Sophia, the wisdom of God. Sophia - the wisdom of God

Sophia - the Wisdom of God - an icon known since ancient times in Rus', comes down to two types: Kyiv and Novgorod. On both of them, the central person is the Lord Jesus Christ, as the personification of Divine Wisdom, about whom the Book of Proverbs of Solomon says: “ Wisdom built Her own House, hewed out its seven pillars"(Proverbs 9:1). These words of the wise Solomon contain an indication of Jesus Christ, the Son of God, whom St. ap. Paul calls " God's Wisdom"(1 Cor. 1:30), and the word House means the Most Holy Virgin Mary, from Whom the Son of God was incarnate. The icon is evidence of the fulfillment of this prophecy.

The Kyiv icon depicts the Mother of God surrounded by archangels. Above Her head is God the Father, and in Her hands is the baby Christ. The Mother of God is under a canopy supported by seven pillars. The Novgorod icon depicts the Mother of God standing in prayer before the Savior. God the Father reigns over the canopy, which is also on seven pillars. By praying to the Canon of Sophia - the Wisdom of God, a Christian receives the grace-filled gifts of God for the eternal salvation of the soul and healing from bodily illnesses.

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Troparion, tone 4

In the oil and ineffable wisdom of God, the power of Sophia, preeminent, in the most honorable temple, in the fiery Throne of Christ our God, in Thee dwelt ineffably the Word of God, and the flesh became, invisible and appeared, and inviolable, departed from Thee and with men alive, catching the enemy, and men freeing from the ancient oath. We pray to the Lady, who have burdened us with cruel sins, to have mercy and save our souls, and as a child-loving and merciful Queen, look upon Thy people, and with compassion, stand from the misfortunes and cruel sorrows, and preserve our cities unharmed, where they are now your name the most holy, gloriously glorifying. (Twice).

Glory, even now. (We repeat the troparion).

CANON, tone 4

Song 1. Irmos

With an unspeakable command, you received the swimmer on foot, and you dried up the impassable sea, the people of Israel, converted from Egypt, I sing the original song to You, Lord.

Chorus: Great wisdom of God, Sophia, save us, Thy sinful servants (bow).

And the wisdom of God is the source of all speech, from the face of the Lord is my advice and affirmation, who is the Only Begotten Son, the Word of God. With the words of a lover I love Me, and those who seek Me will find grace.

Solo. God laid the foundation of the earth with His wisdom; He prepared the heavens with His wisdom; He laid the clouds as a garment, and formed the light of the morning; but the gates of hell, when they saw it, were afraid.

Glory. In this heart let us seek the wisdom of God, which came from the Most Pure Virgin into the flesh, so that our feet may not stumble, and we will not be afraid of the fear that has come upon us, and the aspirations of the wicked.

And now. It is worthy of Thee, as the heavens have been animated, the heavenly most pure divine settlement, and appear brightly adorned, as the All-Immaculate Bride of the Queen and God, and the Lady of all creation.

Catavasia: Protect Thy servants from troubles, O most eminent wisdom of God, Sophia, as we diligently resort to Thee, to the merciful Savior and Master of all, the Lord Jesus (bow). Lord have mercy (three times with bows).

Song 3. Irmos

Strengthen the thunder and build up the spirit, strengthen me, Lord, that I may sing to Thee chastely doing Thy will, as holy as our God.

Solo. The Lord will be on all our paths, and will strengthen our feet, so that we may not stumble, if we acquire His wisdom, and He will embrace us and give a blessed crown to our heads.

Solo. Sophia gives us the gift of good things, the wisdom of God, and instructs us in the right way of our mother-in-law, so that if we follow that path, we will not stumble. And we keep it in our belly forever.

Glory. Whenever we become discouraged, let us seek the wisdom of God, called Sophia, who will give us great joy, and will save us from all hostility and show us the animal way.

And now. The face of the theologian from above is a multitude of angels, going to Zion with an omnipotent beck, worthy of the Lady, serving Your burial, and together rejoicing and singing a funeral hymn, rejoicing the ever-Virgin Bride. Confusion.

Glory, even now. Ipakoi, voice 8th. B Let us all give birth to You, the Virgin Mary, for You are inconceivable and Christ our God will be contained. Blessed am I, Thy helper. Pray for us day and night, and the powers of the kingdom are strengthened by Your prayers. Thus we cry out to You in gratitude, the Lord rejoices with You.

Song 4. Irmos

I heard Thy Christ’s glorious sight, for He is immortal and God, made like a mortal man. And for this reason, I glorify Your power.

Solo. A certain woman sought the wisdom of God, and after that she went forth, but became a harlot of chastity, and turned darkness into light, and put to shame the tormentors, and inherited eternal life.

Solo. The wisdom of God is dearly loved, as it is a sacrament to behold by all man, but there is absolutely nothing to it under heaven; let us preserve it, like the apple of our eye, and rest us on the Day of Judgment.

Glory. And with the ineffable wisdom of the word, all God, who according to Sophia’s vision was composed, may preach that on the high edges, and for that sake we will find grace and mercy on the Day of Judgment.

And now. At Thy repose, Mother of God, Thy most spacious body, pleasing to God, the angelic hosts with sacred wings covered the veil with trembling and joy, crying out to the breast, rejoicing, the unbrided Bride. Confusion.

Song 5. Irmos

The people of the unpunished lawbreakers of the Jews will receive pity, and the fire will engulf your adversaries, O Christ, as the resurrected flattery has harmed you.

Solo. To the end of the universe and everything on it, and the heavens and heavens are the foundation of wisdom, as it created us all. By this the kings reign and the mighty hold the earth, and the wise men write the truth.

Solo. People of the earth, honor the wisdom of God called Sophia, you will reign forever and live. This corrects the path of salvation for us, but those who do not honor it will find themselves in the depths of hell.

Glory. The measure is flattering, the zealous man speaks an abomination to the Lord of wisdom. The standard of righteousness is pleasing to Him, and the lips of the pious learn wisdom.

And now. With condemnation of the chosen ones, we surprise the Maiden with the singing of Thee. From the beginning, everything is sanctified by God, accepted by everyone, and this truly is revealed to the Mother of God, the all-sung one. Confusion.

Song 6. Irmos

In the abyss of life, my deeds, I sank into the depths. But as from the whale Jonah I cry to Thee, from the depths of my evils lift me up, I pray to the Son of God the Word.

Solo. The beginning of wisdom is to acquire foolish faith, so that by it we may inherit good things, let us not give sleep to our eyes, and let us seek the wisdom of God, let us not deviate on our right hand or on our backs, so that we may be saved like from the snare of a chamois.

Solo. Oh, let our eyes see the wisdom of the Mother of God, in whom God the Word ineffably dwelt, and from her he took flesh without thought and was born. Today the apostolic countenance at the repose of Thy flows through the air, singing the original song, blessed is our God born from You.

Glory. May people honor the wisdom of God, the named Sophia, and embrace us. He will destroy the captivity of our sins, and give a crown to our heads, and we will take care of him like a lustful bee, and we will be glorified by all.

And now. Life, which was once a temple, you have enhanced everlasting life, but through death you have passed on to life, even having given birth to a composite life. We are raised up from the depths of evil by crying out to You, praying to the all-singing Lady. Confusion.

Glory, even now. Kontakion, tone 4. P we see people and see the miraculous icon of the Most Holy Mother of God. We call it the wisdom of God, the appearance of Sophia, before the temple was animated, the Only Begotten Son and the Word of God. This, then, shines like a ray of light in His most holy temple, and our hearts rejoice those who come with faith, and who look with fear and reverence at this most pure icon. Thinking in our hearts, that truly the wisdom of God is the village, and His mysteries are looked upon. We see a vision of Her fiery, and we worship (bow) as Her true and immaculate virginity in her birth and after her birth. Again, from Her came the divine fire, burning away corruptible passions, and enlightening our souls and creating pure things. By whom the Father created forever, the same wisdom and word and power will be called, the radiance of glory and the image of the Father's hypostasis, we pray and fall down, kissing this most honorable icon of the wisdom of God to the Mother, and crying out loudly: O merciful Lady, save Thy servants from the violence of the devil, from the presence of a foreigner, for You are the giver of all good things, flowing to You with faith and asking for great mercy.

Ikos. In the firmament my mind and thoughts are good, God the Father Almighty. For I dare to glorify the world’s Intercessor and the Immaculate Virgin Bride. Thou didst call her virgin soul Thy divine church, and for the sake of Thy incarnation Thou didst call Sophia the wisdom of God, and Thou didst command the name of Tsar Ustinian to create a church in that name. And to the blessed Cyril the philosopher, after the appearance of the Maiden chosen by the name Sophia, that is, the wisdom of God, you bestowed. You imagined the image of Her face as fire-like, and from Her came the fire of Your Divinity, that is, Your Consubstantial Son, scorching our bodily passions. You gave the wing to the disembodied heavenly powers, and you placed the royal crown on Her head. Thou hast placed the scepter at Her right hand, and into Her shuits the unknown hidden secret, It is incomprehensible to know even an angel. The reeds are in Her ears, the life of an angel, revealing the resting place of Your Holy Spirit. The girding of Her loins, the eldership of the holiness. Nose should be placed on the stone, as if you would establish Your Church on it. The image of Thy Christ with His head is bowed down by heaven, and the sight of the carnal sacrament is revealed, as if He were the Son before the age of Thy Father's radiance. The same one was born in the same age from the most immaculate Virgin, without a seed, and in all Toy’s likeness was united. For this reason, we all cry out, for truly the wisdom of God is the companion, and the canopy of heaven, and the Giver of all good things, and the Patroness of those who flow to Her with faith, and those who ask for great mercy.

Song 7. Irmos

You have three burdens in Babylon, having turned the command of torment into violence, and thrown into the middle of the fire, cold, blessed be the Lord God of our fathers.

Solo. The hand of the elect will hold back the wisdom of God, since it is better to eat silver and gold on the top of the walls, and sit down at the gates of the mighty, and boldly say: Rejoice with me, you who seek Me.

Solo. With the glory of God's wisdom they will inherit, for it gives long life and years of life, and adds peace, and corrects all good things, and preserves the path of life for us.

Glory. By speaking the truth, the so-called wisdom of God, Sophia, will inherit, for her blessing is more than wine, and the stench of her world is more than all aroma. Let us seek her, let us follow her, and grant us justice and truth.

And now. At the sacred repose of the divine Ty and the incorruptible Matera, the most worldly powers on high, rejoice with those who are on earth singing to You, blessed art thou, Lord God of our father. Confusion.

Song 8. Irmos

O Lord of all things, having formed the wisdom of all things, firmly established the earth as if it weighed the bottom, established the walk on the immeasurable waters, and with the same cry all chanting, bless the works of the Lord without ceasing.

Solo. With Ophia the wisdom of God, named by the Lord Himself, to King Ustinian in the creation of this wonderful temple, revealed by an angel, with the same cry chanting Ti, bless all the works of the Lord without ceasing the Lord.

Solo. And the Lord commanded Israel to build a tabernacle in Siloam, and to keep it honestly, since even more so is the most honest animated tabernacle, not created by Bezalel, but made by God Himself, called Sophia. God the Word Himself has dwelled in us; bless all the works of the Lord without ceasing.

Glory. Mystical grapes, the temple of Sophia of the wisdom of God, that is, the womb of the most pure Mother of God, from Him came the divine fire, burning our soul-smothered passions. Bless all the works of the Lord continually.

And now. Oh, above the mind of miracles, the Virgin and Mother of God, having entered into the tomb to show the Paradise that is coming to him, today we rejoice and sing and say, bless all the works of the Lord without ceasing the Lord. Confusion.

Song 9. Irmos

The most pure mystery of God is in You, the most pure mystery of the Virgin is manifest, for God became incarnate from You for mercy, and with the same we magnify You as the Mother of God.

Chorus with a bow. E When the perplexed king built the church of God in what name, then an angel appeared to the youth sharpening the weapon in the form of a smith, saying: swear in the name of Sophia the wisdom of God, in Her name this church will be built.

Solo. But when he saw the phenomenon, he became extremely joyful, and carefully concerns himself with the perfection of the chosen church of God, and for the sake of guilt the crown of wisdom is bestowed, and the king is condemned first in piety.

Glory. For our salvation, the only begotten Son and the Word God's temple Having created for herself, in the most holy womb of the Virgin Mary, Sophia the name wisdom of God, who is a virgin soul. In the same way, we magnify You as the Mother of God.

And now. Receive from us the original song of the Mother of the Living God, and the luminous Ty and the divine grace of autumn, the victorious princess and peace for Christ-loving people, and forgiveness of sins, and giving salvation to souls. In the same way, we magnify Theotokos. Confusion.

Deserver: In the Lady's Lady, accept the prayer of Your servants, and deliver us from all need and sorrow. You are the Mother of God, our weapon and wall. You are the intercessor, and we resort to You, and even now we call on You for prayer, that you may deliver us from our enemies. Let us exalt You, all the immaculate Mother of Christ our God, South of autumn the Holy Spirit (bow to the ground). T is holy, and according to “Our Father”. Prayer of Isusov: G Lord Jesus Christ, Son of God, have mercy on us. Ah min. We read the troparion (written at the beginning of the canon). Glory, and now - kontakion (written according to the 6th song of the canon). G Lord have mercy (40 times). Glory, even now.

Prayer to Sophia the Wisdom of God

The incomprehensible and all-sung wisdom of God, Sophia, is the eminent, virgin soul. In other words, only begotten Son and Word of God, accept this prayer song from our unworthy and vile lips. Even if the essence is written, the song is not beautiful in the mouths of sinners, but the thief was saved by one word. The publican was justified by groaning, and the daughter of Canaann was healed by her mother’s petition. Because You, Lord, are Good and Lover of Mankind, You enlighten those who come into the world, and forgive the sins of sinners, and fill the ignorant with reason, and make wise the buoyant, and give water to the thirsty souls of good words with Your teaching, like the Samaritan woman, with animal water. Make the fornicator chaste. You open Paradise to the thief. For Thou art the giver and understanding of all good things, and the guardian of life, O Christ our God. And to You we send glory and praise, honor and thanksgiving, and praise, and worship, with Your beginningless Father, and with the Most Holy and Good and Life-Giving Spirit, and with Your Most Holy and Immaculate Matter, the Lady Theotokos, and the ever-Virgin Mary. Now and ever and unto ages of ages, amen.

Most honorable Cherub... Glory, even now. Lord have mercy (twice), Lord bless (with bows).

Let us go: Lord Jesus Christ, Son of God, prayers for the sake of Thy most pure Mother, and the holy Wisdom of God Sophia, the most eminent, and for the sake of all the saints, have mercy and save us, for He is Good and Lover of Mankind. Ah min. Lord have mercy (three times). Initial bows.

I. The first temple in the name of the Wisdom of God was erected in Constantinople by Constantine himself. But it was consecrated only under Constantius, in 360. It is not clear who gave the name to the temple. Socrates, our most ancient witness, expresses himself unclearly: “now called Sophia” (II, 43). In any case, in the time of Socrates, this temple was called Sophia. And it is not difficult to say how Christians of that time understood this name. This was the name of Christ, the Son of God, under this name foretold in the Old Testament (primarily in the book of Proverbs); this biblical name is repeated by the Apostle Paul (1 Cor. I:24). In the 4th century. they talked and argued a lot about Divine Wisdom, especially in connection with the famous verse Proverbs 8:22 “I created me to be the beginning of my ways...” This was the main exegetical topic in the disputes between Orthodox and Arians; and both disputing parties agreed that the Divine Wisdom spoken of in the biblical book is the Son of God. This was the theological tradition. Even Origen sharply emphasized that only the name of Wisdom is the primary and proper name of the Son (see Comm. in Johann. I. 22). In the famous symbol of Gregory the Wonderworker, Christ is called Word and Wisdom and Power... There can hardly be any doubt that erected in the 4th century. The Temple of Wisdom was dedicated to Christ, the Incarnate Word. And it is in vain to guess whether temples were not then dedicated to abstract ideas... Justinian had no reason to change the dedication when he erected a new one instead of the burnt old temple. In his time, during intense Christological debates, it was again most appropriate to dedicate the “great church” precisely to Christ, Wisdom and the Word. In any case, subsequently in Byzantium they always and invariably considered Sophia of Constantinople to be the Temple of the Word. In this regard, the well-known legend about the construction of Justinian's temple is especially characteristic. It expresses just the current, generally accepted understanding. It tells about the appearance of an Angel, “the guardian of the temple,” who swore by the name of Sophia, “and therefore received the name of the temple: St. Sophia, which means: the Word of God” (ed. Preger, p. 74) ... One should not ask on what day A “throne feast” was celebrated in Justinian’s Sophia. And much later than Justinian, there were no patronal or temple holidays in the modern sense. The very dedication of the temples was not yet strictly demarcated, especially the dedication of the Lord's and the Mother of God's churches. They were dedicated to Christ or the Mother of God, but at the same time no one specific holiday day was singled out from the general annual circle, unless there were occasions for this in some historical memories or in current events, for example, in signs or wonders. In general, the annual holiday of each temple was celebrated on the day of the “opening of the gates,” on the anniversary of the consecration or “renewal” of the temple - this order was preserved even in the time of Simeon of Thessalonica. In Sophia of Constantinople, the feast of renewal was celebrated on the eve of Christmas Eve, December 23, since the temple was consecrated for the first time on December 25 (537) and renewed after the restoration of the dome on December 24 (563). The Christmas days for these celebrations were hardly chosen by chance. In the service for the day of renewal according to the Typical of the Great Church of the 10th century, published by A. Dmitrievsky, we do not find any features that would point specifically to the St. Sophia Church, to its specific dedication. The service is performed rather about the protection of the reigning city in general. Over time, Byzantium seems to have forgotten about the special dedication of the Great Temple, which became a national sanctuary and shrine. For the Byzantines it became the Temple in general, the Temple par excellence, the focus of all prayerful memories and memories. And at the same time it became a symbol of the kingdom, a symbol of royal dignity and power - “the mother of our kingdom,” Justinian already spoke about Sophia... Following the example of the reigning city, Sophia churches were erected in many places. And remarkably, almost always great, cathedral or metropolitan churches turn out to be Sofia. The only exception is the Sophia Church in Jerusalem. Suffice it to remember: Sofia in Thessaloniki, in Nicaea, in Serdika (or in Sofia), in Ohrid, in Trebizond, in Mystras, in Arta, in Sliven, in Viza... Maybe in Korsun, or Chersonese. Of particular note is the St. Sophia Church in Benevente, late 8th century. In Nicosia in Cyprus, the St. Sophia Cathedral was built already under the Lusignans, at the end of the 12th century. Finally, we need to name the St. Sophia churches in ancient Rus': in Kyiv, in Novgorod, in Polotsk... In a certain sense, the name “Sofia” becomes, as it were, a common noun to designate “great” or main churches. One must think that the St. Sophia churches were often erected more for national or political reasons than for strictly religious reasons - as evidence of national or church independence. At the same time, the theological understanding of the name did not change: until the 15th century. By the name of Wisdom they meant Christ, the Word of God (cf., for example, Patr. Philotheus. Three speeches to Bishop Ignatius with an explanation of the saying of the Proverbs: Wisdom has created a house for herself... Published by Bishop Arseny. Novgorod, 1898). We encounter the same understanding among Western authors, who often leave without translation Greek name: Sophia.

II. In Russian St. Sophia churches, the patronal feast has long been celebrated on the Days of the Theotokos: in Kyiv on the day of the Nativity of the Virgin Mary, in Novgorod on the day of the Assumption. The question is how and when such a custom was established. It is difficult to admit that pre-Mongol Kyiv or Novgorod deliberately deviated from the Byzantine example. On the contrary, they sought to preserve and reproduce the liturgical orders of the Great Church. And in Rus' they knew well that the Sophia of Constantinople is the temple of the Word, “which is the Wisdom of the Ever-Essential Word,” notes Anthony of Novgorod, who was in Constantinople at the beginning of the 13th century. According to the ancient Russian month books, we know that for a long time in the St. Sophia churches, according to the Byzantine rule, the anniversary of the consecration was celebrated: in Novgorod on August 5, in Kyiv on November 4 (see month books under the Mstislav Gospel). In the most ancient Russian monuments we more than once encounter the traditional explanation: Wisdom is Christ... By a happy accident, we can determine exactly when the solemn celebration of Dormition Day was established in Novgorod. G.D. Filimonov also published a manuscript from the 16th century. two interesting legends: “The legend is known that Sophia is the Wisdom of God” and another legend directly related to it; “for which, for the sake of guilt, the feast of the Dormition of the Holy Mother of God was counted among the twelve Sovereign feasts” (Bulletin of the Society of Ancient Russian Art at the Moscow Public Museum. T. 1. 1874-1876). The manuscripts do not contain the author's name. There is an assumption that these legends were compiled by the famous Zinovy ​​​​of Otensky. In any case, they were compiled in the first half of the 16th century. And the author writes with great enthusiasm and strength. The second legend is especially interesting. The author answers the thematic question briefly: “The apostles saw the last of Christ without being separated from their bodies.” In other words, the feast of the Assumption is the feast of the Epiphany and therefore the “Sovereign” feast,” the author relies on the well-known legend about the appearance of Christ at the Assumption. And then he continues: “Archbishop Genadius decided to celebrate one of the twelve feasts, and commanded the Dormition of the Mother of God. Before this, all the twelve lordly feasts, according to ancient tradition, were celebrated in numerous numbers in the Church of St. Sophia, and this is what I heard in Novegrad from old men, just as in Kiev from the beginning to the present day, according to the rules of ancient times, they perform. This is quite enough for those who have a mind to know about this. Stop saying, brethren, that the meaning of Sophia, the Wisdom of God, is unknown.” We have before us evidence of exceptional importance. We learn that before Gennady (who became the Novgorod archbishop from the Chudov archimandrites in 1484), in Novgorod Sophia, “according to ancient custom,” only the general celebration of the twelve lord’s holidays was carried out; in other words, there was no special throne day. And only Gennady established a special celebration of Assumption Day. This new order gave rise to bewilderment and speculation: “what is Sophia, the Wisdom of God, and in whose name is this church established, and in whom is praise sanctified”... The thought arose whether Sophia was sanctified “in the name of the Most Pure Mother of God”... Others refused to explain: “ that this name is not known here in Rus', below wisdom it is powerful to understand this”... The author decisively replies: “all theologians have thought about the post of the Son: Sopheus, who said wisdom, Logos, that is, the word, the Power of God and the like... But the Mother of God did not add names in any way “... And then it reminds us of the well-known legend about the construction of the Justinian Temple... We do not know for what reasons Gennady established the Assumption Feast. It is most likely to see here a reflection of the new Greek order, in connection with the general transition to the Jerusalem Charter. In the Everhatid Typica (12th century), the feast of the Assumption is sharply highlighted: ™ortѕ g¦r ™ortwn ka€ pan»gurij twn panhgЪriwn њstai... Gennady generally cared about the ordering of worship, collected liturgical material from everywhere... One can also allow direct imitation of Moscow with its cathedral Church of the Assumption, - Gennady was a Moscow protege... However, all this still does not explain the conclusions that were drawn in Novgorod. For the celebration of the Dormition in Byzantium was not at all connected with the name of Sophia. This connection is established only in Novgorod. And they install very firmly. In the sixteenth century. New St. Sophia churches are being built in the north: in Vologda (founded in 1568) and in Tobolsk (founded in 1587). Both churches turn out to be Dormition churches. Here, of course, the direct influence of the Novgorod example is felt. Vologda has always been connected with Novgorod, and in Tobolsk the first rulers were from Novgorod. Later and, obviously, following the Tobolsk example, in the name of St. Sophia, the Wisdom of God, the first Russian church was built for Russian Polenniki in Beijing, consecrated in 1695; however, it was usually called Nikolskaya, after the image of St. Nicholas revered in it. And soon it was replaced by the Assumption Church (in 1732)... In Kyiv, the custom of celebrating the Nativity of the Virgin Mary was established completely independently. We can’t say exactly when. But it is unlikely not only since the time of Peter Mogila, when Kiev Sophia was restored after a long period of neglect. In any case, it was at Mogila that the feast of the Nativity of the Virgin Mary was established as a patronal feast day in the Tithe Church.

III. In Byzantine iconography, two independent plots can be distinguished. First, Christ, Wisdom and the Word, under the guise of the “Angel of the great council” (“according to Isaiah’s prophecy,” Isaiah 9:6). And secondly, the personification of Wisdom, Divine or human, according to the type of ancient personifications, in a female form... The first theme relates primarily to the famous fresco in the Alexandrian catacombs in Karmuz (approx. V-VII centuries). Here a life-size winged angel with a halo was depicted. Caption: SOFIA IS CS. This is an image of Christ in the Old Testament likeness. God often appeared to the Old Testament righteous men and patriarchs in the form of an angel (for example, to Abraham at the oak of Mamre). And according to the ancient Christian interpretation, it was God the Word, the Son of God, who appeared. Therefore, ancient writers and Church Fathers usually call Christ, among other things, an Angel or Archangel, and even the Archangel, as the messenger of the will of God. Already the author of the book “The Shepherd” contemplates the Son of God as a “glorious Angel” (end of the 2nd century); It is curious that he almost identifies the Son of God with the Archangel Michael. The name of Angel is also applied to Christ by the fathers of the 4th century; and even later, the author Areopagitik, to whom late Byzantine icon painters so often refer, emphasizes that Christ, as the God of revelation, is called the Angel of the great council (de coel. hier., cap. IV). Thus, the image of the Son of God in the guise of an angel is fully explained from ancient Christian ideas. However, this theme could not be widely developed in iconography. Old Testament and symbolic images did not correspond to the main trend of Byzantine icon painting, as it developed since the time of the iconoclastic turmoil. The historical (or, better to say, historical-hieratic) type of Christ is formed and established. In Byzantine iconography, transformed evangelical realism prevails. In this regard, the well-known rule of the Trullo Council is very characteristic, proposing to depict Christ “in His human form” - “in a reminder of His life in the flesh.” And the council contrasted the “gospel truth” with the already abolished Old Testament “symbols” and “types” (Trull. 82). This rule is very understandable after the Christological struggle experienced, when it was necessary to defend and explain the completeness and consubstantiality of human nature in Christ. At the same time, the depiction of Christ in an angelic image could arouse ambiguous guesses: whether Christ was an angel (not only in service, but also in nature). Some Gnostics had similar thoughts; Subsequently, Zigavin denounces the Bogomils for identifying the Son of God with Arch. Michael, precisely as the Angel of the great council (Panopl., tit. XXVII, cap. 8). Of course, among the Bogomils this was an archaic motive. In any case, it is quite understandable why images of the Angel of the Great Council are very rare in early Byzantine monuments. Such images existed, but they caused temptation, they were considered contrary to the tradition of the Church (cf. St. Theodore the Studite. Letters, I, 15). Therefore, one can hardly see the Angel of the Great Council in the famous fresco of the Sophia of Constantinople. Most likely, the Archangel, the “guardian of the temple”, whose appearance is described in the famous legend, was depicted here. It is not clear from anywhere that the Byzantines called the one to whom the temple was dedicated “guardian of the temple”; in any case, this is hardly possible in relation to the Lord’s temples... In miniatures we sometimes see an image of Wisdom in an angelic form, but also not often (see the curious miniature in the Ladder, handicraft of the Sinai Monastery, No. 418, 12th century; from later monuments, cf. the Front Slavic Psalter of 1397, in the collection of the Society of Lovers of Ancient Writing; also on the enamel frame of the Siena Evangelary; cf. an interesting miniature of the Barberine Psalter, No. 202, XII century: basile...a twn cristianwn)... Image of an Angel the great council comes to life in iconography only in the late Byzantine era, during the time of the Palaiologans, when in general the symbolic current in iconography intensified. An interesting fresco in the church of St. Stephen in Soletto dates back to this time; An angel in snow-white robes, with a baptized halo; in the hand there is a cup, probably Eucharistic (perhaps in connection with Proverbs 9:2, usually attributed to the Eucharist; cf. the canon of Kosma Mayumsky on Holy Thursday). Inscription: HAG SOFIA O LOGOS. This image is part of a complex combination in which Western influences are clearly evident: the image of the so-called “Apostolic symbol”, not accepted in the East, on the scrolls of the apostles... Late painting, late 14th century. ... This fresco is, apparently, the only indisputable case of depicting the Wisdom-Angel at this time. True, images of the Angel of the Great Council generally become frequent and common - see, for example, in the Athos paintings. And subsequently Dionysius Furnagrafiot indicates that they should be written in the apse of the side aisle or in the side dome. However, one should not see the image of Wisdom in every image of the Angel of the Great Council. It is hardly correct to think that Christ, under the guise of an Angel, is portrayed precisely as Wisdom. The name of Wisdom is called and written rather simply as one of the names of the Second Hypostasis, and therefore always together with the name of the Word... From this biblical theme it is necessary to distinguish another, ancient theme - the personification of wisdom. First of all, we need to note the image of the painting of the baths in Gaza, 6th century, known to us only from the modern description of John of Gaza. Atlas carries a flaming ball, the rising sun. He is supported by two maidens: Sofia and Arete. Sophia in a silver robe, like the goddess of the moon... We subsequently encounter a similar image of wisdom in miniatures to the Psalter: David among two maidens, Sofia and Profhteia (see in the Parisian Psalter, 10th century, No. 139, and in others; the image goes back, apparently, to an earlier example)... The biblical motif is subsequently added to the ancient motif. In this regard, the vision of Constantine the Philosopher is very interesting. He saw many maidens in a dream and among them he noticed and chose one, “the most beautiful of all, with a luminous face, adorned with many golden monists, and pearls, and ornaments”... “Her name was: Sophia,” that is, wisdom... Cf. Wisdom 8:2 “I loved her and sought her from my youth, and desired to take her as my bride, and became a lover of her beauty”... A similar, but somewhat different type of personification includes the controversial female figure in the images of the evangelists. For the first time we encounter such an image in the Rossan purple copy of the Gospel, under the Evangelist Mark: a female figure with a halo stands in front of the evangelist and points to his scroll. It is most correct to see in it the personification of inspiration or wisdom, by analogy with similar images in the manuscripts of ancient authors. Compare, for example, the famous miniature in the Vienna manuscript of Dioscorides, where the female figure facing the author is inscribed: ›uresij - it is curious that the later medieval restorer made an explanatory note on the margin: sofia... Christian miniaturists understood “inspiration” as a gift of the “spirit of wisdom and reason” (Isaiah 11:2). In the later Slavic (Serbian) Gospels of the XIV-XV centuries. the female figure is already depicted in front of all the evangelists. In the Athonohilandar Gospel No. 572 there is also an inscription: Wisdom... At the same time, we find similar images in the paintings (Ravanica Church in Serbia, 1381; Assumption on Volotovo Field in Novgorod)... Finally, we should note the famous mosaic in the painting of the Cathedral in Montreal . Here Wisdom is depicted as an oranta, in the royal table and in a crown on top of the veil, with outstretched arms. Caption: Sapientia Dei... This image is included in the cycle of days of creation; obviously in connection with Proverbs 8:30 “then I was an artist with Him” (cf. Wisdom 7:21 “Wisdom, the artist of everything...”)... We find similar images in Western monuments. Of particular note is the depiction of wisdom and the seven arts (for example, in the famous Lyon manuscript of Prudentius: Sancta Sophia and septem artes) ... It is hardly possible to unravel a certain religious idea behind these personifications.

IV. The famous Novgorod icon of St. Sophia is a kind of Deisis: a Fiery Angel on the throne with those present, the Mother of God and the Forerunner. Above the head of the Angel in the medallion is a bust-length image of the Savior. Above is etomasia. The angel is dressed in royal robes, has a crown on his head, and holds a staff and a scroll in his hands. The throne is strengthened on seven pillars... In the fiery Angel you need to see the Angel of the great council, the Son of God - here the ancient iconographic plot comes to life. But it is complicated by new, apocalyptic features. The seer saw the Son of God, “clothed with a robe and girded around the chest with a golden girdle” (Rev 1:13); “His eyes are like a flame of fire, and on His head are many crowns” (19:12); “And His face was like the sun shining in its strength” (1:16). Wed. also the vision of Daniel (chapter 10) ... This interpretation is not hindered by the presence of a second image of Christ. Such dittography is not uncommon in symbolic compositions. In this case, the doubling of the image could mean the duality of natures in Christ (this is how the Likhud brothers later explained it). Sometimes those present are also depicted with wings: the Forerunner, obviously in connection with the prophecy of Malachi (see 3:1), attributed in the Gospels to the Baptist: “Behold, I send My angel before You” (Matthew 11:10; Mark 1: 2; Luke 7:27); The Mother of God as an apocalyptic Wife, according to Rev. 12:14 “and the woman was given two wings of a great eagle”... In general, it should be noted that Deisis is an eschatological composition, - “an artistic synecdoche of the Last Judgment,” according to the apt remark of A.I. Kirpichnikov... It’s difficult to be precise say when the Novgorod composition took shape. In any case, it is unknown in the Greek monuments. At the Moscow Council of 1554, the testimony of some Svyatogorsk elders about the Icon of Sophia in the Panteleimon Monastery on Athos was cited against Deacon Viskovaty; but we don’t know at all what kind of icon it was. Hardly the Novgorod Deisis. More like a separate image of an Angel. We find the first mention of the Novgorod icon in the IV Novgorod Chronicle under 1510 (7018): Vel. prince Vasily III, passing through Novgorod, “he commanded an unquenchable candle before Sophia, the Wisdom of God, day and night, according to the old days, as it was before” (PSRL, IV, 137; cf. 287). This probably refers to the icon of St. Sophia in the iconostasis of the Novgorod Cathedral, revered as miraculous. But the iconostasis (“deesis”) was erected only in 1509 (PSRL, IV, 136). We don’t know which icon the unquenchable candle glowed before. The iconostasis icon bears traces of later renovation. The painting of the altar, in which Sophia is depicted on a high place, also dates back only to the 16th century. By the way, note that the painting of the conch is clearly of apocalyptic content, based on the text of Revelation 11:15, which is inscribed on the ledge of the vault: “The kingdom of peace came to be of our Lord and of His Christ, and will reign forever and ever”... On external wall, above the western gate, the image of Sophia was painted only in 1528, under architect. Macarius; “and before this it was written in the same place, but only one image of the Almighty to the waist” (PSRL, VI, 286) ... In Novgorod paintings of the XIV-XV centuries. We don’t see the image of Sophia, but it has been common since the 16th century. In Moscow, it became known only from the time of renovation of the Kremlin cathedrals after the fires of the 50s, during the reign of Grozny, when Novgorod and Pskov icon painters worked here. Most of the known lists of the Novgorod icon even date back to the 17th century. And no older than the very end of the 16th century. Russian icon painting original, in which the Novgorod composition is described in detail... Before us, undoubtedly, is comparatively new composition. It is very curious that in Russian monuments, starting from the 16th century, the image of the Lord Almighty with wings generally becomes frequent (primarily in images of the creation of the world - in miniatures and in paintings); Deacon Viskovaty sharply objected to this. Particular mention should be made of a very confusing composition: “Thou art a priest forever”... Maxim the Greek and Zinovy ​​Otensky objected to this icon. Diak Viskovaty saw in her “Latin wisdom.” Anyway, this is a Western composition. It contains two undeniable Western motifs, unknown in Byzantine iconography. Firstly, the Crucifixion in the arms of the Fathers (the actual image of the Trinity, the so-called Gnadenstuhl) is a typically Western composition, especially common in the 15th century. in Germany (cf. Dürer; for the first time, it seems, in the stained glass windows of St. Denis, late 12th century, the so-called Quadriga Aminadab). Secondly, Christ on the cross in the form of a white seraphim (“the soul of Jesus,” as explained by Pskov icon painters); I involuntarily recall the vision of Francis of Assisi on the mountain of stigmata. Christus sub specie seraph is a constant theme of Western masters, starting from Giotto, and also frequent in 15th-century engravings. (see also Dürer)... Here was a new reason to depict Christ under an angelic image... The Novgorod icon of St. Sophia belongs to those new symbolic compositions that have become common in Russian icon painting since the middle of the 16th century. In a certain sense, this predominance of symbolism meant the collapse of icon writing. The icon becomes too literary, it begins to depict not so much faces as ideas. The icon too often becomes a kind of illustration for literary texts, sometimes biblical, sometimes hagiographic and apocryphal. This new literary symbolism has very strong Western motifs; the direct influence of Western (German and Flemish) engravings is beyond dispute - in the 17th century. entire churches are painted according to the famous Piscator Bible. Among biblical themes, themes from the book of Proverbs, from the Wisdom of Solomon are very common... This change in icon painting was correctly felt by Deacon Viskovaty: “and I saw that icons in the human image of Christ our God were taken down, and which I had not seen the writings of, they put up, I was horrified I am and was afraid of flattery and all malice”... Viskovaty’s objections to the new icons were determined not so much by his “conservatism” or inert predilection for “ancient models”. He was worried about the very idea of ​​​​the new icon painting. He saw in her some kind of retreat in Old Testament, return to “images” and “canopy”. He proceeded from the Trullan rule: “imagine according to carnal vision.” And he reminded: “It is inappropriate to honor an image more than the truth”... Therefore, he was not reassured by the answer that Christ is written in an angelic image “according to Isaiah’s prophecy” and the two wings of the scarlet are described according to the Great Dionysius. For the prophecies were fulfilled in the Gospel, and Christ must be written according to the truth of the Gospel, and not according to prophetic predictions, “so that the glory of the carnal education of our Lord Jesus Christ may not be diminished.” Viskovaty's objections reveal to us the religious meaning of Russian disputes about new icons. Here two religious worldviews collided: traditional Christological realism and an excited religious imagination. It was precisely against the play of imagination that the demands to write “from workshop samples” were directed - this demand had not only a technical, but also a religious meaning. Dmitry Gerasimov conveys the words of Maxim the Greek: “and whoever wants to take lines from scripture and write images, and he can create countless images”... From the combination of texts, Russian symbolic icons of the 16th century arose for the most part. This also includes icons of Wisdom... It is very characteristic that, although the Novgorod icon of St. Sophia becomes one of the most widespread in the 17th century, disputes about it do not stop. He sharply objected to it already at the end of the 17th century. the famous inquiry officer, the Chudov monk Euthymius, - and for the same reasons that Viskovaty had. He demands historicism, objects to “fictitious similarities”... “But it seems more fitting to write Saint Sophia, like Wisdom, the Incarnate Christ God, just as the perfect man is written, like the one who was” - “and His holy saints... like everyone who walked on earth” ( Questions and answers of the monk Euthymius, published by Filimonov in “Bulletin of the Society of Old Russian Art”, vol. 1). A special service on Dormition Day with the canon of St. Sophia appears only at the beginning of the 17th century; It was compiled by Prince Semyon Shakhovskoy.

V. In the iconographic originals there is a special article about the Novgorod icon. This “legend about the image of Sophia, the Wisdom of God” is also found separately, in various collections of mixed content of the 16th-17th centuries, in particular in the Explanatory Apocalypses, which is very typical. It is curious that it was inserted (with an obvious violation of the communication of speech) into the lengthy edition of the message of the patriarch. Luke of Chrysoverg to Andrei Bogolyubsky (according to the Nikon Chronicle). In general, this “legend” is found in manuscripts very often. Unfortunately, individual lists have not yet been compared, and the literary history of the “legend” remains unclear. Apparently, it was compiled to explain the newly painted icon - most likely in Novgorod. This is precisely the “interpretation” of the icon... The icon of Sophia is explained as an image of virginity. “The image of the Wisdom of God, Sophia, demonstrates the purity of the Most Holy Theotokos of unspeakable virginity; to have virginity on the fiery face of a maiden”... “The Legend” sees in the Angel a symbol of virginity, - “as virgin life is equal to that of the angels”... “The fiery face shows how virginity is considered worthy of God as the receptacle of being; fire is God”... Those who are to come show examples of virginity, and above all the Mother of God. “The virgins keep their virginity and are like the Most Holy Theotokos. Just as she gave birth to the Son of the Word of God, so those who maintain virginity give birth to productive words, that is, more often to virtue”... Buslaev also successfully called this legend “a poem about the virgin life”... The question arises about the sources of this legend. With good reason one can assume Western influence here. The apotheosis of virginity can be associated with that peculiar ascetic-erotic movement that flared up with particular force in German mysticism of the 14th century. In any case, it is very significant that this movement was associated with the symbol or image of Wisdom. Here, first of all, it is necessary to name Suso, one of the most remarkable mystics of the late Middle Ages, who had an extremely strong influence in his time. Suso usually called himself “the servant of Eternal Wisdom,” and one of his books was written in the form of a dialogue with Wisdom (“Büchlein der ewigen Wishet” or, in the Latin version, Horоlogium Sapientiae). Suso founded the “Brotherhood of Wisdom” and compiled a special prayer rule for it; he then composed a special service for Wisdom. Wisdom for Suso is Christ, the Son of God. But he contemplates Wisdom under a female image, as the Beloved, als ein lutseligъ minnerin. Of course, this was the biblical image of Wisdom. But in Suso it gets a special edge. Suso is called “the last Minnesinger.” And, indeed, in his mysticism all the eroticism of Minnesang is repeated. Wisdom speaks tenderly to the human heart in order to attract it to itself in a female form, und redet zartlich im fröwlichen bilde... For Suso, symbols become visions. Suso described his first vision in this way in his life: “She soared high above him, sitting on a throne in the clouds. She shone like the morning star. She was like the sun in all its brilliance. She had eternity as her crown... And then it seemed to him that he saw the Beautiful Virgin before him, then it was a noble young man... So er iez wande haben ein schön jungfrowen, geschwind van er einen stolzen jungherren... Then she spoke to him like a wise mentor , then like a beloved”... Suzo sketched his visions. Even in his youth, he made an image of Wisdom on parchment “in tender beauty and beloved form” (in minnenklicher Schonheit und lieplicher Gestalt), and never parted with this image. Subsequently, he decorates the manuscript of his autobiography with miniatures. These miniatures are repeated in the copies of his life and go into the first printed editions of his works (see Augsburg editions of 1432, Ant. Sorg. and 1512 Hans Othmar); they are also known in individual engravings. He depicts Wisdom in royal robes and a crown, an orb in her hands, stars shining on her chest... Sometimes in the form of an angel... The image of Wisdom in Suso is double. This is both Christ and the Mother of God. He combines the mysticism of Wisdom with the cult of the name of Jesus. He carves this sacred name on his chest: IHS, and bears these “sores of love” with joy. By the way, note that Suso also saw Christ in the form of a crucified seraphim. He saw his soul in the arms of Christ. He read on the head of the Infant God the sweet name: Herzetrut, “friend of the heart”... And at the same time he was completely overwhelmed with delight before the “tender Queen of heaven.” He especially solemnly celebrates the day of the Assumption - “then there is special joy in the heavenly court”... The image of Wisdom becomes for Suso a symbol of purity and virginity, a symbol of ethereal and virgin marriage, a symbol of a “loving soul” (“minnende Seele”)... Suso’s books were in XV century favorite reading in German and Flemish monasteries; they were read even more than the book “On the Imitation of Christ”... And it would not be surprising if Pskov icon painters learned about his visions. Novgorod and Pskov were in constant and close ties with the West. These were not only trade relations. Otherwise, it would be incomprehensible how the Dominican monk Benjamin (“Slavic by birth, Latin by faith”) could have ended up in Novgorod at the end of the 15th century, under Gennady, as the chief reference officer of biblical books. The biblical text in Novgorod at this time was ruled according to the Vulgate. At the same time and somewhat later, a number of translations from Latin (and German) appear here - and they were made “in the house of the archbishop” and by order of the lord. He translated the explanatory Psalter of Brunon of Würzburg, and the Rationale divinorum officiorum of Wilhelm Durantius, and the polemical “against the God-marked Jews” works of Nicholas De-Lear and Samuel the Jew. In any case, Western books were neither rare nor unusual here... Therefore, the rapprochement of the Novgorod “legend” about Sophia with Western mysticism is hardly forced. The new interpretation lies on top of the old one. The traditional image of the Angel of the Great Council is revealed in a new light. A dispute arises, “what is Sophia, the Wisdom of God”... In Novgorod, at the end of the 15th century, after the ruin of Moscow, the mood was very heightened and restless. In addition, the “seven thousand” years were ending, and they were waiting for the Second Coming. It was a very favorable time for apocalyptic visions. It is no coincidence that from now on the Apocalypse has become almost a reference book in Russian everyday life. Religious thought emerges from the clear boundaries of Byzantine dogmatism into the realm of enthusiastic and excited insights and contemplations... And it must be added that the topic of virginity was also of apocalyptic origin; Wed visions of Revelation 14 (14:4): “These are they who have not defiled themselves with women, for they are virgins; these are the ones who follow the Lamb wherever He goes. They are redeemed from among men, as the firstborn of God and the Lamb”... The Western mysticism of the “loving soul” completely coincided with this apocalyptic motif...

VI. The Kiev icon of St. Sophia has clear Western features. It is no older than the very end of the 17th century. In any case, Pavel of Aleppo, who passed through Kyiv in 1654, had not yet seen the current icon. In the iconostasis there was another icon of Wisdom: “in the middle of the icon is a church with columns<…> Christ is above the church, and His Holy Spirit descends upon it in radiance...” The current icon was painted and erected, obviously, only during the last restoration of the Kyiv Sophia, under Metropolitans Gideon and Varlaam Yasinsky, in the late 80s and even in the 90s. The Tobolsk icon of St. dates back to the same time. Sofia. These are icons of the Mother of God. The Mother of God is depicted here under the guise of the Apocalyptic Wife, with the wings of a great eagle. She stands on the clouds, on the crescent moon. In the hands of a cross and a staff. The Tobolsk icon also has a crown of 12 stars. Two angels hold a crown over their heads (cf. Rev. 12:1,14)... This is a characteristic Western plot, completely alien to Eastern iconography. In the West it has become known since the end of the 14th century. And very early it receives a certain theological meaning, it becomes a symbolic image of the Immaculate Conception, Immaculata Conceptio. This is a theological opinion, raised to the level of dogma in the Roman Church only in the 19th century, already from the 14th century. persistently preached by Franciscan theologians, approved at the Council of Basel and subsequently spread with particular zeal by the Jesuits. The literature of the 16th and 17th centuries devoted to this topic is difficult to discern. However, it is quite monotonous. And we constantly meet in these Marian books the image of the Apocalyptic Wife, usually in very intricate symbolic compositions. This image becomes a symbol of eternal virginity. And when, after the Council of Trent, the question arose whether it was possible to “write the mystery of the Immaculate Conception” and how it should be depicted, they usually answered by pointing to the image of the Woman clothed with the sun, crowned and revered by angels (cf., for example, Molani J. De historia imaginum et picturarum. Ed. princ. Lovanii, 1570; Card. F. K. Borromacus. De pictura sacra. Ed. princ., 1634). The title engraving in the book Clihtovii J. De puritate Sanctae Virginis was usually pointed out as an example. Editio princeps, 1513. Already in the 15th century. a similar image is usually in manuscripts and then goes on to engraving. It is very interesting that often in these images a reference is made to Proverbs 8:22, - a verse about Wisdom (already in 1492 by C. Grivelli, in the London National Gallery, 906 (The Virgin in Eсstasy), - “ut in mente Dei ab initio concepta fui, ita et facta sum”; cf. engraving in Heures a l’usage du diocise d’Angers, par Simin Vostré, 1510, inscription “Nec dum erant abyssi, et ego concepta eram”...) It was connected, of course, with the fact that very early (maybe already from the 12th century) at the service on the day of the Conception of the Mother of God, December 8, there was a “reading” from the book of Proverbs 8:22-30... This predisposed to see the Mother of God in Wisdom, - “the final goal of the eternal council,” termino fisso d'eterno consiglio, as Dante put it (Paradiso, 33, 3). Luther was also indignant at how the biblical text is violated when the texts about Wisdom are attributed to the Mother of God. Theologians in this interpretation usually saw only the “application” of biblical texts (adaptatio or asmodatio). But the mystics and preachers were bolder. In the sixteenth and seventeenth centuries. This explanation is becoming almost universal. It is enough to name P. Canisius and Cornelius a Lapide, who, in his interpretations of the Holy Scriptures, sums up all previous exegesis... From these current Catholic ideas, it is quite clear how the symbolic icon of the Immaculate Conception could turn out to be the icon of Sophia... It is well known how generally accepted the Catholic opinion about The Immaculate Conception of the Virgin Mary among Kyiv theologians of the 17th century. It is defended and developed by Anthony Radivilovsky in his “Vegetable Garden of the Mother of God” (cf. Hortulus reginae by I. Meffret), Ianniky Galatovsky in “The New Heaven” - in the title place of the first, Chernigov edition of this book (1677) the Mother of God is depicted surrounded by angels , in the starry sky... We need to call St. Demetrius of Rostov... It is curious that the student congregation of the Kiev-Mohyla Academy celebrated its annual holiday on the day of the Conception, and the members of the congregation had to confess and affirm that “Mary is not only without actual mortal or venial sin, but also without the firstborn”... All this makes one think that the Kiev icon of St. Sophia is nothing more than an image of the Immaculate Conception. It is curious that in one of his poems Skovoroda directly calls an icon similar to the Kyiv one (in the “theological school” in Kharkov) “the image of the conception of the Most Pure Mother of God” and concludes: “Victory this! Christ will dwell in you. Be pure like a virgin: wisdom cannot be found in sweets,” - vivere in impuro corde Sophia nequit...

Holidays feast and celebration of celebrations (Greek); Wed Irmos 8 songs of the canon of Easter Matins. - Ed.

Kingdom of Christians - Ed.

Christ in the form of a seraphim (lat.) - Ed.

For in the mind of God I was born from the beginning, and so I became. - Ed.

I was born when there were no deeps (Proverbs 8:24). - Ed.

Sofia cannot live in an unclean heart - Ed.

The icon “Sophia the Wisdom of God” is extremely rare and difficult to find, although there are several churches where this image rests in one of the most honorable places.

Description and meaning

The image “The Wisdom of God Sophia” contains the idea of ​​​​the reincarnation of the Mother of God, allowing one to contemplate Her wisdom. The image of Wisdom on this icon belongs to Jesus, who gave his life for the salvation of people, since that is what he is called in the apostolic epistles. In addition to the Mother of God Sophia, John the Baptist is depicted next to the Son of the Lord, who accompanied the Savior throughout His earthly life. Christ is surrounded by disciples listening to his sermons.

The Mother of God is dressed in a beautiful tunic, her head is covered, and she stretches her palms forward. Seven winged archangels are visible above Virgo standing on the crescent moon. Each of the seven light essences holds one of the symbols of holiness in their hands:

• Michael has a sword with a flame instead of a blade;
• Uriel has a lightning bolt pointing downward;
• Raphael has alabaster (an alabaster vessel for storing incense, in this case, myrrh);
• Gabriel has a blossoming lily flower;
• Selaphiel has a rosary;
• Jehudiel has a royal crown;
• Barachiel has flowers, and he himself is located on a white board.

The face of God the Father and the Holy Spirit are visible above all. You can also read the words “I established Her feet” coming from the mouth of God the Father, apparently addressed to the image of Sophia (Wisdom).

Under the feet of the Mother of God there is a church where secret Old Testament records are kept. The icon has an ambo (raise in front of the iconostasis), which includes seven steps with inscriptions that carry the deepest meaning for every believer:

1. Purity of thoughts;
2. Glory;
3. Nobility;
4. Humility before the Lord;
5. Love;
6. Hope;
7. Faith.

“Sophia” was even mentioned in the book of Solomon, where it was noted that the main purpose of the image is to remind all Christians for what purpose the Savior came to people and from whom He was born.

The entire icon is supplemented with the inscription “Create Wisdom for Yourself a House and establish seven pillars.”

From the history of writing icons

The original purpose of writing was to explain the idea of ​​the trinity of God, his ability to appear in three persons at once: the Father, the Son and the Holy Spirit.

According to some historians, the choice of name for this image was not accidental, since it most accurately matches its meaning. The first of the meanings given by the name Sophia is “Wisdom”, and when translating the word from Greek to French it turns out to be “Trinity”.

The source of the image was previously kept in the temple of Constantinople, but in our time no one can say anything reliably about it, although for many years archaeologists have carried out excavations trying to find this particular icon. Information about its iconographic sources was also not found.

In addition, many believers are still trying to figure out for themselves why a female figure was chosen to depict the Divine Wisdom symbolized by Jesus. But the answer is still not found.

According to Athanasius of Alexandria, the image of Wisdom is applicable not only to the Virgin Mary, but also to other manifestations of spiritual life. In particular, this may refer to the church, saints, or even imply the human soul, which is the guardian of the Wisdom given by God.

Archbishop Ignatius of Voronezh noted that the Temple of Sophia, like Divine Wisdom, resides in the heavenly palace along with God and his angels. But he also spoke about the presence of Wisdom in all worlds visible and invisible to man, in human souls, the church, on earth and in heaven equally.

It is extremely difficult for a person to understand, let alone accept, such ambiguity. But only through this can one comprehend the mysteries of spiritual life. That is why so many pilgrims flock specifically to the images of Sophia.

Copies of icons

In Rus' there were very few editions of Sophia; now there are a little more of them, but two of them retain their significance for Orthodox people for several centuries now.

Kyiv

One of the most ancient lists of icons is the Kiev Icon "Sophia the Wisdom of God". The image originally came from the Byzantine Church of Justinian, and is now located in the famous St. Sophia Cathedral.

The meaning of “Sophia” of Kyiv differs to a certain extent from the generally accepted one. Here there is a symbolic image of the path between the earthly and heavenly worlds. In addition to the archangels, there is an image of the forefathers of the human race.

On both sides of the seven steps there are biblical heroes:

• Moses (on his tablets there is a command to honor the Word of God);
• Aaron (brother of Moses, first Jewish high priest);
• King David;
• prophet Isaiah;
• prophet Jeremiah;
• prophet Ezekiel;
• Prophet Daniel.

In the image, one can clearly see the repeated emphasis on the symbolism of the seven. For this reason, the second name of the icon is “Seven Pillars”. The prototype of the Mother of God here is Oranta - the patroness and protector. As for the images on the pillars, they themselves and their symbolic meaning were taken from the book of the Apocalypse.

Novgorodskaya

Another image, similar to the Kyiv one, is located in Novgorod and also has its own differences. Its peculiarity lies in the fact that the Mother of God and John the Baptist pray on it, standing before the Savior. Therefore, the type of Novgorod edition is defined as Deesis.

This wooden frame is framed with a gilded silver chasuble. Central figure The composition on it is not the Blessed Virgin, but the Lord Pantocrator, dressed in royal robes (podir), a crown and a jeweled belt. His right hand (right hand) clutches a scepter crowned with a cross, and with his left palm he presses a scroll to his chest. Wings of fire are visible from behind God’s back, and he himself sits on a golden throne supported by seven pillars.

In the hands of the Forerunner there is also an unrolled scroll, on which is written “I testify.” Above the fiery-winged Almighty is the Savior, raising his hand in a blessing gesture.

At the very top of the image you can see a throne made of gold, on top of which lies an open book, symbolizing the presence of God. On both sides of him are kneeling angels (three on the left and on the right).

The background of the icon is blue, it should symbolize the firmament decorated with stars. The Novgorod copy of “Sophia” is revered as miraculous. The beneficial power of the image has documentary evidence in the form of historical records. According to them, already in 1542, a woman suffering from an eye disease received forgiveness and healing from the “Wisdom of God.”

It is interesting that “Sofia” first appeared in Novgorod only in the 15th century, although the Novgorod church dedicated to it was rebuilt back in 989 (and the Kyiv church in 1037).

Every year on the day of the Dormition of the Most Holy Theotokos, the Novgorod and Kiev icons attract thousands of Christians, hoping to receive help in business or healing from illnesses from the wise Heavenly Queen.

What to pray for

Presence Icons "Sophia the Wisdom of God" It will have a place in any home, as it helps preserve family well-being. You can pray to her at any time your soul desires.

It would be good if a special holy corner with a lamp and candles was set aside for “Sophia” and other images. Most often this face of the Mother of God is addressed to:

• resolve disputes;
• save the family from problems and troubles;
• protect the house from the arrival of spiteful critics and call into it well-meaning people with pure thoughts.

According to all those praying in front of the icon “Sophia the Wisdom of God,” the Blessed Mary does not leave a single request unattended; each one receives an answer in the form of a sign, an event, or simply a resolution to the situation.

To address the icon “Sophia the Wisdom of God” you can learn special prayer, but then it should be known exactly and read correctly. This prayer is an appeal both to our patroness and intercessor, the Mother of God, and to the Lord God. With the right attitude, the person praying can gain the wisdom needed to make the right decision. Benefit Holy Virgin It will help smooth out not only family conflicts, but also resolve work problems.

When asking for help, you should not wait for a “voice from heaven”; most likely, knowledge will come as if from within; you just need to learn to hear and understand what you hear.

In prayer to the Blessed Virgin, one can ask not only for one’s well-being, but also to wish health and happiness to any Orthodox believer who strives to fulfill the commandments and knowledge of the teachings of Jesus, who wants to gain a little wisdom.

Days of veneration:

• “Sophia - the Wisdom of God” (Novgorod) - August 28/15 (new/old style);
• “Sofia – the Wisdom of God” (Kiev) – September 21/8.

With. 40¦ 1. Sophia the Wisdom of God

Double-sided altarpiece icon
First quarter of the 15th century. Tver (?)
Turnover Crucifixion
19th century recording
Wood, tempera. 69 × 54.5
Comes from the altar of the Annunciation Cathedral in the Moscow Kremlin
Moscow Kremlin Museum, inv. Zh-1413 (480 events)

Painting in the process of unfolding. The undisclosed parts are under partial 19th-century writing and darkened linseed oil. The original light ocher background was replaced during the renovation with gold lying on a brown spacer. In the lower part of the composition, soil patches are visible.

The time of the emergence of a complex iconographic type, to which the icon of the Annunciation Cathedral belongs, in scientific literature, starting from the 19th century, was usually attributed to the end of the 15th - beginning of the 16th century. The name of the “Novgorod” version of Sophia of the Wisdom of God was assigned to it, since in the St. Sophia Cathedral of Novgorod an icon of a similar type was revered as a temple image. Allegorical interpretations of the image of Sophia, available in texts of the 16th–17th centuries, led to the contradictory assessments that similar images received in literature, starting from the second half of the 19th century to the present day.

The icon was first published in prorisi by G.D. Filimonov in 1876 as a monument of the 16th century. The same prophecy was used by P. A. Florensky in his extensive essay devoted to the interpretation of the image of Sophia the Wisdom of God. A. I. Yakovleva turned again to the consideration of the Kremlin icon. She dated it to the 60s of the 16th century, noting features reminiscent of 14th century painting 1 . L. I. Lifshits was the first to draw attention to the connection of the icon with a wide range of Byzantine monuments of the 12th–15th centuries and pointed out that such icons were painted not only in Novgorod. In his opinion, the image of the Annunciation Cathedral is included in the circle of monuments of the early 15th century. Based on the peculiarities of color and a number of features of the compositional solution, the researcher attributed the icon to Tver painting, which in the first half of the 15th century acquired features characteristic of metropolitan art and for a short time became equal to the painting of Moscow 2.

1 Yakovleva A. I.“The Image of the World” in the icon “Sophia the Wisdom of God” // Old Russian Art: Problems and Attributions. M., 1977. pp. 388–404. Il. us. 389–391.

2 Lifshits L. I. Angelic rank with Emmanuel and some features of the artistic culture of Vladimir-Suzdal Rus' // Old Russian art: Artistic culture of the X - first half of the XIII century. M., 1988.

Among the numerous texts on which the creators of the iconographic version under consideration were based, first of all we should mention the 9th parable of Solomon: “Wisdom built herself a house and established seven pillars...” and the First Epistle to the Corinthians by St. Apostle Paul: “We preach Christ crucified... the power of God and the wisdom of God” (1 Cor. 1: 23–24). This understanding of the image of Sophia is confirmed by the seven pillars on which her throne rests, and the image of the “Crucifixion” on the reverse side of the icon. The sources of iconography undoubtedly included the hymns of Maundy Thursday. They glorify the “All-Guilty [i.e. e. being the cause of all things. - E.O.] and giving life, the immeasurable Wisdom of God,” “The uncreated and supernatural Wisdom of God,” who created a temple for herself in the flesh of the Blessed Virgin (Sequence of Matins. Troparions 1–3 cantos 1).

Theologians of the 13th–14th centuries showed particular interest in the image of the hypostatic Sophia as the creative principle of the consubstantial Trinity and its action in the world. The Patriarch of Constantinople Philotheus, an author of the mid-14th century, calls the Wisdom of God and Christ, and “the Divine natural action and grace-filled gift of the great and consubstantial Trinity, through the Holy Spirit from generation to generation given to holy souls.”

Revealing the teaching of the Church about the action of Divine Providence in the world, the creators of the “Novgorod” version built the composition of the icon in three registers, which are equally read from top to bottom and bottom to top. The topmost one is occupied by an image of heaven with a throne erected on it - Etymasia - with the instruments of the passion of Christ, which are worshiped by angels. In the center in the round “glory” is depicted Christ Pantocrator, God the Word incarnate, and below him is a kind of deesis, which occupies the main part of the composition: the Mother of God and John the Baptist stand before Christ, the Angel of the Great Council, the Wisdom of God, seated on the throne.

The tradition of depicting Christ the Wisdom of God in the form of an angel is based on the text and interpretations of the prophecy of Isaiah: “For unto us a Son was born unto us, and was given unto us, and his principality is upon his frame: and the name of his Great Council is called Angel, Wonderful, Counselor, Mighty God, Prince peace, Father of the age to come” (Isaiah 9:6). Among the earliest images of Christ the Angel of the Great Council are miniatures of manuscripts of the Words of Gregory the Theologian of the 9th–12th centuries. They illustrate Word 2 for Holy Pascha: “I stood and looked: and behold a man ascended on the clouds, a very tall man, and his image was like the image of an angel (Judg. 13:6), and his clothing was like the flash of fleeting lightning . He raised his hand to the east, exclaimed with a loud voice... now is salvation for the world, the visible and invisible world! Christ from the dead, rise with Him you too; Christ in His glory, you too ascend; Christ from the grave - free yourself from the bonds of sin; the gates of hell are opened, death is destroyed, the old Adam is put away, the new is made: if anyone is in Christ, he is a new creation” (2 Cor. 5:17).

The Angel with red wings sitting on the throne is dressed in royal robes of a soft fawn color, decorated with a shoulder and a crown, and a jagged crown - a symbol of the anointed one on whom the Holy Spirit “rests”: “God reigned over the nations. God is seated on His holy throne” (Ps. 46:9). The invisible presence of the third person of the Trinity - the Holy Spirit, its incorporeality is indicated by the wings of Sophia, but the face of the Angel and the blond hair falling on the shoulders in two strands are reminiscent of images of the Youth Christ. In his right hand the Angel holds a red staff ending in a cross, and in his left hand there is a rolled up scroll. His figure is surrounded by a three-part “glory”, which symbolizes the light of the Trinity. It is dark blue on the inside and two shades of light blue around the edges. And from within it comes a radiance in the form of eight blue rays - a sign of eternity, attributed to the hypostasis of God the Father. The symbol of the incarnation of God the Word is the face and hands of an Angel, painted in a soft pink color: “just as a pomegranate shell is enveloped in ruddy skin, so the Only Begotten Son of God and the Father was clothed in flesh having blood in it” (Interpretation of the “Song of Songs” by King Matthew Cantacuzina, late 14th century 3). The light illuminating the face of Sophia testifies to the unmerged and inseparable union of human flesh and divine nature: “When the Word of God becomes clear and bright in us, and His face shines like the sun, then His clothes are white, that is, the words Holy Scripture[are] clear, transparent in us” 4.

3 See in the book: Psell M. Theological works. St. Petersburg, 1998. P. 323.

4 Works of St. Maximus the Confessor. M., 1993. Book. 1–2. Chapters on theology. 2 hundred. Ch. 14.

The light, decorated clothes of the Angel indicate that He is not only the King, but also the Bridegroom of the heavenly palace, whose throne in the person of the Mother of God will be With. 40
With. 42¦ Bride-Church: “He has clothed me with the garments of salvation; He clothed me with the robe of righteousness, as he placed a crown on a groom, and adorned me with finery as a bride” (Isaiah 61:10). The chamber of the wedding feast - the Eucharist - is designed to resemble the throne of Wisdom, which has four carved legs and is supported on seven brown supports - pillars, according to the words of the Book of Proverbs quoted above. The Angel's feet rest on an oval stone of a smoky blue tone, indicating that the House of Wisdom - the Church has “Jesus Christ Himself as the chief cornerstone” (Eph. 2:20), “For no one can lay any other foundation than that which is laid. Christ" (1 Cor. 3:11).

The Mother of God and John the Baptist, convening the faithful to the feast of Wisdom, stand in front of the throne on special stools decorated with a golden assist. Their figures are partially included in the radiance surrounding the Angel, just as in the scene of the Transfiguration into the “glory” of Christ the figures of the Old Testament prophets - Elijah and Moses - are often included. “You should know,” wrote the Monk Maximus the Confessor, “that there are differences among those standing with the Lord, since the words are important for those with an inquisitive mind: “There are some of those standing here who will not taste death until they see the Kingdom of God coming in power.” (Mark 9:1). To those who can follow Him, the Lord is revealed in the image of God, in which He was before the creation of the world" 5 .

5 Ibid. Ch. 13.

The Mother of God holds in front of her, like a medallion, a round “glory”, inside of which is depicted the seated infant Christ in robes decorated with an assist. His right hand is extended in a gesture of blessing, and in his left is a rolled scroll. That is, the infant Christ himself, Wisdom, testifies that He “built for Himself a material and animate house, that is, His bodily temple, from the immaculate blood and flesh of the all-holy Virgin Mother of God, by the good will of the Father and with the assistance of the All-Holy Spirit, one of two, one and the same perfect in Divinity, and the same perfect in humanity” 6. The “glory” around the figure of the infant Christ is painted in two colors - dark blue inside, like the “glory” of the Angel in the middle of the deesis, and pink around the edge, but it is also surrounded by a radiance of eight blue rays, indicating that Christ is “dual in nature , is singular in hypostasis.”

6 Arseny Bishop Philotheus, Patriarch of Constantinople in the 14th century, three speeches to Bishop Ignatius with an explanation of the saying in parables: Wisdom created a house for herself, etc. Novgorod, 1898.

John the Baptist is dressed in a mantle and a short cloak. His right hand is raised with a gesture of prophetic testimony, and in his lowered left hand there is a scroll with the text of the prophecy. Perhaps the text preserved in the recording repeated the original, traditional for images of the Forerunner: “Behold the lamb of God...” (John 1: 29). “For he is the one about whom it is written: “Behold, I send My angel before You, who will prepare Your way before You” (Matthew 11:10).

The half-figure of Christ Pantocrator, presented in two-part “glory,” is directly related to the theme of the Eucharistic meal-feast. It combines shades of lilac-pink inside and Pink colour outside, which, like the pink face of the Angel, speaks of the mystery of the incarnation of God the Word, and the eight blue rays of star-shaped radiance, the same as in the other images, indicate his consubstantiality with the Father. The outer lower edge of the “glory” of Christ intersects with both the halo and the blue radiance of Sophia’s “glory,” partially covering it, which is a sign of the commonality of the trinitarian light emanating from them.

The Almighty, dressed in a tunic with a golden clav and himation, like a bishop, blesses the Mother of God and John the Baptist with both hands: “I am the living bread that came down from heaven: whoever eats this bread will live forever; And the bread that I will give is My flesh, which I will give for the life of the world” (John 6:51). The image of the Prepared Throne established in heaven is also intended to remind us of Christ’s sacrifice on the cross. The triple arc of heaven “bent to the earth” and the throne are in contact with the edge of Christ’s “glory”: “The throne of glory, exalted from the beginning, is the place of our sanctification” (Jer. 17:12). The throne is presented both as a royal throne and as a church meal. On it lie the red-brown robe of Christ, the closed Gospel, and at the foot in front of it are symbols of Christ’s voluntary sacrifice on the cross, which he made for the salvation of mankind, and the instruments of passion - the Calvary Cross, a vessel with bile, into which a spear, a cane and four nails are inserted: “so that now through the church the manifold wisdom of God might be made known to the principalities and powers in heaven, according to the eternal purpose which He fulfilled in Christ Jesus our Lord” (Eph. 3:10–11).

At the same time, the Gospel lying on the throne indicates the inseparable presence of Christ with the Father in heaven: “Everything below [on earth with people. - E.O.], and the indescribable Word departed from the highest” (Akathist to the Mother of God. Ikos 8); “He who descended, he is also the one who ascended above all the heavens, to fill all things” (Eph. 4:10). Thus, Christ, depicted three times on the icon “Sophia the Wisdom of God” in the form of the Angel of the Great Council, the Child and the Pantocrator, is here revealed as a victim and sacrifice-bearer and as a Trinitarian God who accepts sacrifice.

The complex composition of the icon acts as a kind of poetic commentary on the image of the “Crucifixion” on the other side of the icon, which was completely rewritten in the 19th century.

Literature

• Census book of the cathedral church of the Blessed Virgin Mary of the Annunciation... 1680 // Collection for 1873, published by the Society of Ancient Russian Art at the Moscow Public Museum. M., 1873. P. 17.
• Ignatius, archbishop. About the icon of St. Sophia in the Novgorod St. Sophia Cathedral // Notes of the Imperial Archaeological Society. St. Petersburg, 1857. T. XI.
• Filimonov G. D. Essays on Russian Christian iconography. Sophia the Wisdom of God // Bulletin of the Society of Old Russian Art for 1874–1876. M., 1876. Research. P. 20 (shine the icons).
• Meyendorff J. L" Ikonographie de la Sagesse divine dans la tradition byzantine // Cahiers archéologiques. Paris, 1959. Vol. 10.
• Byzantium. Balkans. Rus': Icons of the XIII–XV centuries: Exhibition catalogue. M., 1991. No. 86. P. 250–251.
• Lifshiz L. Die Ikone "Sophia - Weisheit Gottes" aus der Moskauer Kreml". Haustein-Bartsch E. Munchen, 1999. S. 29–42.

E. Ostashenko With. 42
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On either side of the Angel of Wisdom are depicted the Mother of God and Saint John the Baptist with a scroll on which it reads: “I am a witness.” Thus the icon represents a special type of Deisis. At the same time, the icon shows two more chest-length images of Christ - as the Infant of God in the medallion on the chest of the Blessed Mother, and as the blessing of the Savior in the medallion above the head of the Angel. In the upper case of the icon - etimasia. On both sides of the throne are three kneeling angels.

As a version of the iconographic type, sometimes those who are coming are also depicted with wings: the Forerunner, probably in connection with the prophecy of Malachi (Mal. 3:1); Our Lady as the Apocalyptic Wife (Rev. 12:14). On such icons there is often no medallion with the Infant God, and angels are written on the sides of the central medallion with the Savior.

Controversy

The Novgorod icon of Hagia Sophia is one of the symbolic compositions that have become common in Russian icon painting since the mid-16th century. In such icons, the illustration of texts and ideas comes to the fore; they have strong Western motifs. It is characteristic that, although this iconographic version is becoming widespread, it at the same time remains controversial. Disputes arise about both the content and the admissibility of the iconography. In the iconographic originals the “Tale of the Image of Sophia, the Wisdom of God” appears, which is found both separately and in various collections of mixed content of the 16th-17th centuries. In it, the icon is explained not as an image of Christ, but as an image of virginity: “The image of the Wisdom of God, Sophia, demonstrates the purity of the Most Holy Theotokos of unspeakable virginity; to have virginity is the fiery face of a maiden...”"The Legend" sees in the Angel a symbol of virginity “as the life of a virgin is equal to that of the angels...” “The face of fire shows how virginity is vouchsafed to God as the seat of being; for fire is God...” The upcoming ones are examples of virginity. Western influence is assumed to be behind this tale. At the end of the 17th century, the famous inquiry officer, the Miracle monk Euthymius - who saw the Hypostasis of Christ in the Angel-Wisdom - spoke out against the image of the Wisdom of God, demanding historicism instead of “fictitious likenesses.” The Likhud brothers, defending the icon, explained the paired image of Christ - as the Angel of Wisdom and as the Savior in the medallion - by the duality of natures in Christ.

Prayers

Troparion, tone 1

Eternal Wisdom, Christ our God!/ You bowed the Heavens with Your divine gaze,/ You deigned to dwell in the womb of the Pure Maiden,/ Having destroyed the mediastinum of enmity,/ You sanctified our nature/ and You opened Your Kingdom to us;/ For this sake of You, our Creator and Savior ,/ and who gave birth to Thee,/ who served the mystery of our salvation as the Pure Virgin, we orthodoxly magnify.

Troparion, tone 4

The great and ineffable power of the Wisdom of God/ the vision of the carnal mystery!/ Sophia the Preeminent,/ the virgin soul and unspeakable purity of virginity,/ the humble wisdom of the truth,/ the chamber of the Holy Spirit,/ the most honorable temple of His incomprehensible glory,/ the fiery throne of Christ our God,/ in Thy for the Word of God dwelt ineffably, and the flesh came into being, / He appeared invisible, / and came forth untouchable from Thee, / and with man alive, catching the primordial enemy, / and freeing men from the ancient oath, / erecting packs, from where they had fallen. / We pray, O Lady, / have mercy on us in our cruel sins / and save our souls, / and, like a humane and merciful Queen, / Mother of the Wisdom of God’s Word, / look upon us, Thy sinful people, / and be merciful, intercede from cruel misfortunes and sorrows / and hail preserve ours unharmed, / where now Your most holy name is gloriously glorified.

Kontakion, tone 4

Let us pray, Orthodox people, / to the wisdom of God / and we see miraculous icon The Most Pure Mother of God, / We call Sophia, the Wisdom of God, after her appearance, / before the temple was animated by the Only Begotten Son and the Word of God. / This shines like a ray of light in Her most holy temple / and our hearts rejoice, those who come with faith / and look with fear and reverence at this most pure icon, / thinking in our hearts, / as truly the Wisdom of God is the village / and His sacraments, / for the hope of the faithful / we see Her fiery imagination / and worship, as Her true and most immaculate virginity / at Christmas and after Christmas again ;/ from Whom the Divine Fire came forth,/ burning up corruptible passions/ and enlightening our souls and creating pure things,/ with whom the Father created the eyelids,/ the same and Wisdom, Word and Power will be called,/ the radiance of glory and the Image of the Father Hypostasis./ And again therefore we pray / and, falling down, we kiss the most honorable icon of the Wisdom of God to the Mother / and we cry loudly: / O Merciful Lady, / save Thy servants from the violence of the devil, / from the presence of foreigners and internecine warfare, / for You are the Giver and Patroness of all good things / to those who come to You with faith and asking for great mercy.