Figure of the icon of the Mother of God. The icons of the Mother of God prepared: furrow Xenia and enchuk novel

But it is much more difficult for a modern person, especially one who has recently come to the Church, to achieve this.

The difficulty lies in the fact that since the XVIII century, the canonical icon has been supplanted by the icons of the so-called “academic” letter - in fact, paintings on religious themes. This style of icon painting, which is characterized by frank admiration for the beauty of forms, emphasized decorativeness and pomp of the icon board finish, came to Russia from the West and received a special development in the post-Petrine period, in the synodal period of the history of the Russian Orthodox Church.

And, in this case, the question is: what is an icon and what is a painting? Is a spiritual rebirth possible from the contemplation of the pictorial canvas or can it only be a consequence of the prayer time in front of the icon?

Supporters of the “pictorial” approach to the external form of sacred images often raise the following question: why now, in a world where the visual aesthetic environment is completely different from the distant era of icon painting, must adhere to canonical ways of depicting? They are very strange from the point of view of realistic visual literacy: the proportions of figures are violated, the transfer of the texture of materials is distorted, the principles of linear perspective are missing?

Will this not serve as a kind of argument in defense of the primitive representation that the ancient icon painters simply did not have elementary drawing skills? And is it not better, then, to have well-written pictures in the churches?

Indeed, in the XIX – XX centuries it was possible to carry out paintings in temples and prayer icons in the tradition of academic painting? And examples of this are St. Isaac's Cathedral in St. Petersburg or the Vladimir Cathedral in Kiev.

With the greatest degree of clarity, it is possible to answer these questions with the help of a comparative analysis of the icon and the pictorial work - paintings, which should highlight the main external - stylistic, and internal - theological differences.

At first about internal.

The picture (and the picture should be understood not only works of a secular nature, but also paintings on religious themes) is an artistic image created by the creative imagination of the artist and being a form of transmission of his own world perception. The world outlook, in turn, depends on objective reasons: the historical situation, the political system, the type and nature of the artist’s personality, and the way he lives. All outstanding artists knew how to feel what worries their contemporaries and, breaking the social nerve of the era through themselves, left on the canvas a concentrated artistic image of their time.

The icon is the revelation of God expressed in the language of lines and colors, which is given both to the whole Church and to an individual person. The worldview of the icon painter is the worldview of the Church. The icon is timeless, it is a display of otherness in our world.

In the icon, as in the picture, there is a generalization according to a well-defined principle - the general is expressed through the particular. But in the picture this private has purely personal, unique features. Therefore, the picture is characterized by a pronounced individuality of the author. It finds its expression in a peculiar pictorial manner, specific methods of composition, in a color palette.

The authorship of the icon painter intends to disappear, since the icon is a catholic creation; iconography is not self-expression, but ministry and ascetic doing. If the artist puts his signature on the completed picture, which means not only authorship, but also a measure of responsibility for the work, then the name of the person whose face is on the icon board is inscribed on the icon. In the ontological sense, the name and image are combined here.

The picture must be emotional, since art is a form of cognition and reflection of the surrounding world through feelings. The picture belongs to the world of the soul.

The brush of the icon painter is impassive: personal emotions should not take place. In the liturgical life of the Church, the icon, like the manner of reading the prayers of the psalm reader, is deliberately devoid of external emotions; empathy with the spoken words and the perception of iconographic symbols occur on a spiritual level.

The icon is a means to communicate with God and His saints.

Before starting to compare the stylistic features of icon painting and painting, it should be said that the graphic language of Christian sacred images developed in stages and the synergy of the inner - sacral, and the outer - figurative-emotional, formed over the centuries has received its final expression in the rules and iconographic canon. The icon is not an illustration of Holy Scripture and church history, not a portrait of a saint, although the cognitive and educational function of sacred images has always been taken into account by the Church. The icon for an Orthodox Christian serves as a kind of mediator between the tangible sensual world and the world inaccessible for everyday perception, a world that is known only by faith. Speaking differently, the icon is designed to show the lost beauty and dissimilarity of the world that was before the fall, and to proclaim to the world to come, changed and transformed. And canon, as a sharply regulated method of transmitting this dissimilarity, does not allow the icon to descend to the level of secular painting.

Since now we are going to talk about specifics, then we need to agree that not only icons, but also murals will be understood as icons, and paintings made in the traditions of realistic pictorial literacy, that is, in such a pictorial manner that developed in the Italian era Revival.

The first difference.

The icon is characterized by an emphasized conventionality of the image. The subject matter is depicted not so much as the idea of ​​the subject; everything is subject to the disclosure of inner meaning. Hence the “deformed”, as a rule, elongated proportions of the figures - the idea of ​​transformed flesh that dwells in the upper world. The icon does not have that celebration of physicality, which can be seen, for example, on the paintings of Rubens.

The principle of the image of the object in the reverse perspective (left) and in the straight (right)

Direct perspective in the picture

The third difference.

No external light source. Light emanates from faces and figures, from the depths of them, as a symbol of holiness. There is a beautiful comparison of iconography with photography. Indeed, if you carefully look at the icon of the ancient letter, it is impossible to determine where the source of light is, you cannot see, therefore, the shadows falling from the figures. The icon is luminiferous, and the modeling of the faces is due to the light pouring from inside the faces. Technically, this is done in a special way of writing, in which the white soil layer - levkas - shines through the paint layer. Such a woven image of light makes us turn to such theological concepts as Hesychasm and humanism, which, in turn, grew out of the Gospel testimony of the Transfiguration of our Lord on Mount Tabor.

Reverse perspective in the icon

Face on the icon (left) and the face in the picture (right)

After the lapse of six days, Jesus took Peter, James, and John, his brother, and brought them up on a high mountain alone, and was transfigured before them: and His face shone like the sun, and His clothes became white, like the light ().

The middle of the 14th century was marked by a lengthy controversy between two theological directions, which interpreted the nature of the Divine favor of Light in different ways: hesychast and humanist. The humanists believed that the light by which the Savior beamed was the light that was revealed by the Savior at a certain moment; This light has a purely physical nature and is therefore available to earthly vision. Hesychasts, which in Greek means "silent" or "silent", argued that this light is inherent in the nature of the Son of God, but is covered with flesh, and therefore can only be seen by an enlightened vision, that is, through the eyes of a highly spiritual person. This light is uncreated, it is inherent in the Divine. At the time of the Transfiguration, the Lord Himself opened the eyes of the disciples so that they could see that which is beyond the reach of ordinary eyes.

Of course, Hesychasm, as an integral Christian worldview, a special way by narrow gates of Orthodox asceticism to deification, the path of unceasing prayer - clever doing, has no direct relation to sacred images. Although there is a widespread belief that it was Hesychasm that allowed the icon painting to be preserved in its entirety, it allowed to realize the icon as an object that in its sacred essence is accessible not to ordinary, but to enlightened sight, while humanism contributed to the rebirth of the icon into secular painting.

Speaking about the light on the icons, it is necessary to touch such a characteristic detail of the iconography as halos. Nimbus, as a symbol of holiness, filled with divine light, is the most important feature of Christian sacred images. On Orthodox icons, a halo represents a circle that makes up a whole with the figure of a saint. For Western, Catholic sacred images and paintings, another arrangement is characteristic: a halo in the form of a circle hangs over the head of the saint. It can be concluded that the Catholic version of the halo is a reward given to the holy from the outside, and the Orthodox is a crown of holiness born from within. The Orthodox tradition of the image of a nimbus involves the union of two wills: the will of a person striving for holiness and the will of God, responding to this aspiration and reviving in man that everlasting light that is given to everyone.

Orthodox nimbus (left) and catholic (right)

The fourth difference.

Color is not a means of creating an icon of color; it has a symbolic function.

For example, the red color on the icons of martyrs can symbolize self-sacrifice for the sake of Christ, and on other icons it is the color of royal dignity.

Especially I want to say about gold on the icons. Gold is a symbol of divine light, and in order to bring on the icons the radiance of this uncreated light, it required not paint, but special material. This material has become gold as a metal, not subject to corrosion. Gold on icons is the antithesis of the function of gold as a symbol of earthly wealth. Golden halos of saints. Golden spangles on their rizas — assists or inakop — sign of belonging to the Divine by grace.

Color synonyms for gold are golden yellow ocher, red (i.e., beautiful) and white. White is the color of sacrificial animals. For example - the lamb.

Deaf black color, the color through which the levkas does not appear through, is used on icons only in those cases when it is necessary to show the forces of evil or hell.

The fifth difference.

Icons are characterized by a one-time image: all events take place immediately. The icon “The Assumption of the Mother of God” simultaneously depicts apostles carried by angels to the deathbed of the Virgin, and the same apostles already standing around the bed. This suggests that the events of the Sacred history that took place in our real time and space have a different image in spiritual space. The event that took place twenty centuries ago is still effective, it is beyond the space-time framework, it still has the same effect on the main goal of the God-incarnation: the salvation of all human souls from eternal death.

Icon "Assumption of the Mother of God"

Very interesting and naively interpreted the significance of the Gospel events for all times and peoples by Western artists. For example, on the Tintoretto canvas “The Nativity of John the Baptist” presents the interior of a rich Italian house, and people are depicted in clothes belonging to the era in which the artist lived. In the paintings of the masters of the Northern Renaissance one can meet people dressed in robes typical of the inhabitants of Palestine of the first century after Christ, and, at the same time, medieval knights in armor. Of course, in many cases, such a style was the result of an elementary ignorance of world architecture and costume, but it seems that from the very beginning it was still a completely thought-out concept of the image.

Tintoretto's painting The Birth of John the Baptist (above)
  Rogier van der Waiden “Adoration of the Magi” (bottom)

The canonical icon has no random details or decorations devoid of meaning. Even the salary - decoration of the front surface of the icon board - has its own rationale. This is a kind of veil that protects the shrine, hiding it from unworthy looks.

These are, in general terms, the main differences between the icon and the picture.

In this analysis, only two positions were considered - theological and stylistic. But there is also a third one - this is the perception of the icon and the picture by man and, most importantly, his attitude towards them.

Imagine two collectors who get a unique dagger made by an outstanding master. The first collector, an unreligious person, will gladly accept such an item in his collection. Despite the fact that this dagger is a tool of satanic cult and served for human sacrifice. Perhaps such knowledge of the subject in the mind of this collector will only give even greater status to this exhibit. He will place the dagger in a prominent place and will admire the virtuosity of its decoration.

Another collector, though not a deeply religious believer, but at least aspiring to Christian values, will shudder from such an acquisition.

This example is evidence that knowledge about the purpose of an object, the assessment of its functional affiliation, directly depends on what feelings and emotions this object will cause in a person. The picture, whose coloring amazes with the refinement of colors, and the composition with the proportionality and harmony of all elements, is unlikely to find a true response in the heart of a Christian, if her idea is a justification of world evil.

Of course, the external beauty of an object without its clearly expressed purpose simply cannot exist. The inner in the object actively influences the outer, and the instrument of ritual murder, on the blade of which the traces of blood are implicitly felt, cannot be called truly beautiful.

True beauty is the unity of form and content, and such content, which is inextricably linked with the Creator of beauty. An example is the image of the Cross or the image of the Crucifixion. The essence of the shameful and terrible penalty was introduced and this content so transformed its essence that both the instrument of execution and the penalty itself served as a prototype for the icons and paintings, and the image of the instrument of execution was revered as sacred.

Reverence This word is the key to understanding the role of the icon in the spiritual formation of a person and the role of fine art in the soul-emotional education of the individual. Can a picture be revered? Sure. The best paintings are of great aesthetic and material value. Not only the artistic dignity of the canvas is honored, but also the manifestation of the creative power of man, and not necessarily of the specific author, but of man in general, man as the creation of God, as the likeness of the Creator, endowed with the ability to create.

So, it would seem, everything is simple: we are contemplating a picture - a work of art, and we stand in prayer before a sacred image - an icon. But this simplicity is apparent. The difference between an object intended for religious purposes and an object whose purpose - aesthetic pleasure is not always clearly expressed in the field of human perception. Painting, especially painting on religious subjects, can also cause the transformation of the human soul, just like an icon.

Icon worship is not only a dogmatic principle. This is the mystical experience of experiencing a different reality.

The church honors hundreds of miraculous icons, created prayers, akathists dedicated to them; in the annual liturgical circle there are days of their celebration.

Philosopher Nikolai Mikhailovich Tarabukin very briefly and accurately expressed the essence of honoring the miraculous icons: “All religion and everything connected with it is miraculous, because everything that is religiously effective is the result of the mysterious connection of the believer with Divine Providence ... Miracle through icon is an effective act the efforts of the mind of the believer turned to God in prayer, and the act of indulgence in the grace of God in response to the prayer efforts of the believer. "

Summarizing all the above, we can conclude that the main task of the icon is to show the reality of the spiritual world. Unlike the picture, which conveys the sensual, material side of the world. The painting is a milestone on the path of aesthetic development of a person; icon - a milestone on the path of salvation.

But in any case, the icon - it is always a shrine, in whatever painterly manner it may be made. The main thing is to always feel the degree of responsibility of the icon painter for his work to the one he portrays: the image must be worthy of a first type.

ICONS OF GOD'S MOTHER The image of the Virgin in Russian art occupies a special place. From the very first centuries of the adoption of Christianity in Russia, love and reverence for the Mother of God have deeply entered the soul of the people. In the XII century, Prince Andrei Bogolyubsky introduced a new holiday in the Russian church calendar - Pokrov The Blessed Virgin, thus marking the idea of ​​the patronage of the Mother of God of the Russian land. In the 14th century, Moscow will take over the mission of the city of the Virgin. The Assumption Cathedral in the Kremlin will be called the House of the Virgin. In fact, from this time Russia is aware of herself dedicated to the Virgin Mary. Icon "The Protection of the Virgin" 15th c. Pskov.

Orthodox iconography of the Virgin. The iconography is the set of types of the image of the Virgin in iconography and the system for studying them. In the calendar of the Russian Orthodox Church about 260 of the venerated and miraculous icons of the Virgin are mentioned, in general, more than 860 names of its icons can be counted. For most icons, separate celebration days are set. Conventionally, the whole variety of types of icons of the Mother of God with the Child can be divided into four groups, each of which represents the revelation of one of the faces of the image of the Mother of God. The iconographic scheme is the expression of a theological idea. The main types of icons of the Mother of God are “Oranta”, “Hodegetria”, “Affection” and “Akathist”.

Plots that included the image of the Virgin appeared in Christian art quite early: already in the painting of the catacombs we find scenes of the Annunciation (Prisils of the II century.) The first icons of the Mother of God appear, apparently, after 431 years of Ephesus. The Cathedral dogmatically approved for Mary the right to be called the Theotokos because through the birth of Jesus by the Holy Spirit, Mary participates in the mystery of the Incarnation of God. One of the earliest and most common in Eastern Christian art was the iconographic type of Our Lady on the throne - the Queen of Heaven. Icon “The Virgin with the Holy Martyrs” 6th c. Sinai.

Types of icons of the Virgin. The type of the icon “Oranta” (from Lat. Orans praying) is one of the main types of the image of the Mother of God, representing Her with her arms raised and outstretched to the sides, palms outward, that is, in the traditional gesture of intercessory prayer. In Byzantine and Old Russian church art, the image of the Virgin of Oranta with the Infant was popular. Usually Christ is depicted in a round medallion, or slightly visible (translucent) at the level of the Mother's chest. In the Russian tradition, this type of iconography received a special naming "The Sign". The Omen is the image of the Annunciation, the omen of the Nativity.

The boy Christ is sitting on the hands of the Virgin, he blesses with his right hand, and with his left he holds a scroll, less often a book. As a rule, the Theotokos is represented in the belt image, but abbreviated shoulder versions or full-length images are also known. The center of the composition is the Christ facing the viewer, the Virgin Mary, also depicted frontally (or with a slight inclination of the head), points the hand at Jesus. The main meaning of this image is the appearance in the world of the "heavenly king and judge" and the worship of the royal infant. The type of icon "Odigitria" The type of "Odigitria" includes such especially honored icons as the Smolensk Icon of the Mother of God, Tikhvin, Iverskaya, Kazan.

Eleusa (Greek. Pleasant compassionate), Affection is one of the main types of the image of the Mother of God in Russian icon painting. The Virgin Mary is depicted with the Infant Christ sitting on Her hand and pressing her cheek to Her cheek. On the icons of the Virgin between Mary (the symbol and the ideal of the human race) and God the Son there is no distance, their love is limitless. The icon symbolizes the sacred sacrifice of Christ the Savior as the highest expression of God's love for people. The type of “Affection” includes the icons of the Vladimir Mother of God, Donskoy, Yaroslavl and others. Type of icon "Affection"

Until now, Orthodox people believe that icons stand guard over our land. “The Tikhvin Icon keeps and blesses the northern limits,” writes hieromonk Philadelphus, “the Iverskaya Icon is the southern. Smolensk protect the Russian Land from the west. In the east to the edge of the earth shines rays of grace, shielding Russian Lands, Kazan Icon of the Mother of God. And in the center there shines the image of the Mother of God of Vladimir, written by the Evangelist Luke on the board from the table at which the holy family eaten. ”

Ancient icons - the history of icon painting in Russia

The icon is a relief pictorial image of Jesus Christ, the Mother of God or the Saints. It can not be called a picture, because it reproduces not what the artist is before his eyes, but a fantasy or prototype that needs to be taken into account.

The history of iconography goes back in time and takes its own origin in early Christianity in Russia. This art is multifaceted and unique. And it is not surprising, since it reflects in full the glorious traditions and spirituality of the Russian people. This is a cult object for the Orthodox, and cultural national treasure.

A strict chronology is absent here, however, it is generally accepted that the first icons in Russia began to be used in the 10th century, when Christianity was adopted. Iconography remained the center of ancient Russian culture until the 17th century, when, in the era of Peter the Great, secular forms of art began to be supplanted. Despite the fact that Christian churches were present in Kiev before, only after 988 the first stone church was built. Painting works were carried out by specially invited masters from Byzantium. Sometimes the most important parts of her painting were made in mosaic technique.

Prince Vladimir I from Chersonesos brought many shrines and icons to Kiev. Unfortunately, over the years they have been lost. In addition, from Chernigov, Kiev, Smolensk and other southern cities until now, not a single icon of that time has reached. However, you can talk about icon painting, given the numerous wall paintings. The most ancient icons in Russia could be preserved in Veliky Novgorod (on the territory of St. Sophia Cathedral).

By the beginning of the XIII century, the maximum flourishing of Russian icon painting was observed at the art center of the Vladimir-Suzdal principality. However, the invasion of Batuia Russia had a negative impact on the further development of iconography. Harmony, characteristic of Byzantium, was gone from the icons, numerous writing techniques began to be simplified and conserved. But the artistic life is not completely interrupted. Russian masters continued to work in Rostov, in the Russian North and in Vologda. Rostov icons were characterized by significant expression, activity of images and sharpness of execution. This icon painting has always stood out for its artistry, subtlety, as well as a refined combination of colors.

But from the end of the 14th century, the whole artistic life of Russia was concentrated in Moscow. It was here that numerous masters worked: Serbs, Russians, Greeks. Feofan Grek himself worked in Moscow. The icons of that time were able to prepare a serious basis for the flourishing of Russian icon painting at the beginning of the 15th century, in particular, the brilliant icons of Andrei Rublev. The increased importance of the wizard was given to colors and colors. It is not surprising that Russian ancient icon painting is a complex and great art.

In the icons of those times the most important place was occupied by various purple tones, shades of the sky, blue vault (they were used to depict the glow, thunderstorms). The 15th century Novgorod icon painting was able to preserve the habitual love of light and bright colors. An intense and defiant sense of color was characteristic of the Pskov school. In comparison with the voiced color of Novgorod, it is dominated by famous tones, with tremendous moral tension in the faces of the saints. As for the era of Rublev, then her main task was the revival of faith in man, in his kindness and moral strength. Artists of that period in all possible ways tried to convey that icon painting is an art, where every detail has great meaning.

Today, Orthodox icons consider the following icons to be one of the most significant:

1. "Vladimir Mother of God". During the appeal to this icon, believers pray for deliverance from enemy invasions, for strengthening the faith, for preserving the integrity of the country and reconciling the warring. The history of this icon has its own roots in the distant past. It is considered to be the greatest shrine of the Russian land, which testifies to the special protection of the Mother of God over the Russian Empire in the XIV-XVI centuries during the raids of the Tatar hordes. There is a legend that this icon was created during the life of the Virgin Mary herself. The modern Orthodox church connects any of the days of the triple celebration of the icon of the Vladimir Mother of God with the deliverance of the people from enslavement at the expense of the prayers that were addressed specifically to this icon.

2. "Savior Almighty". This icon is often called the "Savior" or "Savior." In the iconography of Christ, it is the central image, representing Him as the Heavenly King. It is for this reason that it is customary to place it at the head of the iconostasis.

3. "Kazan Mother of God". During the appeal to this icon, believers pray for the healing of the illness of blindness, asking for deliverance from enemy invasions. Kazan Mother of God is considered to be the intercessor in difficult times. She blesses the young, who have decided to marry. The presented icon is also asked for happiness and family well-being. That is why it is often hanged at the crib. Today, the icon of the Kazan Mother of God is found in almost any church. The image of the Virgin can also be found in most believing families. During the rule of the Romanov dynasty, such an icon was one of the most revered and important shrines, which allowed it to be considered the patroness of the royal family.

4. "Savior, the Untamed". In accordance with church tradition, the image of the Savior was considered the first icon. There is a legend that this happened during the Savior’s earthly existence. Prince Avgar, who was the ruler of the city of Edessa, was seriously ill. Hearing about the healings that Jesus Christ did, he wanted to look at the Savior. He sent messengers for the painter to make a portrait of Christ. But the artist failed to fulfill the assignment, because the radiance from the face of the Lord was so strong that the brush of the creator could not convey His Light. However, the Lord wiped His most pure face with a towel, after which His Image appeared on it. Only after receiving the image, Avgar was able to heal from his own illness. Today, the image of the savior is addressed with prayers, as well as requests for guidance on the true path, for deliverance from bad thoughts and salvation of the soul.

5. Icon of St. Nicholas the Wonderworker. Nicholas the Wonderworker is known as the patron saint of all who are constantly on the road, pilots, fishermen, travelers and seafarers, is the most respected saint in the whole world. In addition, he is the patron of those who have been unfairly wronged. He protects children, women, innocently condemned and impoverished. Icons with his image are most common in modern Orthodox churches.

The seven-arrow icon of the Mother of God

The history of the discovery of this icon has its roots in the past. It is believed that about four hundred years ago it was found on one of the bell towers of the Church of St. John the Theologian in the Vologda region. Then, a farmer suffering from a limp, had a dream in which he had a long-awaited recovery from his illness. The divine voice in a dream told him that if one performed a prayer near the icon of the Most Holy Theotokos, the illness would leave him, the location of this shrine also revealed to him.

Twice the peasant came to the bell tower at the local church and told about his dream, but no one then believed his stories. Only for the third time, after much persuasion, the suffering person was nevertheless allowed into the belfry. Imagine the surprise of the local residents, the ministers of the Church, when on the stairs, instead of one of the steps, an icon was found, which everyone took to be an ordinary perch. She looked like a canvas pasted on an ordinary wooden plank. She was cleaned of dust and dirt, restored as far as was possible, and then they held a prayer service for the Semistrelle Mother of God. After that, the peasant was healed of a painful affliction, and the icon began to be worshiped by the clergy along with the rest. So, in 1830, cholera raged in the Vologda province. claimed the lives of many thousands of people. Believers locals held a procession around the settlement, together with the icon, performing a prayer service to the Most Holy Theotokos. After a while, the number of people falling ill declined, and then the attack left the city forever.

After this incident, the icon marked many more truly miraculous healings. However, after the revolution of the seventeenth year, the Church of St. Apostle John the Divine, where the icon was located, was destroyed, and the icon itself disappeared. Currently, the myrrh-streaming Icon of the Mother of God is located in Moscow at the temple of Archangel Michael.

Pretty interesting is the very image of the Mother of God. Usually on all the icons She appears with the Savior in her arms, or with angels and saints, and here the Theotokos is depicted in perfect solitude, with seven swords stuck into Her heart. This image symbolizes Her severe suffering, indescribable grief and deep sadness for her Son during her time on earth. And this icon was painted on the prophecy of the holy righteous Simeon, given in Scripture.

There is an opinion of some priests that the seven arrows piercing the breast of the Virgin personify the seven most important human passions, sinful vices. It is also believed that the seven arrows are the seven holy sacraments.

Before this icon, it is customary to pray for the propitiation of evil hearts, in times of epidemics of diseases, they also pray for the military, who repay the debt to their homeland, so that the enemy weapon can bypass them. He who prays as if forgives the insults of his enemies and asks for the softening of their hearts.

The Day of the Honoring of the Icon of the Seven-Directive of the Mother of God is considered August 13 in the new style or August 26 in the old. During prayer, it is desirable that at least seven candles be put, but this is not necessary. At the same time, the prayer of the Long-suffering Mother of God and the Troparion are read.

At home, a specific location of the icon is not prescribed, so it can be located either on the iconostasis or in any other place, for example, on the wall when entering the main room. However, there are several tips on her whereabouts: she should not hang or stand near the TV, there should not be any photos or images, posters around her.

The seven-arrow image is a reflection of the Gospel story of the arrival in Jerusalem of the Church of the Virgin Mary and the Infant Jesus on the 40th day after His birth. The holy elder Simeon, who served in the temple, saw in the Baby the expected Messiah and predicted to Mary the trials and sufferings that pierce her heart as a weapon.

The icon of the Semistrelnaya depicts the Virgin Mary alone, without the Infant Jesus. The seven swords or arrows piercing her heart (four swords on the left, three on the right) are a symbol of the sorrows that the Mother of God has endured in her earthly life. The weapon itself, symbolically depicted by seven swords, means the unbearable mental anguish and sorrow that the Virgin Mary experienced during the hours of the torment of the cross, crucifixion and death on the cross of Her son.

According to the Holy Scripture, the number seven symbolizes the fullness of something: the seven deadly sins, the seven basic virtues, the seven sacraments of the Church. The image of the seven swords is not accidental: the image of the sword is associated with the shedding of blood.

This icon of the Virgin Mary has another iconography - “Simeon Proverb” or “Affection of Evil Hearts”, where seven swords are located on both sides, three and one in the center.

The miraculous icon of Our Lady of Seven Mistress is of North Russian origin, associated with its miraculous appearance. Until 1917, she stayed in the church of John the Divine near Vologda.

There is a legend about her miraculous gain. For some years a peasant, for many years suffering from an incurable limp and praying for healing, was a divine voice. He ordered him to find among the old icons that were kept on the bell tower of the Theological Church, the image of the Mother of God and to pray to him for healing. The icon was found on the stairs of the bell tower, where it served as a step as a simple board covered with dirt and litter. The priests cleared the image and served a prayer before him, and the peasant was healed.

Before the image of the Mother of God of the Mother of God they pray for the pacification of the warring, for the attainment of the gift of patience for the bitterness of the heart, for hostility and persecution.

Icon of the Holy Archangel Michael

Michael is considered a very important person in heavenly hierarchyThe word archangel means "leader of the angels." He is the main leader among the angels. The name Michael means "one that is like God."

Archangels have always been considered warriors and defenders of Heaven. Of course, the main patron and defender of the Christian faith is the great Archangel Michael. It is worth noting that the Holy Archangel Michael is one of the most famous angels, he is also called the Archangel, which means that he is the most important of all disembodied forces.

According to Scripture  and tradition, he always stood up for humanity and will always continue to serve as one of the main defenders of the faith. Before the icons with Archangel Michael, people ask for protection from the invasion of enemies, civil war, and to defeat opponents on the battlefield.

The Cathedral of Michael and all the disembodied forces of heaven is celebrated on November 21, September 19, is celebrated the miracle of the Archangel in Colosse. References to Michael for the first time can be seen in Old TestamentAlthough Michael is not mentioned by name in the text, it was said that Joshua “looked up and saw a man standing in front of him with a sword drawn in his hand”.

In the book of Daniel, Michael appears with the Archangel Gabriel to help defeat the Persians. In a later vision, he told Danila that “at that time (end of time) Michael, the Great Prince, would protect the people. The time will come hard, which has not been since the beginning of time ... ”Thus, it can be understood that Michael plays one of the key roles as a defender of Israel, its chosen people, and the Church.

The Fathers of the Church also attribute to Michael the following event: During the Exodus of the Israelites from Egypt, he walked ahead of them, in the form of a pillar of cloud during the day, and at night in the form of a pillar of fire. The power of the great commander-in-chief was manifested in the destruction of 185,000 soldiers of the Assyrian emperor Sennacherib, also the unholy leader Heliodor.

It is worth mentioning that there are many miraculous cases associated with the Archangel Michael, the protection of three young men: Ananias, Azariah and Misail, who were thrown into a red-hot furnace for refusing to worship an idol. By the will of God, the commander-in-chief, Archangel Michael, transports the prophet Avvakum from Judea to Babylon to feed Daniel into the lion's ditch. Archangel Michael argued with the devil over the body of the holy prophet Moses.

During the time of the New Testament, the holy Archangel Michael showed his strength when he miraculously rescued a young man who was thrown into the sea by robbers with a stone around his neck, on the banks of Athos. This story is in the Athos Paterik, from the life of St. Neophytos.

Perhaps the most famous miracle associated with the great holy Archangel Michael is the salvation of the church at Colosse. A number of pagans tried to destroy this church, directing the flow of two rivers directly to it. The archangel appeared among the waters, and, carrying the cross, sent the rivers underground, so that the church remained standing on the ground and was not destroyed thanks to Michael. In the spring, the waters of these rivers after this miracle, events are said to have healing powers.

Russian people worship Archangel Michael along with the Mother of God. The Most Pure Mother of God and Michael are always mentioned in church chants. Many monasteries, cathedrals, and churches are dedicated to the commander-in-chief of the forces of heaven, St. Michael the Archangel. In Russia there was no city, where there was no church or chapel dedicated to Archangel Michael.

On the icons of Michael, often depicted holding a sword in his hand, and in the other he holds a shield, spear, or white banner. Some icons of Archangel Michael (or Archangel Gabriel) show angels holding a ball in their hand, and a staff in another.

Icon of Kazan Mother of God

The most common and respected Orthodox icons in Russia are the icons of the Mother of God. The legend says that the first image of the Virgin was created by the Evangelist Luke during the life of the Mother of God, she approved the icon and told her her strength and grace. In Russian orthodox Church  There are about 260 images of the Mother of God glorified by miracles. One of these images is the icon of the Kazan Mother of God.

According to the iconography, this image refers to one of the six main iconographic types, which is called “Protectress” or “Guide”. The old Russian version of this icon, written by a monk-icon painter in the image of the Byzantine Odigitria, is distinguished by warmth, softening the royal posture of the original from Byzantium. The Russian Odigitria has not a belt, but a shoulder image of Mary and the Baby Jesus, thanks to which their faces seem to come close to the worshipers.

In Russia, there were three main miraculous icons of the Kazan Mother of God. The first icon is a prototype, miraculously revealed in Kazan in 1579, which was kept in the Kazan Monastery of the Mother of God until 1904 and was lost. The second icon is a list of the Kazan image and was presented to Ivan the Terrible. Later, this icon of the Mother of God was transported to St. Petersburg and transferred to Kazan Cathedral when it was illuminated on September 15, 1811. The third icon of Our Lady of Kazan is a list from the Kazan prototype, was handed over to the Minin and Pozharsky militia and is now kept in Moscow in the Epiphany Cathedral.

In addition to these basic icons of the Kazan Mother of God, a large number of her miraculous lists were made. Prayer before this image helps in all human sorrows, sorrows and tribulations. Russian people have always prayed for her to protect her native land from foreign enemies. The presence of this icon in the house protects his household from all ills, she points out, as the Guide, the right way in making difficult decisions. Before this image of the Mother of God they pray for eye diseases. According to the legend, during the miraculous attainment of a prototype in Kazan, a miracle of insight from the blindness of a beggar Joseph, who had been blind for three years, happened. This icon blesses the young for marriage, so that it is strong and long.

The celebration of the Kazan Icon of the Mother of God takes place twice a year: in honor of gaining an image on July 21 and in honor of the liberation of Russia from Polish intervention on November 4.

Iveron Icon of the Mother of God

The Iveron Icon of the Mother of God, revered in Russia as miraculous, is a list of the most ancient image, which is stored in the Iversky Monastery in Greece on Mount Athos and dates from the 11th to 12th centuries. According to the iconographic type, it is the Protectress. According to legend, the icon of the Virgin, saved from the iconoclasts during the reign of the emperor Theophilus (9th century), appeared miraculously to Iberian monks. They placed her in the gate church and called Portaitissa or Goalkeeper.

In this version of Odigitria, the face of the Virgin Mary is turned and inclined towards the Infant Jesus, which is represented in a slight turn towards the Virgin Mary. The Virgin Mary has a bleeding wound depicted on her chin, which, according to legend, was depicted by opponents of icons.

The miraculous image was well known in Russia. During the reign of Alexei Mikhailovich, the monks of the Iversky Monastery made a list with a prototype and brought it to Moscow on October 13, 1648. In the 17th century. The Iverskaya Mother of God was especially revered in Russia.

The icon of the Most Holy Theotokos Iverskaya helps repentant sinners to find a way and strength to repentance, relatives and friends pray for unrepentant. The image protects the house from the attacks of enemies and natural disasters, from fire, heals from physical and mental ailments.

The celebration of the Iberian Icon is held on February 25 and October 26 (the arrival of the icon from Mount Athos in 1648).

Icon of the Protection of the Virgin

The icon of the Protection of the Virgin is dedicated to the great church holiday in Russian Orthodoxy - the Protection of the Most Holy Theotokos. In Russia, the word "cover" means a veil and patronage. On the day of the celebration of October 14, Orthodox people pray to the Intercessor of Heaven for protection and assistance.

The Pokrovskaya icon depicts the miraculous appearance of Our Lady, which occurred in the 10th century in the Vlacherna temple of Constantinople, besieged by enemies. During the all-night prayer, Blessed Andrew saw the miraculous appearance of the Virgin Mary surrounded by angels, apostles and prophets. The Mother of God removed the veil from her head and stretched it over the worshipers.

Two centuries later, in the 14th century. in honor of this holy event in Russia, worship was compiled, the main idea of ​​which was the unity of the Russian people under the Protection of the Most Holy Theotokos, for which Russian land is Her earthly lot.

There were two main types of icons of the Intercession: Central Russian and Novgorod. In Central Russian iconography, which corresponds to the vision of the blessed Andrew, the Mother of God herself bears cover. On the Novgorod icons, the Mother of God appears as Oranta, and the veil is held and stretched over her by angels.

A prayer before the image of the Protection of the Virgin helps in everything, if the thoughts of the prayer are kind and clean. The image helps to overcome our external and internal enemies, is a spiritual shield, not only over our heads, but also over our souls.

Icon of St. Nicholas the Wonderworker

Among the many icons of saints in Orthodoxy, one of the most beloved and revered believers is the image of St. Nicholas. In Russia after the Mother of God, this is the most revered saint. Almost in every Russian city there is the St. Nicholas Church, and the icon of St. Nicholas is in every Orthodox church in the same limit with the images of the Mother of God.

In Russia, the veneration of the saint begins with the adoption of Christianity, he is the patron saint of the Russian people. Often in the iconography of his depicted Christ on his left hand, and on the right - the Virgin.

Saint Nicholas the Pleasant lived in the fourth century. From a young age he served God, later became a priest, and then - the archbishop of the Lycian city of Mira. In life, he was a great shepherd, who gave comfort to all the bereaved and led to the truth of the lost.

A prayer in front of the icon of St. Nicholas Ugodnik protects against all misfortunes and helps in solving any problems. The image of St. Nicholas protects traveling by land and by sea, protects innocently convicted, those who face a vain death.

Prayer to Saint Nicholas heals from diseases, helps in educating the mind, in the prosperous marriage of daughters, in ending the strife in the family, between neighbors, military conflicts. St. Nicholas of Myraliysky helps in the fulfillment of desires: it was not for nothing that he was a prototype of Santa Claus, who fulfills the Christmas wishes.

The Day of Commemoration of St. Nicholas is celebrated three times a year: on May 22, the spring of St. Nicholas (transfer of the relics of the saint in the city of Bari in Italy to avoid their desecration by the Turks), on August 11 and December 19 - the winter Nicola.

"Russian icons in high resolution." Album creation: Andrey (zvjagincev) and Konstantin (koschey).