alongside the Greek ones. It is quite possible that the special style of this icon is the result of interaction and a peculiar Western influence, which is expressed, first of all, in the violation of the natural plasticity of the figure, which the Greeks usually did not allow, and the deliberate expression of the design, as well as decorative details.

The iconography of this icon is curious. The Baby is shown wearing a blue and white long shirt with wide stripes that run from the shoulders to the edges, while the Baby's legs are bare. The long shirt is covered with a strange cloak, more like a drapery. According to the author of the icon, before us is a kind of shroud in which the body of the Child is wrapped.

In my opinion, these robes have a symbolic meaning and are associated with the theme of the priesthood. The Child Christ is also represented as a High Priest. Associated with this idea are wide clavicle stripes running from the shoulder to the bottom edge - an important distinctive feature bishop's surplice. The combination of blue-white and gold-bearing clothes is apparently related to the theme of the coverings on the altar throne.

As you know, the Throne in both the Byzantine church and the Russian one has two main covers. The lower garment is a shroud, a linen cover, which is placed on the Throne, and on top is laid out precious indium, often made of precious fabric, decorated with gold embroidery, symbolizing heavenly glory and royal dignity. In Byzantine liturgical interpretations, in particular, in the famous interpretations of Simeon of Thessaloniki at the beginning of the 15th century, we encounter precisely this understanding of two veils: the funeral Shroud and the robes of the heavenly Lord.

Another very characteristic detail of this iconography is that the Baby’s legs are bare to the knees and the Mother of God is pressing His right heel with her hand. This emphasis on the heel of the Child is present in a number of Theotokos iconographies and is associated with the theme of Sacrifice and the Eucharist. We see here a echo with the theme of the 23rd Psalm and the so-called Edenic promise that the woman’s son will bruise the tempter’s head, and the tempter himself will bruise this son’s heel (see Gen. 3:15).

Thus, the bare heel is both an allusion to the sacrifice of Christ and the coming Salvation - the embodiment of the high spiritual “dialectic” of the well-known Easter hymn “Trampling on Death.”

Relief icon of St. George (mid-13th century)

Relief icons, which are unusual for us, are well known in Byzantium. By the way, Saint George was often depicted in relief. Byzantine icons were made of gold and silver, and there were quite a lot of them (we know about this from the inventories of Byzantine monasteries that have come down to us). Several of these remarkable icons have survived and can be seen in the treasury of St. Mark's Basilica in Venice, where they were taken as spoils of the Fourth Crusade.

Wooden relief icons are an attempt to replace jewelry with more economical materials. What attracted me to wood was the possibility of the sensual tangibility of a sculptural image. Although sculpture as an icon technique was not very widespread in Byzantium, we must remember that the streets of Constantinople, before its destruction by the crusaders in the 13th century, were lined with ancient statues. And the Byzantines had sculptural images, as they say, “in their blood.”

The full-length icon shows Saint George praying, who turns to Christ, as if flying from heaven in the upper right corner of the center of this icon. In the margins is a detailed life cycle. Above the image are shown two archangels who flank the not preserved image of the “Prepared Throne (Etymasia)”. It introduces a very important time dimension into the icon, recalling the coming Second Coming.

That is, we are not talking about real time, or even the historical dimension of ancient Christian history, but about the so-called iconic or liturgical time, in which the past, present and future are intertwined into a single whole.

In this icon, as in many other icons from the mid-13th century, certain Western features are visible. During this era, the main part of the Byzantine Empire was occupied by the crusaders. It can be assumed that the person who ordered the icon could have been connected with this environment. This is evidenced by the very non-Byzantine, non-Greek shield of George, which is very reminiscent of shields with the coats of arms of Western knights. The edges of the shield are surrounded by a peculiar ornament, in which it is easy to recognize an imitation of Arabic Kufic writing; in this era it was especially popular and was considered a sign of the sacred.

In the lower left part, at the feet of St. George, there is a female figurine in rich, but very strict vestments, which falls in prayer at the feet of the saint. This is the unknown customer of this icon, apparently the same name as one of the two holy women depicted on the back of the icon (one is signed with the name “Marina”, the second martyr in royal robes is an image of St. Catherine or St. Irene).

Saint George is the patron saint of warriors, and taking this into account, it can be assumed that the icon ordered by an unknown wife is a votive image with a prayer for her husband, who in this very turbulent time is fighting somewhere and needs the most direct patronage of the main warrior from the rank of martyrs.

Icon of the Mother of God and Child with the Crucifixion on the back (XIV century)

The most artistically remarkable icon of this exhibition is the large icon of the Mother of God and Child with the Crucifixion on the reverse. This is a masterpiece of Constantinople painting, most likely painted by an outstanding, one might even say, great artist in the first half of the 14th century, the heyday of the so-called “Palaeologian Renaissance”.

During this era, the famous mosaics and frescoes of the Chora Monastery in Constantinople, known to many as Turkish name Kahrie-Jami. Unfortunately, the icon suffered greatly, apparently from deliberate destruction: literally a few fragments of the image of the Mother of God and Child have survived. Unfortunately, we see mostly late additions. The crucifixion scene is much better preserved. But even here, someone purposefully destroyed the faces.

But even what has been preserved speaks of a hand outstanding artist. And not just a great master, but a person extraordinary talent, who set himself special spiritual tasks.

He removes all unnecessary from the Crucifixion scene, concentrating attention on the three main figures, in which, on the one hand, one can read the ancient basis, which has never disappeared in Byzantine art- stunning sculptural plasticity, which, however, is transformed by spiritual energy. For example, the figures of the Mother of God and John the Evangelist seem to be written on the border between the real and the supernatural, but this line is not crossed.

The figure of the Mother of God, wrapped in robes, was painted in lapis lazuli, a very expensive paint that was literally worth its weight in gold. Along the edge of the maforia is a golden border with long tassels. The Byzantine interpretation of this detail has not survived. However, in one of my works I suggested that it is also connected with the idea of ​​the priesthood. Because the same tassels along the edge of the robe, also complemented by golden bells, were an important feature of the robes of the Old Testament high priest in the Jerusalem temple. The artist very delicately recalls this internal connection of the Mother of God, who sacrifices Her Son, with the theme of the priesthood.

Mount Golgotha ​​is shown as a small hill; behind it is visible the low city wall of Jerusalem, which on other icons is much more impressive. But here the artist seems to be showing the scene of the Crucifixion at a bird's eye level. And therefore, the wall of Jerusalem appears in the depths, and all attention, due to the chosen angle, is concentrated on the main figure of Christ and the framed figures of John the Evangelist and the Mother of God, creating the image of a sublime spatial action.

The spatial component is of fundamental importance for understanding the design of the entire double-sided icon, which is usually a processional image, perceived in space and movement. The combination of two images - the Mother of God Hodegetria on one side and the Crucifixion - has its own high prototype. These same two images were on both sides of the Byzantine palladium - the icon of Hodegetria of Constantinople.

Most likely, this icon of unknown origin reproduced the theme of Hodegetria of Constantinople. It is possible that it could be connected with the main miraculous action that happened to Hodegetria of Constantinople every Tuesday, when she was taken to the square in front of the Odigon monastery, and a weekly miracle took place there - the icon began to fly in a circle in the square and rotate around its axis. We have evidence of this from many people - representatives different nations: and Latins, and Spaniards, and Russians, who saw this amazing action.

The two sides of the icon at the exhibition in Moscow remind us that the two sides of the Constantinople icon formed an indissoluble dual unity of the Incarnation and the Redemptive Sacrifice.

Icon of Our Lady Cardiotissa (XV century)

The icon was chosen by the creators of the exhibition as the central one. Here is a rare case for the Byzantine tradition when we know the name of the artist. He signed this icon, on the bottom margin it is written in Greek - “Hand of an Angel”. This is the famous Angelos Akotantos - an artist of the first half of the 15th century, of whom quite a lot remains big number icons We know more about him than about other Byzantine masters. A number of documents have survived, including his will, which he wrote in 1436. He did not need a will; he died much later, but the document was preserved.

The Greek inscription on the icon “Mother of God Kardiotissa” is not a feature of the iconographic type, but rather an epithet - a characteristic of the image. I think that even a person who is not familiar with Byzantine iconography can guess what we are talking about: we all know the word cardiology. Cardiotissa - cardiac.

Icon of Our Lady Cardiotissa (XV century)

Particularly interesting from the point of view of iconography is the pose of the Child, who, on the one hand, embraces the Mother of God, and on the other, seems to tip over backwards. And if the Mother of God looks at us, then the Baby looks into Heaven, as if far from Her. A strange pose, which was sometimes called Leaping in the Russian tradition. That is, on the icon there seems to be a Baby playing, but He plays rather strangely and very much not like a child. It is in this pose of the overturning body that there is an indication, a transparent hint of the theme of the Descent from the Cross, and, accordingly, the suffering of the God-Man at the moment of the Crucifixion.

Here we meet with the great Byzantine drama, when tragedy and triumph are combined into one, a holiday - this is both the greatest sorrow and at the same time a wonderful victory, the salvation of mankind. The Playing Child foresees His coming sacrifice. And the Mother of God, suffering, accepts the Divine plan.

This icon contains the endless depth of the Byzantine tradition, but if we look closely, we will see changes that will lead to a new understanding of the icon very soon. The icon was painted in Crete, which belonged to the Venetians at that time. After the fall of Constantinople, it became the main center of icon painting throughout the Greek world.

In this icon outstanding master We see Angelos teetering on the brink of transformation unique image in a sort of cliche for standard playbacks. The images of light-gaps are already becoming somewhat mechanistic; they look like a rigid grid laid on a living plastic base, something that artists of earlier times never allowed.

Icon of Our Lady Cardiotissa (XV century), fragment

Before us is an outstanding image, but in in a certain sense already borderline, standing at the border of Byzantium and post-Byzantium, when living images gradually turn into cold and somewhat soulless replicas. We know what happened on Crete less than 50 years after this icon was painted. Contracts between the Venetians and the leading icon painters of the island have reached us. According to one such contract in 1499, three icon-painting workshops were to produce 700 icons of the Mother of God in 40 days. In general, it is clear that a kind of artistic industry is beginning, spiritual service through the creation of holy images is turning into a craft for the market, for which thousands of icons are painted.

The beautiful icon of Angelos Akotanthos represents a striking milestone in the centuries-long process of devaluation of Byzantine values, of which we are all heirs. The more precious and important becomes the knowledge of true Byzantium, the opportunity to see it with our own eyes, which was provided to us by the unique “exhibition of masterpieces” in the Tretyakov Gallery.

Back in school we were taught not to take religious art seriously. Well, whatever - they didn’t know the perspective, couldn’t realistically depict a person, and so on. Deacon Kuraev, in his lecture on icon painting, recalls funny facts about the Soviet idea of ​​icons.

I discovered Russian icons in the Tretyakov Gallery. I think that if we recognize the right to painting only for realism, it is impossible to appreciate the beauty of the icon.

Upon closer examination, the icons turned out to be a completely new art for me. Moreover, it is absolutely self-sufficient on the one hand and simple on the other.

Russian icon painting, a little history.

A Russian (Byzantine) icon appeared on the rubble ancient art. By the 9th century, after a period of iconoclasm, the ancient tradition in the east ceased to exist. A completely new art appeared, far from the ancient tradition - icon painting. It originated in Byzantium and continued to develop in Russia.

However, with Russia’s acquaintance with Western European art, although icon painting continued to exist, it was no longer considered the limit of perfection. The Russian elite fell in love with Baroque and realism.

In addition, icons in the Middle Ages were covered with drying oil for preservation. And it darkened over time. In addition, a new image was often superimposed on top of the old image. Even more often, icons were hidden in frames. As a result, it turned out that most of the icons were hidden from view.

Old Russian art was rediscovered in late XIX century, and at the beginning of the 20th century it experienced real recognition.

This was the period when people began to show interest in ancient national art and restoration techniques appeared. Opened As a result of the restoration, the images I brought to the world shocked his contemporaries.

Perhaps this is what gave impetus to the development of Russian abstract art. The same Henri Matisse, examining the collection of Novgorod art in 1911, said: “French artists should go to Russia to study: Italy gives less in this area.”

Images of the Mother of God

One of the greatest Byzantine icons is exhibited in the Tretyakov Gallery - this is the icon of the Vladimir Mother of God.

It was created in Byzantium and came to Russian soil in the 12th century. Then Prince of Vladimir Andrei Bogolyubsky built for her

The image of the Mother of God with a baby clinging to her belongs to the type of Tenderness icon. Such images began to spread in Byzantine and Russian art in the 11th century. XII centuries. Then he appeared “Canon on the lamentation of the Blessed Virgin Mary". In the Western tradition it is called Stabat mater.

“About Your terrible and strange Christmas, My Son, I was exalted above all mothers: but alas for Me, now seeing You on the tree, my womb is burning.

Glory: I see My womb in my arms, in which I held the Child, from the tree of reception, the Pure thing: but no one, alas for Me, gave this.

And now: Behold My Sweet Light, Hope and My Good Life, My God extinguished on the Cross, I am inflamed in my womb, Virgin, groaning, said.”

The image of the Virgin and Child in the “Tenderness” type reinforces the text of the canon.

Another beautiful icon on the same theme of “tenderness” is the Don Mother of God by Theophanes the Greek, also located in the Tretyakov Gallery.

A more ancient image of the Mother of God can also be seen in the collection of the Tretyakov Gallery.

This icon is called - Orant A. There are many similar images in the catacombs and early Christian churches. Here the main meaning is given to the descent to earth of the son of God through the Mother of God. In this interpretation, Mary is the “gate of light” through which grace comes into the world. In other words, the pregnant Mother of God is depicted here.

Images of the Holy Trinity

Another icon that has been admired by every generation who has seen it is Andrei Rublev's trinity. To understand and appreciate the beauty of this work, I suggest you also plunge into the history of the issue.

The Trinity: father, son and holy spirit was still in the Hellenic tradition - the cult of the god Dionysus. I don’t know whether it migrated from there to Christianity, or from somewhere in the east, but this idea is much older than the New Testament and Creed.

The New Testament trinity (God the father, the son and the holy spirit) could not be depicted in the Orthodox tradition. This would contradict the concept of an eternal, incomprehensible and triune God: “ No one has ever seen God" You can only depict the Old Testament trinity.

In fairness, despite the canonical ban, imagesNew Testament Trinityare still widespread today. Despite the fact that the definition Great Moscow Cathedral 1667 such images prohibited.

In the Catholic tradition, the New Testament Trinity was often depicted.

The image of the Old Testament trinity is based on the legend of Abraham.

The book of Genesis describes an episode when God appears to Abraham in the form of three angels.

“And the Lord appeared to him at the oak grove of Mamre, as he sat at the entrance to the tent, during the heat of the day. He lifted up his eyes and looked, and behold, three men stood against him. Seeing, he ran towards them from the entrance to the tent and bowed to the ground and said: Master! If I have found favor in Your sight, do not pass by Your servant; and they will bring some water and wash your feet; and rest under this tree, and I will bring bread, and you will strengthen your hearts; then go; as you pass by your servant... And he took the butter and the milk and the calf that had been prepared, and set it before them, and he himself stood beside them under the tree. And they ate" (Genesis 18:1-8)

It is this plot that is depicted as the Holy Trinity; it is also called “Abraham’s hospitality.”

In early images, this plot was depicted with maximum detail: Abraham, his wife Sarah, an oak tree, Abraham's chambers, a servant slaughtering a calf. Later, the historical plane of the image is completely replaced by the symbolic one.

There is nothing superfluous in Andrei Rublev's Trinity. Only three angels who are perceived as a single whole. Their figures form a vicious circle. It was Rublev’s Trinity that became a canonical image and served as an example for subsequent generations of icon painters.

Methods and techniques of icon painting, reverse perspective

To properly understand icon painting, one must keep in mind that icon painters did not strive to depict reality. They had another task - to depict the divine world. This is where techniques not typical for realistic painting come from.

For example, using reverse perspective. (This is when the lines to the horizon do not converge, but diverge).

However, this was not always used, but only when the artist wanted to emphasize the special proximity of the object to us. The icon also uses parallel perspective - when the lines do not converge on the horizon, but run parallel.

An interesting icon from the workshop of Theophanes the Greek “Transfiguration”.

It also depicts events taking place at different times.

I love this icon very much, it’s hard for me to tear myself away from it.

The Transfiguration of the Lord is depicted here on Mount Tabor. Divine light emanates from Jesus; the apostles Peter, James and John the Theologian fell on their faces below. Above are the prophets Moses and Elijah. Above them are angels who bring them to this place. There are groups of apostles under the mountain, one group goes up the mountain, the other goes down the mountain. These are the same apostles, depicted at different times.