The Royal Doors - when did they appear and what do they mean? In the center of the local - the lowest - row of the iconostasis there are the Royal Doors. Symbolically, they represent the gates of Paradise, opening the path to the Kingdom of Heaven for man. In Byzantium, the central doors of the temple were called the Royal Doors. After the liturgical exclamation of the priest “Doors! Doors! the ministers closed the entrance to the temple and only the “faithful,” that is, the baptized, were present at the Eucharistic canon. Later, the meaning and name of the Royal Doors was transferred to the central doors of the altar, located directly opposite the Throne. Only clergy can enter the altar through them and only during divine services. The Royal Doors open at strictly defined moments during the service. And during Bright (Easter) Week, the Royal Doors are not closed for a whole week. Traditionally, the figures of the Archangel Gabriel and the Virgin Mary are placed on the two doors of the Royal Doors, forming together the scene of the Annunciation, as a symbol of the fact that through the Incarnation the doors of Paradise, locked after the Fall of man, became open again for everyone. Also, images of the four evangelists are placed on the Royal Doors, as a sign that with the Joyful News of the Incarnation of Christ and through familiarization with the Gospel preaching, the doors of salvation are opened to man. In Byzantium, and later in Ancient Rus', there was a practice of placing on the Royal Doors life-size images of the Old Testament prophet Moses, who built the Tabernacle for the sacrifice, and the first priest of the Jerusalem Temple Aaron in liturgical clothes, as well as figures of Saints John Chrysostom and Basil the Great - the authors of the Divine Liturgy. A striking image of the Heavenly City of Jerusalem was the Russian Royal Doors of the second half of the 16th–17th centuries. The shine of gilding, multi-colored enamels, mica plates and precious stones reminded of the beauty of the Divine City, described by the Apostle John the Theologian in the book of Revelation (Apocalypse). Dmitry Trofimov The Royal Doors are the gates located in the middle of the iconostasis and leading to the throne. They are called so because through them the Holy Gifts are brought out to the liturgy - the Lord himself - the King of Glory - comes out to the believers (Ps. 23:7,10). In worship, the opening of the Royal Doors symbolizes the opening of the Heavenly Kingdom. Only clergy are allowed to pass through them. The iconostasis has three gates. The central, largest, are called the Royal Doors. They are called the Royal Gates because they symbolize the entrance to the Kingdom of God. The Kingdom of God is revealed to us through the Good News, which is why the Annunciation theme is depicted twice on the Royal Doors: the scene of the Annunciation with the Virgin Mary and the Archangel Gabriel, as well as the four evangelists preaching the gospel to the world. Once upon a time, the liturgical exclamation “Doors, doors!” the ministers closed the outer doors of the temple, and they bore the name Royal, for all believers are the royal priesthood, but now the doors of the altar are closed. The Royal Doors are also closed during the Eucharistic Prayer, so that those who thank the Lord for His atoning sacrifice are, as it were, on opposite sides of the altar barrier. But in order to connect those who stand outside the altar and what is happening in the altar, the icon “The Last Supper” (or “Communion of the Apostles”) is placed above the place where the Royal Doors are located. Sometimes images of the creators of the liturgy of Sts. are placed on the doors of the Royal Doors. Basil the Great and John Chrysostom. To the right of the Royal Doors is an icon of the Savior, where He is depicted with a Book and a blessing gesture. On the left is an icon of the Mother of God (usually holding the Baby Jesus in her arms). Christ and the Mother of God meet us at the gates of the Kingdom of Heaven and lead us to salvation throughout our entire lives. The Lord said about Himself: “I am the way, the truth and the life; no one comes to the Father except through Me” (John 14.6); “I am the door of the sheep” (John 10.7). The Mother of God is called Hodegetria, which means “guide” (usually the iconographic version of the Mother of God Hodegetria is placed here). The icon following the image of the Savior (to the right in relation to those ahead) depicts the saint or holiday in honor of which the temple is named. If you entered an unfamiliar temple, it is enough to look at the second icon to the right of the Royal Doors to determine which temple you are in - in the St. Nicholas Church there will be an image of St. Nicholas of Myra, in Trinity - the icon of the Holy Trinity, in Assumption - the Assumption Holy Mother of God, in the temple of Cosmas and Damian - the image of Sts. unmercenary, etc. In addition to the center of the iconostasis where the Royal Doors are located, in the bottom row there are also southern and northern doors (also called deacon doors, because it is the deacon who uses them more often than others during the divine service). As a rule, they are much smaller in size and lead to the side parts of the altar - the altar, where Proskomedia is celebrated, and the deacon or sacristy, where the priest vests before the liturgy and where vestments and utensils are stored. On the deacon's doors they usually depict either archangels, symbolizing the angelic service of the clergy, or the first martyrs of the archdeacons Stephen and Lawrence, who showed a true example of serving the Lord. From the inside, the Royal Doors are covered with a curtain (Greek, katapetasma), which is opened or closed at certain moments of the service. The Royal Doors are opened only during divine services and only at certain moments. During Bright (Easter) Week they do not close for a whole week as a sign that Jesus Christ has opened the gates of the Heavenly Kingdom for us. The Royal Doors are opened during the Liturgy: for the Small Entrance with the Gospel, marking the appearance of the Lord to preach the Gospel, and after the reading of the Gospel they are closed; For the Great Entrance, at which the Holy Gifts are transferred from the altar to the throne, they are then closed, which signifies the descent of the Savior into hell; During the presentation of the Holy Gifts for the communion of the people, which depicts the appearance of the Lord to His disciples after the resurrection, the ascension to heaven and the Opening of the Kingdom of Heaven. ABC ru Gates for the Tsar “The first Christians gathered for prayer in private houses, and in the 4th century, when Christianity became state religion, the emperors transfer basilicas to Christians - the largest buildings in Roman cities, used for court hearings and trade. The main gates in these buildings were called royal, through which the emperor or bishop entered the temple, explains Alexander Tkachenko. “The people entered the temple through the doors located along the perimeter of the basilica.” In the ancient Church, the main person performing the divine service, as well as the head of the community, was the bishop. The service did not begin without the bishop - everyone was waiting for him in front of the church. The entrance into the temple of the bishop and the emperor, and after them of the entire people, was the most solemn moment at the beginning of the Liturgy. The altar part of the temple did not take shape right away. At first it was separated from the main part by low partitions, then in some churches curtains appeared (katapetasmas from the Greek katapštasma), which were closed at certain moments of the liturgy, primarily during the consecration of the Gifts. “There is very little evidence of these veils in the first millennium,” says Alexander Tkachenko. - The life of St. Basil the Great tells that the saint introduced the use of curtains covering the Throne for reasons that were not at all theological: the deacon who served him often looked back at the women standing in the church. In the second millennium, the use of veils became widespread. They were often decorated with embroidery, images of saints, and the Mother of God.” The name “Royal Doors” was transferred from the main entrance to the temple to the gates of the iconostasis also in the second millennium. “For the first time, the gates leading to the altar began to be given independent significance only in the 11th century,” says Alexander Tkachenko, “when one of the interpretations of the liturgy says that with the words “Doors! Doors!” It is not the gates of the temple that are closed, but the doors leading to the altar. The complete iconostasis as we know it - with the Royal Doors, rows of icons - was formed only in the 16th - 15th centuries.” Historical and symbolic When large church communities split into many parishes, the custom of waiting for a bishop disappeared. Priests began to serve in parish churches and could be in the altar from the beginning of the service. “Therefore, gradually (after the 8th - 9th centuries) the bishop’s entrance into the temple, and then into the altar, received a new meaning: additional chants and prayers appeared that accompany this entrance (today it is called the Small or entrance with the Gospel). In ancient times, the Gospel was kept in a guarded and secret place. This was due to persecution and the danger of losing the Gospel Code. Bringing the Gospel for reading was a solemn moment. Now the Gospel is always kept on the Throne, and the Small Entrance connects both actions: the entry of the bishop (priest) into the temple and the bringing of the Gospel, which is taken from the Throne, carried out through the deacon’s gate and taken back through the Royal Gate.” The meaning of the Small Entrance is interpreted differently: according to the interpretations of some holy fathers, the Small Entrance symbolizes the Incarnation and the coming of the Savior into the world, according to others - the beginning of His public service and going out to preach. Once again during the liturgy, a procession of clergy passes through the Royal Doors, when the Cherubic Hymn is sung and the Cup of wine, which will become the Blood of Christ, and the paten with the Lamb, which will become the Body of Christ, are brought out. This procession was called the Great Entrance. “The very first explanation of the Great Entrance dates back to the turn of the 4th - 5th centuries,” explains Alexander Tkachenko. - Authors of this time say that the procession signifies the carrying of the deceased Body of Christ taken from the Cross and His position in the tomb. After the Eucharistic prayers are read and the Gifts become the Body of Christ, they will signify the Resurrection of Christ, Christ will rise in the Holy Gifts. In the Byzantine tradition, the Great Entrance received a different interpretation. It is revealed in the Cherubic song that accompanies the procession. She tells us that the Great Entrance is a meeting of Christ the King, who is accompanied by Bodyguard Angels. And the Royal Doors can be called that not only because in ancient times the emperor entered through them, but because now Christ enters through them as the King of Glory, who goes to die on the cross for the sins of people out of love for man.” Canon and creativity Architect Andrei Anisimov talks about the traditions of designing the Royal Doors and the task of the architect: “The Royal Doors are the gates of Paradise, the Kingdom of Heaven. This is what we proceed from when creating them. The Royal Doors must be placed strictly in the center, along the axis of the temple (behind them there should be a Throne, then a higher place). The Royal Doors are usually the most decorated part of the iconostasis. Decorations can be very different: carving, gilding; Grapevines and paradise animals were carved on baroque iconostases. There are the Royal Doors, on which all the icons are placed in temple frames, crowned with numerous domes, which symbolizes the Heavenly City of Jerusalem.” The Royal Doors, like a shrine, can move from one temple to another. “Sometimes you look, and the Royal Doors are not part of the general ensemble. Then it turns out that this is a gate from the 16th century; in Soviet times, grandmothers hid it before the closure or destruction of the temple, and now these gates are back in their place, and the iconostasis is new,” continues Andrei Anisimov. As a rule, the four evangelists and the Annunciation are depicted on the Royal Doors. But within these topics, options are possible. “Only the Annunciation can be depicted in full size,” explains the architect. - If the gate is small, instead of the evangelists their animal symbols can be placed: an eagle (the symbol of the Apostle John the Theologian), a calf (the Apostle Luke), a lion (the Apostle Mark), an angel (the Apostle Matthew). If in the temple, in addition to the main altar, there are two more chapels, then on the central Royal Doors they can depict the Annunciation and the Evangelists, and in the side chapels - on one gate the Annunciation, and on the other - Saints John Chrysostom and Basil the Great - the authors of the rites of the Divine Liturgy. An image of the Last Supper is most often placed above the gate, but there may be Christ giving communion to the apostles (“Eucharist”) or the Trinity. The iconography of the Royal Doors (Annunciation and Evangelists) shows us the path by which we can enter the Gates of Paradise - the path of salvation, which is opened by the Good News of the birth of the Savior and revealed in the Gospel. When designing the Royal Doors, the architect has room for creativity. The royal doors, like iconostases, can be wooden, stone, marble, porcelain, or iron. “For the industrialist Demidov, the cheapest material was iron - he made iconostases from iron. In Gzhel there are porcelain iconostases. In Greece, where there is a lot of stone, the altar barrier is made of stone. In the Greek iconostasis, the Royal Doors are low, chest-deep, and the opening between the gates and the arch is large. With the Royal Doors closed, but with the curtain pulled back, you can see the Throne, the high place, what is happening in the altar, you can hear everything well.” Why are the Royal Doors not always open? According to the charter, on Easter days - Bright Week - the Royal Doors are constantly open. This is a symbol of the fact that Christ, having suffered the death of the Cross, opened the entrance to Paradise for us. The altar symbolizes Paradise, and the rest of the temple symbolizes earth. Now you can hear calls: let's serve as in the ancient Church, with the Royal Doors open, what should we hide from the believers? “This call has nothing to do with the scientific study of ancient worship,” comments Alexander Tkachenko. - In ancient times, at the doors to the main part of the temple there were special servants called ostarii (door keepers). They made sure that only those who would receive communion were present at the liturgy, the rest (catechumens and penitents, those who did not have the right to receive communion) were removed from the church at the deacon’s exclamation of “the catechumens, come out” (those who are catechumens, come out from the temple). And that is why in ancient times the problem of closing the Royal Doors and the altar did not exist. Subsequently, when the order of catechumens disappeared, and there were fewer communicants, the altar began to be closed from those in the temple, in order to avoid profanation of the Sacrament.” The opening or closing of the Royal Doors shows the most important moments of the service. The words of the prayer that the priest says before entering through the Royal Doors into the altar at the end of the third antiphon also speak about reverence. It contains the words: “Blessed is the entrance of Thy saints.” According to one interpretation, the words of this prayer refer to the entrance to the Holy of Holies, since the altar part Christian temple symbolically correlates with the Holy of Holies of the Jerusalem Temple, where no one except the high priest had the right to enter. Therefore, when the priest says: “Blessed is the entrance of Your saints,” this means “blessed is the entrance into the Holy of Holies,” that is, the path to heaven opened to us, according to the Apostle Paul, by the Lord Jesus Christ (see: Heb. 9:7- 28). But can we say that we are always ready for the journey to heaven? And if we answer honestly, it turns out that the open altar and Easter joy We can't do it all the time. Irina Redko Royal Doors Hegumen Theognost (Pushkov) Preface The Orthodox liturgy, being in its essence and its name a common cause and common service, has developed over the centuries and been supplemented by various rituals and external attributes. At the present stage, it is difficult to talk about Orthodox liturgy outside the architectural temple space. And modern liturgical theology must have the courage to evaluate our existing order of worship. Often we simply try post factum to justify the order that has arisen, without thinking about its theological value. Modern temple Orthodox Church unthinkable without the altar barrier with its gates (side and central, “Royal”). But the altar barrier and its gates can function differently during worship. They can unite the people with the priesthood, or they can divide them. The liturgical life of the Church is an icon of its spiritual and moral state. Worship and prayer, like supersensitive photographic film, captures all the features - both positive and negative - of the spiritual appearance of a parish, a community, even entire dioceses and Local Churches. The Eucharist is the sacrament of all sacraments, but the sacrament requires a living, and not a formal and technical attitude. And when interest in the meaning and essence of the liturgy cools, random elements fall into its order that do not reflect its meaning, but only close it from full perception by the people. The liturgy itself ceases to be the living heart of the life of believers. That is, in a mysterious sense, it remains such in the heart, but this is not felt or realized by that mass of clergy and people who only “come” to the liturgy and “defend” it. The “Royal Doors” of the altar have become a “stumbling block” for many, especially the fact that only in the Russian Church their opening for the entire liturgy is the “highest church award.” The author of these lines proposes to look at the liturgy through the prism of patristic theology and try to comprehend the role of the altar barrier and its gates in it, as well as their use in other Orthodox Local Churches. Historical background The ancient Church, from the time of the Apostles and during the long three centuries of persecution, celebrated the Eucharist not in specially built churches, but in the homes of believers, or even simply in the catacombs (in Rome these were underground cemeteries and communications). Nevertheless, archaeological research has shown that even there, in rather poor conditions, there was a special emphasis on the “altar,” that is, the place where spiritual sacrifice was performed. As a rule, it was a table standing on a small elevation (hence the Latin name altare - “elevation”). In buildings with an apse (concha), as a rule, this elevation was located in the apse, which was covered with a curtain during non-liturgical times. This was especially true for catacomb churches, and later for stone churches with apsidal architecture. That is, the sanctuary was highlighted and emphasized by all possible means. But at the same time, during a community meeting for joint worship, the sanctuary was revealed before the eyes of all worshipers, who gathered around the altar Eucharistic meal like a family around a festive table. When the Church emerged from the catacombs and the Christian religion was legalized in the Empire, large temples began to appear, and the type of “temple architecture” gradually formed. But the appearance of an iconostasis with gates (central and side) was still a long way off. In the first centuries of “free existence,” two types of temple architecture emerged: apsidal (an elevation in a niche at the end of the temple) and basilica (an oblong rectangular room, a spacious hall, at the end of which there was a throne). Saint Epiphanius of Cyprus (IV century) mentions a curtain that hid the apse of the temple with the altar located there during non-liturgical times. But it was problematic to hang the altar in basilica-type churches (the width of the altar there corresponded to the width of the temple). Therefore, Chrysostom (“Conversations on the Epistle to the Ephesians”) mentions a “barrier,” which, according to him, before the start of the service is not opened, but “removed.” Apparently, initially it was something like a “portable picket fence”, a “movable lattice”, which was removed during the service and displayed only outside the service. However, the influx of popular masses presented the clergy with a new, purely practical (not at all theological) task: how to protect the altar from the random onslaught of a crowded mass of parishioners? This has become especially true in big holidays. This is how the first version of the “solid” (not portable) altar barrier arises. You won’t have to look for examples of such a barrier for long. It is enough to study the architecture of ancient temples located in large pilgrimage centers. Such centers, naturally, are Bethlehem and Jerusalem. According to Tarkhanova’s research1 on the architecture of the ancient Bethlehem Basilica and ancient temple Resurrection of Christ, the barrier consisted of pillars placed around the altar (so-called “stasis”2, which means “columns” resting on the ceiling), with large “spans” between them. In the central “span” was the entrance to the altar, and between the remaining pillars there were installed bronze gratings (or plates), less than one and a half meters high from the ground. Such obstacles successfully coped with the task3. Over time, attempts arose to draw a symbolic parallel between the temple and the Mosaic “Tabernacle of the Covenant.” It is important to take into account that all these parallels always arose post factum of the introduction into use of one or another detail of the temple decor and never arose per factum, as a kind of speculative principle that temple builders should be guided by. First, for practical reasons, a form convenient for the temple arises interior decoration , and then (and not immediately) “symbolic explanations” of this form appear. The architecture of the “Byzantine” temple goes back to the architecture of the Old Testament temple in Jerusalem, as well as to the prototype of the latter - the “Tabernacle of the Covenant”. In this matter, Tarkhanova’s research on the Old Testament prototypes of our iconostasis is truly invaluable for the Russian-speaking reader. Both late Byzantine exegetes-liturgists and modern researchers speak about this Old Testament root. However, Tarkhanova, having delved into the features of the prototype itself, comes to the conclusion: “The architecture of the (altar - Ig. F.) barrier of early Christian times is the opposite of the Old Testament, borrowing from biblical descriptions only the factual and symbolic basis: instead of hiding the Holy of Holies of the temple , the barrier of the first churches, on the contrary, opens the altar and the liturgy taking place in it to all believers”4. This is how the iconostasis is born. A great expert on the Byzantine tradition, Father Robert Taft, says (like Tarkhanova) the following about Byzantine altars: “The altar barrier was made open: everything that happened inside was visible. Therefore... the altar (i.e. the throne) stood in front of the apse, and not in the apse itself. In the apse itself there was a throne (of the bishop) and a co-throne (of the presbyters).”5 And this situation existed for quite a long time. In the 8th century, Saint Herman of Constantinople composed his explanation of the Divine Liturgy, as well as the temple structure. Firstly, he only mentions the existence in his time of a pillar barrier and a “cosmite decorated with a Cross”6. “Cosmit” is a beam-crossbar above the pillars of the “iconostasis” (the “stasis” themselves, apparently, in this case did not rest against the ceiling, representing a kind of antique portico). Secondly, having described the sacred rites of the Divine anaphora, he addresses the readers with the words: “Having thus become eyewitnesses of the Divine Mysteries, ... let us glorify ... the Mystery of the Economy of our Salvation”7. That is, the saint explained the meaning of what the readers saw in his interpretation at each liturgy. But they could not have seen all this if there had been a blank iconostasis and the closed Royal Doors. He further explains why the priest bows in prayer. This is also an interpretation of that action, which for the saint’s contemporaries was visible, but incomprehensible, and therefore needed interpretation. “At least until the 11th century in Constantinople, the altar was not screened from human gaze, and the throne was not hidden behind a curtain, as frescoes and miniatures of that time show. The first mention of the closing of the gates of the altar barrier after the Great Entrance and the drawing of the curtain is contained in the commentary on the liturgy of the mid-11th century by St. Nicholas of Andides Protheorius. The author calls this custom monastic.”8. A similar interpretation is given by the 12th century author Theodore, Bishop of Andida: “The closing of the doors and the lowering of the curtain (επάνω τούτων) from above them, as is usually done in monasteries, as well as the covering of the Divine Gifts with the so-called air, marks, I think, that night, in which the betrayal of the disciple took place, leading (Jesus) to Caiaphas, presenting Him to Anna and uttering false witness, then the abuse, strangulation and everything that happened then”9. From the quotation it is clear that drawing the curtain and closing the gate is a private monastic custom, and not a statutory provision. Moreover, this text itself is a quotation from an earlier work - a commentary on the liturgy of St. Herman of Constantinople, and expresses only the personal opinion (as indicated by the word “think”) of the author10. From the quote itself it is not clear where the gates and curtain were located: whether on the way from the vestibule to the temple, or on the way from the temple to the altar. And only Theodore of Andida himself adds on his own: “For at a time when the gates are closed and the curtain is lowered, the subdeacons, by decree of the divine fathers, tried to eliminate temptations and restrain those who, to the detriment of the weak, walk there indecently and irreverently and here, like the maids, they stand outside, in the space of the divine temple, as if in the courtyard of the altar”11. Below we will touch on this text when we analyze the theological side of the issue. But the iconostasis itself with two side and central Royal Doors already existed in the Church of Sophia of Constantinople, only it was not located at the entrance to the altar, but at the entrance to the temple from the vestibule (narthex). Here, for example, is how Archbishop Simeon of Thessaloniki describes the priest’s entry into the temple at the beginning of Matins (after the singing of the Midnight Office, which even now, according to the Book of Hours, should be performed in the narthex): “The midnight singing is over. The doors of the temple open (!), like heaven, and we enter into it... the abbot will pass through the Royal Doors, and the others - on the sides of him... The priest at the throne utters an exclamation”12. We see that, firstly, we are talking about entering the temple from the vestibule, and secondly, upon entering the temple, the priest suddenly finds himself at the throne, but it is not said that he passes through some other gate. Consequently, blessed Simeon did not know about any gates separating the temple from the altar13. At least, he does not say that in order to get into the altar, you still need to open some gates or enter some door. Likewise, in chapter 200, the same author, in the same book of interviews on the sacraments of the church, explaining the rite of installation of the patriarch, says that bishops enter the altar “from the side, and not from the middle.” And in the book “On the Temple” the same blessed Simeon of Thessalonica mentions only the curtain around the throne and certain “barriers” that separated the altar from the temple14. There, in the “Book of the Temple,” Simeon writes that after the placing of the Gifts on the throne at the liturgy, “the Royal Doors are closed, for not everyone should be able to see the Sacraments performed at the altar”15. At first it may seem that Simeon is contradicting himself. But this is not the case. The royal doors were between the temple and the vestibule (narthex). In the narthex stood the catechumens (who did not enter the temple with the faithful). And since the altar did not have blind gates, everything that was happening in the altar could be seen from the narethx. And when he says that “the Sacraments should not be visible to everyone,” he means those standing in the narthex (i.e., the catechumens, as well as the excommunicated, the repentant, and those possessed by unclean spirits). The closing of the Royal Doors of the temple made it impossible for those standing in the nartext to see what was happening in the altar. But this did not in the least prevent those standing in the temple from contemplating the service at the altar. But even if we agree that there are contradictions in the works of Simeon of Thessalonica, it is important to take into account that Simeon himself was strongly influenced by the pseudo-Areopagite corpus with its Monophysite opposition between the people and the priesthood. On the other hand, apparently, this pseudo-Areopagite theory has not yet been universally adopted by Orthodox churches, and therefore Simeon could speak more theoretically. Ivan Dmitrievsky cites the words of another contemporary scholar who visited the Orthodox shrines of the East: “Vasily Grigorievich Barsky, in his journey to holy places, testifies to what he saw in Jerusalem, in Gethsemane, at the tomb of the Most Holy Theotokos, on Sinai - at the very site of the appearance of the Burning Bush , such temples in which there are neither royal, nor northern, nor southern doors. But in Jerusalem, the Altar is not separated from the temple by any barrier. For sacred rites there is only a throne. For details about this, see Barsky’s “Travel” on pp. 107 and 270.”16. It is important to take into account that, according to Kondakov, it was “in the holy places of Jerusalem, the Mount of Olives, Bethlehem... that the original forms of the altar, its barrier, and the altar took shape”17. Tarkhanova also notes the influence of the architecture of the Church of the Holy Sepulcher and the ancient Temple of Bethlehem on the design of the altars of Byzantine churches18. Therefore, the testimonies of people who visited ancient temples in past centuries, until they were touched by the hand of “restorers”19, are especially significant for us. The question arises: what did Russian Christians do to deserve such a punishment - excommunication from contemplating the sacrament of the altar? And if Jerusalem and the Holy Sepulcher are the “Mother of Churches,” as we sing at Sunday services,20 then it should be a guide for us all. Otherwise, in trying to be holier than the Temple of Jerusalem itself, we may turn out to be boring Pharisees, and not at all bearers of holiness. Theology of liturgical space When we talk about liturgical space, the theology of this space cannot be “autonomous” from the theology of the Eucharistic liturgy itself. What exactly happens at the Eucharist? The most important thing is touching the Eternity of God. According to the wise expression of Archpriest A. Schmemann, the boundaries of time and space are overcome, and we enter God's eternity. During the service of the Liturgy, in addition to the consecration of the Gifts, there is also a spiritual movement forward, towards eternity, of the people participating in the priestly service. We can identify three main aspects of the liturgical action that directly relate to our topic: the entry into glory, the contemplation of glory, and the unity of the space of the temple and the altar. Entering into Glory In the Divine services of the Orthodox Church, the idea is often emphasized that this service itself became possible only due to the fact that the Divine and human were united in Christ, heaven and earth were united, and the “mediastinal barrier” was destroyed. By being present at the liturgy, standing before the Face of God, we are present in heaven, before God, in His Mysterious and Glorious Kingdom. According to Rev. Maxim To the confessor, eternal realities, “future” blessings, “primitive sacraments” are communicated in the Church to the faithful “through sensory symbols.” And everything in worship has its own meaning - symbolic in in the highest sense of this word (i.e. organic, not allegorical symbolism)21. To understand the meaning of “entering the temple” as a sacred rite, it is necessary to turn to the “small entrance” of the liturgy22. In ancient Byzantine and Roman practice, the people gathered and waited for the priest in the temple, and when the priest entered the temple, the people greeted the entering priest by singing psalms or, more precisely, verses from the psalms, called “entrance verses” (Latin introit, Greek είσοδικόν) . That is why the prayer with which the service began was called “the prayer of the people’s assembly” or “the prayer of the people’s entry into the temple.” This prayer now stands at the beginning of the service in the rite of the Liturgy of the Apostle James, Bishop of Jerusalem23. The same prayer stood at the beginning of the liturgy of John Chrysostom in the first Greek codex that has reached us, i.e. in the Codex Barberini (8th century). This prayer was read in the middle of the temple24. This prayer in its meaning refers specifically to the “gathering of the faithful at the liturgy.” It is noteworthy that in the Barberini Codex there is no, firstly, that prayer of the “small entrance”, which is known from our current missals, and secondly, there is no mention at all that after the priest entered the temple there was another entrance to the altar as a special procession. We have to agree with Golubtsov’s opinion that in the ancient Byzantine rites the entire first part of the service before the exit of the catechumens was in the church, and there was an entrance to the altar along with the “brought” gifts for the Eucharist25. The Sophia of Constantinople, built by Emperor Justinian the Great, had a charter completely different from all of the above. The difference between the actual Byzantine rite of Hagia Sophia (and, perhaps, almost the only temple) was that in Rome (and in other places) the people gathered in the temple before the arrival of the priesthood, and waited for the priests in the temple. IN " Great Church"(Hagia Sophia) of Constantinople everything was different. People gathered at the entrance to the temple in a special atrium (covered western gallery), which was specially built

Conclusion The Church is a living organism, not a soulless building. Any living organism is subject to suffering and metamorphosis. And the task of any living organism is to defeat diseases, “shake off the dust” and develop further. I would like to hope that the research conducted by the theological school will not “end up in a folder”, will not be covered with “age-old dust,” but will become a stimulus for real activity to transform our liturgical life. Now this topic is especially relevant, since without a full introduction of the believer into Orthodox worship we risk losing this believer, if not for the Church as a whole, then for worship. Our people use all kinds of liturgical surrogates and apocryphal prayers due to the inaccessibility of worship to them. And catechesis alone cannot do this. Coming to church, a person (if he wants to become a member of the community, and not just came to “light a candle”) looks for his place in the worship service. But it turns out to be closed in front of him. At the end, the author offers readers a list of literature used in the preparation of this article and at the same time recommended for those who wish to more thoroughly study the issues raised in this brief study. Notes 1 See Tarkhanova S. Old Testament prototypes of the altar barrier of Byzantine churches // Alpha and Omega, No. 2 (52); 3 (53), 2008. 2 Later, these pillars began to be decorated on top with icons and carved decorations. Hence the name: “Iconostasis”. 3 This is also true in our churches: if you don’t put barriers in cathedrals, then, for example, on Easter the people can simply “sweep away” the priesthood along with the throne. 4 Tarkhanova S. Old Testament prototypes... // Alpha and Omega, No. 2 (52), 2008. P. 306. 5 Taft R. Byzantine Church rite. St. Petersburg, 2000. P. 79. 6 Herman of Constantinople, set. A legend about the Church and consideration of the Sacraments. M., 1995. Ch. 8. P. 47. 7 Ibid. Ch. 41. P. 81. 8 Nikolai Kim, priest. Note No. 8 to the Letters of Rev. Nikita Stifat // Rev. Nikita Stifat. About Paradise. St. Petersburg, 2005. 9 Theodore, Bishop of Andida. A brief discussion on the mysteries and images of the Divine Liturgy, compiled at the request of the God-loving Basil, Bishop of Thytia. Pech. According to the editor: Krasnoseltsev N. F. Explanation of the liturgy, compiled by Theodore, Bishop of Andida // Orthodox interlocutor. Kazan, 1884. Book. I. Ch. 21. 10 See: PG 98: 425-428. 11 Theodore, Bishop of Andida. Brief reasoning... Ch. 21. 12 Simeon of Thessalonica, blessed. Conversation about holy rites and church sacraments. Ch. 274. 13 Although in the 147th chapter of this work certain special “gates of the altar” are mentioned, here the openings in stasis with a small “wicket” can be called gates, as can now be found in Greek types of iconostasis. 14 Simeon of Thessalonica, blessed. Book about the Temple II Dmitrievsky 77. Historical, dogmatic and mysterious interpretation of the Divine Liturgy. M., 1884. P. 385. But the “sacred doors of the altar” are also mentioned there (Simeon of Thessalonica, blzh: Book about the Temple... P. 402), which were opened at the small entrance during the bishop’s service. However, we could assume - because there is no description of the iconostasis from the time of Simeon of Thessalonica, which means the same partitions up to the knee of a man of average height. 15 Simeon of Thessaloniki, blzh:. Book about the Temple... P. 410. 16 Ibid. P. 130. 17 Kondakov 77. 77. Archaeological journey through Syria and Palestine. St. Petersburg, 1904. P. 31. 18 Tarkhanova S. Old Testament prototypes... // Alpha and Omega, No. 2 (52), 2008. P. 306. 19 Many churches in the Holy Land had an architecture consistent with Barsky’s description. However, as soon as “zealots of piety” from the countries of the former USSR appeared in Palestine and Israel, who undertook to “bring the temples into the desired form” with their own money, the temple interior changed. In churches that, over the centuries of their existence, had never seen iconostases, “deaf” “Russian” iconostases with icons of dubious value (picturesque “paintings” from the Russian Baroque times) appeared. The author of these lines considers such “help” criminal when the beauty of the ancient diversity of temple architecture is destroyed. 20 See: Octoechos. Tone 8. Saturday. Great Vespers, stichera on “I cried to the Lord.” 21 Articles on the Orthodox theology of symbols: Schmemann A., prot. Sacrament and symbol // Orthodox community, No. 32. P. 39-52; Losev A. Dialectics of myth (corresponding section on symbol). M., 2002; Averintsev S.S. Symbol (encyclopedic article) // Bulletin of VSU, 1998. Pilipenko E. Patristic theology of the symbol // Alpha and Omega, No. 27. P. 328-349, No. 28. P. 310-333. 22 It is the small entrance that is the beginning of the Eucharistic entrance. The service began with the Small Entrance in both the East and the West. In the “classical” version of modern liturgy “ Byzantine rite“All that remains is the “entrance with the Gospel,” which consists of taking the Gospel out of the side (northern) door of the altar and then bringing it through the Royal Doors into the altar. This is a relict form of what was performed according to the ancient Rules of worship in Hagia Sophia of Constantinople. Actually, many studies and articles have already been written about the fact that the small entrance was the beginning of the Eucharistic service (See R. Taft. Byzantine Church... P. 34; Solovsh Meletsh, priest Divine Shturpya. Lv1v, 1999. P. 239-246) . “The service of God begins with a small entrance, that is, the entry of a bishop or presbyter into the sanctuary. The liturgy begins with the Small Entrance in the “Apostolic Constitutions”, in the “Pilgrimage of Silvia Etheria”, and in those descriptions of the service that St. left us in his homily. John Chrysostom... The priest entered the temple, and at this time the choir sang the “entrance” hymn. After this, the priest gave “peace” to the people and entered the high seat for the holy meal. After this the reading began Holy Scripture and sermon, prayer for the catechumens and their removal from the temple” (Solovsh Meletsh, Priest Divine Shturpya. P. 240). 23 To be more precise, the first prayer refers to the priest himself and is read on the threshold of the temple (in a whisper, without the participation of the people). The second prayer is an extended initial exclamation “Glory to the Father and the Son and the Holy Spirit - the Trinity and the Unity Light...”, and it is immediately followed by the prayer for the people to enter the temple. 24 Here is its text: “Benefactor and Creator of every thing, accept Your converging Church, fill every lack, bring everyone into perfection and make us worthy of Your Kingdom through the grace and love of Your Only Begotten Son, with Whom You are blessed together with the Most Holy Spirit, now and in the future. at all times and forever and ever." This prayer is present at the beginning of the text of the liturgy of John Chrysostom in the Slavic service book of Anthony the Roman (according to modern scientific dating of the text, the document belongs to the beginning of the 14th century). See: Missal of Anthony the Roman. pp. 15, 30 (State Historical Museum, Sin. 605/342. Preparation of the text and commentary by Yu. Ruban); Goar. Eujcolovgion. P. 83; Swainson. The Greek Liturgies. P. 88; OrlovM. 77., prot. Liturgy of St. Basil the Great. St. Petersburg, 1909. P. 384. It is also present in the ancient Slavic rite of the liturgy of the Apostle Peter (a translation of the Latin Mass, which was strongly influenced by the Byzantine rite). For this text, see: P. Sirku. On the history of the collection of books in Bulgaria in the 14th century. St. Petersburg, 1890. T. I. (Issue II). pp. 221-222. In this rite, the first prayer refers to the entrance of the clergy into the temple, the second - to the proposal, and the third - to the entrance of the people into the temple (which, by the way, corresponds to the arrangement of prayers in the Liturgy of the Apostle James). This prayer is present (with minor variations) in all ancient Eucharistic codes. 25 See: Golubtsov A. 77. From readings... P. 91, 153-155. Which, by the way, explains why in the modern rite of the Liturgy of the Apostle James (published by Metropolitan Dionysius of Zakynthos), the prayer of “entering the veil” comes immediately after the bringing of the Gifts to the altar. Apparently, at this time the priest entered the altar with gifts. And if this is so, then it means that the existing rite of the Liturgy of the Apostle James is greatly “supplemented,” including the prayer of entering the altar before the “trisagion.” Moreover, the “prayer of the veil” and the “prayer of the small entrance” of the clergy to the altar actually duplicate each other, almost repeating each other word for word. 26 This is, in fact, purely biblical terminology. The Apostle Paul in his epistles very often calls believers “saints” - Rom. 1:7; 15:24,26,31; 16:2, 15. 1 Cor. 1:2. 2 Cor. 1:1, 9:1. Eph. 1:1, 15; 5:3. Phil. 1:1. Col. 1:2. 1 Thess. 5:27. Heb. 13:24. Acts 9:32. 27 Simeon of Thessalonica, blessed. Conversation about holy rites and Church Sacraments. Ch. 123. pp. 204-205. 28 Maxim the Confessor, Rev. Creations. V. 2 vols. T. 1. M., 1993. P. 179. 29 Amazing: lately Much is said about the importance of “Palamist” theology for the correct organization of the spiritual life of not only monks, but also laity involved in life in God, which is life in the glory of Christ, the contemplation of this glory. But at the same time, the liturgical, eucharistic aspect of this contemplation is completely ignored, to which we will try to pay at least a minimum of attention. 30 Liturgy of the Apostle James. P. 173. 31 In this regard, the modern “adapted” rite of the Liturgy of the Apostle James published by the Lesninsky Monastery is a striking example of liturgical illiteracy. On the one hand - ancient prayers, on the other - the modern position of the ritual. But prayers reveal the content of the ritual. Let us emphasize: the prayers of the Liturgy of Jacob reveal a completely different content of the ritual. 32 Maximus the Confessor, Rev. Mystagogy, XIII, cf. from XV // Creations. T. 1. P. 171, 172. 33 Ibid., VII. P. 167 34 Ibid., P. S. 159. 35 Sidorov A. Commentary No. 20 to “Mystagogy” by Rev. M. Confessor//Creations. T. 1. P. 302. 36 Dionysius the Areopagite (Pseudo). About the Church hierarchy. Ch. 3. 37 Nikolai Kavasila. Explanation Divine Liturgy. Ch. 36 38 Dmitrievsky I. Historical, dogmatic... P. 130. 39 Ibid. P. 79. 40 Theodore, Bishop of Andida. A brief discussion of the mysteries... Ch. 21. 41 This is also not entirely appropriate, because divides the single Table of Christ into parts, whereas at the Feast there is always only one table, one meal, one Cup of the Eucharist; those sitting observe subordination, but this is precisely one meal in the true sense of the word, and not “two tables” - one sitting for the priesthood, and another for the rest. This contradicts the very understanding of the Last Supper, at which, according to the liturgical texts of the Great Fourth, the Lord makes us His “companions.” A dining companion is the one who sits at the same table with you, and not the one for whom you set a separate table at home. Therefore, it is necessary to read one common prayer for communion (by the way, the Missal prescribes reading this prayer once - before the priest’s communion in the altar, apparently assuming that it will be read publicly) and “from the One Bread and Cup” to give communion to everyone, but alternately, maintaining subordination. Subordination is the arrangement of persons at the same table, recognizing each other's seniority. For example, the youngest member of the family may sit on the farthest corner of the table, but still there is one table, one meal, common prayer and common eating. 42 Veniamin (Fedchenkov), archbishop. Heaven on earth. M., 2003. P. 172. 43 In this case, we need to admit that St. himself. John of Kronstadt could also be wrong, and a careful consideration of his position on this issue does not find its justification - neither theological nor patristic. When speaking about loyalty to the saints, we must follow their path, but not repeat their mistakes. Great merit to Fr. John of Kronstadt is that he “moved forward” the Eucharistic problem in Russia, drew attention to it and became a preacher for the most frequent communion at every liturgy at which God has vouchsafed a Christian to attend. 44 For example, as in the Cathedral of the Alexander Nevsky Lavra St. Petersburg. 45 The word “rubrics” comes from the Latin. ruber (red). These are statutory "commentaries", usually written in red text in the margins of ancient liturgical codes. 46 And how is it that our “zealots” do not pay attention to the widespread “violation” of this principle, when the gates to the litany of the catechumens are closed? “Great omission” to their “piety”? 47 Sof. bib. No. 567, l. 20 rev; in Odintsov p. 211. 48 Orlov M. I., prot. Liturgy of St. Basil the Great. pp. 37, 39,41. 49 Schmeman A., prot. On the question of liturgical practice (letter to my bishop), VI. 50 The author of these lines is sure that the first violation is much more criminal. Unfortunately, few people think of celebrating the liturgy Presanctified Gifts in due time - in the evening, in the afternoon, and accordingly, matins - in the morning (i.e., return to studio practice, described in our Typikon in Chapter 7 as an alternative all-night vigil where there is no real possibility of serving the service all night). But the “practice of the majority” consists of serving the “Vespers”, which we “manage” in 3-4 hours. But those who decide to return to statutory practice in this matter will immediately be called “modernists.” We “swallow” the camel, but we carefully strain out not even the mosquito, but the mosquito larva. 51 Skaballanovich M. Explanatory Typikon in 3 parts. Part I. Kyiv, 1910 (reprint. M. 1995). P. 490.

Gate

(church) - entrances leading from the vestibule to the temple and from the temple to the altar. The main gate of the temple is called royal or red, in imitation of the “red gates” of the Jerusalem temple mentioned in the Acts of St. apostles (III, 2). The royal doors of an Orthodox church always face west and are placed opposite the altar. They are called the royal gates because they serve as the main entrance to the earthly house of the King of Heaven. In the royal V., at the entrance to the temple, Orthodox kings took off their crown and weapons, leaving their squires and bodyguards. Royal Doors or saints also called the main entrance from the church to the altar, the main door of the iconostasis leading to that part of the altar where the throne. The King of Glory enters through the royal V. at the liturgy" indulge in food for the faithful"(Typ., ch. 9 and 22); title saints they were appropriated because St. Gifts and the uninitiated are not allowed to enter them - only clergy can enter through the royal gates. Royal V. are also called great, compared to northern And southern gates (see below), and according to the magnitude of the grace-filled gifts with which the faithful are honored in them, and according to the great sign of them during the divine service. The opening of the royal doors depicts an opening heavenly kingdom. In the first centuries of Christianity, instead of the royal doors, it was used veil; O " small veils" is mentioned in the liturgy of St. Apostle James, dating back to the 1st century and used in the Jerusalem church. St. Chrysostom (Demon and Epistle to Eph.) explains that the veil serves as an indication of the high dignity of the altar, and Cyril of Alexandria says that the opening of both half of the “curtain” is likened to the opening of heaven. Nowadays, the “curtains” inside the altar are hung with the royal walls, which are always richly and beautifully decorated with carvings, sculptures and paintings, usually depicting the faces of the evangelists and the gospel; Holy Virgin Maria. The royal veils are opened at certain times during sacred rites, and also always on Bright Week. Two others lateral entrance to the altar, on the right and left sides of the royal V., are called northern And southern gates. The northern E., to the left of the royal ones, serve as the entrance to that part of the altar where the altar is located; to the right of the royal V. - southern or midday V., leading to that part of the altar in which there was previously deacon(vessel repository), from which the southern V. were called deacons(see Iconostasis). The northern and southern gates are placed on the same straight line with the Royal Gates, and through them all the ecclesiastical exits from and entrances to the altar are made, namely: the exits are through the northern gates, and the entrances are through the southern gates. The decorations of the side walls mostly consist of images of angelic and prophetic faces or images of archdeacons of the leading church, for example St. Stefan, Lavrentiy and others.

Encyclopedic Dictionary F. Brockhaus and I.A. Efron. - S.-Pb.: Brockhaus-Efron. 1890-1907 .

Synonyms:

See what “Gate” is in other dictionaries:

Goalkeeper, I... Russian word stress

Gate. Open (open) the gates to let you into the city; or: capture the city, forcing the gates to be opened; command the city (2): Galichki Osmomysl Yaroslav! sitting high on your gold-plated table... Your thunderstorms flow across the lands, opening Kiev... Dictionary-reference book "The Tale of Igor's Campaign"

Gates are ritual doors in the temple. The Gate of the Sun is a stone arch belonging to the Tiwanaku culture. The Gate of Ishtar is the eighth gate of the inner city in Babylon. Built in 575 BC. e. by order of King Nebuchadnezzar II in... ... Wikipedia

Gate 2: Trespassers The Gate II: Trespassers Gate II: Return to the Nightmare Genre horror film Director Tibor Takacs Producer ... Wikipedia

Gates, gates, gates, gates, gates, gates (Source: “Complete accentuated paradigm according to A. A. Zaliznyak”) ... Forms of words

GATE, gate, unit. no (church book, poetic obsolete). Gates. “The narrow gate is locked with a castle by the rebellious.” Pushkin. Royal doors (see royal). Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary

GATE, gate (obsolete). Same as gates (1 and 3 digits). The Royal Doors are the middle doors in the church iconostasis leading to the altar. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

Wed, plural, church gates, doors. The royal, holy gates, in churches, the doors of the altar, opposite the throne, in the middle. Gateway, love spell. Goalkeeper, goalkeeper husband. female gatekeeper, doorkeeper, gatekeeper, janitor, gatekeeper. Rotate that, old... ... Dahl's Explanatory Dictionary

See gate Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011. gate noun, number of synonyms: 2 ... Dictionary of synonyms

Gate, gate, am... Russian word stress

Mn. outdated 1. the same as the gate 2. the same as the entrance Efremova’s Explanatory Dictionary. T. F. Efremova. 2000... Modern explanatory dictionary Russian language Efremova

The iconostasis usually has three doors (gates) leading to the altar: in the middle of the iconostasis, directly in front of the throne - the Royal Doors, to the left of the Royal Doors (in relation to the viewer standing in front of the iconostasis) - the Northern Gate, to the right - the Southern Gate. The side gates of the iconostasis are called deacon doors. It is customary to open the Royal Doors only during divine services (in Russian divine services only at certain moments). Only clergy can pass through them, performing the required liturgical actions. Deacon's doors can be used at any time for simple (non-symbolic) entry and exit from the altar. Also, if necessary, members of the church clergy (assisting clergy during the service) can pass through them.

The subjects of the icons in the iconostasis and their order have certain established traditions. The iconographic composition of the iconostasis expresses the content and meaning of the worship taking place in the temple. However, some of the plots may be replaced or varied, which is caused by the historical development of the iconostasis and the presence of local features. The most common composition of the Russian iconostasis is as follows:

1st basement row
2-seat row (a - royal gates, b, c - side gates).
3 - holiday row
4 -deesis (apostolic) row
5- prophetic
6- forefathers

The bottom row (or in other words “rank”) is local
It houses the Royal Doors with the image of the Annunciation and the four evangelists on two doors.

Sometimes only the Annunciation is depicted (full-length figures of the Archangel Gabriel and the Mother of God). There are life-size images of saints, most often the compilers of the liturgy - John Chrysostom and Basil the Great. The frame of the Royal Doors (pillars and crowning canopy) may have images of saints, deacons, and on top an icon of the Eucharist - the Communion of the Apostles by Christ. To the right of the royal doors is the icon of the Savior, to the left is the icon of the Mother of God, occasionally replaced by icons of the lords and Mother of God holidays. To the right of the icon of the Savior there is usually a temple icon, that is, an icon of the holiday or saint in whose honor this temple is consecrated.

On the deacon's doors, the archangels Gabriel and Michael are most often depicted, sometimes the holy archdeacons Stephen and Lawrence, Old Testament prophets or high priests (Moses and Aaron, Melchizedek, Daniel) may be depicted, there is an image of a prudent thief, rarely other saints or prelates. There are deacon's doors with multi-figure scenes based on scenes from the book of Genesis, paradise, and scenes with complex dogmatic content. The remaining icons in the local row can be anything. This is determined by the desire of the creators of the iconostasis themselves. As a rule, these are locally revered icons. Because of this, the row is called local.

Second row - Deesis, or Deesis rank

“Savior in power” is the central icon of the full-length Deesis order. Tver, around 1500.

The Deesis tier is the main row of the iconostasis, from which its formation began. The word "deisis" is translated from Greek as "prayer." In the center of the deesis there is always an icon of Christ. Most often this is “The Savior in Power” or “The Savior on the Throne”, in the case of a half-length image - Christ Pantocrator (Almighty).
Rarely are shoulder or even main images found. On the right and left are icons of those standing and praying to Christ: on the left - the Mother of God, on the right - John the Baptist, then the archangels Michael (left) and Gabriel (right), the apostles Peter and Paul. With a larger number of icons, the composition of the deesis may be different. Either saints, martyrs, saints and any saints pleasing to the customer are depicted, or all 12 apostles are depicted. The edges of the Deesis can be flanked by icons of stylites. The saints depicted on Deesis icons should be turned three-quarters of a turn towards Christ, so that they are shown praying to the Savior.

Third row - festive

It contains icons of the main events of the Gospel history, that is, the twelve feasts. The festive row, as a rule, contains icons of the Crucifixion and Resurrection of Christ (“Descent into Hell”). Usually the icon of the Raising of Lazarus is included. A more expanded version may include icons of the Passion of Christ, the Last Supper (sometimes even the Eucharist, as above the Royal Doors) and icons associated with the Resurrection - “The Myrrh-Bearing Wives at the Tomb”, “The Assurance of Thomas”. The series ends with the icon of the Assumption. Sometimes the feasts of the Nativity of the Mother of God and the Entry into the Temple are absent from the series, leaving more space for the icons of the passion and the Resurrection. Later, the “Exaltation of the Cross” icon began to be included in the series. If there are several chapels in the temple, the festive row in the side iconostases may vary and be shortened. For example, only the Gospel readings in the weeks after Easter are depicted.

“Ascension” from the festive rite of the Assumption Cathedral in Vladimir. 1408



The fourth row is prophetic
It contains icons of Old Testament prophets with scrolls in their hands, where quotes from their prophecies are written. Not only the authors of prophetic books are depicted here, but also kings David, Solomon, Elijah the prophet and other people associated with the foreshadowing of the birth of Christ. Sometimes in the hands of the prophets the symbols and attributes of their prophecies cited by them are depicted (for example, in Daniel - a stone that was independently torn from the mountain as the image of Christ born of the Virgin, in Gideon a dew-drenched fleece, in Zechariah a sickle, in Ezekiel the closed gates of the temple). In the center of the row there is usually an icon of the Mother of God of the Sign, “containing in Her bosom the image of the Son born of Her,” or the Mother of God with the Child on the throne (depending on whether the images of the prophets are half-length or full-length). However, there are early examples of prophetic series without the icon of the Mother of God. The number of prophets depicted may vary depending on the size of the row.

“King David”, icon from the prophetic series, Church of the Transfiguration, Kizhi Monastery

Fifth row - forefathers

It contains icons of Old Testament saints, mainly the ancestors of Christ, including the first people - Adam, Eve, Abel. The central icon of the series is the “Fatherland” or later the so-called “New Testament Trinity”. There are serious objections to the possibility of using these iconographies in Orthodox iconography. In particular, they were categorically prohibited by the Great Moscow Council of 1666-1667. Objections are based on the impossibility of depicting God the Father, an attempt to which is directly made in the image of the Old Denmi (in ancient times the Old Denmi was an image only of Christ coming to be incarnate). Another argument in favor of rejecting these two icons is their distorted idea of ​​the Trinity. That is why in some modern iconostases the central image of the forefathers’ row is the “Old Testament Trinity” icon, that is, the image of the appearance of three Angels to Abraham. The most preferred iconographic version of the Trinity is the icon of Andrei Rublev. However, the image of the “Fatherland” and the “New Testament Trinity” has become widespread and is still used in icon painting.

"Abraham". Icon from the forefathers' rank. OK. 1600 MiAR.

Completion
The iconostasis ends with a cross or an icon of the Crucifixion (also in the shape of a cross). Sometimes, on the sides of the cross, icons of those present are placed, as on the usual icon of the Crucifixion: the Mother of God, John the Theologian, and even sometimes the myrrh-bearing women and the centurion Longinus.

Additional rows

At the end of the 17th century, iconostases could have a sixth and seventh row of icons:

* Apostolic Passion - depiction of the martyrdom of the 12 apostles.
* The Passion of Christ is a detailed account of the entire story of the condemnation and crucifixion of Christ.

These additional rows of icons are not included in the theological program of the classical four-five-tier iconostasis. They appeared under the influence of Ukrainian art, where these subjects were very common.

In addition, at the very bottom, at floor level, under the local row, at that time there were images of pre-Christian pagan philosophers and sibyls, with quotes from their writings, which contained prophecies about Christ. According to the Christian worldview, although they did not know Christ, they sought to know the truth and could unknowingly give a prophecy about Christ.

Symbolism of the iconostasis
The appearance of the altar curtain is associated with the construction of the Old Testament Temple of Jerusalem, where the curtain covered the Holy of Holies. Behind the curtain was the Ark of the Covenant with the tablets of the 10 Commandments. Only once a year, on the day of atonement, the high priest entered the Holy of Holies with the sacrificial blood of a goat and a bull (Lev: 16), asking God to cleanse the sins of the people. The division of a Christian church into an altar, a naos and a vestibule repeats the structure of the Old Testament temple. However, now the altar - the place where the Eucharist is celebrated - has become accessible to people. The Apostle Paul calls the veil of the temple the flesh of Christ: “Therefore, brethren, having boldness to enter into the sanctuary through the blood of Jesus Christ, in a new and living way, which He again revealed to us through the veil, that is, His flesh” (Heb. 10:19-20) . Thus, thanks to the redemption of mankind by Christ, people were able to enter the temple and the Holy of Holies, that is, the naos and the altar. But the Apostle Paul points to the role of the veil itself in this. There are moments gospel history when the veil is compared to the flesh of Christ. According to legend, at the moment of the Annunciation, the Mother of God, having been raised at the Jerusalem Temple, was weaving a new curtain for it. A comparison between the conception of Christ and the tearing away of the veil can be found in the service: “For from the turning away of the scarlet, the most pure, intelligent scarlet of Immanuel was worn away within in Thy womb. Moreover, we truly honor Theotokos” (the 8th song of the Theotokos of the canon of Andrei of Crete). This legend is reflected in some icons of the Annunciation, where Mary holds a ball of red thread in her hands. The moment of Christ’s death in the Gospel received special understanding: “Jesus cried out again with a loud voice and gave up the ghost. And behold, the veil of the temple was torn in two, from top to bottom” (Matt. 27:50,51). So, the curtain not only separated and covered the altar from view, but itself depicted the flesh of Christ, which was inextricably linked with the fact that Christians took Communion here.

With the development of icon veneration and later in connection with the formulation of church teaching about the icon on VII Ecumenical Council(787) the symbolic veil could not help but be replaced by a series of images. Instead of the Old Testament symbol, it was necessary to show the New Testament reality. The barrier in the form of a row of columns also served as a symbol in itself. The columns were often numbered 12 (like the 12 apostles), and the center of the barrier was crowned with a cross - the image of Christ. The appearance of the icon of Christ over the barrier became the replacement of the symbol with its direct meaning. This is where the main row of the iconostasis comes from - the deesis (from the Greek “deisis” - prayer). The composition “Deesis” depicts Christ in glory (on the throne or surrounded by radiances and angelic powers) surrounded by the Mother of God, John the Baptist and other saints praying to Him. This shows the moment of the second coming of Christ and the Last Judgment, when the Church prays to Christ the Judge for humanity. The image of the 12 apostles (“apostolic deesis”) also recalls Last Judgment, when the apostles sit on the thrones with Christ to judge the 12 tribes of Israel (Matthew 19:28). At the end of the 17th century, the Deesis ranks are found with seated apostles, as in the Last Judgment icon.

The festive rite of the iconostasis develops the theme of the Church united by Christ, and shows the most important moments of the Savior’s coming into the world and the redemption He accomplished - the twelve feasts. The Resurrection of Christ as the main moment of saving humanity from death and leading people from hell to heaven is usually preceded by a more detailed depiction of the events Holy Week, which is associated with the special highlighting of these days in the service. Also shown major events after the Resurrection of Christ, testifying to the truth of what happened. The festive rite is not just an illustration of the Gospel, but highlights events that have an eternal meaning for humanity. It is also inseparable from the move liturgical year, therefore, it is not the historical sequence of events that is found, but their order in the church calendar.
Our Lady of the Sign.

The prophetic series addresses the theme of Old Testament prophecies and omens about the Savior, Who was to come into the world. The prophets and the entire Israeli people waited for the birth of the Messiah into the world. That is why in the center of the row they began to place the image of the Mother of God, from whom Christ would be born. At the same time, the “Sign” icon with the image of Christ in a medallion against the backdrop of the womb of the Virgin Mary became a common option, since this iconography better showed the incarnation of God into the world.

The fifth row, called the forefathers' row, expanded on the Old Testament theme. If the prophets lived after the Law given to Moses at Sinai, then the most ancient righteous people from Adam himself are depicted here, who knew the one God and also had the promise of salvation. The central icon of the series, in this case, was supposed to depict God Himself, in whom these people believed. That is why the image of the “Fatherland” was placed here, showing all three hypostases: the Father, the Son and the Holy Spirit, through the symbols available in Christianity. The image of the Old Denmi (elder) is taken from the vision of the prophet Ezekiel and the Apocalypse of John the Theologian. If initially the Old Denmi was understood as the pre-eternal image of God the Son, now they began to depict the Father, Whom can only be known through the incarnate Son. Christ himself - the second hypostasis - is shown as a youth sitting on the lap of the Father, that is, in the iconography of Emmanuel. Savior Emmanuel is the image of Christ as a young man, as a sign of His eternity. The Holy Spirit is shown in the form of a dove as He appeared at the time of Christ's Baptism. The medallion (glory) with a dove is held in the hands of the youth Christ.

Already in the 17th century, the admissibility of this iconography was questioned. In “Fatherland” a direct image was made of God the Father, who is “ineffable, unknown, invisible, incomprehensible” (the liturgy of John Chrysostom). Here it was combined with the image of Christ, who, being co-eternal with the Father, became incarnate and received human form. To this was added the symbolic image of the Holy Spirit in the form of a dove. The different depictions of the three hypostases created their disparity in the image.

In some modern iconostases, the "Fatherland" is replaced by the Trinity icon in Andrei Rublev's iconography or in the earlier version, "The Hospitality of Abraham". This image shows the appearance of God in the form of three angels, who promised Abraham the birth of a son. Abraham already knew that the Savior would be born from his offspring, so here too we need to see a prophecy about the coming of Christ into the world. The version created by Andrei Rulev shows three angels without Abraham and Sarah serving them. Here it is emphasized that those who came themselves portrayed the trinity of God. Moreover, Rublev’s icon conveys the moment of eternal divine advice on how to save humanity, which will fall away from God. Here God the Son takes on the role of Redeemer, which is emphasized by the head of the sacrificial calf in the bowl on the table.

The crucifix at the end of the iconostasis once again emphasizes that Christ is the Redeemer and Sacrifice, thanks to whom the Church was created.
Deesis. Pskov icon of the 14th century.

Thus, the 5-tier iconostasis must be viewed from top to bottom. First, the iconostasis shows humanity’s expectation of the Savior promised by God, then the appearance of Christ into the world and the atonement He accomplished. The Deesis “rite is completion” historical process: he is the image of the Church in its eschatological aspect.” Here the saints are shown united with Christ as one body.

If from top to bottom the content of the iconostasis shows Divine revelation and the economy of the salvation of mankind, then the program of images on the royal doors in the local row shows the path to salvation for every believer. At the Annunciation, Mary agreed to become the Mother of Christ, and in Her the earthly and heavenly were united. Also, the gates themselves connect the temple with the altar - the image of the heavenly world and paradise. Through the evangelists, the news of salvation spread to all corners of the world. Finally, in the image of the Eucharist above the royal doors, people's acceptance of Christ and union with Him is shown.

Just as in the Eucharistic prayer at the liturgy the deceased Old Testament forefathers, fathers, patriarchs, prophets, New Testament apostles, martyrs, confessors, and then all living believers in the church are remembered in faith, so the iconostasis is not closed. It is continued by the Christians gathered in the temple.

Home and travel iconostasis
In the residential buildings of Orthodox Christians there is a specially designated place for icons - a red corner - in the design of which the principles of the church iconostasis are repeated. There are multi-figure icons from the 16th to 19th centuries, containing images of the Deesis, festivals and prophets, and sometimes (especially in the 19th century) the entire multi-tiered iconostasis with a local row. IN ancient Rus' such miniature iconostases were called “March Church”, that is, they could be taken with you on a trip.

Folding iconostasis of the marching church of the Russian army.

red corner in a hut or in a house

(21 votes: 4.7 out of 5)

To the right of the Royal Doors is an icon of the Savior, where He is depicted with a Book and a blessing gesture. On the left is an icon of the Mother of God (usually holding the Baby Jesus in her arms). Christ and the Mother of God meet us at the gates of the Kingdom of Heaven and lead us to salvation throughout our entire lives. The Lord said about Himself: “I am the way, the truth and the life; no one comes to the Father except through Me” (); “I am the door to the sheep” (). The Mother of God is called Hodegetria, which means “guide” (usually the iconographic version of the Mother of God Hodegetria is placed here).

The icon following the image of the Savior (to the right in relation to those ahead) depicts the saint or holiday in honor of which the temple is named. If you entered an unfamiliar temple, it is enough to look at the second icon to the right of the Royal Doors to determine which temple you are in - in the St. Nicholas Church there will be an image of St. Nicholas of Myra, in Trinity - the icon of the Holy Trinity, in Assumption - the Assumption of the Blessed Virgin Mary, in the Church of Cosmas and Damian - the image of Sts. unmercenary, etc.

In addition to the Royal Doors, in the bottom row there are also southern and northern doors (also called deacons, because it is the deacon who uses them more often than others during the divine service). As a rule, they are much smaller in size and lead to the side parts of the altar - the altar, where Proskomedia is celebrated, and the deacon or sacristy, where the priest vests before the liturgy and where vestments and utensils are stored. On the deacon's doors they usually depict either archangels, symbolizing the angelic service of the clergy, or the first martyrs of the archdeacons Stephen and Lawrence, who showed a true example of serving the Lord.

It is hung from inside the Royal Doors (Greek καταπέτασμα - katapetasma), which is opened or closed at certain moments of the service.

The Royal Doors are opened only during divine services and only at certain moments. During Bright (Easter) Week they do not close for a whole week as a sign that Jesus Christ has opened the gates of the Heavenly Kingdom for us.

The Royal Doors open during the Liturgy:

- for the Small Entrance with the Gospel, which marks the appearance of the Lord to preach the Gospel, and after reading the Gospel they close;

– for the Great Entrance, at which the Holy Gifts are transferred from the altar to the throne and then closed, which signifies the Savior’s descent into hell;

- when presenting the Holy Gifts for the communion of the people, which depicts the appearance of the Lord to His disciples after the resurrection, the ascension to heaven and the Opening of the Kingdom of Heaven.

Only clergy are allowed to pass through the royal doors.

Many ancient cultures claimed that there were portals to other worlds and gates to star systems where “creators” lived. From the point of view of worldly wisdom, these legends are just ordinary myths and legends. However, supporters of the unknown perked up when recently declassified FBI files revealed claims that our Earth was visited by beings from other dimensions and planets. NASA has announced that the "portals" actually appear to be hidden in the Earth's magnetic field.

1. Gate of the Gods

Peru
In 1996, the site was discovered by José Luis Delgado Mamani while he was attempting to explore the High Marka Mountain region of Peru. The "Gate of the Gods", according to local tribes, was once "the gateway to the land of the gods." Mamani even claims that in his dream he saw a path leading to a doorway made of pink marble, and also that he saw a smaller door that was open, revealing “a brilliant blue light emanating from what appeared to be shimmering tunnel."

The "Doors of the Gate of the Gods" are actually two doorways shaped like the letter "T". The larger doorway measures seven meters wide and seven meters high, and the smaller one is two meters high. Legends claim that the large door was intended for the gods, and the smaller door could be used by some heroic mortals who then lived among the gods. History says that when Spanish explorers arrived in Peru in the 16th century and began plundering the wealth of the Incas, a priest named Amaru Maru fled from his temple with a valuable gold disc - the "Key of the Seven Rays of the Gods."

Amaru Maru found this door and saw that it was guarded by shaman priests. The priest showed them the golden disk, and after the ritual, a smaller doorway was opened to him, behind which was revealed a tunnel that shone with a blue light. Amaru Maru walked through the doorway, leaving the disk to the shamans, and disappeared from the Earth forever, going into the land of the gods. Interestingly, the researchers did find small circular indentations in the rock near the right column of the smaller doorway, where some kind of disc-shaped object had apparently been inserted.

2. Abu Ghurab

Egypt
The Temple of Abu Ghurab, which is located near the Abusir pyramids, is considered one of the most ancient buildings on the planet. At the base of Abu Ghurab lies an ancient platform of alabaster (Egyptian crystal) that supposedly “vibrates in unison with the vibration of the Earth.” She can also "open up" to a person who is able to communicate with the higher sacred energies of the Universe. Essentially, if you believe the legends, this is a stargate, and the sacred energies are the “Neter” (gods).

Interestingly, the legends about their connections with the Earth and the routes of movement between the world of the gods and our world almost exactly coincide with the legends of the Cherokee - Native Americans. The Cherokees talk about "formless thinking beings" flying on a "wave of sound" from their home in the Pleiades star system to Earth.

3Ancient Stone Structure in Lake Michigan

USA
In 2007, while searching for the remains of sunken ships, scientists discovered a stone structure at a depth of 12 meters in Lake Michigan. The structure, estimated to be 9,000 years old, is essentially the Michigan equivalent of Stonehenge. The discovery was made by Northwestern Michigan University underwater archeology professor Mark Holley and his colleague Brian Abbott.
Their particular attention was drawn to the image of a mastodon carved on one of the stones, which is believed to have gone extinct 10,000 years ago.

The location of this site is still kept secret due to an agreement with local Indian tribes, who would like to reduce the number of visitors to a minimum. Although many mainstream scientists are skeptical about the structure's age, many believe it is the remains of a stargate or wormhole. Mysterious disappearances of ships and people took place in this place, and it even received the name “Michigan Triangle.”

4. Stonehenge

England
One of the most famous stone structures on the planet is also one of the most controversial and discussed. Most historians claim that the famous Stonehenge was built about 5,000 years ago, partly from bluestones that were extracted from a mine 386 kilometers away from the structure. However, geologist Brian John argues that there is no evidence for this claim and no evidence that the supposed quarry where the stones were mined even existed.

It is said that when the first settlements arose in this area 5,000 years ago, Stonehenge already existed, fully built, and was an energy portal or stargate. At least one case in modern history may support this seemingly crazy theory. In August 1971, a group of hippies disappeared at Stonehenge while trying to tap into the "vibe" of the ancient monument.

At approximately 2 a.m., lightning began to strike over Stonehenge and a severe thunderstorm erupted. A policeman who was on duty near the area, as well as a local farmer, allegedly saw a “blue light” coming from the rocks and heard screams. By the time the policeman reached Stonehenge, all he found were tents and a fire that had gone out in the rain.

5. Ancient Sumerian stargate on the Euphrates River

Iraq
There is a famous Sumerian seal that shows Sumerian god, emerging from the portal of his world on Earth. God appears to be standing on a staircase that starts from the man looking at the seal. On the sides of the god, strange shimmering water columns are visible. Other Sumerian artifacts that purport to prove the existence of stargates include images of the god Ninurta.

In these images, Ninurta clearly appears to be wearing a modern wristwatch as he presses his finger on what appears to be a button on the wall of the airlock in which he is standing. Some scientists suggest that the stargate was located in the Euphrates River and was buried under the ruins of the Mesopotamian city of Eridu for thousands of years.

6. "Gate of the Sun"

Bolivia
According to many people, the "Gate of the Sun" in Bolivia is a portal to the land of the gods. The city of Tiahuanaco is considered one of the most important places in ancient America, as legends claim that the sun god Viracocha appeared in Tiahuanaco and chose this place to create the human race. The gate, carved from a single block of stone, is believed to be 14,000 years old. The gateway depicts "human beings in rectangular helmets."

This has led many researchers to argue that the gate is indeed connected to something astronomical. Although the gate now stands in a vertical position, when it was discovered by European explorers in the mid-1800s, it was in a horizontal position.

7. Stargate Ranmasu Uyana

Sri Lanka
Hidden among the boulders and cave systems of Ranmasu Uyana Royal Park is a star map, or star chart, carved into a massive piece of rock wall. The symbols carved into the stone are said to be a code that opens a stargate, allowing whoever opens it to travel from our world to other areas of the universe. Directly opposite the star map are four stone seats or chairs.

The star diagram is called Sakwala Chakraya, which means "Rotating Circle of the Universe". In many ancient Native American legends, stargates or portals were represented as rotating circles. Similar star maps have also been found at other ancient sites such as Abu Ghurab in Egypt and numerous other ancient sites in the South American Andes.

8. Abydos

Egypt
One of the oldest cities Ancient Egypt Abydos is perhaps one of the most important and interesting sites in Egyptology. In particular, in the Temple of Seti I, hieroglyphs were found depicting aircraft such as helicopters, as well as something similar to flying saucers. An interesting story is the story of a woman named Dorothy Eadie, who claimed to be the reincarnation of the Egyptian peasant girl Bentreshit, who was the secret lover of Pharaoh Seti.

Living in the 20th century, Dorothy was able to transcribe many ancient Egyptian texts, and even knew where archaeologists needed to dig to discover the remains of an ancient city. She seemed to know exactly where everything had once been, such as the location of secret chambers and ancient gardens whose remains had lain underground for centuries. In 2003, US aerospace defense engineer Michael Schratt stated that Abydos was located on a natural stargate.

9. Gobekli Tepe

Türkiye
In what is considered the oldest stone temple in the world of Göbekli Tepe there are several rings of huge T-shaped stone pillars, each covered with carvings of animals such as lions and sheep. Two similar pillars are located in the middle of these circles, representing something similar to arches. These circled arches are said to be the remains of portals or stargates that the ancient people living in this place once allegedly used as portals leading to the "celestial worlds."

The "T" pillars are very similar to the "Gate of the Gods" at High Mark in Peru. Interestingly, the Incas also told legends about communication through the T-shaped gate with people from the Pleiades star system. The T-shaped pillars at Göbekli Tepe are believed to be around 12,000 years old.

10. Sedona whirlwinds and the "Door of the Gods"

USA
Sedona, a small town in Arizona, was once called Nawanda by Indian tribes. This city was considered sacred. It is said that the desert red rocks that surround the small town can create vortexes that can transport people to another world or dimension. Native Americans believed that spirits lived in these rocks.

It is also believed that in the mountains of Arizona there is a "Door of the Gods" - a strange stone arched portal to another time and space. In the 1950s, it was found by local gold miners, after which some of them (those who tried to get through the door) supposedly disappeared. One of the gold miners said that, despite the rain in the area, he saw a bright blue sky behind the arch (and this was the only difference, in all other respects the landscape was the same).

He got scared, got on his horse and returned home. Subsequently, he told all treasure hunters to never go through the arch, even if they found it.

Lovers of history and antiquity will definitely enjoy it.

Signs of the zodiac