Slide 13

Slide 14

Our Lady of Three Hands

Slide 15

Great Panagia Wider the Heavens and Yaroslavl

Slide 16

Dormition of the Virgin Mary

Slide 17

Savior Not Made by Hands

This is the oldest of the canonical images. According to legend, the first image of Christ was miraculously imprinted on a board brought to his face. This cloth had miraculous powers - it healed the king of the city of Edessa, Abgar, from leprosy. Thus, the creator of the first icon was Christ himself. Initially, the Holy Plath was kept in Edessa until 944, then it was transferred to Constantinople. Simon Ushakov

Slide 18

Good Shepherd

The second oldest image of Christ, rooted in ancient painting, is the Good Shepherd. In the Gospel of John it is written: “I am the good shepherd, the good shepherd lays down his life for the sheep.” All icons depicting the good shepherd date back to the early Middle Ages. In later periods, images of the Good Shepherd are rare.

Slide 19

Christ Emmanuel

Many touching images were created within this canon. Emmanuel (“God is with you”) – Christ in infancy. The Scripture says: “And they will call his name Emmanuel.” The Little Christ is usually depicted with a scroll in his hand. The scroll emphasizes that exactly the one the Old Testament prophets spoke about came. In this case, Christ is depicted with an open Gospel in his hand - as the Judge at the Last Judgment.

Slide 20

Christ - Pantocrator

The largest number of icons, frescoes and mosaics were created within the framework of this canon. The serious, stern Pantocrator (“Almighty”) seems to be surveying the earth from heaven, saying: “I am Alpha and Omega, who Was, who is and who will be, the Almighty.” His eyes seem to look not only at you, but through you, inviting you to look to heaven through his eyes. According to the canon, in Christ’s left hand there is a closed Gospel, the fingers of the right hand are folded in such a way that they form the Greek symbols “IC XC” (index and middle fingers up). Usually Christ’s outer clothing (himatium) was depicted in blue - this is a symbol of the human incarnation of Christ; and the shirt (tunic) - red, sometimes purple - is a symbol of the divine essence of Christ.

Slide 21

Savior on the Throne

The Savior on the Throne is a type of Pantocrator, an image of the King of Heavenly Jerusalem. Christ in royal robes sits on a throne with an open Gospel in his hand - a symbol Last Judgment. According to this canon, Christ is depicted in sparkling gold or scarlet clothing, often decorated with crosses. A crown (miter) is often depicted on the head. The background of the icon is usually gold. This icon was painted by Simon Ushakov. Christ holds the Gospel of Matthew open, and the following words can be read: “Come, you whom my Father has blessed... For when I was hungry, you gave me food; I was thirsty, and you gave me wine to drink; I was a wanderer, and you gave me shelter; I was naked, and you gave me clothes..."

Slide 22

Savior in Strength. Andrey Rublev. 1410

A special type of the Savior on the Throne - the Savior in Power - found distribution mainly in Russian icon painting. Christ, surrounded by angelic forces, also sits on the throne. In the background, Russian icon painters depicted a diamond or quadrangle of intense red color (a symbol of glory) and a blue-green oval superimposed on each other.

Slide 23

Spas Yaroe Oko - icon of the mid-14th century

In Russian icon painting of the Golden Horde period, the Ardent Eye of the Savior was very popular. This face seems to be a reference to the words of Scripture: “I did not bring you peace, but a sword.” This is a shoulder-length image of Christ with a mournful face and furious eyes. This icon is from the Assumption Cathedral, which was painted by Greek masters. Here you can see the energetic light and shade and color modeling of the volumes. Artists try to depict the energy of the saint.

Slide 24

Theophanes the Greek. Christ Pantocrator

Theophanes the Greek strives to convey the saint at the moment of religious feat or ecstasy. His works are characterized by expression and inner strength.

Slide 25

Frescoes by Theophanes the Greek

The frescoes of Theophanes the Greek are easily recognizable by the pastel colors and white highlights that are used to depict the hair of the saints and the draperies of their clothes. The lines are quite sharp.

Slide 26

Theophanes the GreekAvel. Fresco from the Church of the Transfiguration in Novgorod

Slide 27

Saints Boris and Gleb. Theophanes the Greek. Hagiographic icon from Kolomna.

Icons depicting selected saints are especially popular. Nicholas the Wonderworker and Saints Boris and Gleb were especially revered in Rus'.

Slide 28

Theophan the Greek "Transfiguration"Icon from Pereyaslavl Zalessky

The miraculous manifestation of the divine nature of Christ, stunning the apostles and casting them to the ground, is embodied with amazing energy. Excitement and drama are combined with compositional dynamics.

Slide 29

John the Baptist - icon of the Annunciation Cathedral in Moscow

Three masters - Feofan the Greek, Andrei Rublev and Prokhor from Gorodets - painted the Annunciation Cathedral in the Kremlin. This is a figure from the Deesis rank

1 slide

Painters of ancient Rus' “And he, painting the holy icon, only on Saturdays and Sundays received communion of food and with great zeal, vigil in great silence, completed it” Archimandrite Pachomius

2 slide

Theophanes the Greek arrived in Novgorod as a mature, established master from Byzantium. He was the last representative of Byzantine art. He was very smart, educated, famous as a sage and philosopher. Before arriving in Novgorod, he had already painted about 40 churches.

3 slide

4 slide

"Transfiguration of the Lord" 1403, Tretyakov Gallery. The main scene of the composition is the figure of Christ shining with heavenly light, surrounded by the apostles and Elijah and Moses who appeared at the scene of the event. The composition is complemented by scenes of Jesus and his disciples ascending Mount Tabor and descending from it. Their execution on a smaller scale visibly denotes a different spatiotemporal action. The figures of the fallen prostrate Peter, John and James in the lower part of the icon are expressive. They express different emotional states. Only Peter dares to look at the miracle. John opened his face, but did not dare to turn towards the Teacher. The arched pose of the reclining Jacob, who covered his face with his hand in fear, is dynamic. His large figure reveals him as a physically strong man, but weak in spirit, not yet ready for insight.

5 slide

6 slide

Our Lady of the Don 1392, Tretyakov Gallery She was a revered image of the Assumption Cathedral of Kolomna, built on the eve of the Battle of Kulikovo. Ivan IV the Terrible highly revered this icon, the intercessor of Russian soldiers in the Battle of Kulikovo. Glorified by miracles, it was transferred by royal decree to the Annunciation Cathedral of the Moscow Kremlin. The baby sits with his legs bent and bare below the knees. Noteworthy is the peculiar gesture of Mary’s right hand, not directed in prayer to the Son, but frozen at her chest to support the soles of his legs. The expression of soft thoughtfulness on the face of the Mother of God, looking over her Son, is characteristic of icons of the “Tenderness” type, which emphasized not the momentary, but the sacred-timeless nature of communication Holy Virgin Mary and the Child.

7 slide

According to the chronicle, the Annunciation Cathedral of the Kremlin was one of three churches in Moscow painted by Theophanes the Greek.

8 slide

Slide 9

Row diagram: A. Local row; B. Pyadnichny row; B. Deesis rite. Around 1405; G. Festive row. Around 1405; D. Prophetic series; E. Forefathers' row

10 slide

Apostle Peter. 1405. Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

11 slide

John the Baptist. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

12 slide

Our Lady. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

Slide 13

Apostle Paul. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

Slide 14

Archangel Gabriel. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

15 slide

16 slide

Church of the Transfiguration on Ilyin Street, Novgorod. The first frescoes of Theophanes the Greek in the Church of the Transfiguration in Novgorod were discovered around 1912. Even then, experts drew attention to the high quality of these frescoes. Since the painting in the Church of the Savior has reached us in the form of random fragments, the reconstruction of the painting system encounters significant difficulties. The plots of many lost compositions, of course, are no longer recoverable. Likewise, it is not always possible to determine the names of the saints represented by Theophan. By a lucky coincidence, in the Church of the Transfiguration the frescoes decorating the dome and the walls of the light drum are well preserved.

Slide 17

In the mirror of the dome is written a colossal shoulder-length image of Christ Pantocrator. He is wearing a lilac-gray himation with orange folds and a red chiton. A large halo surrounds the head of Christ, which is naturally the most expressive part of this fresco. Christ is presented as a formidable deity. He looks angrily at the ground below. The fingers of his right hand seem to be clenched; in his left he holds a closed book, which, according to the “Revelation of John the Theologian,” will be opened on the day of the Last Judgment. The inscription surrounding the image of Christ reads: “... from heaven the Lord looked down to earth to hear the groan of the prisoners, to release the sons of death, so that they might proclaim the name of the Lord in Zion...”.

18 slide

The archangels are presented full-length. They are dressed in ceremonial divisions, decorated with lores, and short combat cloaks. IN right hand they hold standards, and in the left - large spheres. Large inscriptions indicate the names of the archangels. This, therefore, is the color of the heavenly army - the guard, which is entrusted with guarding the throne of the Almighty and serving as a mediator between the heavenly power and the human race.

Slide 19

Fresco Abel, 1378 Fragment of a fresco in the Church of the Transfiguration, Ilyina Street, Novgorod Abel is depicted with a lamb in his left hand, traditional for the iconography of this saint, since he was the “shepherd of the sheep.”

20 slide

Old Testament Trinity, 1378; Fragment of a fresco in the Church of the Transfiguration, Ilyina Street, Novgorod. The position of the angel sitting in the center is strongly emphasized. Abraham (his image on the fresco of the chamber is lost) and Sarah are at the divine meal, treating and serving the angels. Feofan chooses from three elements of the traditional background - a chamber, a tree and a rock - only the image of the Mamre oak: its crown in the form of a highly generalized dark spot. The wide-spread powerful wings of the middle angel, personifying Christ, seem to overshadow the entire meal and the angels sitting on the sides.

21 slides

Three Stylites, 1378 Theophanes depicted five stylites: one each on the sides of the pillar and three figures on the southern wall. The stylites were written on pillars or on other structurally important, load-bearing parts of the building, since the stylites were the true pillars of the church, its foundation and support. They express the idea of ​​​​the inviolability of the pillar mass and support the vaults. Stylites sit on tall structures that look like faceted towers with door openings at the bottom and stylized capitals at the top. David is presented first from the left. The next pillar is Daniel. Then, among the three pillars, whose images are written on the southern wall, we see two Simeons. Alimpius is depicted last in the row of pillars.

22 slide

Stylites David. The Greeks do not know a stylite with this name, but he is known Reverend David, originally from Mesopotamia. In Thessaloniki, like the stylites, he spent three years on an almond tree, stiff from the frost and suffering from the heat, so that the grace of God would be revealed to him. Daniel. A native of Mesopotamia, he performed his exploits and good deeds in the vicinity of Constantinople. The first Simeon, originally from Cilicia, the founder of pillarism as a special type of hermitage, indulged in standing on a pillar. A certain Anthony, who undertook to write the life of this saint, experienced big difficulties in carrying out his task, since Simeon's deeds were so unusual and so beyond his abilities human nature, which could easily seem “fabulous and unreliable.” Irrigated by rain, showered with snow and scorched by heat, he performed his exploits for forty-seven years, for which he was awarded special grace. Another Simeon was nicknamed Divnogorets, since the mountain on which this saint stood bore the name Divna. Alimpiy. Instructed by an angel, this saint was in the desert and on the pillar for fifty-three years, and the legend about him adds that for the last fourteen years of his life, due to illness in his legs, Alimpius did not stand, but was already lying on the pillar, experiencing torment, but blessing God.

Slide 23

What are the main features of the painting of Theophanes the Greek? The ideological basis of Theophan’s painting is the idea of ​​universal sinfulness, as a result of which man finds himself so far removed from God that he can only await the coming of the Judge with fear and horror. Let us remember the Almighty - his face is the embodiment of punitive power. And all the mediators - forefathers, prophets, pillars - are strict ascetics, with stern faces and majestic gestures. Each of them turns his spiritual gaze inward. The colors are also harsh: dark yellow, brown, reddish-pink, greenish-blue. The concept of tragedy, gloomy hopelessness, escalation of the situation, a call to pray and ask for forgiveness of sins.

Description of the presentation by individual slides:

1 slide

Slide description:

Painting of Ancient Rus' What an amazing thing is the art of a painter! He is a miracle worker greater than nature itself... the artist’s art has transformed fiction into real life. Christopher of Mytilene (1000-1050)

2 slide

Slide description:

Ancient Rus'... With these two words the idea of ​​the historical life of our Fatherland begins. In 988, under Saint Vladimir, Rus' was baptized, which became the most important milestone in its future destiny.

3 slide

Slide description:

Rus' accepted new religion, which for many centuries will become the main worldview of society, will cover all spheres of life, will connect it with other Christian countries, will give writing, without which the true development and prosperity of the 11th-12th centuries that was formed is unthinkable. ancient Russian state.

4 slide

Slide description:

The development of the culture of the Old Russian state for a long time directly depended on Byzantine traditions. Thus, after the adoption of Christianity, new genres of monumental painting, such as fresco and mosaic, began to arrive in the state from Byzantium. Ancient easel painting or iconography also became no less widespread. In addition, Russian masters adopted iconographic canons from Byzantium, the immutability of which was strictly guarded by church ministers. This influenced a more stable and lasting Byzantine influence on the development of painting in ancient Rus'.

5 slide

Slide description:

"Features of Old Russian painting." Canonicity. Deep connection with the temple. Religious images and subjects. Deformation in the depiction of figures and objects; immobility (static); convention of gestures Reverse perspective. The main thing for an artist is to convey spiritual inner life. Hence the keen interest in the face and eyes. The semantic center is MAN, his healing, salvation, purification, transformation. Painting is saturated religious meanings– halo, dove, cross, etc. Any object is a bearer of a certain semantic meaning.

6 slide

Slide description:

Symbolism of color (color had an allegorical meaning). Red is a symbol of life, “life-giving warmth”; white – purity, innocence, purity; golden (yellow) – divine color, frozen sunlight; green – youth, blossoming, rebirth, hope; blue – eternity, divine truth, Holy Spirit; black is a sign of sorrow, suffering, death and mourning, a sign of atonement for sins. Combination of time: one icon depicted 2-3 events or more. For example, hagiographic icons.

7 slide

Slide description:

Russian masters adopted the system of painting churches from the Byzantines, but folk art also influenced ancient Russian painting. The earliest masterpieces of ancient Russian painting that have reached our time were painted on the territory of Kyiv. The first temples, according to the chronicles, were decorated by visiting Greek masters, who diversified the already established iconographic tradition with new principles for the arrangement of subjects in the temple interior, as well as a unique style of planar writing.

8 slide

Slide description:

The frescoes and mosaics of the St. Sophia Cathedral, made in a solemn and strict manner characteristic of monumental Byzantine ancient painting, are famous for their particular beauty. Each image is permeated with the idea of ​​greatness, the inviolability of earthly power and the Orthodox Church.

Slide 9

Slide description:

Rus' was baptized by Byzantium and with it inherited the idea that the task of painting is to “embody the word”, to translate it into images Christian doctrine. Therefore, the basis of ancient Russian painting is the great Christian “word”. Therefore, this painting, like the architecture of Rus', was considered a “book for the illiterate.”

10 slide

Slide description:

In the 11th century Many works of easel painting were created - icons - (from Greek - image, image). The Kiev-Pechersk collections of biographies of monks even preserved the name of the famous Russian icon painter of that time - Pechersk monk Alimpia, who studied with the Greek masters and “painted icons in a cunning way.”

11 slide

Slide description:

The icon began to be seen as a visible symbol invisible world, as “a depiction of secret and supernatural spectacles.” According to legend, the oldest Christian icons appeared either miraculously (“Savior Not Made by Hands”), or were painted from life (the image of the Mother of God by the Evangelist Luke, the image of the first Christian saints by artists who personally knew and remembered their appearance).

12 slide

Slide description:

Mosaic “shimmer painting” is a monumental painting using multi-colored mica pieces. Mosaic panels decorated Byzantine churches and ancient Russian churches, for example, the Sophia Cathedral in Kyiv. In the altar part of the temple, the 11th century mosaic “Our Lady” has been preserved. Due to the raids of nomads, this art was lost.

Slide 13

Slide description:

Frescoes Painting with vegetable paints on wet plaster Peter of Alexandria. Fresco of the Church of the Savior on Nereditsa in Novgorod. 1199

Slide 14

Slide description:

Easel painting was done on boards using egg paints. Icon painting was nowhere as popular as in Rus'. Icons

15 slide

Slide description:

Especially in Rus' they loved to depict the Mother of God. There were different types of images: Oranta, Tenderness, Hodegetria, Three-Handed and Panagia Our Lady of Oranta (Sign)

16 slide

Slide description:

This is the oldest of the canonical images. According to legend, the first image of Christ was miraculously imprinted on a board brought to his face. This cloth had miraculous powers - it healed the king of the city of Edessa, Abgar, from leprosy. Thus, the creator of the first icon was Christ himself. Initially, the Holy Plath was kept in Edessa until 944, then it was transferred to Constantinople. Savior Not Made by Hands

Slide 17

Slide description:

The second oldest image of Christ, rooted in ancient painting, is the Good Shepherd. In the Gospel of John it is written: “I am the good shepherd, the good shepherd lays down his life for the sheep.” All icons depicting the good shepherd date back to the early Middle Ages. In later periods, images of the Good Shepherd are rare. Good Shepherd

18 slide

Slide description:

The Savior on the Throne is a type of Pantocrator, an image of the King of Heavenly Jerusalem. Christ in royal robes sits on a throne with an open Gospel in his hand - a symbol of the Last Judgment. According to this canon, Christ is depicted in sparkling gold or scarlet clothing, often decorated with crosses. A crown (miter) is often depicted on the head. The background of the icon is usually gold. This icon was painted by Simon Ushakov. Christ holds the Gospel of Matthew open, and the following words can be read: “Come, you whom my Father has blessed... For when I was hungry, you gave me food; I was thirsty, and you gave me wine to drink; I was a wanderer, and you gave me shelter; I was naked, and you gave me clothes...” Savior on the Throne

Slide 19

Presentation to MHC lesson 10th grade: " art Ancient Rousi", Contains Additional information about the iconography of Jesus Christ and Mother of God. Presentation in 2 parts. Can be connected when used.

Download:

Preview:

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

Fine art of Rus'. Icons, frescoes, mosaics, Jesus Christ Main views. (IX-XVII centuries) Andryukhina Z.A. Teacher of MHC Municipal Educational Institution "Secondary School of Dubki" Saratov district Saratov region" "2013"

“Yesterday I saw a collection of old icons. This is true great art. I am in love with their touching simplicity, which for me is closer to the paintings of Fra Angelico. In these icons, like a mystical flower, the soul of the artist is revealed. And from them we need to learn to understand art.” Henri Matisse, French painter and sculptor (1869-1954)

Iconographic image of Jesus Christ. Pantocrator (Almighty) Savior on the throne Savior in Power Savior Emmanuel (God is with us) Robe of Jesus Christ: a tunic on which from the shoulder to the bottom of the hem there is a stripe - klavt - a sign of power. On top of the chiton is a blue himation cloak.

Jesus Pantocrator (Pantocrator) In the Church of St. Sophia in Kyiv. 11th century Mosaic.

Jesus Pantocrator (Pantocrator) In the Church of the Transfiguration on Ilyin Street. Fresco.1378 Velikiy Novgorod.

Jesus Pantocrator (Pantocrator) Icon. Around the 15th century.

Savior on the Throne Icon 16th century (?). Tver.

Savior in Power Icon. 15th century Tver.

Savior not made by hands Icon. 12th century Novgorod State Customs Committee.

Savior Emmanuel Icon 1670 Armory Chamber. "Emmanuel" - "God is with us"

Deesis Chin Deesis (Greek δεησις - petition, prayer; deisis) - an icon or group of icons with an image of Christ in the center (most often in the iconography of Pantocrator), and to the right and left of him, respectively, the Mother of God and John the Baptist, presented in a traditional gesture prayerful intercession (three-figure deesis). May include similar images of the apostles, holy fathers, martyrs and others (multi-figure deesis).

Deesis rite of the Savior Emmanuel with the Archangels. Icon. 12th century State Customs Committee.

“Architecture of Ancient Rus'” - Sofia. The cathedral was built by Russian craftsmen under the guidance of architects from Byzantium. On the pillars supporting the dome are images of the four evangelists. The magnificent interior of the St. Sophia Cathedral has largely been preserved. This type of church is square in plan. Four chapters around the main dome. ARTISTIC CULTURE OF KIEVAN Rus' X-XI centuries.

“Life of Ancient Rus'” - Russian huts were of two types: kurnaya (or black) and white. After plowing, the field was harrowed. The peasant lived not only by working on the land. The cow was the main breadwinner in the peasant farm, and the horse was the main worker. Forest river plain. But the walls were not the main protector of Russian settlements. A wall of palisades was always built around the village.

“Rus IX century” - Peoples-? Remember: Genealogy of Russian princes. Tribal unions. Lesson objectives: Civilization is the stage of development of society, next after primitive society. State tasks: establishing order in the Russian land; strengthening of princely power. Cities. Points of view. Social strata -. State -.

"Yaroslav" - filled with water, with drawbridges that led to the gates of the city. Svyatopolk. Coins jingled at the auction different countries. Trade. Only in 1046, according to a peace treaty, Russian prisoners were returned. The presentation was made by a student of the 10th M class of Gymnasium No. 22 Anastasia Petrieva. Church. A deep ditch dug out in front of the wall,

“Painting of Ancient Rus'” - Andrey Rublev. 1410. Our Lady of Three Hands. Iconostasis - icons collected in rows - ranks - that cover the altar. Find the definition of icon. All icons depicting the good shepherd date back to the early Middle Ages. Frescoes by Theophanes the Greek. Icons depicting selected saints are especially popular.

“Prince Vladimir” - Vladimir was the sole ruler of the Russian land. Prince Vladimir. Project topics: Baptism of Rus'. The bell has already rung and we are starting our lesson. Dielupo Gospoty rouki. Vladimir Svyatoslavich is the youngest son of Prince Svyatoslav and housekeeper Princess Olga Malushi.

There are a total of 39 presentations in the topic