The main tenet Christian faith is the doctrine of the resurrection of Christ the Savior on the third day after death on the cross. Easter is considered the central celebration of the annual liturgical circle. An invariable attribute of any event glorified by the church is its picturesque image. Thanks to the capabilities of printing production, the icon of the “Resurrection of Christ” is one of the most widespread today. However, the emergence of the now popular image was associated with centuries-old history hymnography and dogmatic creativity of the Church Fathers. The difficulty of forming a pictorial plot lies not only in the saturation of the composition with numerous figures, but also in the fact that the evangelists do not have descriptions of this event. It cannot be otherwise: the disciples-apostles were not present at this, and the miracle itself is incomprehensible to human mind. The image of the Resurrection is considered indescribable, so paintings depict events directly related to it. In the rite of the Liturgy of John Chrysostom there are these words: “in the grave with the flesh, in hell with the soul like God, in paradise with the thief.” The text describes to some extent the events leading up to the resurrection. Apocryphal writings also left their mark.

First images

The pictorial images of the first three centuries were allegorical and symbolic. The emerging church art was marked by severe persecution by the pagans. Under these conditions, shrines had to be carefully protected from desecration. Major Event christian church depicted in the form of Old Testament prototypes. The most common image was of the prophet Jonah in the belly of Leviathan. Just as Jonah was in the belly of a whale for three days, and then was thrown out into the world, and Christ was in the tomb for three days, and then resurrected. This event is glorified in Easter hymns.

Iconographic types

The very moment of the resurrection of the flesh is impossible to depict because human consciousness is not even able to conceptually imagine this process, much less express it graphically. There is a limited number of Christian iconographies storylines, embodying the greatness of the event for believers. The image of classical orthodox origin is not called the icon of “Christ’s Resurrection”, but “The Descent of Christ the Savior into Hell”. Western tradition introduced into liturgical use two now widespread picturesque images that are more understandable to the consciousness of the average person: “The Risen Christ at the Tomb” and “The Appearance of the Risen Savior to the Myrrh-Bearing Women.” There are variations on these basic themes, for example, the icon "The Resurrection of Christ with the Feasts".

Unique fact

Every action in the church must be consistent with the rules and justified dogmatically. Modern theologians compare church teaching to a turtle that has a strong shell for protection. This armor was developed in the fight against many heresies and false teachings over many centuries. Activities in the field of art are also strictly regulated. On an icon, every brush stroke must be justified. But the icon of “Christ’s Resurrection” is based on not entirely canonical sources of information. Namely, on the texts of a 5th century source, the so-called Gospel of Nicodemus, rejected by the canonical thought of the church.

Icon “Resurrection of Christ”. Meaning

The picturesque image tells about great and incomprehensible events. It is the Gospel of Nicodemus that is, perhaps, the only ancient handwritten source that tells about what happened to Christ from the moment of burial to his rise from the grave. This apocrypha describes in some detail the dialogue between the devil and the underworld and the subsequent events. Hell, anticipating its collapse, orders the unclean spirits to tightly “lock the copper gates and the iron bars.” But the Heavenly King destroys the gates, binds Satan and delivers him into the power of hell, commanding him to be kept in chains until the second coming. After this, Christ calls all the righteous to follow Him. As centuries passed, dogmatists transformed non-canonical texts into orthodox teaching. The Creator has no measurement of time; every person who lived before the preaching of Christ, His contemporaries and us living today is valuable to Him. The Savior, descending into the underworld, brought everyone who wanted it out of hell. But those living today must make their choice themselves. The icon shows the omnipotence of the Creator, who freed the captives of the underworld. And over time, He will appear in order to carry out judgment and finally determine the measure of punishment for evil and the eternal reward for the righteous.

Serbian fresco

In the men's monastery Milesheva (Serbia) there is ancient temple Ascension of the 13th century. One of the images of the medieval wall painting ensemble is the icon of the “Resurrection of Christ”. The fresco depicts an angel in shining robes, which corresponds to the description of these events by the Evangelist Matthew. The heavenly messenger sits on a stone rolled away from the cave door. Near the coffin lie the burial shrouds of the Savior. Next to the angel are women who brought vessels of peace to the coffin. This version was not particularly widespread among Orthodox icon painters, but Western realistic painting readily uses it. It is interesting that in this case the event is depicted without its main participant - Christ.

The oldest canonical image

In 1081, a church was built on the outskirts of Constantinople. Based on its location, it received the name Cathedral of Christ the Savior in the Fields. In Greek, “in the fields” is ἐν τῃ Χώρᾳ (en ti hora). Thus, the temple and the monastery built later are called “Chora” to this day. At the beginning of the 16th century, a new mosaic covering of the interior was installed in the temple. Among those that have survived to this day is the icon “The Resurrection of Christ, the Descent into Hell.” The composition depicts the Savior standing on the ripped-off gates of hell. Christ is surrounded by an almond-shaped halo. He holds the hands of Adam and Eve rising from their graves. Behind the ancestors of the human race are the righteous Old Testament. This version is most widespread in iconography.

What is depicted on the icon?

The image represents the dogma of the church, expressed in pictorial form. According to church teaching, heaven was closed to the righteous until the moment of the Savior’s death on the cross and His glorious resurrection. The composition of the icon includes images of the most famous saints of the pre-Christ era of mankind. The Savior stands on the cross-shaped gates of hell. Tools and extracted nails are sometimes depicted near them. Adam and Eve, as a rule, are located on opposite sides of Christ. Behind the foremother stand Abel, Moses and Aaron. On the left behind Adam are John the Baptist, kings David and Solomon. The figures of Adam and Eve can be located on one side of Christ. The lower part of the composition may depict the underworld with angels oppressing unclean spirits.

Icon “Resurrection of Christ”. Description

The image, which is of Western origin, is not a symbolic composition, but a pictorial representation of gospel events. As a rule, an open cave-coffin is depicted, an angel sits on a stone or is located next to a sarcophagus, in the lower part of the composition there are defeated Roman soldiers and, of course, Christ in shining robes with a sign of victory over death in his hands. A red cross is placed on the banner. The arms and legs depict wounds from nails driven into the flesh during crucifixion. Although the icon of the “Resurrection of Christ” was borrowed in the 17th century from the Catholic realistic tradition, clothed in orthodox canonical forms, it is quite popular among believers. It does not require any theological interpretation.

Holidays holiday

The Holy Resurrection of Christ is considered by the church charter not just a holiday, but a special celebration, the glorification of which continues for forty days. Moreover, the celebration of Easter itself lasts seven days as one day. This exalted attitude of believers towards the Savior’s rise from the tomb was also reflected in church art. The original line of development of the pictorial tradition is the icon “The Resurrection of Christ, the Descent into Hell with the Twelve Feasts.” This image contains in the center an image of the main event in the life of the church, and along the perimeter in the stamps there are plots of the twelve most important holidays associated with earthly life Christ and the Virgin Mary. Among such shrines there are also very unique specimens. Events are also depicted Holy Week. In practice, the icon “The Resurrection of Christ with the Twelve Feasts” is summary evangelical events and the annual cycle of services. In event images, the descent into hell is depicted in many details. The composition includes figures of the righteous, a whole string of whom Christ leads from the underworld.

Icon on the lectern

In the center of the temple there is a cabinet with an inclined board, called a lectern. It is believed to be an image of a saint or a holiday to which the service on that day is dedicated. The icon of the “Resurrection of Christ” is placed on the analogue most often: during the forty days of Easter celebrations and at the end of each week. After all, the name of the weekend is of Christian origin; the last day of the week is dedicated to the glorification of Christ’s victory over death.

The most outstanding churches in honor of the Resurrection

One of the grandest churches in Russia is the Resurrection Cathedral New Jerusalem Monastery, erected in 1694. With this building, Patriarch Nikon wanted to reproduce the Church of the Resurrection in the Holy City and emphasize the dominant position of the Russian Church in the Orthodox world. For this purpose, drawings and a model of the Jerusalem shrine were delivered to Moscow. Another, although smaller in scale, but not inferior in monumentality, is the Church of the Savior on Spilled Blood in St. Petersburg.

Construction began in 1883 in memory of the assassination attempt on Emperor Alexander II. The uniqueness of this cathedral is that the interior decor is made of mosaics. The mosaic collection is one of the largest in Europe. It is unique in its quality of execution. In the clear sunny days iridescent multi-colored tiles create a unique feeling of celebration and involvement in spiritual world. In the temple itself there is an amazingly beautiful image. Outside, above one of the entrance portals, there is also an icon of the “Resurrection of Christ”. The photo, of course, cannot convey the fullness of the sensations, but it creates a complete idea of ​​the splendor of the decoration.

The main tenet of the Christian faith is the doctrine of the resurrection of Christ the Savior on the third day after death on the cross. Easter is considered the central celebration of the annual liturgical circle. An invariable attribute of any event glorified by the church is its picturesque image. Thanks to the capabilities of printing production, the icon of the “Resurrection of Christ” is one of the most widespread today. However, the emergence of the now popular image was associated with the centuries-old history of hymnography and dogmatic creativity of the Church Fathers. The difficulty of forming a pictorial plot lies not only in the saturation of the composition with numerous figures, but also in the fact that the evangelists do not have descriptions of this event. It cannot be otherwise: the disciples-apostles were not present at this, and the miracle itself is incomprehensible to the human mind. The image of the Resurrection is considered indescribable, so paintings depict events directly related to it. In the rite of the Liturgy of John Chrysostom there are these words: “in the grave with the flesh, in hell with the soul like God, in paradise with the thief.” The text describes to some extent the events leading up to the resurrection. Apocryphal writings also left their mark.

The pictorial images of the first three centuries were allegorical and symbolic. The emerging church art was marked by severe persecution by the pagans. Under these conditions, shrines had to be carefully protected from desecration. The most important event of the Christian church was depicted in the form of Old Testament prototypes. The most common image was of the prophet Jonah in the belly of Leviathan. Just as Jonah was in the belly of a whale for three days, and then was thrown out into the world, and Christ was in the tomb for three days, and then resurrected. This event is glorified in Easter hymns.

Iconographic types

The very moment of the resurrection of the flesh is impossible to depict because human consciousness is not even able to conceptually imagine this process, much less express it graphically. In Christian iconography, there are a limited number of storylines that embody the grandeur of the event for believers. The image of classical orthodox origin is not called the icon of the “Resurrection of Christ,” but the “Descent of Christ the Savior into Hell.” Western tradition has introduced into liturgical use two now widespread pictorial images that are more understandable to the consciousness of the average person: “The Risen Christ at the Tomb” and “The Appearance of the Risen Savior to the Myrrh-Bearing Women.” There are variations on these basic themes, for example, the icon “The Resurrection of Christ with the Feasts”.

Unique fact

Every action in the church must be consistent with the rules and justified dogmatically. Modern theologians compare church teaching to a turtle that has a strong shell for protection. This armor was developed in the fight against many heresies and false teachings over many centuries. Activities in the field of art are also strictly regulated. On an icon, every brush stroke must be justified. But the icon of the “Resurrection of Christ” is based on not entirely canonical sources of information. Namely, on the texts of a 5th century source, the so-called Gospel of Nicodemus, rejected by the canonical thought of the church.

Icon "Resurrection of Christ". Meaning

The picturesque image tells about great and incomprehensible events. It is the Gospel of Nicodemus that is, perhaps, the only ancient handwritten source that tells about what happened to Christ from the moment of burial to his rise from the grave. This apocrypha describes in some detail the dialogue between the devil and the underworld and the subsequent events. Hell, anticipating its collapse, orders the unclean spirits to tightly “lock the copper gates and the iron bars.” But the Heavenly King destroys the gates, binds Satan and delivers him into the power of hell, commanding him to be kept in chains until the second coming. After this, Christ calls all the righteous to follow Him. As centuries passed, dogmatists transformed non-canonical texts into orthodox teaching. The Creator has no measurement of time; every person who lived before the preaching of Christ, His contemporaries and us living today is valuable to Him. The Savior, descending into the underworld, brought everyone who wanted it out of hell. But those living today must make their choice themselves. The icon shows the omnipotence of the Creator, who freed the captives of the underworld. And over time, He will appear in order to carry out judgment and finally determine the measure of punishment for evil and the eternal reward for the righteous.

Serbian fresco

In the men's monastery of Milesheva (Serbia) there is an ancient Church of the Ascension from the 13th century. One of the images of the medieval wall painting ensemble is the icon of the Resurrection of Christ. The fresco depicts an angel in shining robes, which corresponds to the description of these events by the Evangelist Matthew. The heavenly messenger sits on a stone rolled away from the cave door. Near the coffin lie the burial shrouds of the Savior. Next to the angel are women who brought vessels of peace to the coffin. This version was not particularly widespread among Orthodox icon painters, but Western realistic painting readily uses it. It is interesting that in this case the event is depicted without its main participant - Christ.

The oldest canonical image

In 1081, a church was built on the outskirts of Constantinople. Based on its location, it received the name Cathedral of Christ the Savior in the Fields. In Greek, “in the fields” is ?ν τ? Χ?ρ? (en ti hora). Thus, the temple and the monastery built later are called “Chora” to this day. At the beginning of the 16th century, a new mosaic covering of the interior was installed in the temple. Among those that have survived to this day is the icon “The Resurrection of Christ, the Descent into Hell.” The composition depicts the Savior standing on the ripped-off gates of hell. Christ is surrounded by an almond-shaped halo. He holds the hands of Adam and Eve rising from their graves. Behind the ancestors of the human race are the righteous people of the Old Testament. This version is most widespread in iconography.

What is depicted on the icon?

The image represents the dogma of the church, expressed in pictorial form. According to church teaching, heaven was closed to the righteous until the moment of the Savior’s death on the cross and His glorious resurrection. The composition of the icon includes images of the most famous saints of the pre-Christ era of mankind. The Savior stands on the cross-shaped gates of hell. Tools and extracted nails are sometimes depicted near them. Adam and Eve, as a rule, are located on opposite sides of Christ. Behind the foremother stand Abel, Moses and Aaron. On the left behind Adam are John the Baptist, kings David and Solomon. The figures of Adam and Eve can be located on one side of Christ. The lower part of the composition may depict the underworld with angels oppressing unclean spirits.

Icon "Resurrection of Christ". Description

The image, which is of Western origin, is not a symbolic composition, but a pictorial representation of gospel events. As a rule, an open cave-coffin is depicted, an angel sits on a stone or is located next to a sarcophagus, in the lower part of the composition there are defeated Roman soldiers and, of course, Christ in shining robes with a sign of victory over death in his hands. A red cross is placed on the banner. The arms and legs depict wounds from nails driven into the flesh during crucifixion. Although the icon of the “Resurrection of Christ” was borrowed in the 17th century from the Catholic realistic tradition, clothed in orthodox canonical forms, it is quite popular among believers. It does not require any theological interpretation.

Holidays holiday

The Holy Resurrection of Christ is considered by the church charter not just a holiday, but a special celebration, the glorification of which continues for forty days. Moreover, the celebration of Easter itself lasts seven days as one day. This exalted attitude of believers towards the Savior’s rise from the tomb was also reflected in church art. The original line of development of the pictorial tradition is the icon “The Resurrection of Christ, the Descent into Hell with the Twelve Feasts.” This image contains in the center an image of the main event in the life of the church, and along the perimeter in the stamps there are plots of the twelve most important holidays associated with the earthly life of Christ and the Mother of God. Among such shrines there are also very unique specimens. The events of Passion Week are also depicted. In practice, the icon “The Resurrection of Christ with the Twelve Feasts” is a brief summary of the Gospel events and the annual cycle of services. In event images, the descent into hell is depicted in many details. The composition includes figures of the righteous, a whole string of whom Christ leads from the underworld.

Icon on the lectern

In the center of the temple there is a cabinet with an inclined board, called a lectern. It is believed to be an image of a saint or a holiday to which the service on that day is dedicated. The icon of the “Resurrection of Christ” is placed on the analogue most often: during the forty days of Easter celebrations and at the end of each week. After all, the name of the weekend is of Christian origin; the last day of the week is dedicated to the glorification of Christ’s victory over death.

The most outstanding churches in honor of the Resurrection

One of the grandest churches in Russia is the Resurrection Cathedral of the New Jerusalem Monastery, built in 1694. With this building, Patriarch Nikon wanted to reproduce the Church of the Resurrection in the Holy City and emphasize the dominant position of the Russian Church in the Orthodox world. For this purpose, drawings and a model of the Jerusalem shrine were delivered to Moscow. Another, although smaller in scale, but not inferior in monumentality, is the Church of the Savior on Spilled Blood in St. Petersburg.

Construction began in 1883 in memory of the assassination attempt on Emperor Alexander II. The uniqueness of this cathedral is that the interior decor is made of mosaics. The mosaic collection is one of the largest in Europe. It is unique in its quality of execution. On clear sunny days, iridescent multi-colored tiles create a unique feeling of celebration and involvement in the spiritual world. In the temple itself there is an amazingly beautiful image. Outside, above one of the entrance portals, there is also an icon of the Resurrection of Christ. The photo, of course, cannot convey the fullness of the sensations, but it creates a complete idea of ​​the splendor of the decoration.

The icon of the “Resurrection of the Lord” is a holy image created to constantly remind Christians of the great sacrifice of Christ, the price of the blood He shed and the great grace bestowed at the same time.

The birth of Jesus Christ changed the course of human life, opening new Age However, without the Resurrection of the Savior this event would not have such significance. IN Holy holiday Easter, the great Lord, God the Son, descended into hell and took the keys to heaven from Satan, so that everyone who believes in the Savior would have eternal life.

Meaning of the icon

To understand the meaning of the Picturesque Image, in which one can see great and difficult to comprehend events, one should turn to the Gospel of Nicodemus.

Icon of the Resurrection of Christ

Despite the fact that the Good News from Nicodemus was not included in the canonical Bible, it is a unique, one-of-a-kind narrative telling about the events that occurred during Jesus’ stay in the underworld.

• This happened during the time that Christ was buried and resurrected.
• The devil celebrated his victory at the Calvary Cross, however, further events forced him to sound the alarm and order the gates of hell to be locked so as not to let the Savior in.
• The Great God the Son destroys the walls of hell, transferring the bound Satan into his power, and takes the keys.
• All the righteous came out of their graves and followed Christ, everyone came out, the same opportunity has been given today modern people, everyone makes their own choice.
• Time will pass and Christ will return for his righteous, the final verdict will be passed on sinners.

The meaning of ancient and modern icons is to display the essence and meaning of the Resurrection for all humanity. Death was defeated by Christ, who descended into hell, every person who believes in God knows this.

It is interesting that nowhere is there a description of the resurrection itself. God has Mysteries that people should not touch.

Important! The meaning of the “Resurrection of Christ” icon is to show the truth that the once dead Jesus has risen, and so the righteous will rise with Him.

Description of the holy image

The icon of the Resurrection of Christ, its importance cannot be overestimated, is represented by several different images.

The Athos monastery of Stavronikita is the owner of a holy image painted by Theophan of Crete in the 16th century in the form of a fresco.

Resurrection of Christ. Icon from the Stavronikita Monastery on Mount Athos

The holy image shows the Archangel Gabriel sitting on a rolled away stone and showing the women that the tomb is empty. Orthodox icon painters rarely make copies of this copy, but in Catholicism it has found special veneration.

An interesting detail in this fresco is the absence of the main character of this event - Jesus Christ.

There are several icons of the “Resurrection of Christ” in the world, painted in the Byzantine style; they are all united by the same principles of writing:

• The background for the central figure of Jesus is a circle from which God's light - the Heavenly glory of Christ - spreads in the form of rays. The Savior who descended into hell remained God the Son there.
• The hands of Christ raise the Cross - the instrument of His execution and the symbol of the victory of Christianity.
• Airy clothes, similar to the wings of an angel, develop from streams of light during the rise of the Savior from hell.
• The feet of Jesus trample the black abyss; in some images the image of Satan is barely visible.
• In many images, Christ stands on crossed gates, under His feet there are particles of chains, bolts, hinges, everything that kept the righteous in hell.
• The unifying element for the icons of the “Resurrection of Christ” is a golden background, a sign of the royal dignity of God the Son; it contains the eternal glory of the Savior and grace.
• On many icons, symbolizing God's victory over hell, Jesus leads Adam and Eve out of the underworld; they are depicted in a raised position from their knees. Their sin is forgiven, but without the Creator liberation would not be possible.

The icon seems to be telling sinners to place their hands in the hand of the Savior, leave sin and find liberation from passions in order to know the beauty of heavenly life.

In the 16th century, a new image appears, in which Jesus in golden robes stands on the defeated gates that once closed the entrance to hell. Christ is surrounded by an almond-shaped halo, His hands hold Adam and Eve, who have risen from the tomb. In the background there are Old Testament icons righteous prophets.

Icon "Resurrection of Jesus Christ"

This image depicts church dogma, according to which the righteous could not enter heaven until Christ died on the Cross and was resurrected.

The gates of hell are folded crosswise. Their death was the Calvary Cross, under the feet of the Savior the nails with which He was nailed to the cross.

As we see on ancient icons“The Resurrection of Christ” does not have a single direction in depicting the biblical event. In some images you can see only Jesus and two angels, in others the Savior with the forefathers and saints, in others there is a picture of hell.

In the images of the resurrection of Christ, 3 lines can be traced:

• the Savior's exit from the tomb;
• the meeting of Christ with the myrrh-bearing women;
• descent into the underworld.

In Catholicism, these movements are presented more like paintings than holy images.

Icon of the Resurrection of Christ with the Twelfth Feasts

There are variations in which the image of the resurrected Jesus is surrounded by paintings of twelve Orthodox holidays, in a way, is the Gospel in pictures, because every holiday is one of the main events in the life of Christ. The images around the main character are called brands.

What and who does the icon help with?

Those who have fallen physically or mentally most often turn to the holy image. Even in the most difficult life situations, we should remember the great love of the Lord for his creation and the price paid by the Savior for our salvation.

There is no sin that the Creator will not forgive; if a person sincerely repents and calls on the name of Jesus, he will be saved.

Mothers praying for their unlucky children have great hope that the moment will come when the Lord will lead the child out of the captivity of sin.

Prayer requests before the bright face help strengthen faith.

Having seen the Resurrection of Christ, let us worship the holy Lord Jesus, the only sinless one. We worship Thy Cross, O Christ, and the holy Your resurrection We sing and glorify: For You are our God, do we know You otherwise, we call Your name. Come all you faithful, let us worship the saint Christ's resurrection: Behold, through the Cross joy has come to the whole world. Always blessing the Lord, we sing of His resurrection: having endured crucifixion, destroy death through death.

Icons of the Resurrection of Christ

The first Sunday after Easter is called Fomino Resurrection. Why is it that Thomas, and even nicknamed the Unbeliever, is specifically singled out for the resurrection immediately following the Resurrection of Christ? Not Peter, as the head of the community of apostles, not Andrew, who was called very first, not even John, who was the beloved disciple of Jesus, but Thomas.

The scene “The Appearance of an Angel to the Myrrh-Bearing Women” is the earliest image of the Resurrection. He was depicted in icons, in mosaics and frescoes, in book miniatures and applied art. Irina YAZYKOVA dismantles the fresco of the dome of the Temple of Pantocrator of the Vysoki Decani monastery in Kosovo

The fourth Sunday of Great Lent is dedicated to St. John Climacus. Why is the author of the book of the same name on the “Ladder” icon? Rev. John Is the Climacus depicted without a halo? Why don’t the demons try their best to drag the monks down, while the angels seem to stay away? Our correspondent tried to understand what was happening with the help of specialists.

An icon is, first of all, a holy image, before which we stand in prayer, a visibly expressed experience of the life of saints. This is also a work of art that conveys to us the idea of ​​our ancestors about beauty. But besides everything else, the icon is also an important historical source that tells about forgotten traditions. What, for example, does the earring in the ear of the Christ Child mean? We remember the unusual details of the icons on the eve of tomorrow's commemoration of the first icon painter - the Apostle and Evangelist Luke.

A unique exhibition has opened in the Assumption Belfry of the Moscow Kremlin, at which lovers of icon painting will for the first time have the opportunity to see the entire iconostasis of the Kirillo-Belozersky Monastery. The fact is that today the icons from this famous iconostasis are kept separately in three different museums in the country. Visitors to the exhibition will see the iconostasis the same as it was in the 15th century

In the chapter on the iconostasis, textbooks on the Law of God or OPK usually talk about the high Russian five-tiered iconostasis. But if we go into a temple, we will not always see five rows of icons in front of us, corresponding to the diagram from the book. Why is its five-tiered appearance chosen to tell the story about the iconostasis, say Archpriest Sergiy PRAVDOLYUBOV, rector of the temple Life-Giving Trinity in Golenishchev (Moscow), and Larisa GACHEVA, icon painter, teacher at PSTGU

Adopted a year and a half ago, the federal law “On the transfer religious organizations property for religious purposes" became a milestone in the property relations of the Church and the state. The next stage of this transfer was the return to the Church of the famous Iveron Icon Mother of God in May of this year. Time will tell whether the Church will cope with the “museum” functions, but for now “NS” has followed the fate of the most famous copies of the Iverskaya and other icons of the Mother of God in Russia

The memory of one of the most beloved saints by our people - St. Nicholas the Wonderworker, Bishop of Myra in Lycia in church calendar It is celebrated twice: in winter on December 19 and almost in summer on May 22. Byzantine iconography has preserved many images of St. Nicholas. What did he look like? PHOTO GALLERY.

On May 24, on Vasilyevsky Spusk, Patriarch Kirill will perform a prayer service before the revered Iveron Icon of the Mother of God, which the state returned to the Church at the beginning of the month. What role in Russian history played exactly this list of the icon of the “Good Goalkeeper”, what is the significance of its transfer Novodevichy Convent and what is the fate of other well-known icons of the Mother of God in Russia, “NS” is looking into

I noticed that there are different icons in the iconostasis, but in almost all churches the Annunciation is depicted on the Royal Doors. Why? Archpriest Nikolai CHERNYSHEV answers

Despite the fact that the Feast of the Exaltation of the Holy Cross is one of the ancient holidays Christian Church, neither the exact time nor the circumstances of its occurrence are reliably known. In art Ancient Rus' images of the Exaltation of the Cross were widespread, often included in the festive series of iconostases, while in Byzantium individual icons with a similar plot are not found

The iconography of the most revered saint after the Virgin Mary - John the Baptist - is extensive and complex. The most common icons are the beheading and the discovery of his venerable head

The “People's Icon” opened in the exhibition halls of the Russian Academy of Arts - Zurab Tsereteli Art Gallery. Among the 400 exhibits were naive copies of Byzantine images and “classical illustrations” of ancient heresies or heterodox dogmas. The boundaries of the concept of “folk” and “non-canonical” icons are currently being discussed mainly by secular specialists. Theological comments on the exhibition ahead

Celebration in honor miraculous icon“Three-handed” is performed twice in July - on the 11th and 25th (according to the new style). Many legends are associated with this image, telling about where the third hand appeared in the image of the Mother of God, and about how the icon ended up on Holy Mount Athos. Art critic Svetlana LIPATOVA talks about the veneration of the unusual Mother of God icon

In the Russian calendar Orthodox Church There are many icon painters, but the most famous, of course, is Andrei Rublev. Probably everyone in our country knows this name, even not the most educated person, and outside Russia it is well known, especially after Tarkovsky’s film, but what do we know about the great icon painter? The famous historian of Christian art Irina YAZYKOVA talks about this

Peasant letter icon. The composition is traditional. The painting is primitive. In the middle there is the Resurrection and the Descent into Hell, along the perimeter of the middle there are 12 holidays. The background of the middle, the stamp is yellow. The lining along the inner perimeter of the mullion is dark brown. The halos are yellow with a red outline. In the margins, explanatory texts.

In the center of the icon the Resurrection - the Descent into Hell is presented in an expanded iconographic version, which is characterized by detailed interpretation main event - with the inclusion of additional plot motifs. In the center of the composition is Christ in glory, standing on the broken gates of hell and holding the hand of Adam rising from the tomb, followed by a procession of the righteous in white robes. Another procession, including traditional images of prophets and forefathers, is presented to the left of Christ, at the top (some of the prophets are holding the attributes of their prophecies in their hands). This procession is led by John the Baptist, David and Solomon. For the second time, John the Baptist and David are depicted to the right of Christ, next to the gates of heaven, with David holding an unfolded scroll in his hands. The second image of Solomon, also with a scroll, is located in the open mouth of hell, next to a group of righteous people in white robes. In the lower right corner of the middle, Christ rises from the tomb with angels at the gates of hell (sleeping warriors are also depicted here). Between this scene and the personification of hell, angels are depicted beating numerous demons. At the top of the composition is paradise, at the gates of which a flying away seraphim and a prudent thief are depicted, talking with Elijah and Enoch (on the left) and with the righteous entering paradise (on the right). The story of the prudent thief is preceded by a peculiar paraphrase of his gospel conversation with Christ - an image of Christ handing the cross to the thief.

At the top of the composition, in the center, is the Resurrection of Christ in the “Rise from the Tomb” type. Above is the Ascension; above this scene in the upper field is the New Testament Trinity (“Co-throne”). On the sides of the scenes “Rising from the Grave” and “Ascension” in the upper half of the icon are depicted: on the left - the Crucifixion, the Assurance of Thomas, the Entombment, the Appearance of Christ to Mary Magdalene and the Appearance of an Angel to the Myrrh-Bearing Wives; on the right - the Supper at Emmaus, the conversation of the prudent thief with Elijah and Enoch in paradise, the Apostle Peter at the empty tomb of the Lord.
At the bottom of the icon is the composition “The Descent into Hell,” which includes images of angels chaining Satan and saints marching to heaven. The lower right corner of the icon depicts the Appearance of Christ to the Apostles on Lake Tiberias.

The centerpiece depicts the Resurrection of Christ - the Descent into Hell. There are 12 holidays around the centerpiece: Ascension, Trinity, Entry into Jerusalem, Raising Lazarus, Last Supper, Washing of the Feet, Beating the Pillar, Laying the Crown of Thorns, Carrying the Cross, Crucifixion, Descent from the Cross, Entombment. There are menaia around, 4 on each side, starting in September. Around the mena are images of revered Mother of God icons.

The composition is traditional: in the middle, in a golden frame, the Resurrection and the Descent into Hell on a golden background. The colors of the clothes are scarlet, greenish, ocher with assist. The writing is miniature, close to the Palekh examples. Along the perimeter of the centerpiece there are 12 hallmarks representing the twelve holidays.

The Yaroslavl icon is a complex iconographic version, including images of the “Resurrection”, “Descent into Hell” and Paradise - the meeting of the Prudent Thief with the Forefather Enoch and the Prophet Elijah. A similar composition has become widespread in Rus' since the 17th century.

In the center of the icon, “The Resurrection - Descent into Hell” is presented in an expanded iconographic version, which is characterized by a detailed interpretation of the main event - with the inclusion of additional plot motifs. The main part of the middle is occupied by the frontal figure of Christ standing on the broken gates of hell, Adam and Eve rising from their graves and a group of prophets and righteous people led by John the Baptist to the right of the Savior.

Dream Interpretation