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, it is necessary to name the Sophia churches in ancient Rus': in Kyiv, in Novgorod, in Polotsk... In a certain sense, the name “Sophia” 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 according to national or political reasons than according to the actual 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 the Greek name Sophia untranslated.

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 ancient Russian monthly words, we know that for a long time in the 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 the month book 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 virgins, Sofia and Profhteia (see in the Paris 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 the 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 the Deisis is an eschatological composition, - “an artistic synecdoche Last Judgment”, according to the apt remark of A.I. Kirpichnikov... It is difficult to say exactly 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 Rev. 11:15, which is written on the ledge of the vault: “The kingdom of peace of our Lord and of His Christ will be, and it will reign forever and ever”... On the outer wall, above the western gate, the image of Sophia is written 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 a relatively 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)… Was here new reason depict Christ under an angelic image... The Novgorod icon of St. Sophia is one of 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, very frequent are themes from the book of Proverbs, from the Wisdom of Solomon... This change in icon painting was correctly felt by Deacon Viskovaty: “and I saw that the icons human image They took down Christ our God, and those whose letters I had not seen, they put up, Velmi was horrified by me 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 it a kind of retreat into the Old Testament, a 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 mixed content XVI-XVII 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 container 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, becomes a symbolic image 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.

Archimandrite Biblical Encyclopedia. Nikephoros

Encyclopedia of sayings

priest

prot.

prot. A. Men

prot. Alexy Knyazev

prot.

prot.

Wisdom- 1) an essential property of the Triune God; God's omniscience in relation to actions, expressed in the fact that God knows from eternity all His actions, all His goals and the best means to achieve goals; knows how to use these funds in the best way, knows the results of all His actions; 2) Divine name, primarily associated with the Son of God; 3) the highest degree of human wisdom.

In the Book of Proverbs of Solomon it is said: “Wisdom created for herself a house and established seven pillars” (). These words contain an indication of Christ, the Son of God, who in the apostolic epistles is called “Divine Wisdom” (), and the word “House” contains an indication of the Most Holy One, from whom the Son of God was incarnate.

Why, if Wisdom is an essential property of the Father and the Son and the Holy Spirit, is the name “Wisdom” primarily associated with the Son?

The Son of God is called Wisdom as the eternal Word of God the Father (). Moreover, it was through the Son who dwelt in human society(as Man), the Divine perfections were revealed to people in the completeness necessary for salvation, including such a Divine property as Wisdom.

The basis for calling the Only Begotten Son the Wisdom of God are both Old Testament and New Testament testimonies.

The Book of Proverbs of Solomon () tells us about Wisdom, who created a house for herself, hewed out the seven foundation pillars, slaughtered the sacrifice, dissolved the wine, prepared the meal, and sent Her servants to proclaim the Good News from the city’s heights.

What kind of Person is this, and what kind of house is this? The house in which Wisdom dwelt is the Mother of the Son of God by human nature, in whose womb He dwelt from the moment of supernatural conception until the Nativity. The Son Himself is called wisdom.

On the other hand, the house means Christ's, the congregation of the faithful. In this regard, the Son of God made man is called the Cornerstone, the foundation of the house (). Within the framework of this explanation, the seven pillars are interpreted as the seven Sacraments of the Church (Baptism, Confirmation, Eucharist, Sacrament of Penance, Sacrament of Priesthood, Sacrament of Unction, Sacrament of Marriage (see: )).

The Sacrifice slain by Wisdom () means the Golgotha, the Cross, voluntarily offered by the Son of God for the Redemption of man. In addition, sacrifice refers to the Eucharistic Sacrifice. It is also indicated by the words about dissolved wine () and the words about the prepared meal () (see:).

Ministers sent to preach

SOPHIA - THE WISDOM OF GOD
miraculous Russian icon Orthodox Church, unknown in the West. It is found in many churches in Russia and comes down to two types: Kyiv and Novgorod.
The first icon of “Sophia - the Wisdom of God” appeared in Novgorod in the 15th century, although the first church in Rus' dedicated to it was built in 989 in Novgorod and the next one in 1037 in Kyiv.
The Fiery Angel is the central figure in the icon “Sophia - the Wisdom of God”. The angel sits on a golden throne with seven pillars. He is dressed in a long royal robe (podir) and girded with a precious belt. In one hand he holds a measure, with the other he presses a scroll to his chest. The hair falls over the shoulders, there is a crown on the head and a radiance around the head. The face, arms, wings and shod feet are fiery in color. An angel sits among the radiant celestial sphere studded with stars. On its sides are the Mother of God with the Eternal Emmanuel in her bosom and St. John the Baptist with a scroll on which it reads: “I bear witness.” Above the head of the Angel is the blessing Christ the Savior, even higher is the “Prepared Throne” (Etimasia) - a symbol of the divine presence. On either side of Etymasia are kneeling angels on a “heavenly scroll”.
Who does the Fire Angel represent? This question was raised from the very appearance of the icon and so worried the minds of Ancient Rus' that there was even a proposal to remove it from church use.
To this day, there are three controversial interpretations:
1. The angel personifies the abstract concept of the Wisdom of God.
2. Angel - a symbol of the virginity of the Mother of God.
3. Angel - Christ, the Word and Wisdom of God, the Angel of the Great Council.
The first interpretation is based on the biblical text: “I, Wisdom, dwell in understanding, and the Lord made Me the beginning of His path” (Proverbs 8:36). St. John Chrysostom says that the Wisdom of God was collected in sacred books and thereby spread throughout the world.
The personification of Wisdom dictating to the Evangelists is found in manuscripts and on wall paintings in the Volotovskaya Assumption Church, but in such cases Wisdom is depicted not as a Fiery Angel, but female figure and without wings.
The second interpretation of the Fiery Angel is explained by the symbol of the Mother of God and the Mystery of the Incarnation, recognized since the early centuries of Christianity by Divine Wisdom. This interpretation, favored by monasticism, was included in the iconographic Original and led to the creation of a completely different image of St. Sophia of Wisdom in the Kiev Cathedral, where the Fiery Angel is replaced by the Mother of God.
According to the third interpretation, the Fiery Angel is Christ. Ap. Paul says: “We preach Christ crucified... Christ the power of God and the wisdom of God... Jesus is to us the Wisdom of God” (1 Cor. 1:23-24, 30). St. Athanasius of Alexandria teaches that, according to Holy Scripture, the Son of God is the Wisdom of the Father. The fiery color of the Angel refers to the prophecy of Isaiah, according to which the symbol of Christ is a “burning coal”. “Our God is a consuming fire,” says the apostle. Paul (Heb. 12:29). St. John the Theologian in his Revelation describes the Son of Man “clothed in a robe and girded across the chest with a golden belt, His eyes are like a flame of fire, His feet... like red-hot ones in a furnace” (Rev. 1: 13-15). In the Khludov Psalter of the 9th century. the feet and face of the Savior are fiery in color.
The crown on the head of the Angel is the crown of Christ, the Son of God: “I have anointed My king over Zion” (Ps. 2: 6). The Angel's feet rest on the earthly sphere, denoting the Lord of the World: “Heaven is My throne, earth is my footstool” (Is. 66: 1).
The seven pillars of the throne are taken from the Proverbs of Solomon, where Wisdom says in the words of Christ: “Eat My bread and drink My wine” (9:5). Inscription on the scroll of St. John the Baptist standing next to the Fiery Angel clearly points to the Angel as the Savior to whom he “testified.”
On the Novgorod icon “Sophia - the Wisdom of God”, all the images of Christ the Savior are shown, as in many symbolic images: the Angel of the Great Council, the Eternal Emmanuel in the bosom of the Mother of God, the Incarnate Jesus Christ, giving a blessing and the “Prepared Throne” (Etimasia), personifying Christ - Judge at the Last Judgment.
In various monuments of the 14th century. as in prayers and in the Interpretive Paley, it is explained that Wisdom is Jesus Christ. On the paintings of the 16th century, in the golden chamber of the Kremlin Palace, above the image of Sophia the Wisdom there is an inscription: IS. HS.
In 1701, by order of Job, Metropolitan. Novgorod, in the setting of the icon of St. Sophia the Wisdom is inscribed with a troparion and kontakion dedicated to “the Son and Word of God, Christ the Savior.” Under Tsar Theodore Alekseevich (brother of Peter I), the Greek teachers Ioannikis and Sophronius Likhud, invited by him, explained in their “Message” that the Fiery Angel of the Novgorod icon personifies Christ and His Divine Spirit. Their statement is hardly their personal opinion and must be based on the interpretation of the Greek Orthodox Church.
Responding to a request from the Novgorodians for an interpretation of the icon of Sophia the Wisdom, Zinovy, a monk of the Otensky Monastery, wrote: “Stop, brothers, insisting that you don’t know who Sophia the Wisdom is and to whom our church is dedicated. I tell you not from my own imagination, but from sacred sources: Sophia the Wisdom is the Son of God.”
The Fiery Angel also personifies Christ the Savior on another, little-known, icon “Beautiful with Kindness” of the 17th century. He holds a measuring stick with one hand, and in the other hand a scroll with the inscription “The Spirit of the Lord is upon Me and He has anointed Me for Teaching.” On the sides of the Fiery Angel are the Mother of God and St. John the Baptist, above Him is the Old Testament Trinity in the person of Three Angels and, instead of Etymasia, at the very top is a sword with the inscription: “My sword in heaven descends for judgment.”
The icon of “Sophia - the Wisdom of God” is celebrated on the day of the Nativity of the Virgin Mary and on the Assumption.
N.Sh.

Source: Encyclopedia "Russian Civilization"

See what "SOPHIA - THE WISDOM OF GOD" is in other dictionaries:

The icon, found in the Orthodox East and unknown to the non-Orthodox West, exists in many churches in Russia. Differing in some particulars in its composition, it has two main types or types in the Novgorod and Kyiv icons. WITH… … Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

Sophia the Wisdom of God- (Greek “wisdom”) in the Old Testament books of the Proverbs of Solomon, the Wisdom of Solomon and the Wisdom of Jesus, son of Sirach, the personification of the highest wisdom and creative love of God, His world-ordering will, the source of being and the instrument of creation.... ... Orthodoxy. Dictionary-reference book

- ... Wikipedia

Wisdom (Greek Σοφια, “skill”, “knowledge”, “wisdom”, Heb. hochemâh), in Judaic and Christian religious and mythological concepts, the personified wisdom of the deity. The term "S.", which arose in Ancient Greece, was used there as... Encyclopedia of Mythology

Date of appearance... Wikipedia

- (from Greek, Lat. sophia - wisdom) in Russian. religious philosophy (sophiology) is the creative wisdom of God, which contains all the world’s ideas and which carries all nature in its heart and at the same time is the eternal idea of ​​humanity itself.… … Philosophical Encyclopedia

Sophia (ancient Greek σοφία “wisdom”) theological and philosophical concepts, female name, as well as names settlements. Contents 1 Name 2 Geography ... Wikipedia

Icon of 1812 “Wisdom Created a House for Herself” “Wisdom Created a House for Herself”, “Sophia the Wisdom of God” (Kiev) is one of the Russian iconographic images of the Mother of God. Celebration in honor of the icon on September 8 according to the Julian calendar, on Christmas Day... ... Wikipedia

Sophia, Wisdom (Greek Σοφία “skill”, “knowledge”, “wisdom”, Hebrew חכמה‎) a concept in ancient and medieval philosophy, Judaism and Christianity, expressing a special idea of ​​wisdom or personified (embodied) wisdom. In... ... Wikipedia

Books

• Sofia. The Wisdom of God in Old Russian Literature and Art, V. G. Bryusova. The book “Sophia the Wisdom of God in Old Russian Literature and Art” is the result of many years of work collecting material in Russia and abroad. The indisputable advantage of the study...

SOPHIA, THE WISDOM OF GOD

Icon of Sophia, the Wisdom of God (Kiev)

Icon of Sophia, the Wisdom of God occupies a special place in the Russian Orthodox Church. There are many lists with the image of Sophia, the Most Wisdom of God, - for example, in Ki-e-ve, Nov-go-ro- de, Vo-log-de, To-bol-ske, in Moscow, in Tro-i-tse-Ser-gi-e-voy lav-re and other places, but they all boil down, basically, to two types: Kiev and Novgorod.

This image first appeared in Byzantium. It was to him that the Justinian Church of Sophia the Wisdom of God in Constantinople was dedicated.

All lists with the image of Sophia, the Most Wisdom of God, depict the Mother of God and embody -from Her Ipo-status Pre-wisdom - the Son of God, you give one main thought.IN the incarnation of the Son of God is inseparable from the thought of the Mother of God, who is called the House of Divine Wisdom, the true Temple of the Living God on earth. This served as one of the grounds for mechanically transferring the content and symbolism of Sophia of the Wisdom of God to the image of the Virgin Mary.

Under Pre-wisdom, or So-fi-ey, they understand the Son of God on the basis of Chapter IX of the book of Proverbs So-lo-mo-new-vyh, where it says: These words contain a reference to Christ, the Son of God, Who is mentioned in the Epistles of the Apostles -va-et-sya with God’s power and “God’s Pre-wisdom”; and in the word “house” there is an indication of the Most Holy Virgin Mary, who served the incarnation of the Son God. On the basis of these words, the image of the icons of St. Sophia, the Most Wisdom of God, is built.

“Sophia, the Wisdom of God” (Kiev)

One of the most ancient lists of icons is the Kiev icon “Sophia the Wisdom of God”, located in Ki-e-ve, in the Sophia Council.

This icon, borrowed from the Church of Yus-ti-ni-a-na in Byzantium, depicts the unity of the Church see Heavenly and earthly through the incarnation of the Son of God - the Most Wisdom of God. On it there is a picture of a house or a temple and in it there is a standing Mother of God in a hi-tone, with a covering on her head, under the canopy, under-live-va-e-my table-pa-mi. Her hands and arms are spread out, and Her feet are established on the grey-shaped moon. On the per-syakh of Bo-go-ma-te-ri po-ko-it-sya the Pre-eternal Baby, with the right hand of the b-word-la-y-y, and in the left-handed country. On the ledge are the words of the book of Proverbs: “Most-wisdom built a house for herself and established the seven tables.” Above the canopy in the middle there is a picture of the Holy Spirit surrounded by a ray of light, and a little higher, also surrounded by a si-ya-ni -I am, God the Father, who has a holder in his left hand, and a blessing in his right hand; From His mouth come the words: “I affirmed Her feet.” On both sides, in the image of God the Father and the Holy Spirit, seven ar-khan-ge-lovs with ras-pro -erased your wings and with the signs of your service in your hands:

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

Under the ob-la-com with the grey-shaped moon serving under the Bo-go-ma-te-ri, there is an image of a pulpit (the raised platform in front of the iconostasis ), which includes seven steps with inscriptions bearing deepest meaning for every believer:

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

The entire icon is supplemented with the inscription “Wisdom create for yourself a house and establish seven pillars.”

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.

On both sides of the seven steps are the biblical prophets and forefathers:

• Moses with skri-zha-la-mi, on which the damn words: “Rejoice, the cry of God, on it is the Father’s finger on the word of God.”;
• Aaron with the rod (Moses' brother, the first Jewish high priest);
• King David with the Ark of the Testament;
• Prophet Isaiah (on his har-ti-i, which hangs from his left shoulder, visible inscription: “Behold the De-va in the womb comes and gives birth to the Son”);
• prophet Jeremiah with a scroll;
• the prophet Ezekiel with the gates behind his creation;
• Prophet Daniel with a stone in his hands.

Seven steps are waiting to be established on the seven tables, on which are taken from Apo-ka-lip-si -sa pictures and their explanations:

• on the first pillar there are 7 combs with over-pi-sue: “gift of so-ve-ta”;
• on the second - se-mi-candle-nick with above-pi-sue: “gift of ra-zu-ma”;
• on the third - a book with 7 suffixes and above-pi-sue: “the gift of pre-wisdom.”
• on the left side, on the first outermost table, there are 7 pipes and an inscription: “gift of the Creation”;
• on the second - the right hand with 7 stars and above the pi-sue: “gift of ve-de-niya”;
• on the third - 7 incense smokes and the inscription: “gift of goodness”;
• on the fourth and last pillar there are 7 jets of lightning with an over-pi-sew: “the gift of the fear of God.”

In this way, on this icon, with the exception of Bo-go-ma-te-ri and St. Trinity, all persons and things are capable of the seventh number and have a similar meaning -what. This is the image of the Kiev icon of Sophia - the Most Wisdom of God.

“Sophia, the Wisdom of God” (Novgorod)

Another image, similar to the Kyiv one, is located in Novgorod in the Sophia Cathedral and 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 asDeesis (Greek word "de-i-sus" means prayer; that’s what the icons are called, depicting the Savior, and in front of it is the Mother of God and John the Baptist -chu in mo-lit-ven-nom-lo-zhe-nii).

Icon of Sophia, the Wisdom of God (Novgorod)

This icon depicts the Lord Almighty in royal attire, with fiery wings on a fiery throne , I'm waiting to be established on this table. All around is a blue sky, covered with stars. According to us, the images of the Mother of God and John the Forerunner are the closest witnesses of the incarnation of the Word of God -zhia. Above is the image of the Spa-si-tel, raising his hand in a blessing gesture . Above this image, but again there is a blue starry sky and here on the golden pre-st-hundred lies the Evan-he-lie, in front there are six angels (three from each side) who are clinging to the place.

The New City icon of Sophia is considered miraculous . 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. The co-preserved-niv-she-e-xia is-to-ri-che-news says that from this icon in 1542 the -targeting one woman who suffered from sore eyes.

Days of veneration:

“Sofia - the Wisdom of God” (Novgorod) - August 15/28 ;
“Sofia - the Wisdom of God” (Kiev) - September 8/21.

All the images of Sophia - the Most Wisdom of God - express the thought of Ma-te-ri of God, by serving the living We are the weapons for the incarnation of the hypo-status Pre-wisdom - the Son of God. For this reason, the celebration of the icon of Sophia is with the right-glorious church on the days of God and before property for the Birth of the Bo-go-ro-di-tsy, as in Ki-e-ve, or for the Dormition of the Most Holy Bo-go-ro-di- tsy, as in Novgorod, Vologda, Tobolsk, Moscow and other places where there are icons of Sophia - the Most Wise God's growth.

Troparion, tone 1: Eternal Wisdom, Christ our God! / With Your divine gaze you bowed the Heavens, / 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 the Pure Virgin who gave birth to You, / who served the mystery of our salvation, we Orthodoxy magnify.

On the 13th Saturday after Pentecost we are offered the following two passages from the New Testament.

From the Apostle:

Brethren, we preach wisdom among the perfect, but the wisdom not of this age and not of the passing authorities of this age, but we preach the secret, hidden wisdom of God, which God ordained before the ages for our glory, which none of the authorities of this age knew; for if they had known, they would not have crucified the Lord of glory. But, as it is written: eye has not seen, ear has not heard, and what has not entered into the heart of man is what God has prepared for those who love Him.(1 Cor 2:6–9).

And from the Gospel:

In those days the Pharisees went and consulted how to catch Him in words. And they send their disciples to Him with the Herodians, saying: Teacher, we know that You are just, and You teach truly the way of God, and do not care about pleasing anyone, for You do not look at any person; So tell us: what do you think? Is it permissible to give tribute to Caesar or not? But Jesus, seeing their wickedness, said: Why are you tempting Me, you hypocrites? Show Me the coin with which the tax is paid. They brought Him a denarius. And he says to them: whose image and inscription is this? They say to Him: Caesar's. Then he says to them, “Render therefore the things that are Caesar’s to Caesar, and the things that are God’s to God.” When they heard this, they were surprised and, leaving Him, went away(Matthew 22:15–22).

Both the Evangelist Matthew, recounting the story of the denarius, and the Apostle Paul, speaking about the wisdom of God, directly or indirectly touch on the topic of the relationship of Christ and Christians to earthly power and the relationship of earthly power to Christ and Christians.

The Pharisees came up with what they thought was a successful provocation against Jesus. If He says that taxes must be paid to Rome, it means that he is a traitor to his people, a henchman of the occupiers; if he says that it is not necessary, then he is a rebel, a rebel, an enemy of the emperor. Jesus finds a very graceful way out of the trap. He asks to bring a Roman coin. And on the coin there is an image of the emperor, which from the point of view of a devout Jew is a pagan abomination. And if we add here the deification of the supreme ruler, which is usual for Rome (and not only) then one can only wonder how the Pharisees - zealots of their fatherly traditions - could, of their own free will, hold in their hands such. And so Christ says: Render unto Caesar the things that are Caesar's. That is, send to its destination something that you shouldn’t even touch. As we see, there is no rebellion here, but there is also no blind admiration, slavish adoration - only a calm, even, somewhat detached attitude towards earthly authorities.

But it was precisely this detached attitude that became one of the reasons for the arrest of Jesus. Israel's patriots hoped that He would take part in or even, becoming king (John 6:15), lead the revolt against Rome. But, realizing that their hopes were in vain, that the prophet from Galilee was not going to join their movement, they became embittered and - despite the complete lack of grounds - made political accusations against Jesus.

Why did it happen? The Apostle Paul answers this: if the earthly rulers had known God’s wisdom, they would not have crucified the Lord. What kind of God's wisdom is this, secret and hidden? Some kind of secret knowledge accessible only to a narrow circle of initiates? No, there is no esotericism here. From the very beginning of Christ's preaching, this wisdom was available to everyone - Jews and pagans, men and women, scribes and simpletons. You just needed to open your ears and heart, you needed to hear and understand. Understand that this wisdom, this hidden secret is the cross of Christ.

Pilate, Herod, the Pharisees and, first of all, the devil - they judged by themselves, and therefore none of them could understand that Jesus did not come to serve Him, that His goal was not to achieve power, that He did not strive to earthly greatness, glory, worship. He came to serve others himself, to give his soul for many (Matthew 20:28), to open the doors to the fallen human race into His Kingdom, which is not of this world (John 18:36). And the price of all this was the cross.

The cross is something that the “old man” cannot understand and contain (Eph 4:22). The crucified Christ, as the apostle writes in the same letter to the Corinthians, – For the Jews it is a stumbling block, and for the Greeks it is foolishness (1 Cor 1:23). And for us, Christians, disciples of Christ (when I say “us,” I mean myself), it is also very difficult not only to agree with our minds, but also with our very lives to testify to the choice in favor of the cross. We were baptized in the name of the Holy Trinity (Matt. 28:19), we became members of the Church, members of the Body of Christ (1 Cor. 12:12-27), but our old man constantly reminds us of himself, pushing us onto the broad path (Matt. 7:13 ), tempting with wealth, fame and power (Matthew 4:1–11). And if we ourselves are not rich, are not able to achieve fame and power, then, according to Dostoevsky, in eternal longing we are looking for someone to bow to, we long to feel involved in something powerful and reliable. And we create new idols for ourselves, and serve gods who are an abomination to our God.

However, the Lord shows us a way out: to give to Caesar (king, emperor, sultan, president - any earthly power) only what belongs to him. But God’s image imprinted in us, our inner freedom, our conscience - all this should not be in the power of earthly rulers, for it was given not by them, but by God - crucified and risen.