The most revered icons of Russia. Icon - what is it? Ancient icons and their meaning What are personal icons

The earliest prayer icons that have survived to this day date back to the period no earlier than the 6th century. They were made using the encaustic technique (Greek ἐγκαυστική - burning), when paint was mixed on heated wax. It should be noted that all paints consist of paint powder (pigment) and a binding material - oil, egg emulsion or, as in this case, wax.

Encaustic painting was the most widespread painting technique of the ancient world. It was from the ancient Hellenistic culture that this painting came to Christianity.

Encaustic icons are characterized by a certain “realism” in the interpretation of the image. The desire to document reality. This is not just a cult object, it is a kind of “photography” - living evidence of the real existence of Christ, the Virgin Mary, saints and angels. After all, the holy fathers considered the very fact of the true incarnation of Christ to be the justification and meaning of the icon. The invisible God, who has no image, cannot be depicted.

But if Christ was truly incarnate, if His flesh was real, then it was depictable. As Rev. later wrote. John of Damascus: “In ancient times, God, incorporeal and without form, was never depicted. Now that God has appeared in the flesh and lived among men, we portray the visible God.” It is this evidence, a kind of “documentary”, that permeates the first icons. If the Gospel, in the literal sense, good news, is a kind of report about the incarnate Lord, crucified for our sins, then the icon is an illustration of this report. There is nothing surprising here, because the word icon itself - εἰκών - means “image, image, portrait.”

But the icon conveys not only and not so much the physical appearance of the person depicted. As the same reverend writes. John: “Every image is a revelation and demonstration of what is hidden.” And in the first icons, despite the “realism”, the illusory transmission of light and volume, we also see signs of the invisible world. First of all, this is a halo - a disk of light surrounding the head, symbolizing the grace and radiance of the Divine (St. Simeon of Thessaloniki). In the same way, symbolic images of disembodied spirits - angels - are depicted on the icons.

The most famous encaustic icon now can probably be called the image of Christ Pantocrator, kept in the monastery of St. Catherine in Sinai (it is worth noting that the collection of icons of the Sinai monastery is completely unique, the oldest icons have been preserved there, since the monastery, having been outside the Byzantine Empire, did not suffer from iconoclasm).

The Sinai Christ is painted in the free pictorial manner inherent in Hellenistic portraiture. Hellenism is also characterized by a certain asymmetry of the face, which has already caused a lot of controversy in our time and prompted some to search for hidden meanings. This icon was most likely painted in one of the workshops of Constantinople, as evidenced by high level its execution.

Christ Pantocrator. 6th century Monastery of St. Catherine. Sinai

Most likely, the same circle also includes icons of the Apostle Peter and the Mother of God on the throne, accompanied by saints and angels.

Apostle Peter. 6th century Monastery of St. Catherine. Sinai

Theotokos with the upcoming saints Theodore and George. 6th century Monastery of St. Catherine. Sinai

The Virgin Mary is depicted as the Queen of Heaven, seated on a throne, accompanied by saints dressed in court robes and angels. The simultaneous royalty and humility of Mary are interestingly demonstrated: at first glance, she is dressed in a simple dark tunic and maforium, but its dark purple color tells us that this is purple, and purple robes in the Byzantine tradition could only be worn by the Emperor and Empress.

A similar image, but painted later in Rome, represents the Mother of God - without any hints - in full imperial vestments and crown.

Our Lady - Queen of Heaven. Early 8th century. Rome. Basilica of Santa Maria in Trastavere

The icon has a ceremonial character. It follows the style of ceremonial imperial images. At the same time, the faces of the depicted characters are filled with softness and lyricism.

Our Lady - Queen of Heaven. Angel. Fragment

The image of saints in court clothes was supposed to symbolize their glory in the Kingdom of Heaven, and to convey this height, Byzantine masters resorted to forms that were familiar to them and understandable for their time. The image of Saints Sergius and Bacchus, now kept in Kyiv in the Bogdan and Varvara Khanenko Museum of Art, was executed in the same style.

St. Sergius and Bacchus. 6th century Kyiv. Museum of Art. Bogdan and Varvara Khanenko

But, in addition to the refined art of the cultural centers of the Empire, early icon painting is also represented by a more ascetic style, which is distinguished by greater sharpness, a violation of the proportions of the depicted characters, and an emphasized size of heads, eyes, and hands.

Christ and St. Mina. 6th century Paris. Louvre

Such icons are typical for the monastic environment of the East of the Empire - Egypt, Palestine and Syria. The harsh, sharp expressiveness of these images is explained not only by the level of provincial masters, which is undoubtedly different from the capital, but also by local ethnic traditions and the general ascetic orientation of this style.

Bishop Abraham. 6th century State Museums of Dahlem. Berlin.

Without any doubt, one can be convinced that long before the iconoclastic era and the 7th Ecumenical Council, which condemned iconoclasm, there was a rich and varied tradition of icon painting. And the encaustic icon is only part of this tradition.

Dmitry Marchenko

Ancient icons - history of icon painting in Rus'

The icon is a relief pictorial image of Jesus Christ, the Mother of God or Saints. It cannot be called a painting, since it does not reproduce what the artist has before his eyes, but a fantasy or prototype that must be taken into account.

The history of icon painting goes back to ancient times and originates in early Christianity in Rus'. This art is multifaceted and unique. And it is not surprising, since it fully reflects the glorious traditions and spirituality of the Russian people. This is both a cult object for the Orthodox and a cultural national treasure.

There is no strict chronology here, however, it is generally accepted that the first icons in Rus' began to be used in the 10th century, when Christianity was adopted. Icon painting remained the center of ancient Russian culture until the 17th century, when in the era of Peter the Great it began to be supplanted by secular types of fine art. Despite the fact that Christian churches were present in Kyiv before, it was only after 988 that the first stone church was built. The painting work was carried out by specially invited masters from Byzantium. Sometimes the most important parts of her painting were carried out using the mosaic technique.

Prince Vladimir I from Chersonese brought many shrines and icons to Kyiv. Unfortunately, over the years they were lost. In addition, not a single icon of that time has survived from Chernigov, Kyiv, Smolensk and other southern cities. However, we can talk about icon painting, given the numerous wall paintings. The most ancient icons in Rus' were able to survive in Veliky Novgorod (on the territory of the St. Sophia Cathedral).

TO beginning of XIII century, the maximum flowering of Russian icon painting was observed at the artistic center of the Vladimir-Suzdal principality. However, Batu’s invasion of Rus' had a negative impact on the further development of icon painting. The harmony characteristic of Byzantium disappeared from the icons, numerous writing techniques began to be simplified and conserved. But artistic life was not completely interrupted. Russian craftsmen continued to work in Rostov, the Russian North and Vologda. Rostov icons were characterized by significant expression, activity of images and sharpness of execution. This icon painting has always stood out for its artistry, subtlety, and refined combination of colors.

But from the end of the 14th century, the entire artistic life of Rus' was concentrated in Moscow. It was here that numerous craftsmen worked: Serbs, Russians, Greeks. Feofan the Greek himself worked in Moscow. The icons of that time were able to prepare a serious basis for the flourishing of Russian icon painting at the beginning of the 15th century, in particular the brilliant icons of Andrei Rublev. The masters paid increased attention to paints and color schemes. It is not surprising that ancient Russian icon painting is a complex and great art.

In the icons of those times, the most important place was occupied by various purple tones, shades of the sky, blue vault (they were used to depict glow, thunderstorms). Novgorod icon painting of the 15th century was able to preserve the usual love for light and bright colors. An intense and provocative sense of color was characteristic of the Pskov school. In comparison with the ringing color of Novgorod, famous tones dominate in it, with enormous moral tension in the faces of the saints. As for Rublev’s era, its main task was to revive faith in man, in his kindness and moral strength. Artists of that period by all possible ways they tried to convey that icon painting is an art where every detail has great meaning.

Today, Orthodox believers consider the following icons to be among the most significant:

1. "Vladimir Mother of God". When turning to this icon, believers pray for deliverance from the invasions of enemies, for strengthening faith, for preserving the integrity of the country and for the reconciliation of warring parties. The history of this icon has its own roots in the distant past. It is considered to be the greatest shrine of the Russian land, which testifies to the special protection of the Mother of God over Russian Empire in the XIV-XVI centuries during the raids of the Tatar hordes. There is a legend that this icon was created during the life of the Mother of God herself. Any day of the triple celebration of the icon Our Lady of Vladimir The modern Orthodox Church associates it with the deliverance of the people from enslavement through prayers that were addressed specifically to this icon.

2. "Savior Almighty". This icon is often called “Savior” or “Savior”. In the iconography of Christ, this is the central image representing Him as the Heavenly King. It is for this reason that it is customary to place it at the head of the iconostasis.

3. "Virgin Mary of Kazan". While turning to this icon, believers pray for healing of the disease of blindness and ask for deliverance from enemy invasions. The Kazan Mother of God is considered an intercessor in difficult times. It is used to bless young people who have decided to get married. The presented icon is also asked for happiness and family well-being. That is why it is often hung near the crib. Today, the icon of the Kazan Mother of God can be found in almost any church. The image of the Virgin Mary can also be found in most believing families. During the reign of the Romanov dynasty, such an icon was one of the most revered and important shrines, which allowed it to be considered the patroness of the royal family.

4. "Savior Not Made by Hands". In accordance with church tradition, the image of the Savior was considered the first icon. There is a legend that this happened during the earthly existence of the Savior. Prince Avgar, who was the ruler of the city of Edessa, was seriously ill. Having heard about the healings that Jesus Christ performed, he wanted to look at the Savior. He sent messengers for the painter to make a portrait of Christ. But the artist failed to fulfill the assignment, because the radiance coming from the face of the Lord was so strong that the creator’s brush could not convey His Light. However, the Lord wiped His pure face with a towel, after which His Image was displayed on it. Only after receiving the image was Abgar able to be healed of his own illness. Today, people turn to the image of the savior with prayers, as well as requests for guidance on the true path, for deliverance from bad thoughts and the salvation of the soul.

5. Icon of St. Nicholas the Wonderworker. Nicholas the Wonderworker is known as the patron saint of all who are constantly on the move - pilots, fishermen, travelers and sailors, and is the most revered saint throughout the world. In addition, he is the intercessor of those who have been unjustly offended. He patronizes children, women, innocent prisoners and the poor. Icons with his image are the most common in modern Orthodox churches.

Seven-shot icon of the Mother of God

The history of the discovery of this icon goes back far into the past. It is believed that about four hundred years ago it was found on one of the bell towers of the Church of the Holy Apostle John the Theologian in the Vologda region. Then, a peasant who had long suffered from lameness saw a dream in which he had a long-awaited cure for his illness. A divine voice told him in a dream that if he prayed near the icon Holy Mother of God, then the disease will leave him, the location of this shrine was also revealed to him.

Twice the peasant came to the bell tower at the local church and told about his dream, but no one then believed his stories. Only the third time, after much persuasion, was the sufferer allowed into the belfry. Imagine the surprise of the local residents, the ministers of the Church, when on the stairs, instead of one of the steps, an icon was discovered, which everyone took for an ordinary perch. It looked like a canvas pasted onto an ordinary wooden board. They washed it from dust and dirt, restored it as much as possible, and then held a prayer service to the Seven Shore Mother of God. After this, the peasant was healed of a painful illness, and the icon began to be revered by the clergy along with the rest. Thus, in 1830, cholera was rampant in the Vologda province. which claimed the lives of many thousands of people. Believing local residents held procession around the settlement, together with the icon, performing a prayer service to the Most Holy Theotokos. After some time, the number of cases began to decline, and then the scourge completely left this city forever.

After this incident, the icon commemorated many more truly miraculous healings. However, after the revolution of the seventeenth year, the Church of the Holy Apostle John the Theologian, where the icon was located, was destroyed, and the icon itself disappeared. Currently, the myrrh-streaming Icon of the Seven-Shot Mother of God is located in Moscow at the Church of the Archangel Michael.

The image of the Mother of God itself is quite interesting. Usually on all icons She appears with the Savior in her arms, or with angels and saints, but here the Mother of God is depicted completely alone, with seven swords stuck into Her heart. This image symbolizes Her severe suffering, indescribable grief and deep sadness for her Son during her time on earth. And this icon was written based on the prophecy of the holy righteous Simeon, given in Scripture.

There is an opinion among some clergy that the seven arrows piercing the chest of the Virgin Mary represent the seven most important human passions, sinful vices. There is also an opinion that the seven arrows are the seven holy Sacraments.

It is customary to pray in front of this icon for propitiation. evil hearts, in times of disease epidemics, they also pray for the military, repaying their debt to the Motherland, so that the enemy’s weapons will bypass them. The person praying seems to forgive the insults of his enemies and asks for the softening of their hearts.

The day of veneration of the Icon of the Seven-Shot Mother of God is considered to be August 13 according to the new style or August 26 according to the old style. During prayer, it is desirable that at least seven candles be lit, but this is not necessary. At the same time, the prayer of the Long-Suffering Mother of God and the Troparion are read.

At home, a specific location of the icon is not prescribed, so it can be located either on the iconostasis or in any other place, for example on the wall at the entrance to main room. However, there are several tips for its location: it should not hang or stand near the TV, there should not be any photographs or images or posters around it.

The seven-shot image is a reflection of the gospel narrative of the arrival of the Virgin Mary and the Child Jesus in the Jerusalem Temple on the 40th day after His birth. The holy elder Simeon, who served in the temple, saw in the Baby the Messiah expected by all and predicted trials and suffering for Mary that would pierce her heart like a weapon.

The Seven Shot Icon depicts the Mother of God alone, without the Child Jesus. Seven swords or arrows piercing her heart (four swords on the left, three on the right) are a symbol of the sorrows that the Mother of God endured in her earthly life. The weapon itself, symbolically depicted with seven swords, means the unbearable mental anguish and sorrow that the Virgin Mary experienced during the hours of torment on the cross, crucifixion and death on the cross of Her son.

According to the Holy Scriptures, the number seven symbolizes the completeness of something: seven deadly sins, seven cardinal virtues, seven church sacraments. The image of seven swords is not accidental: the image of a sword is associated with the shedding of blood.

This icon of the Mother of God has another version of the iconography - “Simeon’s Prophecy” or “Tenderness of Evil Hearts”, where seven swords are located on both sides, three in number and one in the center.

The miraculous icon of the Mother of God of Seven Arrows is of North Russian origin, associated with her miraculous appearance. Until 1917, she stayed in the Church of St. John the Evangelist near Vologda.

There is a legend about her miraculous discovery. A certain peasant, who had been seriously suffering from an incurable lameness for many years and was praying for healing, received a Divine voice. He ordered him to find the image of the Mother of God among the old icons that were kept in the bell tower of the Theological Church and to pray to him for healing. The icon was found on the stairs of the bell tower, where it served as a step like a simple board covered with dirt and debris. The clergy cleaned the image and served a prayer service in front of it, and the peasant was healed.

Before the image of the Seven-Shot Mother of God, they pray for the pacification of those at war, for acquiring the gift of patience in the face of embitterment of the heart, in the face of enmity and persecution.

Icon of St. Archangel Michael

Mikhail is considered a very important person in celestial hierarchy, the word Archangel means “leader of the angels.” He is the main leader among the angels. The name Michael means "one who is like God."

Archangels have always been considered warriors and protectors of Heaven. Of course, the main patron and defender of the Christian faith is the great Archangel Michael. It is worth noting that the Holy Archangel Michael is one of the most famous angels, he is also called the Archangel, which means that he is the most important of all ethereal forces.

According to the Holy Scriptures and tradition, he always stood up for humanity and will always continue to serve as one of the main defenders of the faith. In front of the icons with the Archangel Michael, people ask for protection from the invasion of enemies, civil war, and to defeat opponents on the battlefield.

The Council of Michael and all the ethereal powers of heaven is celebrated on November 21, and on September 19 the miracle of the Archangel in Colossae is celebrated. Mention of Michael can be first seen in Old Testament Although Michael is not mentioned by name in the text, it was said that Joshua “looked up and saw a man standing before him with a drawn sword in his hand.”

In the book of Daniel, Michael appears alongside the Archangel Gabriel to help defeat the Persians. In a later vision, she told Danil that “at that time (the end of time) Michael, the Great Prince, will protect the people. A difficult time will come, such as has not been seen since the beginning of time...” Thus, it can be understood that Michael plays a key role as the defender of Israel, her chosen people, and the Church.

The Church Fathers also attribute the following event to Michael: During the Exodus of the Israelites from Egypt, he walked ahead of them, in the form of a pillar of cloud during the day, and at night in the form of a pillar of fire. The power of the great commander-in-chief was manifested in the destruction of 185 thousand soldiers of the Assyrian emperor Sennacherib, also the wicked leader Heliodorus.

It is worth mentioning that there are many miraculous cases associated with Archangel Michael, the protection of three young men: Ananias, Azariah and Misail, who were thrown into a hot furnace for refusing to bow to the idol. By the will of God, the commander-in-chief Archangel Michael transports the prophet Habakkuk from Judea to Babylon to give food to Daniel in the lions' den. Archangel Michael argued with the devil over the body of the holy prophet Moses.

In New Testament times, Saint Archangel Michael showed his power when he miraculously saved young man, who was thrown into the sea by robbers with a stone around his neck, on the banks of Athos. This story is found in the Athos Patericon, from the life of St. Neophytos.

Perhaps the most famous miracle associated with the great Saint Michael the Archangel is the salvation of the church at Colosse. A number of pagans tried to destroy this church by directing the flow of two rivers directly towards it. The Archangel appeared among the waters, and, carrying the cross, directed the rivers underground, so that the church remained standing on the earth and was not destroyed thanks to Michael. In the spring, the water of these rivers after this miracle event is said to have healing powers.

Russian people revere Archangel Michael along with the Mother of God. The Most Pure Mother of God and Michael are always mentioned in church hymns. Many monasteries, cathedrals, churches are dedicated to the commander-in-chief of the heavenly forces, St. Archangel Michael. There was no city in Rus' where there was no church or chapel dedicated to Archangel Michael.

On icons, Michael is often depicted holding a sword in his hand, and in the other he holds a shield, spear, or white banner. Some icons of Archangel Michael (or Archangel Gabriel) show angels holding an orb in one hand and a staff in the other.

Icon of the Kazan Mother of God

The most widespread and revered Orthodox icons in Rus' are the icons of the Mother of God. Tradition says that the first image of the Mother of God was created by the Evangelist Luke during the life of the Mother of God; she approved of the icon and imparted her strength and grace to it. In Russian Orthodox Church there are about 260 images of the Mother of God, glorified by miracles. One of these images is the icon of the Kazan Mother of God.

According to iconography, this image belongs to one of the main six iconographic types, which is called “Hodegetria” or “Guide”. The Old Russian version of this icon, painted by an icon painter monk in the image of the Byzantine Hodegetria, is distinguished by its warmth, softening the regal bearing of the original from Byzantium. The Russian Hodegetria has not a waist-length, but a shoulder-length image of Mary and the Infant Jesus, thanks to which their faces seem to come close to those praying.

In Russia there were three main miraculous icons of the Kazan Mother of God. The first icon is a prototype miraculously revealed in 1579 in Kazan, which was kept in the Kazan Mother of God Monastery until 1904 and was lost. The second icon is a copy of the Kazan image and was presented to Ivan the Terrible. Later, this icon of the Mother of God was transported to St. Petersburg and transferred to the Kazan Cathedral during its illumination on September 15, 1811. The third icon of the Kazan Mother of God is a copy of the Kazan prototype, was transferred to the militia of Minin and Pozharsky and is now kept in Moscow in the Epiphany Cathedral.

In addition to these main icons of the Kazan Mother of God, it was made a large number of her miraculous lists. Prayer in front of this image helps in all human sorrows, sorrows and adversities. Russian people always prayed to her to protect their native land from foreign enemies. The presence of this icon in the house protects its household from all troubles; it indicates, like a Guide, Right way in accepting difficult decisions. In front of this image, the Mother of God is prayed for eye diseases. According to legend, during the miraculous discovery of the prototype in Kazan, a miracle of insight occurred from the blindness of the beggar Joseph, who had been blind for three years. This icon is used to bless the newlyweds for marriage so that it will be strong and long.

The celebration of the Kazan Icon of the Mother of God takes place twice a year: in honor of the acquisition of the image on July 21 and in honor of the liberation of Rus' from the Polish intervention on November 4.

Iveron Icon of the Mother of God

The Iveron Icon of the Mother of God, revered in Rus' as miraculous, is a copy of the oldest image, which is kept in the Iveron Monastery in Greece on Mount Athos and dates back to the 11-12th century. According to the iconographic type, she is Hodegetria. According to the legend, the icon of the Mother of God, saved from the iconoclasts during the reign of Emperor Theophilus (9th century), miraculously appeared to the Iberian monks. They placed her in the gate church and named her Portaitissa or Goalkeeper.

In this version of the Hodegetria, the face of the Virgin Mary is turned and inclined towards the Child Jesus, who is presented in a slight turn towards the Virgin Mary. The Virgin Mary has a bleeding wound on her chin, which, according to legend, was inflicted on the image by opponents of the icons.

The miraculous image was well known in Rus'. During the reign of Alexei Mikhailovich, the monks of the Iversky Monastery made a copy of the prototype and delivered it to Moscow on October 13, 1648. In the 17th century. The Iveron Mother of God was especially revered in Rus'.

The Iveron Icon of the Most Holy Theotokos helps repentant sinners find the path and strength to repentance; relatives and friends pray for the unrepentant. The image protects the house from attacks by enemies and natural disasters, from fire, and heals from physical and mental illnesses.

The celebration of the Iveron Icon is held on February 25 and October 26 (the arrival of the icon from Athos in 1648).

Icon of the Intercession of the Virgin Mary

The icon of the Intercession of the Virgin Mary is dedicated to the great church holiday in Russian Orthodoxy - the Intercession of the Most Holy Theotokos. In Rus', the word “pokrov” means veil and protection. On the day of celebration October 14 Orthodox people They pray to the Heavenly Intercessor for protection and help.

The Intercession Icon depicts the miraculous appearance of the Mother of God, which occurred in the 10th century in the Blachernae Church of Constantinople, besieged by enemies. During the all-night prayer, Blessed Andrei saw the miraculous appearance of the Mother of God surrounded by angels, apostles and prophets. The Mother of God took off the veil from her head and spread it over those praying.

Two centuries later, in the 14th century. in honor of this holy event in Rus' a divine service was compiled, main idea which was the unity of the Russian people under the Protection of the Most Holy Theotokos, for whom the Russian land is Her earthly inheritance.

There were two main types of icons of the Intercession: Central Russian and Novgorod. In Central Russian iconography, which corresponds to the vision of Blessed Andrew, the Mother of God herself bears the veil. On Novgorod icons, the Mother of God appears in the image of Oranta, and the veil is held and extended over her by angels.

Prayer before the image of the Intercession of the Mother of God helps in everything, if the thoughts of the person praying are good and pure. The image helps to overcome our external and internal enemies; it is a spiritual shield not only over our heads, but also over our souls.

Icon of St. Nicholas the Wonderworker

Among the numerous icons of saints in Orthodoxy, one of the most beloved and revered by believers is the image of St. Nicholas the Pleasant. In Rus', after the Mother of God, this is the most revered saint. Almost every Russian city There is a St. Nicholas Church, and the icon of St. Nicholas the Wonderworker is in every Orthodox church in the same area as the images of the Mother of God.

In Rus', the veneration of the saint begins with the adoption of Christianity; he is the patron saint of the Russian people. Often in icon painting he was depicted from Christ according to left hand, and on the right is the Mother of God.

Saint Nicholas the Pleasant lived in the 4th century. From a young age he served God, later becoming a priest, and then archbishop of the Lycian city of Myra. During his lifetime, he was a great shepherd who gave consolation to all those who mourned and led the lost to the truth.

Prayer in front of the icon of St. Nicholas the Pleasant protects from all misfortunes and helps in solving all sorts of problems. The image of St. Nicholas the Wonderworker protects those traveling by land and sea, protects the innocently convicted, those who are threatened with a needless death.

Prayer to St. Nicholas heals from illnesses, helps in enlightening the mind, in the successful marriage of daughters, in ending civil strife in the family, between neighbors, and military conflicts. Saint Nicholas of Myra helps in the fulfillment of wishes: it is not for nothing that he was the prototype of Father Frost, who fulfills Christmas wishes.

The Day of Remembrance of St. Nicholas the Pleasant is celebrated three times a year: on May 22, spring St. Nicholas (the transfer of the saint’s relics to Bari in Italy to avoid their desecration by the Turks), on August 11 and December 19 – winter St. Nicholas.

"Russian icons in high resolution." Creation of the album: Andrey (zvjaginchev) and Konstantin (koschey).

Especially for this day, we offer a selection of the most ancient icons of the “first of those born of wives.” You will also learn about the symbolism of the icons of John the Baptist, why he is called the “angel of the desert,” as well as where exactly in Kyiv the world’s oldest image of the Forerunner of the Lord is located.

The veneration of John the Baptist in Orthodoxy is due to his exceptional status as “the first born of women.” Therefore, it is not surprising that we find his image among the first Christian images.

However, in the first centuries of Christianity - a time when icon veneration and the iconographic canon were just being formed, we find the image of John in plot compositions, for example, “the baptism of Christ.” The very first such image can most likely be considered the painting of the catacombs of Callistus (III century). Almost immediately in the paintings of the catacombs and in the reliefs on sarcophagi, on plates from Ivory and mosaics, image of the Forerunner has all the basic, recognizable signs even in our time - he is a middle-aged man with long dark wavy hair and a beard. He is dressed in a hair shirt (tunic made of camel hair).

Epiphany. Italy. Ravenna. Arian Baptistery. VI century

As for the prayer images of John (actually icons), then the oldest extant before us can be considered an icon originating from the famous monastery of St. Catherine in Sinai. It was once taken out by the famous orientalist, Byzantine scholar and archaeologist of the 19th century, Bishop Porfiry (Uspensky).

He bequeathed his collection of ancient manuscripts and icons (including the icon of John the Baptist) to the church-archaeological office of the Kiev Theological Academy (since 1940, the icons have been in the collection of the Kiev Museum of Western and Eastern Art named after Bogdan and Varvara Khanenko, where this icon now resides) .

Alas, few Kiev residents know that the oldest icon of John the Baptist is kept in their city.

John the Baptist. Byzantium. VI century

This is a rather ancient (VI century) image, made using the encaustic technique, where colorful pigment was mixed on wax. Encaustic was the most common painting technique in the ancient world and the first icons were made in it. Most of wax encaustic icons were lost during iconoclastic persecution. All the more unique is the Kyiv icon of the Forerunner.

In this image, John appears in full growth. He is traditionally dressed in a hair shirt and himation (an ancient outer garment). In his hand he holds a scroll with the inscription in Greek “behold the Lamb of God,” which emphasizes John’s function as the Forerunner of the Savior and a witness of His appearance.

With time the image of John the Baptist firmly entered the Deesis rite, where a host of saints and angels appears to Christ in prayerful poses. The closest to the Throne of the Lord inevitably turn out to be “the most honorable of the cherubim and the most glorious without comparison of the seraphim”, the Mother of God and the greatest of those born of women - John.

Deesis (deisis). Mosaic. Sofia Kyiv. XI century

Over time, the individual image of the Baptist receives various additions, emphasizing certain accents of his preaching.

Thus, immediately after the 7th Ecumenical Council and the final victory of Orthodoxy over iconoclasm, composition “Prayer of John the Baptist in the desert”.

John is depicted in a prayerful pose in a desert landscape. In his hand there is usually a scroll with calls to repentance: “Repent, for the kingdom of heaven will draw near” (Matthew 3: 2). Often this call is presented allegorically in the form of a tree with an ax, which illustrates the continuation of the words of the Baptist: “The ax is already laid at the root of the trees: every tree that does not bear good fruit is cut down and thrown into the fire” (Luke 3:9).

Also often the chapter of John is added to this plot, which recalls his martyrdom.

John the Baptist in the desert with scenes from his life. Byzantium. XIII century

Over time, this iconography continues to develop, acquiring new symbolic details. So, in the 13th century The Forerunner begins to be depicted with wings, which is a graphic representation of the prophecy: “Behold, I am sending My angel, and he will prepare the way before Me...” (Mal. 3.1), which refers specifically to John.

Also, these wings symbolize the ascetic life of the Prophet, which can be compared with the angelic (in fact, here we have a parallel with monasticism (“equal angelic existence”), the spiritual ancestor of which can rightfully be considered John the Baptist).

This iconographic image is called "angel of the desert".

John the Baptist angel of the desert. Rus. Vladimir. XVI century

Moscow. Museum named after Andrey Rublev

This version is most widespread in Rus'. The Forerunner is most often depicted frontally. Right hand represents an oratorical gesture symbolizing the preaching of the Baptist. On the left is a scroll revealing the essence of this sermon, either containing a call to repentance (“Repent…”) or a sermon about the Messiah (“behold the Lamb…”). The image also includes an ax at the roots of a barren tree and the head of the Baptist himself in a bowl. Sometimes John holds this cup in his hand.

However, this cup has different variants images with different meanings. In addition to the head of the Baptist, a lamb may be depicted in the cup, symbolizing Christ (“behold the Lamb of God...”) and in this case, the icon takes on a Eucharistic connotation. The Lamb in the cup (sometimes on the platter) alludes to the Eucharistic Lamb on the paten.

John the Baptist. Fragment of a triptych. Byzantium. XIII century

Egypt. Sinai. Monastery of St. Catherine

On Russian soil, after the 16th century, this Eucharistic allusion (the lamb on the paten) was replaced by a clear image of the Infant Christ in the chalice:

John the Baptist. Old Believer icon. Nevyansk. Con. XIX century

At the same time, a simpler and less oversaturated with symbolism, the original plot of “John in the Wilderness” developed. The Forerunner is depicted with the same “preaching” gesture and scroll. But additionally, a staff topped with a flourishing cross appears on the icon.

John the Baptist. Byzantium. XIV century Mount Athos, Hilandar Monastery

The hagiographic iconography of John the Baptist is even more diverse, and we will later devote a separate essay to it.

Today, the oldest icon depicting Christ (in the iconography of Pantocrator) is the icon discovered in the Sinai monastery in the 19th century.

The icon was created in Constantinople in the middle of the 6th century and sent by Emperor Justinian as a gift to the Sinai monastery, for which he was building a basilica and fortified walls at that time.

It was established that presumably in the 13th century the icon was renewed (drawn) with tempera painting. The original wax surface was cleaned during the restoration of the icon in 1962.

Restoration in 1962 revealed the original appearance ancient icons, which has been preserved almost completely with the exception of a small loss in the part of the halo to our right. Late Byzantine records covered the most unusual detail of early iconography - an ancient background with a spatial niche and golden stars. The initially missing inscription “Jesus Christ the Lover of Mankind” was also introduced, reflecting the late medieval perception of this image of Christ, in which they saw mercy and hope for salvation.

It is believed that the source of the chosen type of Christ, shown as a handsome and majestic man in his prime, with a short, thick beard and hair flowing to his shoulders, could have been the appearance of Olympian Zeus, widely known throughout Greco-Roman world based on a sculpture by Phidias that was copied many times. Fame, rare similarities, and the testimony of contemporaries do not allow us to doubt that the conversion was conscious and, apparently, the image of Christ Pantocrator (“Almighty”) was supposed to supplant the image of the king of the gods in the ideas of recent pagans. At the same time, it is possible that the “authenticity” of the image could be confirmed in the images of the most ancient miraculous icons, which, according to the Byzantines, were created not by the will of man, but by the providence of God and, accordingly, had a special authenticity. In 574 such miraculous image Christ from Camuliana was solemnly transferred to Constantinople, where it became the palladium of the empire. At the end of the 7th century, the image of Christ, dating back to one of these miraculous icons, first appeared on the gold coins of Justinian II. It is noteworthy that this main image of the empire, which acquired the status of a state symbol, belonged to the same iconographic type as Christ Pantocrator on the Sinai icon .

In the image of Christ, the ideas of kingdom and priesthood are iconographically emphasized. He is shown wearing a dark lilac (purple) chiton and himation, the color of which in Byzantium was clearly associated with imperial power. The half-figure of Christ is shown against the background of the sky with golden stars - a transparent symbol of eternity and space. The lower part of the background shows an ornate architectural niche with windows. In our opinion, this unusual structure, reminiscent of a palace, a portal and a church apse at the same time, created the image of the Heavenly Jerusalem - the heavenly kingdom in which the depicted Christ Pantocrator rules. In his left hand he holds a huge book in a precious frame, decorated with the image of a large cross. The book embodies the image of the Teaching, Holy Scripture, “The Word of God,” and through the cross reminds us of the Redemptive sacrifice. In addition, it represents not just a codex, but a liturgical gospel, brought into the temple at the Small Entrance and installed on the altar. It is significant that early Byzantine authors already interpreted this gospel carried in procession as an image of Christ appearing into the world in the majesty of heavenly glory.

Christ with the liturgical gospel pressed front side to the chest, was associated with the high priest - the bishop who blesses the believers during the service. The gesture of two-fingered blessing is also expressive. In an era when there were the most different shapes and there were images of blessing even with one index finger, the gesture of the Sinai Pantocrator is perceived as a formula acquired for centuries, with deep dogmatic content. As we know from medieval interpretations, three connected fingers symbolized the Holy Trinity, two raised and intertwined fingers, located one below the other, spoke of the mystical union in Christ of the divine and human nature. The gestures of Christ's hands embodied the most important ideas of the teaching about the God-man, the Second Person of the Holy Trinity incarnate on earth. The most difficult task of creating an image that is both earthly and heavenly was solved in the Sinai icon using a number of artistic techniques. One of them is a combination of multidirectional movements, the so-called contrapposto, well developed in ancient Greek sculpture: the body is slightly turned in one direction, and the head in the other. Internal dynamics arise, removing the impression of hieratic rigidity of the frontal pose and giving the entire plasticity of the figure activity and vital conviction.

Another technique is a deliberately asymmetrical interpretation of the face of Christ, which consists of two different halves. The left one is calm, strict, detached, with a natural outline of a wide-open eye and an even arch of eyebrows. The picture completely changes on the right side of the face - the eyebrow is raised and dramatically arched, it is echoed by a much more expressive drawing of the eye, as if peering intensely. The icon painter strives to create an image of the God-man, in which the thoughts of an omnipotent cosmocrator, a strict judge and a humane-loving, compassionate Savior would simultaneously and consistently coexist. It is interesting that such an asymmetrical interpretation of the face will become a distinctive feature of images of Pantocrator in the domes of Byzantine churches.

Scientists find in this icon the influence of a Fayum portrait

Reflecting in my free time, of which I have a lot, about the history of Christianity in Rus', I thought about icons, namely: which icon in Russia is considered the most ancient.
It's useful to scour the Internet.
And this is what I found there.

The most ancient Russian icons date back to the 11th century. There are two of them. Both are from Novgorod. Both are huge in size - two and a half by one and a half meters.

Icon "Apostles Peter and Paul", mid-11th century.
Wood, pavolok, gesso. Egg tempera. 236×147 cm
Novgorod Museum-Reserve, Veliky Novgorod.

“Apostles Peter and Paul” is an icon of the mid-11th century and, in general, the earliest known Russian work of easel painting. The icon comes from the Novgorod St. Sophia Cathedral and is kept in the collection of the Novgorod Museum-Reserve.

According to legend, this icon was brought from Korsun by Grand Duke Vladimir Monomakh and therefore the icon was called “Korsun”.
However, according to academician V.N. Lazarev, the significant size of the icon indicates that it was most likely painted locally, that is, in Novgorod, by an unknown master (Byzantine, Kyiv or local Novgorod). Her style is inspired by fresco images.
Soon after painting, the icon was covered with a frame of gilded silver.

The icon was taken out of Novgorod three times (in the 16th century by Ivan the Terrible, in the 20th century by the German occupiers and in 2002 by restorers), but always returned to the city.

During the post-war restoration of 1951, the icon was covered with wax and mastic, which was a mistake. In 2002, the errors of the previous restoration were corrected, the boards were freed from the frame, which, when removed, was disassembled into 600 fragments, cleaned of oxide and sulfur film, then reassembled, and the original gilding was revealed. However, for better preservation, scientists decided not to cover the icon with the frame anymore.

Alas, now only fragments of the background, clothes made in combinations of blue, white, soft pink and golden yellow tones, and a fragment of greenish-brown ocher on the neck of the Apostle Paul have been preserved from the original painting of the 11th century. All the rest of the original painting - the faces, hands and feet of the apostles - is completely lost. No pictorial layer older than the 15th century was found on these fragments.

The second oldest Russian icon is also from Novgorod.

Icon "Golden Robe of the Savior", mid-11th century.
Wood, pavolok, gesso. Egg tempera. 242×148 cm

The icon received its name “Golden Robe” from the now lost solid silver gilded frame that adorned it. “The Golden Robe of the Savior” dates back to the 11th century. However, in 1700, the icon was completely rewritten by the royal isographer Kirill Ulanov. At the same time, he painted the clothes in detail in gold so that they corresponded to the name of the image.

This icon also comes from the Novgorod St. Sophia Cathedral. It was taken (or more precisely, brazenly taken from the Novgorodians and taken away) to Moscow in 1570 by Ivan the Terrible, who was collecting ancient images in the capital. True, two years later a copy of it was sent to Novgorod.

Currently, the icon is located in the iconostasis of the Assumption Cathedral of the Kremlin, to the right of the royal gates.
Scientists note that the icons “Apostles Peter and Paul” and “The Golden Robe of the Savior” were most likely painted around 1050, when the construction of the St. Sophia Cathedral in Novgorod was completed.

Thus, there are no older icons in Russia than these.
Although actually in Rus'...

Actually, in Rus' in the first half of the 11th century, Prince Yaroslav the Wise built the Hagia Sophia Cathedral in the center of Kyiv. And inside the cathedral, the world's most complete ensemble of original mosaics and frescoes from the first half of the 11th century has been preserved. But from the point of view of art history, frescoes and mosaics cannot be fully called icons***. And Kievan Rus is now not Russia at all...

Well, what is the oldest Russian icon that has not been rewritten?
The all-knowing Internet is happy to answer this question.
This is “St. George” - the icon of the Assumption Cathedral of the Moscow Kremlin.

“Saint George”, 11th-12th centuries.
Wood, pavolok, gesso. Egg tempera. 174×122 cm
Assumption Cathedral of the Moscow Kremlin, Moscow.

Indication "to. XI-XII centuries." suggests that the icon, even if it does not date back to the end of the 11th century, certainly dates back to the very beginning of the 12th century. That is, it is one of the oldest in Russia. This dating of the icon is based on the stylistic proximity of its painting to the mosaics and frescoes of St. Sophia of Kyiv.

The icon, according to academician V.N. Lazarev, is of Novgorod origin and was taken (I repeat: brazenly expropriated) to Moscow by Ivan the Terrible. At the same time, the scientist believes that the possible customer of the icon could have been Prince Georgy Andreevich, the youngest son of Andrei Bogolyubsky, who was expelled from Novgorod in 1175 and moved to Georgia, where he became the first husband of Queen Tamara... But this is just an assumption. Other experts attribute the icon to the end of the 11th century. And that's why.

The biggest distinctive feature icons is that her painting is uniquely well preserved. There are only small losses on the face, background and clothing at the bottom of the icon.
Such preservation was ensured by an unknown “barbarian of icon painting,” who covered the image of George with a continuous layer of dark brown paint, which was discovered only in the 1930s.

At the same time, the icon acquired another unique feature, namely: for many centuries the front side of the icon was its back side!
And there was an image of the Virgin and Child, made by a Greek master who worked in Moscow, dating back to the mid-14th century.
Such an ancient image in itself is of great value in iconography.

However, this is not enough: under the image of the Virgin Mary an even earlier painting was discovered. But the restorers did not completely clean up the 14th-century image; only fragments were cleared...

*** In art history, icons are images made within the Eastern Christian tradition on a hard surface (mainly on a linden board covered with gesso (that is, alabaster diluted with liquid glue).
However, from a theological and religious point of view, icons are also mosaic, painting and sculptural images in any artistic manner, if they are given the credit established by the Seventh Ecumenical Council veneration. Wikipedia