home · Appliances · Andrey Kirikov: Syzran icons are a great asset of Russian culture. Spring, holy source of the icon of the Feodorovskaya Mother of God, village of Kashpir, city of Syzran. Judgments about the existence of “Bochkarevskaya” icon painting

Andrey Kirikov: Syzran icons are a great asset of Russian culture. Spring, holy source of the icon of the Feodorovskaya Mother of God, village of Kashpir, city of Syzran. Judgments about the existence of “Bochkarevskaya” icon painting

The Syzran icon is a real work of art, which is a prominent representative of Old Believer icon painting. However, few people know about these creations. Andrei Kirikov decided to put an end to this and show everyone what wealth there is in the world.

The Syzran icon is a real work of art, which is a prominent representative of Old Believer icon painting. However, they learned about these creations quite late, in the second half of the 19th century, but the first mentions appeared at the beginning of the century. Today, Syzran icons have gained many fans for their special style and extraordinary splendor. The largest collection of these creations is owned by Andrei Kirikov, who made a lot of efforts to show them to the world. Indeed, due to the constant persecution of the Old Believers who painted these icons, the Syzran icons were hidden for a long time, and only the greatest experts on such spiritual values ​​knew about them. This was the reason that they were not exhibited at exhibitions, museums and were carefully hidden from the public.

Andrei Kirikov decided to put an end to this and show everyone, and especially the Russian people, what wealth there is in the world. That is why he took the initiative to create the film “The Secret of the Syzran Icon.” It is filmed in the popular detective genre with a very intriguing plot. Thanks to this, many people watched it and showed interest in Old Believer icon painting. Thus, Andrei Kirikov achieved his goal - many art connoisseurs and ordinary people became interested in the Syzran icon. But it couldn’t be any other way, because this religious painting, created in the Byzantine and Old Russian style, has extraordinary beauty. This was the reason for organizing an exhibition where everyone could see the icons of the Syzran school, which had been hidden for so long.

Old Believer works can be recognized among all paintings by their special style and unique execution techniques. All Syzran icons were painted on a cypress board with an ark, and its surface was specially processed, painted and profiled. Only after this did they begin to write on the board, and then exclusively with tempera, which made it possible to draw even the smallest details with extreme precision. Then the icon was varnished, thanks to which these creations have been perfectly preserved to this day. Their distinctive feature is the double edge along the margins and decoration with ornamental husks; some specimens have a golden border. All this makes them even more attractive and valuable. Now, thanks to the active work of Andrei Kirikov, many people will be able to see all this beauty. However, his greatest achievement is that all his actions contribute to the restoration of gaps in the history and culture of Russia.

On June 25, 1713, a copy of the icon was miraculously found near the village of Kashpir near Syzran. This happened under the following circumstances.

Local shepherds began to notice a certain glow over a water source not far from the banks of the Volga. It disappeared as soon as people came closer. But one night the radiance was brighter than usual and did not go out when the shepherds approached. Amazed, they saw the icon of the Queen of Heaven standing on a stone.

The next day, the Kashpirites, inviting the clergy, moved the icon to the parish church, but at night it was miraculously transferred to its original place. After the prayer service, the image was returned to the temple, and then in a procession it was taken to the Nativity Cathedral in Syzran. And again, a few days later, the shrine was seen at the source. Filled with reverence, the Syzran residents made another religious procession with the icon to the Ascension Monastery. At the same time, there were two signs: the leper maiden was healed by washing herself with water from the spring, and, through the prayers of the Lady, the storm on the Volga calmed down - many people were saved who decided to get to Syzran by boat. Pious donors decorated the icon with a precious robe.

The icon was in the monastery until it was destroyed after the October Revolution. Not desecrated by the atheists, it was hidden by the believers.

In 1944, the Syzran Kazan Cathedral reopened. The saved image was transferred here. And it is still kept there today. 15 great miracles are associated with the holy image of the Theodore Mother of God.

The holy spring, which was filled up until recently, has been cleared. A log house was placed on it. Religious processions have resumed here. The restoration of the chapel is planned.

Every year on June 25 and March 14 (old style, July 8 and March 27 - new style) in the Kazan Cathedral of Syzran, solemn services are held in honor of the miraculous appearance of the Theodore Icon of the Mother of God - the great shrine of the city.

In the village of Novokashpirsky, construction of a church in the name of the miraculous image has begun.

Troparion (tone 4):

Today the famous city of Kostroma and the entire Russian country are shining brightly, calling all the God-loving Christian peoples to joy, to the glorious triumph of God's Mother, coming for the sake of Her miraculous and multi-healing image, today for the bright great sun has appeared to us, come, all God's chosen people, new Israel, to the source of healing, the Most Holy Theotokos exudes boundless mercies for us and delivers all Christian cities and countries unharmed from all the slander of the enemy. But, O All-Merciful Lady, Virgin Mother of God, Lady, save our country, and the bishop, and all Your people from all troubles according to Your great mercy, let us call You: Rejoice, O virgin, praise to the Christians.

Transcript

1 OLD BELIEVER SYZRAN ICON A.D. Koroleva Saratov State University named after. N.G. Chernyshevsky Saratov, Russia OLD BELIEVERS ICON OF SYZRAN Koroleva A.D. Saratov State University Saratov, Russia What an icon means for the Orthodox consciousness is a story about the events of Sacred history or the life of a saint in pictures. Here, its expressive-psychological function comes to the fore not only to tell about events of ancient times, but also to arouse in the viewer a whole range of feelings - empathy, pity, compassion, tenderness, admiration, etc., and, accordingly, the desire to imitate those depicted characters. The icon also has an aesthetic purpose to decorate the temple. The goal of Christian art is purification, catharsis (Greek καθαρσις). Through the icon we can not only purify our souls, but the icon contributes to the transformation of our entire nature. The icon is primarily a church liturgical image, which occupies an important place in Orthodox worship and in everyday prayer life. The word icon comes from the Greek. eikōn image, image. The art of icon painting has deep roots. The veneration of icons is based on the resolution of the VII Ecumenical Council (787), where a strict theological justification for the icon was given, which boils down to the fact that as a result of the Incarnation, people were able to contemplate God himself in the face of Jesus Christ. There is no desire for individual self-expression in the icon; the master painter most often remained anonymous. The most important thing in scripture 1

2 icons is an exact adherence to the canon, which is recorded in the collection of icon-painting samples of facial originals. The icon is characterized by: emphasized conventionality of the image, reverse perspective; absence of an external light source (light comes from faces and figures); symbolic function of light (blue color of heaven, gold symbol of holiness, red of the sacrifice of Christ or royal dignity); simultaneity of the image (all events occur simultaneously). The Russian icon in its traditional form was preserved primarily among the Old Believers. The Old Believers cherished the ancient icon, free from innovations, highly revered it and preserved their unique understanding of its beauty. After Nikon’s reform in the mid-17th century, Russian Orthodoxy split into two currents: the Old Believer and the new, supported by the state. Believers who adhered to the old church rites were persecuted, but after the decree of Catherine II in 1762, the Old Believers were invited to settle the banks of the Volga. By the end of the 17th century, the first Old Believers appeared in the Middle Volga region, and at the end of the 19th century there were already several tens of thousands of them in the Samara and Simbirsk provinces. Syzran was one of the Old Believer centers of the Volga region, an economic and trade region where the icon-painting craft developed. The first mentions of Syzran icon painters appear at the end of the 18th century. At this time, the clergyman of the Elias Church, Alexei Afinogenov, became famous for his skill in icon painting, who painted icons for his temple and local churches. From the second floor. In the 19th century, icon painting in Syzran was done by the nuns of the Sretensky Monastery, at the same time the Syzran Old Believer icon painting school developed. Comparing the Syzran school with other Old Believer movements in icon painting (Vetkovskaya, Nevyanskaya, Pomorskaya, Sibirskaya 2

3 schools), we can say for sure that the local school has its own traditions in painting icons that are not found in other workshops. The artistic, historical, aesthetic and spiritual value of the Syzran icon lies in the fact that in the Old Believer environment (in contrast to the iconography of the dominant church, which is oriented towards Western European painting) the “Greek” tradition was preserved not so much in technology as in its spiritual component. The basis for the icon was a cypress board. The cypress base was considered the most durable of all types of wood, as evidenced by the good preservation of the Syzran icons. Most of the works are equipped with a double border with ornamental painting. It represents alternating images of a stylized daisy flower. Chamomile is represented in the form of a circle around which the petals are located. This sunny flower is used as an ornamental rosette, often supplemented with other decorative elements; in the Syzran icon these are petals and a trefoil. The design corresponds in detail to the common embossed design found on the covers of early printed books. On some icons, the husk ornament is replaced by a gold border. Almost every icon contains stamps with images of patron saints, named after the customer and patronizing him and his household. The presence of patron saints indicates the predominant commissioned nature of the work. Often on icons, among the saints, the image of a guardian angel is depicted. The font found on the Syzran icon is an elongated half-shape (Pomeranian script). The Syzran icon had a special coloring; it is more diverse than it seems at first, but a restrained color scheme predominates. The emergence of this school is closely connected with the activities of the Syzran hereditary icon painter and spiritual mentor of the Pomor community D.V. Popova (Porfirov). He trained a whole galaxy of master icon painters, who are the successors of Syzran writing. Among his students were the Dyakonov couple, who later 3

4 worked in Kazan; The father and son Kachaevs also settled in Samara, which means that the traditional features of Syzran icon painting were spreading beyond the Syzran district. Consider the work of A.P. Kachaev "Lord Almighty with those coming." The icon was made at the end of the 19th century. On the reverse side of the icon there is a paper stamp: “Commendable review of the Kazan handicraft and agricultural exhibition. Icon painter A.P. Kachaev, Syzran.” This inscription allows us to accurately identify the master who made this icon. A.P. Kachaev was a student of D.V. Popov, which means that this icon can be attributed to the Syzran school of icon painting. The base, that is, the reliquary board, is made of cypress. The icon itself is made in the traditional technique using tempera paint, with a predominance of dark brown tones. A characteristic feature of the Syzran icon is the presence of a double border, one of which is decorated with a floral ornament in the form of a stylized daisy. All the figures on the icon are symmetrically located. In the center is the figure of the seated Lord Pantocrator at the age of preaching, depicted in traditional clothes, with the open text of the Gospel, and blessing with a hand folded into two fingers. Nicholas the Wonderworker and Sergius of Radonezh kneel at the feet of the Almighty. On the right hand of the Lord Almighty is the Mother of God, on the left is John the Baptist, their images are bowed in prayer. They hold unfolded scrolls in their hands. Behind the back of the Almighty there are figures of angels. Above are located on the right side: the figures of John the Theologian and the Apostle Peter; on the left side: Apostle Paul, John Chrysostom. The open text of the Gospel, unfolded scrolls, and the Pomeranian semi-ustav (Pomeranian script) with characteristic decorative curls around the initial letters classify the icon as Pomeranian iconography. The peculiarity of writing the name of the Savior “post-Old Believer” with one “I” (1С ХС), in contrast to the “Nikonian” title “IIS ХС”, is not an attributive feature, since Orthodox 4

5 icon painters of the 19th-20th centuries used the traditional spelling of the name of Christ, imitating the ancient masters. In his technique of painting icons one can trace the features of the Syzran school of icon painting. The most famous were his students - the Bochkarev brothers. Alexander Arkhipovich Bochkarev began his studies in icon painting in the 80s of the 19th century. Already in 1889, he took part in the All-Russian exhibition in Nizhny Novgorod, and his collection was awarded a certificate of commendation. Thanks to this exhibition, the whole country learned about the Syzran school of icon painting. At the end of the 19th century, Bochkarev opened his icon-painting workshop in Syzran (Bochkarev School of Iconography), where he taught students. His student, the famous icon painter from Khvalynsk, G.A. Komissarov painted his icons “in the spirit” of the Syzran Old Believer school. A.A. Bochkarev G.A. Komisarov “Saint Nicholas the Wonderworker” “Saint Nicholas the Wonderworker” (private collection of A.A. Kirikov) (private collection of A.A. Kirikov) 1898 Syzran 1896 Khvalynsk Let's compare Komisarov's icon "St. Nicholas the Wonderworker" and Bochkarev's "St. Nicholas the Wonderworker". In these two icons we see traditional techniques for painting the image of St. Nicholas the Wonderworker, where the figure of the saint is represented waist-deep, blessing with two fingers with his right hand, and supporting the Gospel with his left hand. Saint 5

6 Nicholas is dressed in a cross-shaped robe, with waist-length figures of Christ and the Mother of God located in medallions at the top. They are reminiscent of the miracle at the Council of Nicaea in 325. It is traditional to depict St. Nicholas with a closed Gospel in his hands; this feature is found in the icon of G.A. Komissarova. And on the icon A.A. Bochkarev, the saint is depicted with an open Gospel; this writing refers it to the Old Believer icon painting of the 19th century, written in the traditions of 17th century painting. These two icons are characterized by restraint of color, laconic composition, and elongated proportion of the figure. On the margins of the icon of A.A. Bochkarev there are patronal saints, it can be assumed that the icon was made to order; among the saints there is a figure of a guardian angel (often depicted on the Syzran icon). Both icons have a wide, gently sloping husk, which is also characteristic of the Syzran school. On the dark background of the husk, limited at the edges by thin whitewash lines, a gold ornament is applied (alternating stylized daisy flower and trefoil-shaped curls), this is found on the icon of G.A. Komissarov, and on the icon A.A. Bochkarev uses only a gold stripe on flat husks. Giving an analysis of the icons G.A. Komisarova "St. Nicholas the Wonderworker" and A.A. Bochkarev “St. Nicholas the Wonderworker”, A.P. Kachaev’s “Lord Almighty with Those Coming”, one can trace stylistic similarities and stable artistic traditions, which gives reason to consider Syzran icon painting as an independent school. After the peak of the Syzran Old Believer school, at the end of the 30s of the 20th century, it ceased to exist, due to the death of A.A. himself. Bochkarev, the founder of the Syzran school of icon painting, and his son’s forced refusal to paint icons. Despite all this, the works of this school have survived to this day. At first, the Syzran school was known in a narrow circle of people interested in icon painting, but 6

7 At present, patrons and collectors are actively engaged in the revival of this school of icon painting. Under the leadership of Leonid Glukhov, the Cultural and Educational Organization “Renaissance” operates in the city of Syzran, whose members paint icons in the tradition of the Syzran school. Young specialists from the neighboring village of Kholui were invited to restore the writing technique of this school. A famous collector of Syzran icons is A.A. Kirikov, his collection includes more than 60 icons of this school. Exhibitions dedicated to the Syzran school of icon painting are being held, for example, an exhibition of icons of the Syzran Old Believer school was held in Samara, where A.A. Kirikov presented his collection of icons, and an exhibition catalog was also published. In 2010, at the Central Museum of Ancient Russian Culture and Art. A. Rublev, the exhibition “Art Centers of the Old Believers: Icon of Syzran and the Middle Volga” was held. The main goal of holding exhibitions is to acquaint the general public with the preserved heritage that the Syzran masters of icon painting left behind. Literature: 1. Mochalova E.G., Kirikov A.A. Old Believers and the Syzran school of icon painting//city of Syzran. Essays on geography, history, culture, economics, vol. I. Syzran, S.A. Kirikov // Catalog of the exhibition “Syzran Icon”. - Samara, p.: ill. 3. E.G. Mochalova. Syzran Icon//Information bulletin. Samara Region. Ethnicity and Culture S. G. Molchanov. Local iconography//Red October. December


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The spring consecrated in honor of the Feodorovskaya Icon of the Mother of God is located in the former village of Kashpir, now part of the city of Syzran, Samara region.

In Rus' there are a great many “revealed” icons, that is, those that appeared to people in some miraculous way. They were worshiped, prayed for, and deeply revered as patronesses and saviors. And Syzran was given the highest grace: in 1713, at a spring near the village of Kashpir on the banks of the Volga River, a holy icon, the Feodorovskaya Icon of the Mother of God, appeared to people.

In Soviet times, the source was filled with concrete and fuel oil, but water, especially holy water, will always find its way to people. And the source continued to live. Several years ago, work began to restore the spring where the appearance of the holy image took place. The spring was cleared and a well was installed. They erected a chapel and built a bathhouse nearby. On June 25, the day of the celebration of the icon of the Feodorovskaya Mother of God, a prayer service is always served at the source. Now the area of ​​the source is well developed, a temple has been built.

Holy spring in honor of the Feodorovskaya Icon of the Mother of God

On one summer day in 1713, shepherds were driving cattle to an unnamed spring located below the village of Kashpir. Farmers also went here to rest. Suddenly, not far from the spring, the shepherds saw an extraordinary light. This phenomenon was then repeated for several days in a row, but every time the shepherds approached the spring, the light disappeared. Finally, one day the shepherds saw an even brighter light over the wonderful place, which, however, disappeared again as soon as they approached a spring with a flock. This time they saw a holy icon standing on a stone.

The news of the miracle quickly spread throughout the nearest villages. Local clergy reverently took the icon and transferred it to the parish church. But on the following night, the revealed icon “gone” from the locked temple to its previous place of appearance. Having learned about this, the residents of Kashpir again rushed to the spring and prayed in front of the icon that the Heavenly Lady would be worthy to have this icon in their parish church. The clergy with icons and banners again went to the spring. Here, in front of the holy icon standing on the stone, a thanksgiving prayer service was served, after which the icon was brought into the parish church for the second time.

When Kashpir was assigned to Syzran in 1730, its residents at a general council decided to transfer the holy image from Kashpir to the Syzran Cathedral. But the next day, the Kashpiri landowner, who was plowing the land and came to the spring, saw the holy image of the Mother of God here and hastened to inform the authorities about this.

The residents of Syzran became agitated and decided to move the icon in a procession not to the cathedral, but to the Ascension Monastery. At the same time, they made a vow for themselves and for their descendants in the future to take an icon annually from the monastery to the city for public prayer. On June 12, the religious procession began. In the crowd there was one peasant girl who suffered from leprosy on her face. Drawing water from a spring and washing her face, she in tears asked the Mother of God for healing from leprosy. The procession had not yet entered Syzran, but the girl received healing. Everyone glorified God and the Most Holy Theotokos for such a good deed.

All of pre-revolutionary Russia knew about this wonderful story. Orthodox people came here in an endless stream. They prayed in front of the icon of the Mother of God, which they began to call “Theodorovskaya,” and went to the well for unusually tasty and, moreover, healing water.

After the revolution, there were many attempts to destroy the well-spring. The authorities made their last attempt in 1968, when three barrels of phenolic additive from a local oil shale processing plant were poured into the well. After this, the authorities decided to raze the “poisonous well”. But the bulldozer driver flatly refused to work like a Judas. It was carried out for a lot of money by a stranger, but he demanded that the bulldozer cabin be filled with plywood - he was afraid of being recognized by people.

But Russia did not forget about the shrine. All these years people have been coming and going here. According to the stories of the old people excavating this place, “they could only wash off the fuel oil with kerosene.” When the well was completely dug up and cleared of poison, Archbishop Sergius of Samara and Syzran served a water blessing service here and blessed the water to be taken.

Soon, a resident of the village of Upravlencheskiy, Svetlana P., used her savings to buy a log house, and a chapel appeared next to the well. At the expense of the parishioners of the Samara Church of Saints Peter and Paul, a bathhouse was equipped. Local residents improved the holy place as best they could. During 2006-2007, the source was reconstructed: the well was completely repaired, a new oak frame was installed, the well itself was cleaned and deepened by one and a half meters. A chapel was built over the well, a dome was made, and a new stainless steel font was brought in. A road was led to the source. In 2008, the construction of a summer church in honor of the “Life-Giving Spring” icon of the Mother of God was completed here and it was consecrated by the priestly rite. In the same year, the second bathhouse was built and consecrated.

What are they asking for? People believe that by praying in front of the Theodore Icon of the Mother of God, God’s grace through holy water heals from cancer and sends offspring to the childless.

Here are a few such stories. A resident of Penza prayed to the Mother of God for a long time to heal her from cancer. And then she sees a dream: she stands on the high bank of a large river, behind her is a cemetery, and below is a well-source, with people around her. He hears a voice: “Here you will find healing.” A few months later the sick woman ended up in Syzran. With unknown pilgrims, I unexpectedly went “to the miraculous” source. And from the high bank she suddenly recognized the place shown to her in a dream. There were so many grateful prayers and tears later for healing from cancer.

Servant of God Svetlana came from Kamchatka to pick up the baby. And she begged the Mother of God for the child. Two years later she arrived with Ilya, fell on her knees in front of the holy image: “Mother of God, here is your gift!”

A resident of Samara, Tatiana, had a miscarriage every now and then. The doctors couldn't help. Years passed. As if for their last hope, the already middle-aged Tatiana and her husband Konstantin came to the Feodorovskaya monastery. And soon Kolenka was born to them.

A year later, the couple came again to ask the Queen of Heaven for Mashenka...

There were also non-believers who tried to interpret everything as a matter of chance. Perhaps for such people, on July 17, 2000, a miracle was revealed: in the evening sky over Syzran, the Mother of God stood with the baby Jesus in her arms - an exact image of the Feodorovskaya icon. Within three minutes, people could see a very clear panoramic image.

In June 2007, with the blessing of Archbishop Sergius of Samara and Syzran, the holy spring was transferred to the Syzran Monastery. In 2007, a new bathhouse was installed here.

The new art album “Syzran Icon” is dedicated to a little-known trend in icon painting of the 18th-19th centuries. The book presents more than 60 icons written by Syzran Old Believers. All these icons belong to the collection of the famous Moscow collector A.A. Kirikov, who has been studying, collecting and promoting the works of Syzran Old Believers icon painters for many years.

Researchers note that despite most of the icons belonging to the period of the 18th-19th centuries, Syzran icon painting is completely alien to the academic style. Academic church painting, with its typical attempts at portraiture, voluminous presentation of figures, bright colors and the special value of icons painted on gold leaf, was typical of Russia of this period. The icon painting of the Simbirsk province as a whole was no exception. As for the Syzran icons, there is every reason to state: although they were painted in a period when the academic style prevailed, which freed painting from all those conditions that were required by the Eastern Church, yet Syzran icon painting preserved and brought to the 20th century icons made in in the classical manner of ancient icons. Moreover, unlike the Paleshans, who worked a lot and fruitfully in different styles, who experienced “writing of the Greek style” as a striking case, as an episode, the Syzrans understood Greek writing completely differently. The latter for them was the only possible meaning and essence of the icon. “The science of antiquities and art of the Orthodox East is obligatory for Russian archaeological science, not only as the environment that is closest to it, related and therefore understandable, but also as historically inherited,” writes N.P. Kondakov on the genesis of monuments of Orthodox artistic culture. Greek writing had its purpose; it was based on the observance of general and unshakable rules that were passed down from generation to generation and created universality and unity of style.

Having examined many archival documents, the collector of the collection, A. A. Kirikov, became convinced that exclusively all Syzran icon painters belonged to the stroverie. In this light, we understand the commitment of Syzran icon painters to canonical writing, where the icon itself was a reflection of the attitude of the Old Believers, their desire for collective integrity in opposition to the surrounding society. There is reason to consider it fair to say that it is the icon that becomes one of the tools for spreading the influence of the Syzran Old Believer communities.

It is known from archival materials that already in the second quarter of the 19th century, the merchant Sidelnikov had his own store in Syzran, which sold locally produced icons, and they were expensive - from 5 to 15 rubles in silver. Icons could also be bought or ordered from individual artists, or from icon painting and iconostasis establishments. According to archival information for the second half of the 19th century, there are at least 70 similar craftsmen and institutions directly or indirectly connected with the Syzran district.

The icon craft flourished; the annual tax for icon painting production per artist was small and amounted to 1 ruble. 70 kopecks, for the maintenance of a worker or apprentice by a master, the tax was 1 ruble. 15 kopecks, student maintenance - 57 kopecks. (from the “Book of the Syzran Crafts Council for a note of the income and expenditure of city income in the carriage and carpentry workshop”). At that time, work on the iconostasis, “with its painting and gilding in some places of carvings and cornices in gold on the Gulfarba” cost 300 rubles. A three-year contract for training a student with maintenance cost from 100 to 150 rubles.

In general, icon painting in the Syzran district was of a custom nature, as evidenced by the images of patronal (name) saints in the margins of most icons. The overwhelming number of craftsmen in the district belonged to the community of Pomeranian non-priests who accepted marriages, but Syzran icon painting in itself was not an intra-confessional phenomenon. Icon painters also carried out orders for Old Believers accepting the priesthood, for co-religionists and for representatives of the ruling church who gravitated towards the canonical icon.

Sometimes Old Believer icon painters carried out orders from synodal churches, which often led to all sorts of misunderstandings. So in the report dated October 2, 1886, Dean L. Pavpertov to the New Believer Bishop of Simbirsk and Syzran Barsanuphius regarding the newly built Church of Our Lady of Kazan in the village. The laborers of the Syzran district indicated that the new iconostasis does not fully correspond to the “Orthodox” look: “The faces in the icons are not painted according to the icons in the sample presented by the contractor, but are much darker with a reddish tint, like those of fellow believers. On three icons of Christ the Savior: on the high place in the altar, on the right side of the royal doors, above the archway in the refectory, and on two icons of saints on the choir in the lower tier of the iconostasis, the formation of the blessing hand is not entirely Orthodox, a large finger is attached to the ends of two small fingers and does not express HS. When I inspected the temple and the iconostasis, there were more than fifty Orthodox parishioners and several schismatics, and everyone unanimously expressed that the icons were painted this way according to their wishes and they seemed very much to them, and asked me to petition Your Eminence to leave the iconostasis in this form. If it pleases Your Eminence to indulge them, then the church is completely ready for consecration.” The resolution of Bishop Barsanuphius read: “Consecrate the temple at the time desired by the parishioners.”

In Syzran, cases of persecution of Old Believer icon painters were registered. True, the reason for the arrests was not the icon painting, but the religious activity of the latter. Thus, the most famous Syzran icon painter David Vasilyevich Popov was convicted in 1869 for maintaining a “schismatic” prayer house.

The album “Syzran Icon” contains more than 60 illustrations with images of icons, as well as an introductory article by A. A. Kirikov. You can purchase this rare publication in the bookstore of the Moscow Metropolitanate, Old Believer churches in Moscow and Samara.