Icons of the Blessed Virgin in full growth. The main types of icons of the Blessed Virgin Mary

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Images of the Virgin Mary occupy an exceptional place in Christian iconography, testifying to its significance in the life of the Church. The veneration of the Virgin is based on the dogma of the Incarnation: “Unwritten word Father, from you the Mother of God is written incarnate ...” (kontakion of the 1st week of Great Lent), therefore for the first time Her image appears in such subjects as “The Nativity of the Christ” and “The Adoration of the Magi”. This is followed by the development of other iconographic themes that reflect the dogmatic, liturgical, and historical aspects of the veneration of the Virgin Mary. Her image in the altar apse testifies to the dogmatic meaning of the image of the Mother of God, since She symbolizes the Church. The history of the Church from the prophet Moses to the Nativity of Christ appears as the action of the Providence for the birth of That, through Which the salvation of the world will be realized, therefore the image of the Virgin takes center stage in the prophetic series of the iconostasis. The development of the historical theme is the creation of the cycles of life of the Virgin. The most important aspect of the veneration of the Virgin, as witnessed by the many miraculous icons, is the faith in Her intercession for the human race “for all the days”. The main directions of veneration of the Virgin appeared in various forms. Temples are dedicated to her, Her images occupy the most important place in the system of temple decoration, in many respects defining its symbolism. The variety of types is characterized by the iconography of the Virgin, icons, objects of plastic art, including decorations of the virgin images are widespread. The icons of the Mother of God and their liturgical veneration contributed to the development of the developed liturgical orders, gave impetus to hymnographic creativity, created a whole layer of literature - legends about icons, which in turn was the source of further development of iconography.

The veneration of the Virgin developed primarily in Palestine. The most important events in the life of the Virgin Mary were connected with the cities of Nazareth, Bethlehem and Jerusalem, Her relics and Her first icons were kept there. In these memorable places were temples in honor of the Annunciation and the Nativity of Christ. Constantinople was a significant center for the worship of the Virgin Mary, where the most ancient icons of the Mother of God and shrines were gathered, temples were built in Her honor, and the city was conceived under the cover of the Most Holy Virgin. After the Third Ecumenical Council, the veneration of the Virgin was widely spread throughout the Christian world. C VI. An important role in the veneration of the Virgin is played by the icons of the Mother of God. The main types of images of the Virgin were formed already in the pre-iconoclast period, the earliest are in the paintings of the Roman catacombs: the image of a sitting woman with a bare baby in her arms in the Velato catacomb of Priscilla (2nd half. II in. - 1st floor. III in.) interpreted as the image of the Virgin; also in the catacombs of Priscilla, a fresco is preserved, representing the Mother of God on the throne in the scene of the Adoration of the Magi (4th century). The defining role in the addition of the iconographic type “The Virgin on the Throne” was played by the murals of the church of Santa Maria Maggiore in Rome (432–440), where for the first time in Christian art this image was presented in the conche of the apse (not preserved). The image of the Virgin on the throne, placed from the V in. in the conchs of the altar apses, replaced the images of Jesus Christ located there in the earlier epoch (the Cathedral of St. Euphrasian in Porec (Croatia), 543–553; the church of Panagia Kanakarias in Litrangomi (Cyprus), 2nd quarter of the 6th century). Images of the Virgin with the Child on the throne are also found on the walls of the central naves of basil (Sant'Apollinare Nuovo in Ravenna, 6th century; high Martyr. Demetrius in Thessalonica, 6th century; Felix and Adavkt in the catacombs of Priscilla in Rome, VI.), On icons (for example, from the monastery in the Catherine; Catherine in Sinai, 6th century), as well as in small plastic works (for example, the vial of Monza (the treasury of the Cathedral of St. John the Forerunner in the city of Monza in Italy), diptychs (avorii , 6th century, the State Museums of Berlin)).

Another common type of image of the Blessed Virgin is Oranta, where the Mother of God is represented without the Infant with hands raised in prayer (eg, on ampoules from the treasury of the Bobbio Cathedral) (Italy), on the relief of the door of the Church of Santa Sabina in Rome, ca. 430, in a miniature from the Gospel of Ravvula (Laurent. Plut. I.56. Fol. 277, 586), on the frescoes of the apse of the monastery of pr. Apollonia in Bawith (Egypt, 6th century) and the San Venanzio Chapel in Rome (c. 642), as well as on the bottoms of glass vessels (see: Kondakov, p. 76–81).

One of the most common is the image of the Virgin Odigitria, named after the church of Constantinople, in which this revered icon was located. According to legend, it was written by Luke the Evangelist and sent from Jerusalem imp. Evdokia. The earliest image of the Odigitria is preserved in a miniature from the Gospel of Ravvula (Fol. 289 - full-length). On the icons of this type, the Mother of God holds the Baby on her left hand, the right one is extended to Him in prayer.

During the period of iconoclastic persecution, the non-handmade image of the Virgin Mary, according to legend, appeared during the life of the Blessed Virgin on a pillar of a temple built by the apostles in the city of Lydda, became widely known. The list with the image not made by hands, brought from Palestine by Patriarch Herman, is revered as the miraculous Lidda (Roman) icon of the Mother of God (the image of Odigitrii with the Child on his right hand).

In Constantinople, the image of the Virgin Nicopea, holding with both hands, like a shield, a medallion depicting the Infant Christ, was especially honored. This image is first found on the seals imp. Mauritius (582–602), which, according to legend, accompanied the icon in wars. The establishment of the feast of the Assumption of the Virgin is also associated with the emperor Mauritius. The images of the Mother of God with the oval icon of Christ in the hands are known in the paintings of the monastery of St. Nicholas. Apollonia in Bauit and the Church of Santa Maria Antiqua in Rome (VIII c.). In the East, during this period, the image of the Virgin of the Mammals (frescoes of the monasteries of St. Jeremiah in Saqqara (5th century) and St. Apollonius in Baouit) was widespread, emphasizing the theme of motherhood and the incarnation of God.

Appeared in the early Christian art types of images of the Virgin received further distribution and development in the art of Byzantium, the Balkans, Ancient Russia . Some iconographic passages remained almost unchanged, for example, the image of the Virgin on the throne with the Infant Christ sitting on the front of the Mother's lap, She holding Him with her right hand at her shoulder, and her left at her feet. This image is most often represented in the conch of the altar apse (in the temples of St. Sophia of Constantinople, 876; in the catholicon of the Osios Lukas monastery in Fokida (Greece), 30th XI century; in the church of St. George in Staro-Nagorichino (Macedonia ), 1317–1318, in the Church of the Nativity of the Virgin in the Ferapontov Monastery, 1502, etc.). A repetition of an ancient sample is the image in the altar of the church of St.. Sophia in Ohrid (the 30s of the XI century) of the Mother of God of Nikopea, holding the image of the Baby in the medallion, however, in the post-iconoconical period, the type of the Mother of God of Nikopea (in height) with the Child depicted not in the medallion (eg Church of the Assumption of the Virgin in Nicea, 787 (not preserved), in St. Sophia of Constantinople, 1118, in the Cathedral of the Gelati monastery, ca. 1130). The type of the Virgin with the image of the Baby in the medallion is known in several versions: with the image in front of the chest, in height Oranta, Vlachernitissa (Great Panagia) (12th century marble relief from the Church of Santa Maria Mater of Domini in Venice; the icon of the Mother of God with the Prophet Moses and the Patriarch Euthymius (XIII century, monastery of the Great Patriotic War. Catherine on Sinai), icon "Yaroslavl Oranta" (XII century, GTG); painting of the Church of the Savior on Nereditsa, 1199 (not preserved), and the belt image (known in Russian tradition as the “Sign”, for example the icon of the Mother of God from the St. Sophia Cathedral in Novgorod, about OLT 1160; mosaic narthex convent Hora (Kahrie-djami) in Istanbul, 1316-1321). Numerous iconographic versions gave the type of Odigitria, which includes such miraculous icons as Smolensk, Tikhvin, Kazan and others. In the post-iconoclast period, images of the Virgin Eleusa (Merciful), Glycophiluses (Sweet kissing; In the Russian Tradition of Affection), also known under the name of Vlahernithissa (icon of the 12th century, monastery of the Great Patriarchal Church of Catherine on Sinai), where the Virgin and the Infant are depicted in mutual affection are spread. the fresco of the Tokaly-Kilise church, Cappadocia (10th century), Vladimir, Tolga, Don icons of the Mother of God, etc.). This type of image emphasizes the theme of motherhood and the future sufferings of the Divine Infant, most pronounced in Pelagonitis, the miraculous image from the Pelagonian diocese in Macedonia. In the Russian tradition, this icon was named “Vzygranie” (fresco of the monastery of the church of the Great Martyr George in Staro-Nagorichino (Macedonia), 1317–1318; an icon from the Transfiguration Monastery in Zrza (Macedonia), 14th century), since the Infant on it is depicted escaping from the hands of the Virgin. The theme of Christ's suffering is also expressed in the iconography of the Passion Mother of God, usually represented in the type of Odigitriya (fresco of the Church of Panagia Arakos in Lagudera) or Tenderness (Russian icon of the XIII century, TSHOM; icon of the XV century (Byzantine Museum)), with angels on the sides, which hold the instruments of passion.

Images of the Mother of God in prayer in addition to the frontal position can represent the figure in 3/4 turn. Such images are known from pre-iconoclast time. The hands of the Mother of God are prayerfully extended to Christ, for example, in the images of the Mother of God of Agiosoritissa (Khalkopratiyskaya) (mosaic in the church of the Great Martyr Dimitry in Thessalonica, 6th century (not preserved), miniature from the Christian topography of Cosma Indicoplov (Vat. Gr. 699 76th, 9th century); an icon of the 12th century (monastery of the Great Patriarch of Russia Catherine at Sinai); an icon from the Assumption Cathedral of the Moscow Kremlin, the 14th century) and in compositions of Deesis and also of the Mother of God Paraclisis (Intercessor), holding in the hands of a scroll with the text of a prayer turned to Christ (mosaic of the church of the Great Martyr Demetrius, 7th century; the Bogolyubskaya icon of God Mothers to her (Assumption Cathedral of the Kniaginin Monastery in Vladimir, mid-XII century); icon from the Cathedral of Spoleto (Italy); XII century., Fresco of the Cathedral of the Mirozhsky Monastery in Pskov, XII century; mosaic of the church of Martorana in Palermo (Sicily), XII century.).

Often, the names of certain iconographic types are identified with the epithets of the Virgin or are toponyms indicating the place where the revered image is located (in Russian tradition they received their name, not always literally conveying the original), and can be found on icons of various izvodov. Mentioned icon of the type Eleusa from the monastery vmc. Catherine the Sinai (XII century.) Is accompanied by the inscription "Vlahernitissa", which is associated with the existence of the revered image of this type in the Vlacherna temple of Constantinople. On the mosaic icon of the same type from the Byzantine Museum (XII century) a guarantor, petitioner or patroness is written; the images of the Odigitria can have the inscriptions “Eleusa” (monastery Hilandar, Athos, XIV century), “The Beautiful” and “The Savior” (both - the XIV century, the museum in Ohrid (Macedonia)); "Prebodgodatnaya" and "All-Tsaritsa" (both - the XVI century, SCAM), etc .; on the icon of the Virgin Orans with the image of the Infant in front of the breast the “Guide” is inscribed (XV century ?, CAC MDA).

Symbolic epithets of the Virgin may be the name of a particular iconographic type. These icons include, for example, the image of the Virgin "Life-giving Spring", located in the eponymous temple near Constantinople. The Virgin Mary is depicted waist-high in a phial (a bowl with a fountain), without a Baby, with hands raised in prayer (a mosaic of the Chora monastery in Constantinople; the Church of St. Archangels in Lesnove (Macedonia), 1347–1348) or with a Child She Holds With Both Hands (fresco of the monastery of St. Paul on Mount Athos, 1423; Russian icon 1675, TsMiAR). Icons based on the literary epithets of the Virgin Mary, such as Fading Color, Blessed Womb, Sacrifice of the Perishing, Joy of All Who Sorrow, Surety of Sinful Men, Burning-Off Kupina, Mountain non-manual "," Impassable Door ", etc.

The richest source of the Mother of God iconography is liturgical texts, primarily hymnographic. The flowering of this type of iconography comes at a time. XIII-XVI century. Illustrated are extensive poetic cycles dedicated to the Mother of God, both the Akathist of the Virgin and individual hymns, the central image of which is the Mother of God, for example, the verse "We Bring Thy Christ" ("Cathedral of Our Lady" - fresco of the Savior Church of the Monastery of Zic (Serbia), XIII century ; fresco of the Church of the Virgin Perivepts in Ohrid, 1295; icon of the end of the 14th - beginning of the 15th c., the Tretyakov Gallery); Assistant Liturgy of St. Basil the Great "He rejoices in Thee" (icon of the end of the 15th century, the State Tretyakov Gallery); fresco of the Ferapontov Monastery of the Nativity of the Monastery, 1502); the verse “It is worthy to eat” (icon of the middle of the 16th century, the Assumption Cathedral of the Moscow Kremlin), the Mother of God of the 1st hour “What do we say” (icon of the 17th century, TsMiAR). Among the liturgical images is also the Praise of the Virgin, based on the hymns from Above the Prophets of the Ta of the Announcement (icon of the 14th century and a fresco of the 15th century from the Assumption Cathedral of the Moscow Kremlin; icon of the 16th century, the State Russian Museum). The theme of the icons are the events celebrated associated with the veneration of the Virgin and shrines, - “Pokrov Presby. Of the Virgin ”(stamp of the western gate of the Cathedral of the Nativity of the Virgin in Suzdal, XII century; icon of the XIV century., NGOMZ; icon of the XIV century., The State Tretyakov Gallery),“ The position of the robe of the Holy Virgin. Virgin ”(XV century., TsMiAR).

In addition to the liturgical texts, historical narratives may be the basis of the icons of the Mother of God. For example, on the miraculous Pskovo-Pokrovsk Icon of the Mother of God, the events of the siege of Pskov were sealed by the troops of Stefan Batory in 1581 (derived from the c. Pokrov from Prolom, abducted during World War II, from 7.09.2001 in the Trinity Cathedral in Pskov.

In close connection with the formation of the iconography of the Mother of God holidays is the development of the life cycle of the Virgin, at the heart of his images are the apocryphal Proto-Gospel of James, the Word of the Apostle John the Theologian for the Assumption, the Word of the Venerable. John of Thessalonica and a number of other texts, telling about the events of the life of the Virgin from Her conception by the barren Anna to the Assumption. Separate images of apocryphal scenes were already known in the pre-iconoclast period, for example, the plate with the scenes “The Annunciation” and “The Test of Water Exposure” (6th century, GMVI). In the painting of the Kyzylchukur church (Cappadocia; 850–860), the earliest life cycle of the Virgin remains, including 10 scenes from the Annunciation to Anne to the Entry into the Temple of the Virgin. These plots are presented in miniatures of the Vasily II Minology (Vat. Gr. 1613, 976–1025) and mosaics of the Church of the Assumption of the Virgin Mary in Daphne (c. 1100). In the painting of the Cathedral of St. Sophia of Kiev (the 30th of the eleventh century), the proto-Angel cycle, culminating in the “Meeting of Mary and Elisabeth” scene, is represented in the southern apse, to the right of the central altar; in the cathedral of the Mirozhsky monastery in Pskov (40s of the XII century.) cycle, located in the south-western. compartment, included more than 20 compositions (preserved. 16); in the Novgorod churches of the Nativity of the Virgin of the Antoniev monastery (1125), the Annunciation in Arkazy (80s of the XII century), the Savior on Nereditsa (1199, the frescoes are not preserved), George in Art. Ladoga (2nd half. XII century). The life cycle of the Virgin is in the altar. The Proto-Angel cycle may include the following compositions: the offering of gifts by the righteous Joachim and Anna, the rejection of gifts, the weeping of Joachim and Anna, the prayer of Anna, the prayer of Joachim, the testing of scriptures, the good tune to Anna, the preaching of Joachim and the meeting of Joachim and Anna at the Golden Gate, Christmas of the Blessed Saints. Virgin, caressing Mary, Mary's food, the first seven steps Virgin, bringing to the elders, introduction to the temple, prayer for rods, handing Mary Joseph, Joseph leads Mary to her home, Annunciation at the well, meeting of Mary and Elizabeth, reproaches of Joseph, sleep of Joseph, water test of reproof.

In the XIII-XIV centuries. The cycle of life of the Virgin expands through the story of the Dormition of the Mother of God, which includes scenes: farewell to Jerusalem wives, farewell to the apostles, the ascension of the Virgin and the presentation of the belt, transferring the body of the Virgin to the burial place, cutting off the hands of the unholy Avfonia, the apostles at the empty tomb of the Virgin Mary. One example of such a lengthy cycle is the painting of the Church of the Virgin Perivepts (St. Clement) in Ohrid (1395). The scenes of the Proto-evangelical and Assumption cycles occupy the middle register of the southern wall and the western wall (for example, in the church of Joachim and Anna (Kralevoj) of the Studenica monastery (Serbia), 1314). In the church of Choir Monastery, 20 compositions of the Proto-Angel cycle are presented on the arches and walls of exonartex.

In the XV-XVI centuries. in Russian art, the icons of the Mother of God are distributed with scenes of life in the stigmas. Similar images were known in Byzantine art (diptych of the 12th century, the State Museum of Berlin). On Russian icons, among the scenes of the Assumption cycle, are the Prayer of the Virgin on the Mount of Olives, the Death Annunciation, the position of the robe and the belt of the Virgin (Tikhvin Icon of the Mother of God with the stigma of life, XV., NGOMZ; Smolensk Icon of the Mother of God, XVI., TG). Lives icons of the Mother of God were the basis for the development of a fundamentally new type of icons with a legend about miracles. This iconographic type, known in Byzantine art, was developed in Russia in the 2nd floor. XVI-XVII centuries, which is associated with the liturgical veneration of the miraculous icons and the compilation of special services. The development of the text of the legend is directly reflected in the monuments of the iconography of the Virgin, based on various versions of the text (“Vladimir Icon with the stigma of the legend of Temir-Aksak”, 16th century, PGHG; “Vladimir Icon with 64 stamps and the Legends of its miracles”, 17th century. , TsMiAR; Tikhvin Icon, XVI century; Annunciation Cathedral of the Moscow Kremlin; Tikhvin Icon from Balakhna with scenes of the siege of the monastery by the Swedes, XVII century; TsMiAR; Tikhvin Icon with life and wonders in 99 stigmas, XVII century, Assumption Cathedral of the Moscow Kremlin; Kazan Icon, XVII century., CECM; Tolga Icon, XVII century. ., Yahm Wed: Feodorovskaya icon, 2001, Pakhomiev Nerekhtsky convent of the Kostroma diocese).

Often, the plot of a separate icon was an episode from the tale of the wonders of another image of the Mother of God. For example, the Talk icon depicts the miracle of the appearance of the Virgin to the sexton Georgy, the story about which is contained in the legend of the Tikhvin Icon; The plot of the icon “The Presentation of the Vladimir Icon of the Mother of God” (16th century, TsMiAR) is an episode from The Tale of the Miracles of the Vladimir Icon of the Mother of God.

The iconography of the images of the Mother of God was greatly enriched in later times. In the XIX-XX centuries. The icons of the Mother of God “Affection” of Seraphim-Diveevskaya (cell venerable St. Seraphim of Sarovsky), where the Mother of God without the Infant is represented with arms folded with a nimbus surrounded by fiery tongues, “The Week of Breads” (the name given by St. Ambrose of Optinsky) where the phenomenon in the heavens of the Virgin, blessing the fields, acquired in the village of Kolomenskoye "Sovereign" is sealed. The attitude of the Russian Church to the images of the Virgin is deeply and precisely expressed in the words of the chants of the Mother of God: "And until now it is gracious."

Literature: Snessoreva. Earthly life of the Blessed Virgin; Bukharev I. Icons; Likhachev N.P. Materials for the history of Rus. icon painting. SPb., 1906; he is The historical significance of Italian-Greek painting: The image of the Mother of God in the works of Italian-Greek icon painters and their influence on the compositions of some famous Russian icons. SPb., 1911; Villager E. The Virgin; Kondakov. The iconography of the Virgin; Maria. Etudes sur la Saint Vierge. P., 1949-1961. 1–5; Lexikon der Marienkunde. Regensburg, 1957; Lafontaine-Dosogne J. Iconographie de l’enfance de la Vierge dans l’Empire byzantin et en Occident. Brux., 1964–1965. Vol. 1-2; Grabar A. Christian Iconography: A Study of Its Origins. Princeton, 1968; idem. Les images de la Vierge de Tendressë type iconographique et theme (a propos de deux icones de Decani) // Zograf. Beograd, 1975. P. 25-30; idem. Remarques sur 1’iconographie byzantine de la Vierge // Cah. Arch. P., 1977. Vol. 26. P. 169-178; Lazarev V.N. Etudes on the Iconography of Our Lady // aka. Byzantine painting. M., 1971. P. 275–329; he is Sketches on the Iconography of the Mother of God // Byzantine and Old Rus. art: Articles and materials. M., 1978. p. 00; Grabar A. L’Hodigitria et l’Eleousa // EVIL. 1974. T. 10. S. 3–4; Sevcenko N. P. Types of the Virgin Mary // The Oxford Dictionary of Byzantium. N. Y .; Oxf., 1991. Vol. 3. P. 2175–2176; Mouriki D. Variants of the Hodegetria on two thirteenth-century Sinai icons // Can. Arhc. 1991. Vol. 39. P. 153-182; Smirnova E. S. The Icon of the Mother of God Maksimovskoy: Revival Rus. artistic tradition at the end of the XIII century. // DID. M., 1993. [Issue:] Problems and attributions. Pp. 72–93; she is Novgorod icon “The Virgin of the Sign”: some questions of the iconography of the Mother of God of the XII century. // DID. SPb., 1995. [Issue:] The Balkans, Russia. Pp. 288–309; The miraculous icon in Byzantium and dr. Rus / Ed. A. M. Lidov. M., 1996; LCI. Bde. 3. S. 154–233 (Bibliography); Etingof O. E. The image of the Mother of God: Och. byzant. iconography XI-XIII centuries. M., 2000.

Theological doctrine of icons.Orthodox theologians believed that the icon image was adequate to the texts of Holy Scripture: the narration expresses in writing what the painting expresses in colors. The image was intended to complement and clarify the gospel text. The true creators of icons were considered theologians, the fathers of the church. With “smart eyes,” they saw the image in the world of ideas. The work of the icon painter was to draw, reveal, materialize it, i.e. perform the technical side of things. The exceptions are those cases when the icon painter, such as Reverend Andrei Rublev, for example, reached the heights of the knowledge of God.

The word "icon" comes from the Greek eikon ("image", "image"). In the period of the formation of Christian aesthetics in Byzantium, a new attitude to the image was developed compared to antiquity and the teaching about the icon was formulated. This doctrine became the most important link of the Byzantine theological system and was the theoretical foundation for the entire Eastern Christian world. The first apology of religious images was written by John of Damascus (c. 676 - c. 754) during a period of fierce controversy with opponents of icons. The iconoclasts argued that it is impossible to depict God, since the divine nature is unknowable and indescribable. John of Damascus agreed that it was impossible to depict an invisible and indescribable God, but he claimed that it was necessary to depict the person incarnated in human flesh and living among the people of God Jesus Christ. According to John Damascus, the icon is not an exact copy of the prototype (prototype), but serves only as its likeness. Because of this, it does not close the viewer's attention, but elevates his mind to the contemplation of the spiritual essence of the image, elevates to the contemplation of the original image. Seeing in front of him depicted on the icon of Christ and worshiping his image, the Christian honors God himself. Somewhat later, at the VII Ecumenical Council (8th century), the Holy Fathers clarified that the icon depicting the appearance of Jesus Christ depicted not his human nature as such, which is impossible to depict, but his Personality in the unity of two natures - divine and human. Thus it was proved that the pictorial image, having nothing in common with the essence of the prototype, but conveying only its appearance, expresses its spiritual essence. That is why icons are worshiped as an object of love, and the fact of creating an image is also a sign of expressing love for the image.

Canon.In addition to the theoretical basis, a special pictorial language of the icon was developed in Byzantium, far from the illusory-naturalistic methods of transmitting reality: all artistic means were aimed at creating an inspired, exquisite image shed by divine light.

In 8–9 centuries. The Byzantine thinker Theodore the Studite (759–826) substantiated the concept of canon, which accompanies the art of icon painting. Since the image of Jesus Christ or any of the saints is the perfect embodiment of the prototype, it is logical to conclude that it can be embodied in various materials and variants. However, no matter how numerous these options are, they all have the same “character” or iconographic type, fixed by the canon as true and corresponding to the realities of life. The canon recorded all the significant details of the type, which were brought in the form of curvatures into the iconographic originals used by the artists. In the iconographic type, everything is important: the pose of the character, clothes, surrounding attributes, hand gestures, inscriptions. Knowledge of the symbolic meaning of each part allows you to read and interpret the symbolism of the image.

Iconographic types.

"Savior not made by hands".The beginning of the creation of icons was laid by Christ himself. As the legend tells, the ruler of the Syrian city Edessa Avgar, being seriously ill, sent his artist to Christ in the hope that the portrait of Jesus made by him would heal him. The master was unable to transfer the features of Jesus to the canvas. Then the Savior took the canvas from him and wiped his face with it. On the canvas miraculously imprinted face of Christ. In Orthodox iconography, this image was called the "Savior, not made by hands". see also   VERONICA, ST.

"Pantokrator".Among the most common images of Christ is the iconographic type "Pantokrator" (Greek: "Almighty"). This is a belt image of Christ dressed in a chiton and himatius, devoid of any external attributes of divine dignity. The Savior’s right hand is raised in a gesture of blessing, while the left holds the Gospel. The head is covered with a nimbus. On the branches of the cross are placed three Greek letters (Greek: "He who is"). This is the most universal image of the Savior, clearly revealing his human essence, but at the same time representing him as the lord of the world.

Icons of the Virgin.The icons of the Mother of God were the most beloved and most common in the Orthodox world. The exceptional veneration of the Virgin Mary is explained by the fact that of the entire human race, she was the first to achieve deification, the complete transfiguration of the entire human being. According to legend, the first image of the Mother of God was created by Luke the Evangelist. The Mother of God not only approved the icon, but also informed her of her grace and power. Tradition emphasizes how important it was for Christians to convey to their descendants "portraiture", the historical authenticity of the images of the Virgin Mary. The Russian Orthodox Church has up to 260 icons of the Mother of God, glorified by various wonders. Among the icons of the Mother of God, six main iconographic types can be distinguished: “Affection” (Mary is portrayed inclined towards the Infant, who pressed her cheek to her cheek); “Odigitria”, or “Travel Guide” (Maria with the bearing of the empress, the Infant sits in her arms, as on a throne); "Mammalist (Mary, breastfeeding the infant)"; "Vzygranie" (captured the moment of mutual caressing Mother and Infant); “Oranta” (the Mother of God with hands raised in prayer) and “The Sign” (the Mother of God in the pose of Orans, on the chest a medallion depicting Jesus Christ). The rest of the icons are a kind of redaction of the main types or, as icon painters said, izvod. The addition of the iconographic type is a complex process, due to the entire cultural and historical situation. But the entry of a new image into the history of the Orthodox tradition is always associated with a miracle — the appearance of an icon. Such icons worked wonders and healings, they were revered, loved and called miraculous. They were taken as a model from which countless repetitions were made. see also   MARIA, HOLY GIRL.

Our Lady of Vladimir.The most revered and most ancient Russian icon is the Mother of God of Vladimir. The first mention of it is found in the annals under the year 1155. From sources it is known that she was brought from Constantinople to Kiev and was located in Vyshgorod in a convent. In 1155, Prince Andrei Bogolyubsky took the icon to his new Vladimir principality. The glorification of the icon is connected with the ancient Vladimir. “Vladimirskaya” became the prototype for many Russian versions of “Tenderness” associated with locally-revered miraculous icons (the Virgin of Donskaya, the Virgin of Igorevskaya, the Virgin of Fyodorov). Cm . VLADIMIR ICON OF GOD'S MOTHER.

"Life-giving Source."In addition to the so-called "portrait" images of the Mother of God, there were symbolic, complicated by various attributes and allegories. The symbols-allegories are maforia (a blanket of Byzantine women), a den (cave), land, desert, a mountain, a burning canopy (bush), a vine, a ladder, a door. The origin and themes of such complicated images are different. The legend of the emergence of one of the most ancient symbols - the Virgin of the Life-Giving Source is given by a Byzantine historian of the 14th century. Nikifor Callist. One day, a warrior Leo, the future emperor Leo Markell (5th c.), Passed through a wooded area and met a lost blind man. Leo led the blind man to the path and went to look for water in order to give a tired traveler a drink. Suddenly, he heard a voice that, calling him king, told him to enter the grove, take water, give it to the thirsty, and lay mud on his eyes. The same voice was called the inhabitant of the grove and commanded him to build a temple on the site of finding the source. The blind man received the sight of the healing water and mud, and Leo Markell, who had become emperor, erected a temple above the source, in the huge gilded dome of which holes were made. Through them, the rays of the sun lit a white-marbled source with two ladders leading to it. In the dome there was a mosaic image of the Virgin and Child, which was reflected in the source. The veneration of the Life-giving source was also expressed in the appearance of the icon of the Mother of God with the Child on the chest, overshadowing the font with the source.

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"Praise of Our Lady."A symbol of the constant intercession for Christians was the image of the Praise of Our Lady. Praise Feast was established in Constantinople in the 8th century. in memory of the miraculous salvation of the city by the Mother of God from the invasion of the Avars. The oldest icon of Praise was located in the imperial Vlahern palace. The icon depicted the Virgin and Child, seated on a throne surrounded by Old Testament prophets with pro-obrozovatelnye symbols of the Mother of God in her hands (temple, door, ladder, mountain, etc.).

In the 14th century symbolic icons on texts of solemn liturgical chants in honor of Our Lady appear in Byzantium. One of the Byzantine hymnographers belongs to the famous song in honor of the Virgin Mary, beginning with the words “It is worthy to eat ...” Icons on the text of this hymn appeared in the 16th century. They represented a four-part composition, each plot of which illustrates a certain part of the chants. The image of Our Lady “The Honest Cherubim and the Most Glorious Seraphim”, represented as the Queen of Heaven, surrounded by disembodied angelic forces, stands out especially.

"Burning bush".The Burning Bush also belongs to the later symbolic izvods - this is the name of the burning and burning bush in which God appeared to Moses. According to church tradition, the burning bush is a type of the Mother of God, who was a virgin and after the birth of Jesus. Based on this symbol in the 16th century. in Russia there was a complex iconography, which reflected the cosmogonic representations of the Slavs. The Mother of God here is likened to the Heavenly Queen, the Mother of Nature and the Mistress of the Elements. It is depicted against the background of a red-blue mandorla (almond-shaped radiance) in the form of a star, symbolizing the mountain world. In the rays are placed the symbols of the Evangelists, and between them are the angels of natural elements.

A special category consists of 17th-century iconography, such as Joy of All Who Sorrow, Fadeless Color, Wife Clothed with the Sun, revealing a desire to enrich the image with motifs of Western Catholic art. In the miraculous icons of 18-19 centuries. direct borrowing of western images appears (“Unexpected Joy”, the Mother of God of Akhtyrskaya).

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Books

• A set of tables. History of religious culture. Basics of Orthodox culture. 10-11 class (12 tables),. Educational album of 12 sheets. Art. 5-8666-012. World religions. Factors of culture formation. The image of the Savior in the world culture. The image of the Virgin in world culture. Orthodox Church.…