Slide 2
An icon painter, unlike an artist, is not considered as the author of a specific image, he is only a conductor of divine truth.
The Znamenshchik is the most experienced craftsman who creates the (signer) drawing of the future icon; Dolichnik is a master who specializes in painting clothes, landscape staffage and other elements of the icon, except for personal writing; in turn, the Dolichnik may have a specialization: Herbalist - depicting plants Payer - specializing in painting clothes, etc. Lichnik - a master in personal writing - depicting faces, hands and other open parts of the body; A salaried icon painter is a master who works at the court of the Tsar or Patriarch and receives a permanent salary; Feed icon painter - hired for the duration of the order and receiving “feed” - remuneration; City icon painter - a non-resident icon painter who was called (often forcibly) when carrying out major works in central cities or monasteries; The furrier is a master who works in the technique of imparting the character of “old” to fresh icon painting.
Slide 3
The task of icon painting is to “embody the word”, to embody the Christian doctrine in images. Last Judgment Transfiguration of the Lord on Tabor Was in Pereslavl. Ser. XV century. Feofan the Greek
Slide 4
Features of Russian icon painting: Asceticism is an extreme degree of abstinence, renunciation of life's pleasures. Asceticism is a moral norm (readiness for self-restraint, ability to make sacrifices). Savior Almighty. First half of the 13th century Our Lady of Vladimir
Slide 5
“The Tree of the Knowledge of Good and Evil”, Michelangelo, fragment of the Sistine Chapel painting If you violate the iconographic canon, then there will be a portrait or a painting, but there will be no icon. Why was a tree chosen for icon painting? The tree has deep symbolic meaning. We should remember the tree of life, the tree of the knowledge of good and evil, which was in the Garden of Eden; about the gopher tree from which the ark of righteous Noah was built. Linden, spruce, alder and cypress are used. the tree is a symbol of the fall and salvation of man.
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Shape of the icon board. The Ark (ark) is the recessed part of the icon board. The field is the part of the icon board protruding above the ark. By the width of the margins one can judge the time of painting of the icon: the margins of icons of the 11th-12th centuries are, as a rule, wide; starting from the 13th century, the margins began to be made narrower, and in the 14th century, icons without margins appeared. Husk - a bevel between the ark and the field. A dowel is a transverse bar cut into the reverse side of the board and serves to prevent its deformation. 1 - field, 2 - husk, 3 - ark, 4 - weaving, 5 - left-sided mortise key
Slide 7
Principles of depicting figures on icons. main images shoulder-length full-length
Slide 8
Iconographic types of images of Jesus Christ “Savior Emmanuel” “Savior Not Made by Hands” “Lord Almighty” or “Pantocrator” “Lord on the Throne” or “Savior in Power” 6
Slide 9
The first group is the “Sign” type of iconography. One of the variants of the “Sign” iconography is “Oranta”. (Oranta, from Latin orans - praying). Classification of icons of the Mother of God. The combination of the figures of the Mother of God and the (half-figure) Christ, which conveys one of the deepest revelations: the birth of God in the flesh, Mary becomes the Mother of God through the incarnation of the Logos. "Yaroslavl Oranta, Great Panagia" Unbreakable Wall"
Slide 10
The second iconographic type was called "Hodegetria", which in Greek means "Guide". HODEGETRIA OF SMOLENSK is one of the most revered Orthodox icons. "Kazanskaya"
Slide 11
The third type of Mother of God icons in Rus' received the name “Tenderness”, which is not an entirely accurate translation of the Greek word “Eleusa” (έλεουσα), i.e. "Gracious." "Our Lady of Vladimir, Our Lady of Don 2
Slide 12
Our Lady Leaping "Tenderness" - "Mammal". A variation of the “Tenderness” iconographic type is the “Leaping” and “Mammal” type.
Slide 13
The fourth type is collective; it should include all those iconographic options that, for one reason or another, were not included in the first three.
The name of the fourth type is conventionally “Akathist”, since the iconographic schemes here are mainly built not on the principle of a theological text, but on the principle of illustrating one or another epithet with which the Mother of God is called in the Akathist and other hymnographic works. "Our Lady - Life-Giving Source"
Slide 14
The outer garment is a maforia coverlet, on the maforia there are stars, signs of her virginity, and a blue lower kiton. Sometimes, from under the maforia draped over the head, a cap is visible - the headdress of married women. On the sides of the face of the Mother of God the Greek letters “MPOY” are written - an abbreviation of the words “Mother of God”. Our Lady of Great Panagia (Oranta)
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Old Russian icon painting
Strange frozen faces, or rather faces with expressive eyes, look at us from icons, penetrating straight into our souls. Do you know what is called an ICON?
An icon is a painting depicting saints and episodes from the Bible. “Icon” translated from Greek means “image”, “image”. In Rus', icons were called “images”.
Icons arose even before the birth of ancient Russian culture in Byzantium and became widespread in all Orthodox countries. The temples there were mostly built of stone. Stone walls were plastered and decorated along with icons, mosaics and frescoes (paintings painted on wet plaster), and sculptural images of saints.
The Russian Orthodox Church objected to sculptures in churches because... she was afraid of new idolatry (after all, earlier the pagan Slavs worshiped idols), so icon painting nowhere reached such development as in Rus'. Our churches were mostly wooden. With their ease of placement in the church, brightness, and durability of colors, icons painted on boards were ideally suited for decorating Russian wooden churches.
Powerfully drawing the gaze of those praying to them, the icons turned even the poorest church into a fabulous treasury of beauty and peace. When candles were lit in front of the icon, the bright colors began to shine and shimmer. It was very beautiful and so different from everything else that surrounded people in their ordinary difficult lives, that it seemed to them that they felt the presence of God. If you look closely at the icons, you can see the common thing that is depicted on all icons without exception, which is the symbol of the icon - it is a halo, a shining circle around the heads of the saints. The halo symbolizes holiness. And the main symbol of Christianity is the cross, it recalls the martyrdom of the crucified Christ.
In ancient times, the icon was treated with great respect as an object of worship. The icon was considered the best and most valuable gift. In the old days there were icons in every home, and images hung in a place of honor - in the red corner. A lamp was burning in front of them. Icons were installed at forks in roads, near wells, and hung on gates at the entrance to the city. Above the passage arch of the Spasskaya Tower of the Moscow Kremlin there is still a white stone niche where the icon of the Savior, which gave the tower its name, once hung.
Icon “Our Lady of Vladimir”Constantinople. 12th century The icon of “Our Lady of Vladimir”, sent to Rus' from Constantinople at the beginning of the 12th century, was first located in the Vyshgorod convent near Kyiv. In 1158, Prince Andrei Bogolyubsky, the son of Yuri Dolgoruky, took the icon with him when going to the Rostov-Suzdal land. In the same year, the Assumption Cathedral was founded in Vladimir, in which the icon was placed. Since the 15th century, the icon “Our Lady of Vladimir” was located in the Assumption Cathedral of the Moscow Kremlin, in the local row of the iconostasis, to the left of the royal doors. The icon “Our Lady of Vladimir” is one of the most ancient and famous shrines of the Russian Church.
Andrey Rublev (? – around 1430) Icon painter. The first chronicle evidence that has reached us about Andrei Rublev is contained in the Trinity Chronicle, according to which the master painted the Annunciation Cathedral of the Moscow Kremlin (1405) together with Theophan the Greek and Prokhor from Gorodets. Researchers also associate the name of Andrei Rublev with miniatures of the Khitrovo Gospel, frescoes of the Assumption Cathedral on Gorodok in Zvenigorod (about 1400) and icons of the so-called “Zvenigorod rank” (early 15th century) - “Savior”, “Archangel Michael”, “Apostle Paul”. The undisputed works of the outstanding icon painter include the paintings of the Assumption Cathedral in Vladimir, created in 1408 together with Daniil Cherny, and “Trinity” (1425–1427) - the temple icon of the Trinity Cathedral of the Trinity-Sergius Monastery, commissioned by Nikon of Radonezh.
Trinity of the Old Testament. Andrey Rublev. 1422-1427.
In the last years of his life, Andrei Rublev was a monk at the Spaso-Andronikov Monastery in Moscow, where he painted the Spassky Cathedral. He was buried on the territory of the monastery. Canonized by the Russian Orthodox Church. The art of Andrei Rublev was closely connected with the formation of the ideological and moral ideals of his era. The desire to strengthen Russian statehood and national identity were especially relevant after the Battle of Kulikovo (1380). The calls for peace, unity and universal harmony contained in the teachings of St. Sergius of Radonezh and his followers were embodied in the iconography of Andrei Rublev. The distinctive features of his style are the special softness and smoothness of lines, tending towards roundness, which can also be seen in compositional structures; light color, devoid of sharp contrasts; amazing harmony and spirituality of images.
Saved. Andrey Rublev. 1420s
Apostle Paul. Andrey Rublev.
Archangel Michael. Andrey Rublev. First quarter of the 15th century.
Theophanes the Greek (? – after 1405) Icon painter. Byzantine artist who worked in Rus' in the last third of the 14th - early 15th centuries. According to the “Message of Epiphanius the Wise to Cyril of Tver” (1415), Theophanes painted churches in Constantinople, Chalcedon, Galata, Cafe, Veliky and Nizhny Novgorod and Moscow (more than 40 churches in total). Of the indisputable works of Theophanes, only the frescoes of the Church of the Transfiguration on Ilyin Street in Novgorod (1378) have survived to this day. In Moscow, according to chronicles, Theophanes the Greek, together with Semyon Cherny, painted the Church of the Nativity of the Virgin Mary with the chapel of the resurrection of Lazarus (1395), worked with his students in the Archangel Cathedral of the Moscow Kremlin (1399) and, together with Andrei Rublev and Prokhor from Gorodets, painted the Annunciation Cathedral Moscow Kremlin (1405). Researchers also associate the name of Theophanes with some icons from the Deesis tier of the Annunciation Cathedral in the Moscow Kremlin and a number of other monuments, including the icon of “Our Lady of the Don” (1380–1390s).
Our Lady of the Don. Icon. Theophanes the Greek. Tretyakov Gallery
Transfiguration. Icon. Feofan the Greek
Pantocrator. Fresco. Feofan the Greek
Dormition. Theophanes the Greek (?). End of the 14th century (About 1392?).
Elder Macarius of Egypt. Fresco. Feofan the Greek
Dionysius (?–1503) Icon painter. The earliest known work of Dionysius was the painting of the Nativity Cathedral of the Pafnutyevo-Borovsky Monastery, executed between 1467 and 1476, together with the monastery elder Mitrofan. Information about this was preserved in chronicles and in the Life of St. Paphnutius of Borovsky, the founder of the monastery. The paintings themselves have not reached us, since the monastery cathedral was destroyed and rebuilt at the end of the 16th century. In 1481, Dionysius headed the artel of icon painters that created the initial iconostasis of the Assumption Cathedral of the Moscow Kremlin. Two hagiographic icons with images of Moscow saints - Metropolitans Peter and Alexy - could have been intended for the local row of this iconostasis. In 1484, together with his sons Theodosius and Vladimir, he began to paint the Assumption Cathedral of the Joseph-Volokolamsk Monastery, commissioned by the founder of the monastery, St. Joseph of Volotsky.
Alexy Metropolitan, with his life. Dionysius. Beginning of the 16th century
The art of Dionysius embodied the best artistic achievements of the last third of the 15th - early 16th centuries, reflecting the spiritual quest of that time. The clarity of the compositional solution, the elongated proportions of the figures, the lightened coloring with a predominance of pure, sonorous colors give the master’s works a special spirituality.
Simon Ushakov (1626–1686) Icon painter. "Committed icon painter" of the Armory Chamber. He headed an icon-painting workshop (1664–1686), worked in the Golden and Silver Chambers (1648–1664), created drawings for church utensils, jewelry, sewing, etc. He painted icons for the Trinity Church in Nikitniki, of which he was a parishioner, the Church of St. George of Neocaesarea on Bolshaya Polyanka ("Our Lady of Eleusa of Kykkos", 1668) and many other churches. Ushakov’s art retained its influence on the development of Russian icon painting until the 19th century. It was a compromise between medieval tradition and new trends in European painting. The artist’s innovations – the “life-like” cut-off modeling of faces, the desire to convey real volume – found theoretical justification in “A Word for Careful Icon Painting.” Ushakov’s most famous works include “Our Lady of Vladimir (Tree of the Moscow State - Praise of Our Lady of Vladimir)” (1668).
- Russian icon painting is the Christian, church fine art of Ancient Rus', which began at the end of the 10th century with the Baptism of Rus'. It was a central part of ancient Russian culture until the end of the 17th century, when in the era of Peter the Great it was supplanted by new secular types of art.
- Andrey Rublev. Trinity. 1411 or 1425-27
- Pre-Mongol period
- The art of icon painting came to Rus' from Byzantium after the people of Kiev were baptized in 988 under the holy Equal-to-the-Apostles Prince Vladimir Svyatoslavich.
- The most famous ensemble of the pre-Mongol period in Kyiv are the mosaics and frescoes of the St. Sophia Cathedral, built in the 11th century by Yaroslav the Wise. The program for painting the temple corresponded to the Byzantine tradition, but contained a number of features. For example, 12 apostles were depicted in the drum of the central dome, expressing the idea of preaching Christianity to all corners of the world. The cycle of gospel events was very detailed for the 11th century, and on the western wall there was only a partially preserved portrait of the family of Prince Yaroslav. The main dome and altar were decorated with mosaics, of which the image of Christ Pantocrator at the zenith of the dome and Our Lady of Oranta in the vault of the altar are well preserved. The remaining parts of the interior were painted with fresco. The style of both mosaics and frescoes exactly corresponds to the characteristics of Byzantine art of the 1st half of the 11th century, that is, the ascetic style.
- Our Lady of Oranta (Unbreakable Wall). Mosaic in the altar of the cathedral. XI century.
- Annunciation. Mosaic on altar pillars. XI century.
- Saint Basil the Great. Altar mosaic. XI century.
- For ancient Russian art, the construction and painting of the Assumption Cathedral in the Kiev Pechersk Monastery played an important role. The work was carried out by Constantinople masters in 1073-89. The ancient painting, and then the temple building itself, perished. However, a description made in the 17th century has survived, from which the main content of the painting is clear. The temple itself served as a model for the construction of cathedrals in other cities of Rus', and the iconography of its frescoes was repeated and influenced icon painting. The icon painters who completed the painting remained in the monastery, where they founded an icon painting school. The first famous Russian icon painters came from it - the Venerables Alypius and Gregory.
- Colored (lithographic) postcard with a view of the Lavra XIX century .
- V.V. Vereshchagin. “Great Church of the Kiev-Pechersk Lavra” (1905)
- Burnt icon of the Mother of God Hodegetria, found among the ruins of the Assumption Cathedral, blown up in 1941
- Throughout the pre-Mongol period, Greek icon painters continued to be actively invited. It is still very difficult to distinguish between their works and the works of the first domestic masters. The murals and icons are basically similar to contemporary trends in Byzantine icon painting. The works of the Greeks are the paintings of the cathedral of the St. Michael's Golden-Domed Monastery, St. Sophia Cathedral and other early churches of Veliky Novgorod, frescoes of the cathedral of the Mirozhsky Monastery) in Pskov and the St. George Church in Staraya Ladoga. The Vladimir-Suzdal Principality used the services of the best Byzantine icon painters.
- Icon of the Mirozh Mother of God with the upcoming St. Princes Dovmont and Maria Dmitrievna. Pskov Museum
- Miter of the Jegumen from the Mirozhsky Monastery, 19th century, Pskov Museum
- Novgorod
- The oldest icons in Rus' were preserved in Veliky Novgorod.
- Several huge icons that were part of the ancient decoration of the temple come from the St. Sophia Cathedral. The icon “The Golden Robe of the Savior,” depicting Christ on the throne in golden robes, is currently in the Assumption Cathedral in Moscow, but only paintings from the 17th century have survived on it. The icon of the apostles Peter and Paul, kept in the Novgorod Museum along with its ancient frame, is much better preserved. Unusual for Byzantine art is the gigantic size of the icons intended for the huge temple. Another icon located in the Assumption Cathedral in Moscow is double-sided, with the image of the Mother of God Hodegetria and the Great Martyr George. It could have been brought from Novgorod (or from Kyiv). The image of George, which has the features of the ascetic style of the 11th century, is perfectly preserved (the image of the Mother of God was renewed in the 14th century).
- A number of Novgorod icons from the 12th - early 13th centuries have been preserved.
- Apostles Peter and Paul. Icon of the mid-11th century. Novgorod Museum.
- Annunciation "Ustyug". XII century. Tretyakov Gallery
- Bogolyubskaya icon of the Mother of God. XII century. Princess Monastery in Vladimir.
- Angel with golden hair. End of the 12th century.
- Savior Not Made by Hands. Around 1191.
- Our Lady of Oranta from Yaroslavl. Around 1224
- Saint Demetrius of Thessalonica. Icon. Around 1212.
- Belozersk Icon of the Mother of God. XIII century.
- Apostles Peter and Paul. Icon from the mid-13th century.
- Nicholas the Wonderworker in his life with Saints Cosmas and Damian. Icon from the Ozerevo churchyard. First half of the 14th century.
- Archangel Michael. Around 1299-1300
- Nikola Lipny. Alexa Petrov. 1294 Novgorod Museum.
- Boris and Gleb. End of the 14th century.
- Transfiguration. Icon from Pereslavl-Zalessky. Around 1403.
- Our Lady of the Don. End of the 14th century.
Slide 1
Municipal educational institution Ilyinskaya secondary school. Fine Arts teacher, MHC Lebed S.G.
Old Russian icon painting
Slide 2
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An icon is a painting depicting saints and episodes from the Bible. “Icon” translated from Greek means “image”, “image”.
In Rus', icons were called “images”.
Slide 4
Icons arose even before the birth of ancient Russian culture in Byzantium and became widespread in all Orthodox countries. The temples there were mostly built of stone. Stone walls were plastered and decorated along with icons, mosaics and frescoes (paintings painted on wet plaster), and sculptural images of saints.
Slide 5
The Russian Orthodox Church objected to sculptures in churches because... she was afraid of new idolatry (after all, earlier the pagan Slavs worshiped idols), so icon painting nowhere reached such development as in Rus'. Our churches were mostly wooden. With their ease of placement in the church, brightness, and durability of colors, icons painted on boards were ideally suited for decorating Russian wooden churches.
Slide 6
Powerfully drawing the gaze of those praying to them, the icons turned even the poorest church into a fabulous treasury of beauty and peace. When candles were lit in front of the icon, the bright colors began to shine and shimmer. It was very beautiful and so different from everything else that surrounded people in their ordinary difficult lives, that it seemed to them that they felt the presence of God. If you look closely at the icons, you can see the common thing that is depicted on all icons without exception, which is the symbol of the icon - it is a halo, a shining circle around the heads of the saints. The halo symbolizes holiness. And the main symbol of Christianity is the cross, it recalls the martyrdom of the crucified Christ.
Slide 7
In ancient times, the icon was treated with great respect as an object of worship. The icon was considered the best and most valuable gift. In the old days there were icons in every home, and images hung in a place of honor - in the red corner. A lamp was burning in front of them. Icons were installed at forks in roads, near wells, and hung on gates at the entrance to the city. Above the passage arch of the Spasskaya Tower of the Moscow Kremlin there is still a white stone niche where the icon of the Savior, which gave the tower its name, once hung.
Slide 8
Icon “Our Lady of Vladimir”Constantinople. 12th century
The icon "Our Lady of Vladimir", sent to Rus' from Constantinople at the beginning of the 12th century, was first located in the Vyshgorod convent near Kyiv. In 1158, Prince Andrei Bogolyubsky, the son of Yuri Dolgoruky, took the icon with him when going to the Rostov-Suzdal land. In the same year, the Assumption Cathedral was founded in Vladimir, in which the icon was placed. Since the 15th century, the icon “Our Lady of Vladimir” was located in the Assumption Cathedral of the Moscow Kremlin, in the local row of the iconostasis, to the left of the royal doors. The icon “Our Lady of Vladimir” is one of the most ancient and famous shrines of the Russian Church.
Slide 9
Andrei Rublev (? – around 1430)
Icon painter. The first chronicle evidence that has reached us about Andrei Rublev is contained in the Trinity Chronicle, according to which the master painted the Annunciation Cathedral of the Moscow Kremlin (1405) together with Theophan the Greek and Prokhor from Gorodets. Researchers also associate the name of Andrei Rublev with miniatures of the Khitrovo Gospel, frescoes of the Assumption Cathedral on Gorodok in Zvenigorod (about 1400) and icons of the so-called “Zvenigorod rank” (early 15th century) - “Savior”, “Archangel Michael”, “Apostle Paul”. The undisputed works of the outstanding icon painter include the paintings of the Assumption Cathedral in Vladimir, created in 1408 together with Daniil Cherny, and “Trinity” (1425–1427) - the temple icon of the Trinity Cathedral of the Trinity-Sergius Monastery, commissioned by Nikon of Radonezh.
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In the last years of his life, Andrei Rublev was a monk at the Spaso-Andronikov Monastery in Moscow, where he painted the Spassky Cathedral. He was buried on the territory of the monastery. Canonized by the Russian Orthodox Church. The art of Andrei Rublev was closely connected with the formation of the ideological and moral ideals of his era. The desire to strengthen Russian statehood and national identity were especially relevant after the Battle of Kulikovo (1380). The calls for peace, unity and universal harmony contained in the teachings of St. Sergius of Radonezh and his followers were embodied in the iconography of Andrei Rublev. The distinctive features of his style are the special softness and smoothness of lines, tending towards roundness, which can also be seen in compositional structures; light color, devoid of sharp contrasts; amazing harmony and spirituality of images.
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Theophanes the Greek (? – after 1405)
Icon painter. Byzantine artist who worked in Rus' in the last third of the 14th - early 15th centuries. According to the “Message of Epiphanius the Wise to Cyril of Tver” (1415), Theophanes painted churches in Constantinople, Chalcedon, Galata, Cafe, Veliky and Nizhny Novgorod and Moscow (more than 40 churches in total). Of the indisputable works of Theophanes, only the frescoes of the Church of the Transfiguration on Ilyin Street in Novgorod (1378) have survived to this day. In Moscow, according to chronicles, Theophanes the Greek, together with Semyon Cherny, painted the Church of the Nativity of the Virgin Mary with the chapel of the resurrection of Lazarus (1395), worked with his students in the Archangel Cathedral of the Moscow Kremlin (1399) and, together with Andrei Rublev and Prokhor from Gorodets, painted the Annunciation Cathedral Moscow Kremlin (1405). Researchers also associate the name of Theophanes with some icons from the Deesis tier of the Annunciation Cathedral in the Moscow Kremlin and a number of other monuments, including the icon of “Our Lady of the Don” (1380–1390s).
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Dionysius (?–1503)
Icon painter. The earliest known work of Dionysius was the painting of the Nativity Cathedral of the Pafnutyevo-Borovsky Monastery, executed between 1467 and 1476, together with the monastery elder Mitrofan. Information about this was preserved in chronicles and in the Life of St. Paphnutius of Borovsky, the founder of the monastery. The paintings themselves have not reached us, since the monastery cathedral was destroyed and rebuilt at the end of the 16th century. In 1481, Dionysius headed the artel of icon painters that created the initial iconostasis of the Assumption Cathedral of the Moscow Kremlin. Two hagiographic icons with images of Moscow saints - Metropolitans Peter and Alexy - could have been intended for the local row of this iconostasis. In 1484, together with his sons Theodosius and Vladimir, he began to paint the Assumption Cathedral of the Joseph-Volokolamsk Monastery, commissioned by the founder of the monastery, St. Joseph of Volotsky.
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Peter the Metropolitan, with his life. Dionysius. Beginning of the 16th century
Slide 1
ICONOPTION
Slide 2
pptforschool.ru
Iconography
(from icon and write) - a type of medieval painting, religious in theme and plot, cult in purpose. This is the creation of images intended to be a mediator between the Divine and earthly worlds during prayer or during worship.
Slide 3
Icon
An icon is understood as an independent easel work. As a rule, the icon is executed on a board and can either occupy a permanent place in a house or church, or be taken out for religious processions
Slide 4
Icon
Icon (from the Greek εἰκόνα “drawing”, “image”) - in Christianity, an image of persons or events of sacred or church history, which is an object of veneration among Orthodox and Catholics
Spas Zvenigorodsky. Andrey Rublev. Early 15th century
Slide 5
First icon
CHURCH Tradition claims that the first icon of the Savior appeared during His earthly life. This is the image that we know as the Savior Not Made by Hands.
Savior Not Made by Hands. Novgorod the Great. Second half of the 12th century
Slide 6
History of icon painting
Good Shepherd. Fresco. III century Catacombs of Saint Priscilla. Rome
From the first centuries of the Christian Church, persecuted and persecuted at this time, many conventional or symbolic images have come down to us, but there are very few clear and direct ones. Good Shepherd. Fresco. III century Catacombs of Saint Priscilla. Rome Good Shepherd. Fresco. III century Catacombs of Saint Priscilla. Rome Most of the ancient symbolic images of Jesus Christ as the good shepherd have been preserved. Drawings were made on the walls of underground tomb caves, on tombs, vessels, lamps, rings and other objects; they are found in all countries of the Christian world. The most ancient images of the good shepherd were found in the catacombs of Rome.
Slide 7
Tradition dates the creation of the first icons to apostolic times and is associated with the name of the Evangelist Luke, who painted the first icons of the Mother of God and the holy supreme apostles Peter and Paul. Among the icons, whose authorship is attributed to the Apostle Luke, is the “Vladimir” icon of the Mother of God, especially revered in Russia.
History of icon painting
Slide 8
The oldest icons that have come down to us date back to the 6th century and were made using the encaustic technique on a wooden base, and this makes them similar to Egyptian-Hellenistic art (the so-called “Fayum portraits”).
History of icon painting
Christ the Pantocrator. Icon. Encaustic. VI century Sinai. Fragment.
Slide 9
Russian icon painting
The heyday of ancient Russian painting occurred at the end of the 14th - mid-16th centuries. What is this period of history like? Having gone through the trials of the Mongol-Tatar yoke, the Russian people began to unite to fight the enemy and realize their unity. In art he embodied his aspirations and aspirations, social, moral, and religious ideals. Among the icons of this time, the remarkable works of Theophanes the Greek stand out. His art, passionate, dramatic, wise, stern, sometimes tragically intense, made a strong impression on Russian masters.
Front side of the icon Date of appearance: 1382-95. Location: Tretyakov Gallery, Moscow
Slide 10
Andrey Rublev, Ivanov's son
Born in Novgorod around 1340 - 1350, he was raised in a family of hereditary icon painters, and took monastic vows in 1373. Andrey is a monastic name; the worldly name is unknown (most likely, according to the then tradition, it also began with “A”). Rublev died during a pestilence on October 17, 1428 in Moscow, in the Andronikov Monastery, where in the spring of 1428 he completed his last work on painting the Spassky Cathedral
Slide 11
“Holy Trinity” by Andrei Rublev (icon of Andrei Rublev, ~1400-1410, Moscow, Tretyakov Gallery
Slide 12
History of icon painting
In 1425-27, Rublev, together with Daniil Cherny, Theophan the Greek and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created the icons of its iconostasis
Apostle Paul 1410-1420
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Icon painting technique
The types of wood often used were: linden, birch, pine, spruce, cedar, larch, oak, maple. Imported cypress board was considered the best, but also the most expensive. The boards were hewn from the block with an ax and planed with an adze. Longitudinal sawing of logs into boards in Russia began only in the 17th century. But it is believed that boards cut with an ax are of better quality than others.
Adze
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Icon painting technique
The icon board is specially prepared for the pictorial layers by gluing pavolok (fabric glued to the icon board before applying gesso). Serves for better adhesion of gesso (which is chalk or gypsum (alabaster) powder mixed with animal or fish glue) to the surface. The side and end surfaces of an icon board can be called a side or a ridge.
Leafed icon board
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pptforschool.ru
Icon painting technique
Most often, the preparation of boards for icons is carried out by a special master - a plank maker, the application of soil is carried out by a gesso maker, and the board arrives to the icon painter in a prepared form. There are also known icons painted on canvas primed on both sides - “canvas tska” or in art history called “tablets”.
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The ark
(from the Old Slavic “ark” - box, chest, vessel) - in icon painting - a deepened middle field on the front surface of the icon board.
The ark. Icon of the Mother of God of the Sign. Novgorod the Great. First half of the 12th century
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Field
The margins of the icon board are the frame of the middle, usually deepened part of the icon (ark). It is separated from the ark by a husk (an edge of a dihedral angle formed by the internal surfaces of intersecting walls), along the outer edge it is often outlined with a line of contrasting color to the background - the edge
Igor's Icon of the Mother of God with the Deesis and selected saints in the margins. Late XIV - early XV centuries. State Russian Museum.
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