Course Survey on Russian Art and Architecture, Part I
Fall 2011
01:082:251; index 37404
MW4: 1:10-2:30 p.m.
Zimmerli museums education room
Professor Alla Rosenfeld, Ph.D
Office hours: Wednesdays after class ( 2:30- 3:30 pm) and by appointment
[e-mail]
646-552-2426
Prerequisites
There are no prerequisites with regard to previous history courses or courses pertaining to
Russia. No knowledge of Russian is required
Course Requirements:
It is essential that you attend all lectures, since to a considerable degree they will provide
the contextual framework and continuity for understanding the course readings. There is
no textbook as such which adequately surveys the culture of the whole period.
If you miss a class, arrange to get lecture notes or any hand-outs from a classmate. If you
expect to miss one or two classes, please use the University absence reporting
website //https://sims.rutgers.edu/ssra// /to indicate the date and reason for your absence.
An email is automatically sent to me. More than 3 absences will count against your
grade.
You are also expected to read all the required readings by the date assigned. Readings
provide historical information not always covered in class; the texts do not duplicate
lectures.
Assignments and Grades:
Your grades will be based on your attendance, your participation in class discussion, and
on the midterm exam and final exam or paper.
Midterm exam:
This exam tests knowledge of facts, vocabulary and works of art as well as understanding
of cultural and artistic issues. The exam covers material from lectures and readings in the
period prior to exam; it includes identification of works of art (10 slides), important terms
and concepts.
Final take-home exam or research paper:
You will be required to choose between a take-home final exam (3 questions, essay
format) or a final term paper (15 pages, typed and double-spaced). The term paper will be
a chance to do sustained research on an artist, image, theme, or problem which arouses
your curiosity.
Course description
SURVEY OF RUSSIAN ART & ARCHITECTURE PART 1
(The Art and Architecture of Medieval Russia)
This course will trace the development of Russian art from the Christianization of Russia
in 988 A.D. to the late seventeenth century. Of primary importance is the impact of
Byzantium, from which Kievan Rus adopted Orthodox Christianity in the 10th century.
The course will include a wide range of works and architectural monuments from
virtually every major period of Old Russian Art. We will examine regional variations in
the culture of early Kievan Rus and Novgorod, the response to Mongol Rule, the impact
on culture of political consolidation around Moscow beginning in the 15th century, the
responses to westernization in the 15th-17th centuries, and the transformation in
Russian society and culture at the end of the seventeenth century. We will explore the
intersection of diverse cultural traditions in Russia and the formation of national identity.
The course will treat Russian contributions within the context of international art history,
as well as genres and forms specific to Russia such as Russian Orthodox icons, folk prints
known as lubki. and parsuna, a type of painting that was a transition between traditional
icon painting and the more westernized, realistic type of portraiture.
The course is concerned with painting and architecture in the oldest settlements of Kiev,
Novgorod, and Suzdal, from the later tenth century to the Mongol conquest; it also
explores Russian icon painting through the seventeenth century, focusing on the
iconography and techniques of icons, various schools of icon painting, and the function
of icon in Russian society. The course will also trace the beginnings of modern painting
in Moscow from 1550-1700 and, in architecture, from the transmission of Byzantine
culture in the earliest sacred spaces of Kievan Rus to the religious and secular
monuments of the seventeenth-century century-- the Naryshkin Baroque. Throughout
the course, we will study Russian art in its historical and cultural framework, and
investigate the ways in which artistic forms, subjects, and styles communicate ideas.
Periodization
Kievan Period: mid-9th-beginning of 13th centuries
Mongol (or Appanage) Period: 13th-14th (or mid-15th centuries)
Moscovite Period: mid 15th-end of 17th centuries
SYLLABUS
September 7-8; Thursday, September 8Monday classes schedule
Introduction to Russian Art: Historical and Cultural background
The Scythians and Sarmatians in South Russia, their art and the Scytho-Iranian Legacy.
The Emergence of the Slavs
Readings: George Hamilton,15-20.
Gallery tour: The George Riabov Collection of Russian Art
September 12-14
Art and Architecture of Kievan Russia; The profound cultural impact of conversion to
Eastern Orthodox Christianity in the 10th century. The Architecture of Kiev: 990-1240.
Architecture of Chernigov in the 12th century.
Readings: George Hamilton, 21-35; William Craft Brumfield, 9-25.
Film viewing: Alexander Nevsky
September 19-21
Mosaics and Frescoes in Kiev
Readings: George Hamilton, 65-73
Icon Painting: Iconography and Technique. The Byzantine Legacy. The Earliest Icons:
990-1250. The impact of the Mongol conquest on Russias cultural life
Readings: George Hamilton, 97-118.
September 26-28
The paradoxes of Novgorods economic importance and its political dependence
The Architecture of Novgorod and Pskov: 990-1500.
Readings: William Craft Brumfield, 26-42; 64-79.
The Architecture of Vladimir-Suzdal: 1100-1240. The coming together of Western
(Romanesque) and Byzantine culture.
Readings: William Craft Brumfield, 43-63.
October 3- 5
Frescoes in Vladimir and Novgorod; Theophanes the Greek; hesychasm.
Readings: George Hamilton, 80-96;
October 10 -12
The Rise of Moscow. The growth of monasticism: St. Sergius of Radonezh and the
Trinity Monastery. Emergence of Moscow as an artistic center. The legacy of Vladimir.
Moscow. Andrei Rublev and the development of icon painting
Readings: George Hamilton, 130- 140
October 17-19
Film viewing: Andrei Rublev
Fifteenth-Century Painting: Novgorod
Readings: George Hamilton, 141-151
October 24-26
Painting in Moscow in the later 15th-16th centuries. Dionysii and His School.
Readings: George Hamilton, 152-162.
Architecture in Moscow: 1400-1600.
Readings: George Hamilton, 184-208; William Craft Brumfield, 83-106; 107-129.
October 31- November 2
Seventeenth-Century Architecture: The Moscow Baroque. Architecture in Iaroslavl and
Rostov.
Readings: George Hamilton, 209-225; 226-240; William Craft Brumfield, 141-156; 156171.
Midterm exam
November 7- 9
Painting in Moscow, 1550-1700. The History of Russian Ecclesiastical Embroidery.
Stroganov School. Prokopy Chirin, Simon Ushakov. The Growth of Secular Art.
Development of parsuna
Readings: George Hamilton, 241-257
November 14- 16
Film viewing: Ivan the Terrible, Part I
Film viewing: Ivan the Terrible, Part II. Discussion of the film
November 21-23
The Foundation of St. Petersburg. Reforms of Peter I (the Great).
Baroque Style of Peter I, 1703-41
Readings: George Hamilton, 258-275
Wednesday November 23-Sunday November 27 THANKSGIVING RECESS
November 28- 30
Religious Art Versus Anti-Religious Propaganda in Soviet Russia
Viewing of anti-religious journals and posters in the Riabov Collection (Zimmerli Art
museums print room)
December 5-7
Religious Expression in the work of Nonconformist Artists in the Soviet Union, late
1950s to perestroika; Tour of the Norton Dodge Collection of Soviet Nonconformist Art
Readings: Alla Rosenfeld and Norton T. Dodge,eds. Nonconformist Art: The Soviet
Experience, 1956-1986(New York: Thames and Hudson, 1995).
Art of the Scandal: Religion and Contemporary Russian Art. Class Discussion
Readings: handouts
December 12
Individual meetings with students; discussion of papers/and take-home exams
Required Books:
George Heard Hamilton, The Art and Architecture of Russia (Penguin Books, 1990)
William Craft Brumfield, A History of Russian Architecture (Cambridge University
Press, 1993)
Those wishing a very quick overview/preview of the period of Russian history
covered by this course may wish to read Gregory Freeze, ed. Russia: A History
(Oxford, 1997; 2nd ed. 2002), Chs. 1-3.
Other recommended major books on Russian history of this period:
J. Cracraft, Ed. Peter the Great Transforms Russia (Lexington, 1991)
Vasilii O. Kliuchevskii, A Course in Russian History: The Seventeenth Century,
tr. Natalie Duddington (New York and London: M.E. Sharpe, 1994)
Janet Martin, Medieval Russia, 980-1584 (New York: Cambridge University Press, 2007)
Nicholas V. Riasanovsky and Mark D. Steinberg, A History of Russia, Volume 1: to 1855
(New York and Oxford: Oxford University Press, 2005)
George Vernadsky,Kievan Russia (New Haven and London: Yale University Press, 1976)
Other suggested readings:
William C. Brumfield and Milos M. Velimirovic, Eds. Christianity and the Arts in Russia
(New York: Cambridge University Press, 1991)
J. Cracraft, The Petrine Revolution in Russian Architecture (Chicago, Il, 1988)
Anthony Cross, Ed. Russia under the Western Eyes, 1517-1825 (New York: St. Martins
Press, 1971)
Helen C. Evans and William D. Wixom, The Glory of Byzantium: Art and Culture of the
Middle Byzantine Era A.D. 83-1261. (New York: The Metropolitan Museum of Art and
Harry N. Abrams, 1997).
Roderick Grierson, Ed. Gates of Mystery: The Art of Holy Russia (Fort Worth, Texas:
InterCultura and the State Russian Museum, 19? )
Charles J. Halperin, Russia and the Golden Horde: The Mongol Impact on Medieval
Russian History (Bloomington: Indiana University Press, 1987))
Richard Hellie, Ed. Readings for introduction to Russian civilization, Moscovite Society
(Chicago: University of Chicago, 1967)
Daniel H. Kaiser and Gary Marker, Ed. Reinterpreting Russian History: Readings, 8601860s. (New York and Oxford: Oxford University Press, 1994)
Andreas Kappeler, The Russian Empire: A Multiethnic History (Essex, England: Pearson
Education Limited, 2001). Chapter 1 (The Medieval Background) and Chapter 2 (The
Gathering of the Lands of the Golden Horde)
Valerie Kivelson and Robert Greene, eds., Orthodox Russia (University Park, PA: The
Pennsylvania State University Press, 2003)
V.N. Lazarev. Old Russian Murals and Mosaics from the 11th to the 16th century (London:
Phaidon, 1966)
V.N. Lazarev. The Russian Icon; from the origins to the sixteenth century (Collegeville,
Minn: Liturgical Press, 1997)
V.N. Lazarev. Novgorodian Icon Painting (Moscow: Iskusstvo, 1969)
V.N. Lazarev, Studies in Early Russian Art (London: Pindar, 2000)
Leonid Ouspensky and Vladimir Lossky, The Meaning of Icons (Crestwood, New York:
St. Vladimirs Seminary Press, 1989)
Richard Pipes, Russia under the Old Regime, (New York: Penguin Books, 1995)
S. F. Platonov, Ivan the Terrible (Gulf Breeze, Fla., 1978)
S.F. Platonov, The Time of Troubles (Gulf Breeze, Fla., 1970)
Thomas Riha, Ed. Readings in Russian civilization, Volume I: Russia before Peter the
Great, 900-1700 (Chicago: University of Chicago Press, 1969)
Alfredo Tradigo, Icons and Saints of the Eastern Orthodox Church (Los Angeles: The J.
Paul Getty Museum, 2006)
Serge A. Zenkovsky, Ed. Medieval Russia: Epics, Chronicles, and Tales (New York:
Pinguin Books, 1974)
SURVEY OF RUSSIAN ART
9/7
In my syllabus, I put some recommended books on Russian history that you can just get
and read when you have free time just to get some background. Since this is a class on art
history, not history, I wont be able to spend much time talking about history.
It took my over 30 years to develop this exotic Russian accent, but when someone comes
from another country at the age of 20 something, you cannot lose your accent. Hopefully
at the end of the semester you will get used to it, and you will learn some Russian words.
I received my Masters degree in the Academy of Fine Arts in Russia; and then she
received her Ph.D in New York.
For over 15 years, I was a curator of Russian art. It was her installations, and she did it all
when she started working on the exhibitions. She was director of the Russian department,
and then she worked three years for major auction house, and then crisis happened, so
now I am back to teaching, and I am very happy, because auction world is very different
environment than auction world. I will tell you about my experience in both worlds:
commercial world and academic world.
By the next class, write you name, what is your major, whether you ever took any courses
in Russian history or Russian language, maybe some of you can speak Russian or read
Russian, so I want to know if this is the case, and I want to know why you decided to take
this class, so I want to know your interests, so whether you took any art history classes or
Russian language classes.
Slide-ID exams. If youve taken art history classes, you know what it is, and if you
havent had any, then she will show us ten slides during one hours, and we will have ot
identify what those works are, and we have to write a little about the works to place them
in the context. It isnt that difficult, because shes planning to GIVE US A LIST OF 20
WORKS NEXT CLASS. Those of you who like to prepare far in advance, you can take
all of those times and study those works, and all you have to do during the midterm exam
is recognize 10 of those 20 slides!!!!!
TAKE HOME EXAM go to library, spend as much time as you want, but for this class,
if you leave it for the last night, it is unlikely you will write a good paper, because it is
not material that is so familiar for you.
WE WONT HAVE ANY OTHER QUIZZES
Consult Brumfield book for architecture.
Warning: you cant just use any internet page which deals with this topic. It is, for
example, I decide that I want to write about how to drive a truck, and I just put this
information on webpage.
LECTURE
Old Russian Art or
Medieval Russian Art
Russian art from the 9th century to 17th century
Between the end of the 10th century and the end of the 17th, which means the introduction
of Christianity, to the inception of reform in Peter in the Great, all art was essentially
dependent on Orthodox Church. Old Russian is applied to art of this period. Russian
history can be said to begin along Northern Shore of Black Sea and beyond. It is said that
people of Southern Russian came into contact with the ancient world of Greek and Rome
thorugh sea colonies in 7th century B.C.
Iconostasis was a wall of icons that separated body of church from its sanctuary.
The Annunciation
The Archangel with Golden Hair
Icons were painted on panels and carved of stone and wood and also carried in religious
processions, so here you can see one of these old icons, and this is one of the most
famous icons: St. George fighting the Dragon from 4th century.
This narrative means SCENES FROM SAINTS LIFE this is iconographical. Saint in
the center and on the border there are scenes from his life. This icon is narrative, while
this is a symbol. It is one of the best Russian icons.
Oklad of the Trinity
Some icons even depicted historical figures. This icon has many ornaments, and it is very
detailed, so you can see how the style of icons is developing.
Here there is some ECCLESIASTICAL EMBROIDERY, in other words icon means
image or representation. This is a Greek word, and it means image or representation, and
it refers to the scenes from his life. We will also talk about fresca painting. Fresca is a
painting on wet plaster, but I will go over all the details.
Some icons showed real people and real historical events. This icon depicts a battle
between citizens of two cities, so this icon depicts specific historical event.
Lots of decorative objects in old Russia all of them liturgical.
This is a golden cover for the book for the gospels.
In this very brief survey of how styles changed, look at this idcon that depicts trinity, and
the icon which we just discussed.
This looks much more Renaissance, because you can see perspective, foreground,
background, unlike earlier icons wherein everything is flat and stylized.
Russian art was confined to church painting from 17th century, and then they started
painting portraits.
This is what is called: PERSONA, and it was a kind of link or bridge between icon
painting and portraiture. This image is still very static like an icon, still very stylized, but
it is an image of a particular individual, and it has volumetric treatment. Change from this
stylized painting by introducing volume and perspective. I will also show you many
architectural monuments, many churches, and at the beginning, they will all look the
same, and then you will start distinguishing between them, because they are all different.
There were many churches built of wood, and it is difficult to make round cupola from
wood, so they started doing this type of thing, and then the church prohibited it, and then
they went back to stone cupola.
We are already talking about Moscow Baroque.
Scythians and Siberian. The earliest of a succession of people who appeared in Southern
Russia are thought to be the Scythians. The Summarians took over the state. The rulers
who spoke an Iranisn language owned the land. They turned the Caucuses into Asian
Minor. The Greek historian says that the Scythians believed that they descended directly
from their forefather who war born to divine parents. According to another story by this
Greek historian, the Scythians were descended from the gods. The Scythians established
a strong military estate. The Scythian horseman was a constant threat to his neighbor. The
land was marked with a special ritual: the Scythian drank his blood. They made bowls out
of them. The Scythians brought a distinctive art and craftsmanship.
Now I want you to look at some of the objects which Scythians and Siberian produced.
Here there is a vessel depicting Scythians, and it is made of pure gold. Here I will show
you some other slides. Whats interesting is that this work was hammered from the inside,
and then finished by more delicate hammering. The scene depicting on this vessel
illustrate Horods account on the origin of the Scythians. The earliest ruler became ruler
after strining his fathers bow.
This neck ornament was sent to Peter the Great as a gift from the governor of Siberia.
Here you can see how much more elaborate the work of Scythians and Siberians became.
This shows an event from Scythian myth: the murder of the first Scythian king by his
brothers who sought political power, and this became one of the most widely produced
art objects creating by Scythians, and it is actually a shield ornament.
Scythians and Siberians were important for the background of Russian art, but they
werent Slavs, and we will be talking about Slavic tribes. The histories and cultures of
people of Southern Russian forms this background, but the inhabitants of the Slavic state
became Russians and were Slavs.
Some King came into power after Prince someone of Norgrad founded a central location
on a trade route and established the capital of an emerging Slavic state called Kieve. A
ruler of Kieve married Ana, and in exchange for her hand, Vladmir agreed to establish
Christianity. Vladmirs attempt to institute Christianity established the foundation for
culture.
Vladmir listened to Muslim missionary and from the Byzantine Church, and then he sent
10 men abroad to study each kind fo worship, and the emissaries described their
impression. The Roman Catholic ritual lacked sufficient ritual. Only in the Hagia Sofia in
Constantinople did they find a liturgy that enraptured them. We did not experience
anything on the kind on earth, nor had we seen anything so wonderful, so the Byzantine
form of Christianity became baptized. He did it as he commanded it, as written in early
Russian chronicles, so forceful conversion to Christianity, but many Russians continued
being paganism, so Christianity was really interconnected with Paganism and with all
beliefs.
This is the Hagia Sofia church in Constantinople which served as an example to Russian
emissaries who suggested to accept Christianity as state religion. In the beginning, it was
a pagan church. Those of you who dont remember history, I want to remind you how
many countries were part of Byzantine Empire.
Greece, Egypt, Syria.
Hagia Sophia, Constantinople.
Russians followed not only religion, but they decorated their churches with the traditions
established in Byzantine art.
In the year 1000, Russia stretched from Baltic North, to other places, and occupied
largest area after Holy Roman Empire. The purpose of the monasteries was to serve the
requirements for the worship of God. This space extended itself to become a place as a
social existence. Important public events took place in churches or in front of them.
Monasteries possessed estates, artistic studios and tools, and their walls sheltered
workshops and enterprises. Their walls fought for unity and independence. As much as a
1/3 of the entire soil of Russia was in clerical hands.
Some statistics:
Nine monasteries in this very small city.
In the 16th century, 5,300 churches and monasteries were in Moscow, and about 10,000
monks. Now you can see a page from the important gospels from the 11th century. This is
another one from the 16th century.
In addition to being the house of god, the cathedrals symbolized kingdom of god. Early
Russian architecture has its own symbolism.
BASILLICA.
Christian building types are exemplified in the Basillica. The basic ground plan of the
dome church is an assemblage of two places separated by arcades. It is a Greek cross,
arms with equal length, placed in a dome frame.
The circle had a definite symbolism in Russian art. Cross was the basis of Russian
Orthodox Church, while the circle was a symbol of entirety: no beginning, and no end.
Even basic geometric shapes required symbolic interpretation, and the type of church that
developed was called DOME CRUFICIED CHURCH.
The actual building of a Church is supposed to be an image of the mystical body of Christ
and the house of God. Literal orientation towards the East, towards the light, and the
direction of paradise. The division into three parts is a reference to the Trinity. All
parts of Russian Orthodox Church have symbolic interpretation. The relationship of
the sanctuary and the nave is an interpretation of the two natures of Christ: the
divine and the human. In all Russian Churches was a placed called Sanctuary, and I
will show you the iconostasis again, which served as a division between the body of
the church and its sanctuary.
This ICONOSTASIS separated body of Church from its sanctuary, and this image was
interpreted as an expression of the dual nature of Christ: divine, invisible, human visible.
The vestibule of the Church is a symbol of the evil world. So practically, the entire
building of the church was a reference, not only ot the body of Christ: the dome being his
head, and the different parts of the church symbolize different parts of Christ, but it
would also be a symbol of three entities: earth, heaven, and Gods realm. That is why, the
way Church was painted inside, it was also following the same idea, for example, in the
dome, it will always be an image of Christ the pantaretor.
This symbolism, like when you enter the church, the vestibule is a sinful world, and then
the nave, and then heaven. If they wanted to depict frescas or patrons of the church, the
patrons would go at the very bottom, and then images of virgin Mary and Christ are very
high up. The Church building is enclosed by four walls: one dome symbolizes the one
God as head of the church. The columns or pillars correspond to the support of the
Church. A number of the domes has its part in the symbolic importance that Russian
orthodoxy attached the Church exterior.
Twelve smaller domes surrounding the main one symbolize Christ and his apostles.
Nine domes symbolize the nine ranks of angels. Five domes symbolize Christ and
the four evangelists, and three domes is a symbol of the Trinity.
Even quantity of domes had a symbolic interpretation.
In my syllabus, I put one book for people who dont know Christian symbols. It is:
Alfreda something, Icons and Saints of Eastern Orthodox Church. I bought it at the
metropolitan music of art, and I found it very useful, and it is a very clear explanation of
all the stories.
We will be talking a lot about Christianity in this class. You dont need to be Christian to
know about this: you can be Muslim and Jewish, but it is a kind of learning about one
type of religion, so dont feel bad if you dont know what annuciation is or other
iconographic motifs. First, I will talk about it, and I will explain it, and also do
background readings if you dont know the subject, but it is important of you to have a
knowledge of these basic topics such as
Annunciation
Entry into Jerusalem
Maybe next class I will give you another handout, where you will see very simplified
comic books, and you will see these iconographic types. There are over 200 very types of
only VIRGIN MARY in Russian Orthodox Church. You dont need to know all of them,
but you have to learn about three of them.
Many words in these class come from Greek, Russian, and Latin. Dont be frightened by
words and terms. I will explain them, and hopefully it will be easier by next class.
CHRIST PANTRACRATOR.
PARTS OF THE CHURCH
APS
DOME
And PIERS
In all churches, it is the same kind of iconographic program.
In the beginning, you have to remember three terms:
Icon: representation of saint, comes from Greek. Icons can be made from various
materials, they can be painted on panels. They can be carved of stone. Then we looked at
some fresca paintings, and that is a painting on wet plaster, and now we are looking at
mosaics. Many frescas didnt come down to us in a good shape, but mosaic is really very
good slide; you can see it clearly.
9/8
Byzantine Empire is the name for the Greek speaking empire. In specific contexts, it is
referred to as Eastern Roman Empire. There is no consensus on starting date of Byzantine
Period. The Reign of Diocletian some scholars believed this was the start. Some
believed it started with Theodosius. It began with the division between the western and
eastern parts. Others place it when Romulus Augustus was forced to abdicate. In any
case, the change over was gradual, and by 300 A.D., when someone inaugurated the new
capital, the process was underway.
Byzantine is derived from Greek name for Constantinople. The name is a modern term
and would have been alien to its contemporaries. The term Byzantine Empire was
invented by a German historian.
So now when I refer to Byzantine, you know what Im talking about. Until the Reign of
Vladimir, most of Russia was Pagan, and last class we defined the term paganism. It
means people believed in many different gods.
What was the nature of paganism in Russia?
The Russian pantheon was complex and diverse. It had no priests or temples. People have
different gods for different changes of the year. Changes of the year were depicted as
struggles between hot and cold and good and evil. This lead to fertility rites that were
forms of worship common in Russia. There was belief in spirits too. Svarog the sky god
in heaven, had a connotation in fire. Dazhbog the giver of wealth; god of sun.
Khors the sun god.
Stribog commander of the winds.
The main god of ancient Russia was PERUN who was responsible for thunders, storms,
and lightning. Veles protector of harvest.
One of the early Russian chronicles described Vladimir in his early life before his
conversion as an absolutely cruel and heartless person. He had to fight his brothers for
rule. He had an even greater change after conversion. He had only seven official wives,
but he had 300 mistresses in many of the towns in which he visited. Many of these
became a part of his military they became his soldiers. He was shown in chronicles as a
bad person. After he converted to Christianity, he became much better person. He was
blind and then he saw. The point of this chronicle was to show how religion can change a
person. Prince Vladimir set up statues of Pagan gods on the hills overlooking something.
This was before he converted. The timing for the conversion of Russia to Christianity is
of great importance. Paganism, because of its multiplicity of deities could not bind these
people into a national consciousness. A national commitment to a formal, monotheistic
religion was necessary. Once he decided a monotheistic religion was preferable, he had to
decide which religion to adopt. A new religion would have complete control over
education, so it was very important for the development of Russian society. On his
western borders, Vladimir found two kinds of Christianity one from Rome and one
from Constantinople. Vladimirs grandmother decided the Greek faith, or what later
became Russian Orthodox Faith. Her personal faith made an importance on Vladimir. So
grand-mother of Prince Vladimir was converted to Christianity, while his father did not
want to convert.
I want to read you some interesting excepts from the first Russian Primary Chronicle.
This Chronicle, which is also known as the Tale of By-Gone Years. It is probably a
combination of several texts. Compiled in the 12th century, it is not a contemporary
account, but relates events that took place two centuries earlier. So this is how this
chronicle describes how Ulga, grandmother of Vladimir converted to Christianity
Ulga went to Greece. The reigning emporer was named Constane. Constantine noticed
she was wise and beautiful. Ulga said that she was still a pagan, and if she decided to
baptize her, he should perform this activity himself. After her baptism, he wanted her to
become his wife. She replied:
How can you marry me, after baptizing me? With Christians, this is unlawful.
Then the Emporer said:
Ulga, you have outwitted me, and he gave her presents, and dismissed her.
How shall I alone accept another face? Everyone will be laughing at me.
Vladimir looks around when deciding what religion he wanted for Russia. He looked into
different religions. He was considering converting to Islam. He listened to missionaries
who described to him about Islam, and because he was found of women, he really liked
that part of Islam that allowed many wives. But circumcision and abstinence from pork
and wine were disagreeable to him:
He said: Drinking is the joy of the Russians. We cannot exist without that pleasure.
The Jewish Hazarrs, heard of this mission and came to Vladimir. They said:
We heard that Christians and Muslims are tryna convert you.
God scattered us among the gentiles on account of our sins. Our land was then given to
the Christians. Vladimir demanded how can you seek others when you are cast out by
the hand of god?
Even if these early chronicles, we see how Christians are trying to make their faith
superior to Islam and Judaism. It was a real problem before Vladimir was able to marry
Byzantine princess, because she didnt really want to marry him. She was saying that she
would rather die in her native land than marry him, but she had no other choice, because
in the late part of the decade, the Greek emporer, her father, became involved in struggle
with Bulgarians, and he had to fend off invasion within his empire. Vladimir attached
conditions: he demanded Bazils sisters hand in marriage, and insisted that the Russian
church maintain some independence from Constantinople. First Bazil agreed to this
conditions, but then he tried to back off from these promises. Vladimir had no choice but
to put pressure on nearest Greek territory. At that time it was Greek colony and part of the
empire. Cutting the water supply in that city, and people were thirsty, so he was able to
force the Greeks to surrender, and then Bazil sent his sister Ana, and her marriage to
Vladimir took place. Vladimir returned the city back to the Greeks as a gift. Vladimir had
been converted, however the population remained pagan for a year. Then, the entire
population was baptized.
The horse was pulled of its pedastles and drowned. The first result of this conversion was
the construction of many churches. The first were wood, but later ones were of stone.
After conversion, Vladimir became a symbol of humility and charity. He gave banquets
to ensure that aged and sick people had at least one good meal a week. For those who
couldnt reach his palace, people went out with meals for them. It was necessary for the
chronicles to paint Vladimir as charitable and Christian to highlight the contrast of his
conversion.
The introduction of a writing system and the establishment of Church Slavonic language
are the two most important results of this conversion. Two missionaries lived 100 years
before Russias conversion, but later the disciples migrated to Bulgaria, and it was for
months that Kieve imported the Sirilic alphabet. This early language was known as
CHURCH SLAVONIC. This literary language was intelligible to Bulgarians, and other
Slavs of that time. They became for Russia was later languages were in the Western
world. The other classes and the clergy had a writing system and became literate.
Christianity did not replace the Pagan face at the moment of conversion. City people
adopted to the new faith quite rapidly, but the rural people held onto Paganism. Christian
saints became slowly to replace pagan gods. For many years, Russians combined
religious beliefs with different deities. Christian belief was brought to the masses.
Iconostasis came to represent the core of this new religion of the church. Even to the
literate person. All the literature is didactic to emphasize Christianitys superiority to
paganism.
This was one language that started combining all layers of Russian society.
9/12
This ruling familym, the Vasnetsov, was the remarkable family that made Kiev an
important part of the Middle Ages, and substantially contributed to the rise of Moscow.
Moscow as a city didnt exist yet. Moscow: very little town, no one wanted to rule it. But
at the time Kiev was the center of Old Russia.
We are obliged to view the 9th century through the chronicles that were unfortunately
written 200 years after the events they describe. A Slavic tribe in Northern Russia was
having difficulty suppressing riots and other difficulties in its territory. They were also
threatened by a commercially prosperous tribe invading them. They Russe tribe decided
to invite outsiders to strengthen their military position. They were Skandinavians. They
had trade routes through Russia, and were able to change the military structure through
the Russe.
Someones father granted allegiance to Charlemagne, the same year Charlemagne was
named holy roman emporer. So, he was baptized, but the early ruling parties, before
Vladimir did not embrace Christianity. The exact sequence or date is unknown, but a later
chronicle put it at about 865 or 866. This guy brought a large contingent of soldiers who
were facing his problems. He had to establish links with the south all the way to the black
sea in order to become involved with their Byzantine trading.
Rouits significance was that he established a huge dynasty that placed a central role for
history.
The unification of the Slavs took place in a few years. Two men from the north, received
his permissions to probe southward, hoping to get to Constantinople. This occurred in the
year 156. Most of this information was coming from the chronicles written many years
after the events happened. The Russes controlled a sizable town called SOMETHING, in
the delta of the Cuban River. Tuderakan dealt with nations around the black sea.
The nomadic tribe known as the PALIANI were leading on these heels under the Madiaz
those who now occupy contemporary Hungary. The Paliana founded Kiev many years
earlier. There were three brothers and a sister named Libitz, meaning town. They named
the town Kiev after their eldest brother. A huge forest surrounded Kiev. In this forest they
caught wild beasts. In the middle of the 19th century, the city had some commercial
significance in the area, and held commercial control.
They need Mariangens came to the age of the Russe in their attack on Byzantine. By
April 1861, the attack ended, and they failed to defeat the Greeks, but they opened a new
chapter in Russian Greek relations.
In a month, many Russians were converted to Christianity. There was no permanent
effect of this defeat. Rudick appointed Aryb, a relative in the city of Norgrad. Before
Rudikck died in 1873 he endowed Erich with princely authority. He wanted to move the
center of the new Russian state to the Nipper Basin and then push for a better trade
advantage.
Erlichs expedition was much larger and better organized and he had received blessing
from something.
Erlich took various Eastern Slav tribes to the South. The first town he seized was
SOMETHING. When several thousand warriors landed at Kiev, he was told that he could
live there. He disarmed them and had them all killed and he ruled Kiev, which he said
would be the new center of a united Russian state.
VICTOR VASNETSOV, illstruation for A.S. Pushkins The Song of the Wise Oleg, 1899
Erlich is saying goodbye to his horse. Erlich thought he would be killed by his favorite
horse, because a magician told him that. His horse died, and he wanted to see the body of
his horse, and he laughed and said: I havent died because of the horse, horse is dead! As
he expected the body of his favorite horse, a serpant sprang from the carcus of the dead
body and hit him, causing his death.
This legend occurred because Erlich was supposed to be the all knowing one - the wise
man, and tjhis incident should never have happened, but people said no one can escape
Gods judgment and the wisest man is helpless for the job. This is what the chronicle tells
us about the death of Erlich.
The problem of succession has been a sore one in Russian history and from the beginning
of dynastic rule succession would always be challenged. The more they rebelled, the
more tribute they had to give to the princess. Apparently, the Greeks had felt that their
treaties will Erlich did not carry onto the new prince, so the Russians needed a display of
form to prove their formidability. They launched a large attack with Arab groups. The
Bulverians at the last minute also decided to join. Advanced warning reached the Greeks
in Constantinople.
The military general returned to Kiev and received his trade treaty with Constantinople.
The Byzantine emporer wcould ask the Russians to send troops if needed. This close
relationship with Byznatnium existed at the time.
Perhaps he had forgotten the way he had suppressed his rebellion. He would not pay their
extortion, and his soldiers were murdered. The most famous Russian woman was the only
women to hold a major position of power in Medival Russia. She was only 10 years old
when she was marrie, and after Igors death, she acted as head of Slavs until old age. Her
first act of statemenship was to destroy the tribe that had given her husband such
difficulties and had killed him. The tribe was murdered, arrested, etcetera.
One would marry the wife of the prince you conquered. Olga completely destroyed the
tribe, and she became best known for her conversion to Christianity. When Olga died, she
was replaced by her sons, butter Slav, who was very much concerned with the issues of
expansion. Bitter-Slav continued expansion of Russia.
Kiev became to gflourish because of trade. The land continued to be consolidated, but he
wasnt able ot maintain these frontiers. A tremendous cultural change was brought in by
his son and successor Vladimir. Kiev-Russe joined and was accepted by the European
nations, but after Vladimir, several western systems concluded marriages with Rudikites.
So Russian princes were inter-marrying with various princesses from other countries.
Anton Losenko Vladimir and Rogneda 1770
Before conversion to Christianity, Vladimir had many wives, many mistresses. In this
case, the painting shows a story were Vladimir wants to marry Rogneda. Rogneda was a
princess in Polis, however she didnt want to marry him, because Vladimir was a son of
slave woman who came from an old Russian tribe, but her parents were murdered and she
became s alve, which is why Rogneda didnt want to marry a slave.
Vladimir was brought up by his grandmother Olga. After Rogneda didnt want to marry
Polis, he killed her brothers and father, and then he married her.
He had to forget about Rogneda.
This is a contemporary view of the city of Kiev, but Kiev at the time was a splendid city
which held intercourse with western countries, and princesses made it into the houses of
Western Europe.
This remains a construction of the golden gates in Kiev. With the acceptance of
Christianity, the construction of masonry churches spread throughout Kiev-Russe. These
churches, the so-called disina churches, both displayed characteristics of wooden
architecture the exterior galleries, the large number of towers and use of decoration to
give optical relief to the mass of the building. Only the most fragmentary evidence exists
to explain Kievs monument. Destroyed by a fire I 1017, and reconstructed in 1036, the
church was finally destroyed by the Mongol armies in 1240. From the first Church of
Kiev, there is only the mosaic floor that remained, but the next church is the church of
HAGIA SOHPIA in Kiev. Church of the holy wisdom or St. Sophia celebrated victory
over Paganists (not pagans, something that sounds like it). Kiev and St. Sophia has
religious importance. IT was here that a saint was crowned, that the first Russian library
was assembled, and that the first archives were written. The so-called primary chronicle
or it is translated as chronicle of bygone era. These are chronicles that are written in St.
Sophia. St. Sophia suffered extensive damage in the invasion by the Baton Hung
Mongolian tribe, and wasnt used between 13th and 16th century.
The exterior of the building conformed to aesthetic tastes of late 17th century, but at the
time of its construction it looked quite different from what it looks like now.
St. Sophias initial form, despite the five apses, this initial form was completely obscured
by 17th century editions. This view is different from how the church looked when it was
originally constructed. This is a very nice model.
The oldest part of the building consisted of a domed church. The name cupola means
dome, but it used to include both the dome and its drum, the main cupola is surrouned by
12 cupolas, to create a pyramidal kind of structure.
No Byzantine dome church has these domes, but it must be about the influence of
architecture, and it became a distinctive characteristic of Russian churches, and these
churches were based on wodden prototypes. The drums served a practical and aesthetic
purpose. The thick walls of Russian churches allow no light from the outside. The
decoration of the cathedral is varied the mosaics and the frescas is new, and it may well
have been instigated by Yeroslav and his contemporaries. The two techniques were no
custemoarily used in comibination in the Byznatine empire.
Each Russian church was decorated according to a specific order, and in the drum and the
cupola you will always see the image of Christ the Pantacreta. So it will be the same
iconographic program in all Russian churches.
This is an image of Christ Pantacrator, mosaic, Hagia Sophia in Kiev.
Mosaic work was quite expensive, and many Russian churches were built of wood, and
very soon mosaic was replaced by icons as the main decoration for Russian churches, so
frescas could be created in churches which were masonry, meaning made fo stone,
because fresca is a ptingin on wet plaster, and since wood was a very common material
easily available, many churches were made of wood, which is why icons became more
prevalent than frescas.
Hagia Sophia, Kiev 11th century, The Virgin Orans, Mosaic.
The hymn of this decoration in Russian churches is organized in relation to a precise
plan. It is a hieratic structure. The most important and the largest painting are placed in
the highest and largest domes, in the domes and the apes. At lower levels, the closer the
painting is to the ground, the more the heavenly motifs are superceded by earthly ones.
The panels get smaller and more closely packed. The horizontal arrangement has an eastwest directional flow. The techtonic place of the church itself becomes the space. The two
pillars of the triumphal arch are used to depict the annunciation to portray the bad figures
of the archangel and the virgin.
When a mosaic artist or an artist who created frescos, he usually uses two independent
pillars, and on one he depicts on figure of archangel announcing coming of Christ, and on
the other he depicts Virgin Mary. He creates an illusionistic image in space.
Christ Pantacrator holds the book of judgment. He appears as teacher and apocalyptic
judge, hense Pantractor.
Virgin Mary orans stands before God as representative of the Church. The iconography of
the Virgin Orans had its origins in Constantinople, where she was considered the
patroness of the Byznatine emporer in the city itself. This is the image of Virgin Orans.
If you look at this veil, this malforian. This veil is rigid. In the early icons, the figures will
be very static and very stylized, and the drapery looks almost like an ornament, very
geometrical, very stiff, not easy flowing, and later will be the icons: more free treatment
of the drapery well see. So early Russian icons are indistinguishable from Byznatine
examples.
In the Church of St. Sohpia, below the Virgin Orans is something else, the most stylistic
mosaic in the cathedral.
The static figures of the apostles stand statically in the central part of the mosaic.
There is no differene between Russian moasics and Byznatine mosaics.
They combined techniques. In St. Sohpia in Kiev, there were as many as eight artists who
worked on the decoration of this church. This labor was the same regarding the
decoration of this labor. Many artists painted or decorated this church. This depends on
the size of the church and how soon it needs to be completed. From two to six painters,
would work on the decoration of the same church, due to the cold climate in Russia,
artists who work on painting frescas in a year after the painting was erected. Often the
church would be constructed, but the decoration would start a year later. Then, it is
important to mention how many different color shades were used to create these mosaics
in St. Sophia in Kiev. There were 177 different color shapes. Various colors had definite
symbolism, and these mosaics would be inserted in different angles, creating a
shimmering impression. As I said in terms of decorating with frescos, the artist would
start painting spring sometimes in May and would stop in September. In September they
would start decorating the church.
He is standing above four crossing pillars and above four archangels. The other images
were restored by oil painting in the late 19th century, as were the majority of the figures of
the twelve apostles which were above the windows in the tall drum.
Onepillar and another one archangel and virgin marry. Construction of hurch was used
for specific decorative purposes. The apostales are arrayed in the windows of the drum.
Here you can see very clearly how different mosaics create shimmering effect, and there
were over 177 different shades used to created mosaics in St. Sohpia in Kiev. In addition
to mosaics, St. Sohpia wass also decorated with frescas. The frescos were the work of a
mixed Byznatine-Russian studio. Byzantine artists worked there as well as Russian
pupils. The center area can all be dated to 17th century, and the other ones can be dated to
12th century.
There are 16 cycles, but only 8 survive. The portrait of his family in the center isle
deserve particular interest.
Frescas didnt survive as well as mosaics. This is a portrait of Gieraslavs daughters.
Cathedral of St. Sohpia had a lot of frescos, and four female figures were disclosed in
1840s. They were thought to be portraits of Sophia, Lewbof. When the figures were
painted over, they were given Greek descriptions to make them more interesting. These
four female figures were in fact members of Geroslavs family. They came from
engravings. Westernfeld had been in service from Brahmins, who spent several months
there. In one of these drawings, what is reproduced is the fresca. In the center of the
fresco was a figure of a bearded man. In the left, they approach four figures. The princes
sons and the prince himself holding model of the church. The prince has a cornw on his
head. The drawing helped to reconstruct the whole male drawings of the family. The head
did not belong to the original composition, and in its place, the figure of Chirst from the
17th century. As a result of later discoveries, it has been firmly established that the portrait
did not consist of twelve paintings, but more than that.
Some scholars suggested that Yeroslav was depicted in front of the emporer, thus
displaying the subordination of Kiev-Russe to Byznatium. Some scholars didnt believe
in this explanation, because it wouldve contradicted whole historical situation as it really
was. Yeroslav couldnt assume the role of Byznatine emporer. There is no basis for
assuming that he is depicted in eleventh century. This is a picture of Yeroslav in the
cathedral he had built. Only his portrait would be appropriate in the center of the
composition.
His very close position to Christ would be seen as Christ approving his power. This
demonstrates via allegory how earthly power came to heaven.
You can see that EMPORER LEO is at the feet of Christ, so scholars believed that the
same idea would be relevant in Kiev.
The part of the composition that best survived is the part depicting the princes daughters.
Yeroslavs three daughters became queens of Norway, France, and Hungary. Given that
none of the daughters depicting on the fresca is wearing a crown, there are grounding for
saying that they werent yet queens, meaning it had to be painted before 1046, since that
is the year that Karl, who had married Elizabetha, the king of Norway.
Frescos depicting important events of life in the court.
This is a mosaic part of the Eurcharist. The same stylistic figures as we discussed looking
at Russian Orthodox icons. You can find the same figures here: they are very elongated,
they are spiritual, they are closer to vertical as opposed to horizontal. They have large
eyes, signifying spirituality, and you can see that there is no perspective or no one single
source of light, and thus there are no shadows. These figures represent that there is light,
divine light.
You can see image of Christ, but notice on how the drapery and the clothing is depicted in
a very geometrical, rigid way.
St. Sohpia in Kiev was not a new type of Church. A church in Constantinpole served as
the edifice, but St. Sohpia was much more complex than its prototype. The natures of
Byzantine art are noticeable in this construction. Despite influence of Nortgordian
architecture, there are a number of cupolas in these churches. During construction of St.
Sohpia other people initiated the large churches. The city itself figures the construction of
a number of major projects.
Church of St. Paraskeva Piatnitsa, Chernigov. High drum, with cupola at the top.
Cruciform Russian churches, consisted of Ccross and cupola.
Very innovative in context of early Kievan architecture. Church belongs to simple one
dome, four pillar type which evolved in the second half of the 12th century. It has many
forms with no presidence in early Kievan buildings. Church was influenced by native
wooden architecture, where specifically the form of the roof. See the mounting topcs.
This is what is called BORCHKY. BARRELL. It created a rhythmical pattern creates
specific look of Russian churches. Although there are no painting or mosaics in the
exterior, it looks quite decorative. The architecture used decorative detail to create a kind
of rhythmical dcor. The surface of the exterior wont be decorated with mosaics and
frescos, but it will still be a very decorative look, but it is late 12th early 13th century.
STUDY WHAT ICONOSTASIS CONSISTS OF IN TWO WEEKS.
These Mosaics are from St. Mikes monastery.
9/19
From the 11th through the 13th century, the cities of Russia continued context with
Byzantium, through pilgrimage, and training Russian monks and artists in Greek
monasteries in the Holy Land in Constantinople. This contributed to the familiarity of
Russian artists and painters in the Byzantium tradition. Icons from this period
emphasized Byzantine period. Local styles became noticeable from the 12th century on.
Icons surviving from the 12th and 13th century are of large size and monumental
proportions. So this large size of icons was no doubt suited to large and unusually tall
cathedrals, like those of Northgrad.
Context with Byzantium was weakened by Mongolian invasion. The 13th and 14th century
was the period where different traditions developed in Russia. The Russians enjoyed
political independence and an economy, which enabled them to decorate the churches
with icons. This stimulated the development of local artistic schools.
On the screen you can see one of the major monuments of Kievian Russia. KievPecherskaia Lavra. This monastery was founded first in the caves, and in English
translation it was known as monastery of the caves in the city of Kiev.
This Monastery was founded in 1051 on a hill overlooking some River. The princess
contributed to the upkeep of this best known stronghold of Christianity in Russia. The
prince donated the land ot the monks, and later other princes gave additional land to the
church. The church became to become a major land owner. Early Russian culture was
admonished in the library; famous writers and painters worked there. The spiritual
founders of this monastery, St. Antonio and someone else, left a major imprint on Russian
culture for years to come. In the 12th century, stone buildings became to be build in the
monastery. From 1073 to 1089, more churches were build. The Church of the Trinity and
St. John the Baptist were constructed. It was indistinguishable from a Krelim. By the end
of the 12th century, the monasteries compound was completed in main outline, thus
determining the planning of the area and subsequent buildings for centuries. Even the
Mongolian invasion did not get rid of the cave. The Mongols feared the historical
writings of the Monks. The Monastery was the single great continuity throughout the
entire age of Russian history. Its prestige was so great that it remained independent of
metropolitan Kiev. It influenced the church of the grand prince. The interpretation of
events. The caves, the ensemble were not unique in the region. Many other caves had
been discovered in the city of Kiev. In prehistoric times, men used these caves before
Chirstianity arrived. It is possible that Fariangin traders used them extensively until the
12th century.
After Russia converted to Christianity, the church saw the advantage of converting the
caves to churches. This monastery became the center of the city of Russia before the
Mongol invasion. It had a lot of underground passages. Internal doors opened from main
passages into small caves, cells, and three chapels. There were glassed in windows,
behind which hermits lived in isolation, spending their time in prayer. Supposedly after
death, their bodies were left in the cells to become holy relics. Some cells helped people
in the outside world who were possessed of the devil to exorcize evilness. This monastery
was also used as a religious cemetery. The caves were used by monks and the feudal
aristocracy. When Christianity became the state religion, some great monks were given
sarcophagus.
The Rudikite family were the largest land owners in the middle and upper regions. A
prince lived in a castle in feudal fashion. He had his own soldiers, and he received tribute
from the people or taxed them. By the end of the 11th century, many princes became
landless or were living in reduced estates because of the wars.
Boyars plural, formed the second tier of the historical structure. They were aristocracy
but came from Rudikite background. Because they held large amounts of land, they were
financially independent. The Boyars were closely involved in the on-goings of the state,
involved with the grand prince. Many played important roles in the Russian Vitchur.
Vitchur is a popular assembly, like national assembly.
Here you can see the founders of the monastery, Saints Anthony and Feodosius. You can
notice that as a technique I included not only tempura but also oil. Russian icons were
usually painted with egg tempera, but later icons were using oil as well, but not the early
icons. These two Saints, were who founders of Kiev monastery, were shown here after
the main churches in this monastery.
This icon depicts a main cathedral, which you saw in one of the photographs here.
Monasteries in Russia played a very important role, not only as religious centers, but also
as education, many of them had libraries, schools, and I just want to show you some of
these monasteries. Real ensemble. This is one of their most famous monasteries in
Moscow, the Novodevichii monastery. If you ever go to Monscow, I recommend that you
visit the territory of this monastery; it is very impressive. This is another monastery, and
Im showing you how monasteries became like cities, with all of these different
components.
Icon painters and painters who created fescas, sometimes the same artists did both, and
they were usually monks, and they lived in the monastery, and they would travel from
one monastery to another to decorate various churches in Russia. It was practically
collaborative process; a number of different artists would work on the same icon, and
now you can see one of these manuels that each painter who worked on the icon would
have to follow. This is how these manuals looks, and they were usually combined in
special books.
Icons can be made of various materials, but the most common were of Christian saints
from their lives. Proponents of icons claimed that it was legitimate to portray Christ in
legitimate form because he appeared on earth. Icons were influenced by Fayuum
portraits. If you took art history, so you probably learned a little bit about this Fayuum
portraits. This is how this idea of icon originated. So the icons were considerably
influenced by the Fayuum portraits of the 1st to 3rd centuries A.D. Disocvered burials of
Fayuum artists in Egypt.
The Fayuum portraits, or sometimes the Fayuumistic portraits, were painted with bee wax
paints, which was known as encoustic. So they were painted on thin panels of wood using
encoustic. IN Byzantium, encoustic was replaced by the technique of tempera, which
uses pigments mixed with egg yolk. Russians used their iconography and technique. The
majority of Russian icons from pre-Mongol period are indistinguishable from Byzantine
examples.
But new artistic styles emerged in the 12th to 13th centuries. Some icons were used for
carrying in religious procession.
So you have to realize that icons didnt just appear from nowhere, but they were
commissioned by Boyars, wealthy merchants, or royal family, and, for example, a prince,
a Russian prince, would have a patron, which was his Christian name, and then he would
decide to dedicate a church to his patron. So this was one of the purposes of icons.
Little freedom of invention of the icon was allowed, but images and style were
controlled, and there were a set manual for depicting religious persons.
Now I would like to talk about the technique of the icons, and also a system of so-called
inverse perspective. The panel of the icon was usually prepared from dyed wood,
normally lined with oak. They were set against the panel to set the wood against working.
When the panel was prepared, a piece of linel was glued onto the panel. The ground,
known in Russian as something, was a mix of alabaster powder, and it was applied to the
linen in several layers. This was then polished and used for preliminary drawing. Colors
were prepared from minimal pigments or vegetable dyes combined with fresh yolk and
mixed with vinegar as a preseverative.
The first to begin was the draftsmen, an experienced artists who drew the subject matter.
It required great skill, since the drawing could not be altered, which is why the drawing
would be done by very experience master. In the 17th century, drawing was engraved on
the chessir ground with a needle. After the draftsmen drew, the panel was handled over to
a guilder. Ancient icons were guilded with sheets of gold link as thin as paper. The guild
was covered with adhesive paste, after which the master guilder, using paper would
firmly press the guild into place. In the later 16th century, another less expensive manner
of guilding appeared. First, they would use this gold leaf, and later they would reduce the
gold to the powder, and then applied it as a paint. After the guilding was finished, the
icon was handed over to pre-face painter, who would paint everything except face and
feet. He would never touch the face, because it was the task of another painted called the
face painter. This person covered all painters with a layer of fresh priming or shadow tilt,
which is known as skair. It was a primary layer of paint which had this kind of orkish,
greenish tint. After applying this color, the artist colored faces with a lighter color, a flesh
color and became modeling the image. Details were underlines by highlights, often in
pure white.
Even the process of painting had symbolism, because the icon painter had to start from
dark and go to the light. From darkness to the light; a process of painting. The size of a
figure in the icon is usually determined by its importance, so the figure which was more
important, for example, if the church would be dedicated to a particular saint, then his
figure would be much larger in size than saints. The bodies are quite long elongated and
always face the front. Only people who have not attained holiness are seen in profile. The
figures of the icon are able to receive the word of god face to face. Their foreheads are
quite high in order to convey the power of the spirit and wisdom, so even the figures of
all the saints in the icons had symbolic interpretation. The eyes are large and give the
impression of staring at you. The ears are always shown uncovered to hear the lord. The
lips are always drawn finely and geometrically to eliminate any sensuality. The saint
should not be shown as sensual being, so the lips are very tight. The hands are held in
symbolic way. The fingers are not naturalistic; they are long and pointed. Like the
elongated nature of the bodies, this is designed to indicate a certain degree of
dematerialization of the body. This contributes to the spirituality of the figure. The lack of
naturalism in the figure is aimed at rendering it more spiritual in appearance. The figure
is completed by having a gold halo around the head which symbolizes its divinity.
Sometimes it is called NIMBUS. In certain icons, such as the ressurection and
transfiguration, the figure of Christ is in the center of circles of blue, white light. This is
called a mondorna. It is usually circulate in shape, but it sometimes represented as
almond shaped. Sometimes colors other than blue and white are used. Not all icons of
Christ have mondorna. They only appear when a spectacular break through of divine light
is represented. A Mondorna is similar to a halo and serves as a representation of
uncreated light, such as the disciples experienced on Mount something. People are
standing or seated, or they are on a pedastle. It usually indicates that the particular person
has attained holiness, but it also means to show that the theme is taking place on earth
rather than on a heavenly plane. Compositions of Christ always show him with his foot
placed on a foot rest. So this is the most typical features that you will find in all Russian
icons, and now look at this schematic drawing representing different types of
perspectives.
The icons use the third type of perspective INVERSE PERSPECTIVE, when vanishing
point is the spectator. Icon painter representes objects not as he sees them but as he
knows this. Architectural parts are drawn in this perspective. In icon, there is never one
single point of view, as in linear perspective, very often each building and each furniture
has its own point of view. The main concern of an icon painter was to inform the
spectator of certain aspects of objects that are not visible. Certain pages of the books are
turned towards the spectator. The painter wanted to bring out the essence of things, so it
is a very rational type of perspective; it isnt because icon painted didnt know how to do
a linear perspective, but it was because it was more clear for the viewer. The icon created
with inverse perspective is the opposite of Renaissance type of painting. People and
objects are not placed properly in according to dimension and distance, but according to
the meaning that the objects have. There is very little spatial depth in icons. In this system
of perspective, the lines dont meet at the points situated by the canvas, but at a point in
frton of the canvas: inverse perspective. We already talked about different symbolism of
colors, but again I want to summarize it all so when we talk about specific icons youll
already know it all.
White, red, green, and blue experience life, purity, peace, goodness.
Black, grey, brown, and pale yellow express death,
Purple symbolizes both royalty and death, it expresses wealth.
White is the color that represents the divine world. It is also the color of innocence and
expresses the joy of great liturgical feasts.
Blue color is called the it is used on the clothes of virgin and saint
Because of its dynaism, close to that of life itself, red could be the color of the icons
background. In the city of Northgrad, red color became the most frequently used color for
the background.
Crimson red can also have a negative meaning symbolizing sin. And evil.
Green symbolizes vitality.
Prophets and kings were painted in green.
The dark brown of monks is a sign of their piety and their renunciation of earthly joys.
Black = hell, death, opposite of life. The kingdom is also painted in black, meaning god
helps people in darkness.
Red = brilliance?
Light means background.
Gold is found in halos, clothing, sacred vases, and gospel books. Christs clothing is
covered in gold, and it is a symbol of the lords divinity. So now you know all
iconographic features of icons and symbolism of the various colors.
We also have to talk about iconostasis. Because icons in Russian churches were used to
decorate their iconostasis, the screen of devotional images that separates the sanctuary
from the body of the church. Furthermore, within the church icons, they could be hung on
walls and displayed in special stands, on the day of the calendar representing the figure
on special stands. They can be hung on walls, and they can be apart of this iconostasis.
Hear you can see another iconostasis. All these details on top are frescos, but this wall is
iconostasis.
Iconostasis doesnt consist of specific quantity of icons. Its size consists of specific
church, whether church is large or small, or if church is dedicated to particular saint, but
the most important part is called the DEISSIS. It usually includes image of christ in the
center, and virgin mary on one side, and St. John the Baptist on the other side.
Here you can see Christ in glory, and Mary, and St. John the Baptist. Iconostasis was the
vocal point of church in somewhere, for it was the background of the drama. Little is
known of iconostasis excavations. These suggest that they were comparable to those that
survived in contemporary Byzantine churches in Greece. Such Byzantine icons consisted
of Virgin and Child.
This royal door lead into the sanctuary.
All of you should have schematic drawing of iconostasis.
Although the development of the Russian iconostasis remains obscure, it is
unquestionable that at the end of the 13th century, the rows of iconostasis seem to have
been well established. The artist Viafanza Greek. But of its four original levels, only two
leels have survived. Now lets look at this schematic drawing; this consists of simple
divisions, but the other one has more elaborate division.
The first level, the local level, is the lowest and has the largest icons. The royal doors are
at each center, and they are flanked by images of Christ and the Virgin, and of Saints with
local significance. This is the local level.
The second is so-called DEISSIS tier. It has a portrait of Christ at the center. Then we can
see arch angels, apostles and saints. The third of Great Feast tier combines the images of
the events of the life of Christ and the virgin that were commemorated in the most
important church holidays of the year. The third level shows old testaments prophets that
shows something.
The fifth level includes the holy forfathers of Christ. God the Fater, Christ, and the Holy
Spirit at the cente.r Although some can be found in Byzantine churches, none are as
elaborate as Russian iconostais. The second role of iconostasis was liturgical. During the
prayer and the preparation of bread and wine, the church commemorates viring mary and
St. John the Baptist.
Liturgical purpose: separate body of church and altar, and second important role is
liturgical.
In the decades following the 800s, Russian churches produced many iconostasis. This
icon screen produced liturgical unity among the church; unifying the old and new
testament, and visually narrating the saints in response to and in reflection of the prayers
of the clergy. Since many people were illiterate, iconostais and schematism helped people
to understand and learn about various events in saints life. Generally about dogmas of the
church.
Aristotele Florovanti, Cathedrawl of the Dormition (or Assumption), Moscow Krelim,
1479.
This is much later iconostasis. This is 19th century, and you can see the difference: you
can see how these figures are painted with volumetric treatment, so it is much closer to
Renaissance kind of painting. It cant be an earlier icon; it is a later one. This is what is
called the royal doors. The royal doors were usually located in the center o fthe
iconostasis, and they are called royal because Jesus Christ gives eucharist to people. The
opening of the royal doors means the opening of the heavenly kingdom for believers. IT
symbolizes something; it isnt just that the door has been open. The close doors remind
people of their eviction from the garden of eden. Their paradise would be depicted on a
high wall, resembling the royal doors. One of the necessary events depicting on the royal
door would be the annunciation, and you can usually see it on the top of the royal door.
You can see Mary and arch-Angel Gabriel announcing that she will become mother of
god.
Then you can see figures of four evangelists, and this is what is depicted on royal doors.
PLEASE GET THIS BOOK ANGELS AND SAINTS FROM METROPOLITAN
MUSEM IF YOU DONT KNOW THE DIFFERENCE BETWEEN ARCH ANGELS
AND EVANGELISTS. So I suggest you do the same, because this knowledge is various
useful, not only dealing with Russian orthodox churches, but of course many paintings
are based on this subjects.
Angels are gods heavenly messangers and companions.
Archangels are soldiers of heaven. They are all saints. The most promonient arch angels
are Gabriel, Michael, Raphael, and something. The 12 apostles were disciplines closest to
Christ. The four evangelists are authors of four gospels. Then we have church fathers,
who were all distinguished for wisdom or theological learning; they are called: Church
Fathers. They are depicted holding their major works. This is helpful when you look at
iconostasis. It would be good if you learned the different ranks of angels.
Seraphim: six wings, closest to god, glorification of god and his protection
Herubim: second rank of angel.
Try to remember all of these distinctions. Archangels are closest to peoples world, and
angels usually have a look of a human, but they are depicted with wings, and they are
depicted young. Angels signify a link between a world of heaven and humans. Then it
also important to realize the role of icons as protectors of Russian society. Portable
devotional images were a part of daily life, serving not only as vehicle for private prayer,
but also as ambiance on peoples travel. Cities, villages, and churches serve the protection
of supernatural patron. Christ the Virgin or saints. They played important role in Russian
icons. Miracles are reported in legends and passed down through oral traditiosn.
Inevitably, they stimulated the circulation of pilgrims who wanted to see the famous
saints.
Now we will look at specific early Russian icons.
Our Lady of Vladimir, icon, tempera on wood, first third of the 12th century,
Constantinople.
Most famous this icon was brought to Kiev from Constantinople during the role of
someone, and it was kept in a conveant near the city of Kiev, which was the resident of
Kiev princess. Someone took this icon from Kiev to Vladimir, and it was placed in the
some church in the city of Vladimir. The iconography of this virgin is MADONNA OF
TENDERNESS or Mileosa.
MADONNA OF TENDERNESS
The Virgin ORANS
And Adagetria.
Some great episodes in the history of Russia are connected with this icon. It is believed to
have saved Russia from the tartar invasion in the some century. When some army was
approaching Moscow, our lady of Vladimir icon was taken to Moscow in the hopes of
protecting the city. The virgin apparently appeared, and then protected the city of
Moscow. This event speaks of the victory of spiritual and not war force. Now the lady of
Vladimir is worshipped as the protector of the whole country of Russia. This icon was
takein to Moscow in the second time in 1880. It protected the city again from the
invasion of the Mongols. It was moved for a few months, and it was permanently kept as
something.
In 1999, it was installed in the St. Nicholas Cathedral Museum attached to the gallery.
This is the most famous, early Russian icon, beginning of the 12th century, our lady of
Vladimir. This icon is on your list. I just told you that Russian icons were considered
protectors of cities, the country, or princes, and this icon that was created in the 17th
century represents the event when the icon miraculously saved the city. It commemorates
the miraculous saving of Russia. It was called
THE MEETING OF THE ICON OUR LADY OF VLADIMIR icon, tempera on wood,
Moscow, mid-17th century.
Later in 1397, following the war of the Moscow prince, it was a church founded on that
particular place. The iconographer shows a crowd of Moscovites leaving the Krelin and
carrying processional cross and icons. These miracles which were assigned to the power
of the icon were depicted.
Here you can see another icon which demonstrates their miraculous power of the icon.
Our lady of sign. This icon also depicts the seen of the defense of the city of Northgrad
against their people of Suesden, which represented Msocow, and I will talk more about
this icon when we talk about Norgrad.
THE HOLY FACE (Manylion) or The savior-Not-Made-By-Human-Hands, icon, tempera
on wood, second half of the 12th century. NOVGOROD.
Legend has it that the lord of the savior himself sent a towel with his holy face
miraculously imprinted on it to some prince in Syria, who has ill with leporous. The
prince was healed the moment he touched the holy image. Christ imprinted his face on
the towel and sent it to Syria. Two sides of this icon, on the reverse side you can see the
Veneration of the Cross. This icon was brought from the city of Novgorod from some
dude. Of all Russian icon faces, this one is dated the earliest. What is interesting to note is
that the cross on the Nimbus is likely to have been dedicated to precious stones, but those
stones didnt come to us. The holy face was considered by the orthodox church was
believed that the third person of the trinity, Christ, was a human. Looking at this work, I
want you to learn how to describe the images. When you write something on the midterm
exam, if you completely blank and forget the history of the icon, you will at least be able
to describe it stylistically. You will be able to tell me the technique of the icon. Be able to
look at the image and identify the most important characteristic of the image.
The hair is very ornamental and geometric; he has a nimbus; gold.
THE ADORATION OF THE CROSS, reverse of the icon of the Holy Face. Icon, egg
tempera. Late 12th century. For the Greeks and Romans, the brown branch was a symbol
of figure, but Orthodox church saw it as a symbol or eternity and mortality.
THE ANNUCIATION, Icon, early 12th century. I want you to remember this icon when
we compare early Russian icons with later ones. You can see how simple it is; it is
monumental considering the large size. I will show you the detail.
HEAD OF AN ARCHANGEL (Golden hair angel)
THE DORMITION OF THE VIRGIN. Icon, tempera on wood. Novgorod, early 13th
century. The figure of Christ with the Virgin soul dominates the center of the
composition. Christ holding this little figure, which symbolically represents or signifies
Virgin Marys soul, and the red shows at the step symbolizes the end of the composition.
The ornamental pattern of the bed represents the ancient composition of the funeral
shroud. The other part of the icon depicts the apostles flying on the cloud and the angels
flying with the virgins soul to heaven. Many Russian icons include unrelated events
combined together in one composition. We can see the Virgin lying inbed, and we can see
virgins soul flying to heaven with angels.
THE VIRGIN GREAT PANAGIA (Orans). Icon, tempera on wood. Vladimir-Suzdal
Principality (Yaroslavl), first third of the 13th century.
Represents mother of god with hands raise to the heavens. Most venerated image from
the Church in Constantinople, from which the icon god the name.
The Virgin is represented a full length image with hands reaching upwards in prayer. The
icon displays some distinctive characteristics. No other icon highlights in gold rather than
white. The gold applies in broad stripes both the garments of the virgin and the
background, makes the virgin seem shimmering in the heavenly light. All of these golden
strokes are assist, symbolizing divinty or divine light. Now you know who is depicted
9/26
We want our film to inspire those who are on the thicket of fascism, but also on the
corners of the world where fascism seemed invinsible.
Now begins the emphasis on power: throughout the film, he who is highest is the ruler,
and others are low. Throughout this sequence, Eiseinstein builds up this through editing.
Without a master shot, we figure out who the characters are. This exaggerates the power
of contemporary people.
Alexander is seen in the water: as if he could conquer the sea.
His poise contrasts sharply with the domineering poise of the Mongols. Russia was under
the influence of the Mongols.
Eisenstein will treat each shot as an individual unit. Well see several instances of this
fluid treatment of space.
Using filmic materials in a similar way to epic poetry.
Throughout his career, Eisenstein was interested in kinetic expression. Eisensteins
strategy is to resemble a folk tale or epic. There will be many other elements as well.
VISUAL LANGUAGE RESEMBLES POPULAR EPIC
People can be arranged in order of virtue.
Germans and fire. The monk is a snake.
an expressive gesture that gets picked up in the next shot
Alexanders association with water the nets and peace
Eisenstein unity the unity of artistic devices, and the unity of political forces
Eisenstein talked about the BURNING LOOK of El Grechos paintings
Epic parallelism to arrive artisans donate spears, the crescendo of the parallel is
Vascilis willingness to pledge their lives
Eisensteins concept of expressive movement and montage.
Eisenstein believed humans were inherently inclined to express thoughts and feelings
through their bodies.
Lines in picture and lines in music reinforce one another
THOSE WHO LIKE CREATIVE WRITING WRITE A BRIEF REVIEW OF
FILM FOR ADDITIONAL GRADE. YOU CAN EXERCIZE YOUR REVIEW OF
THE FILM AND GIVE IT TO ME. DOESNT HAVE TO BE MORE THAN
SEVERAL PAGES.
9/28
Show the date, and go from general to more specific details. If you see an icon, just write
in a few words what you remember about the icon, and it may put you at ease, because
even if you dont remember something specific, by the midterm you will remember the
basic things about icons. Then you have to place the work in a context. If a church was
created for historical event, then put that there. Architecture, when you are preparing for
this text, use bloomfield book, not Hamilton. Dont use words beautiful or wonderful.
You need to deal with structure. You need to understand apse and dome cruciform. Just
deal with the image stylistically. There are no strict rules determing how you have to
write about each wrok, which is why all your answer to be different, but do some
preliminary reading, and maybe write for yourself, before the midterm exam, on each
image. And try to memorize most important points about each work.
You just have to recognize 10 our of 20.
Since you have Hamilton and broomfield, start thinking about paper topic, and try to
meet with me after the class and discuss what are your options for topics, so I can suggest
something or I can say: it doesnt make sense to write about it for some reason. Try to
look through books and images to determine what might be of interest. Films,
architecture, etcetera, but you should relate them to Russian history or Russian
monuments.
Church of the Savior on Nereditsa, Novgorod. 1198
First of all, lets look at this schematic drawing; this is a plane of the church, and an
axiomatic drawing of the church. How do we call this type of Russian church? Dome
cruciform church, because you can see that the basilica served as a basis of the church,
and it has a cross here, and there is a dome here, so that is why it is called DOME
CRUCIFORM CHURCH, and this is a typical plan for most Russian churches. Now I
want to show you the map of Vladimi-Suzdal, so you can see where those cities were
located. Suzdal, Vladimir, and Moscow. By the time of the rule of Yurislavs grandparent,
a change had taken place in the ruling class of Russia. The ruling class discovered more
and more that there was a caste system and upward mobility had decreased to a large
degree. The main trade was in slaves, captured either in struggles between princely
brothers or caught in raids on the frontier, slaves became a major source of wealth. The
newly wealthy Kievan merchants did something, a phenomen not found before the 11th
century. New landowners appeared in large numbers, bringing their slaves with them.
Struggles between the princes worsened each year. Problems of genealogical succession
worked out successfully. The prince had to find plants for the harvest. The threat from the
nomads grew decisively worse. In 1096, something penetrated the center of Kiev, in a
raid, and set fire to the Monastery of the Caves. These attacks continued and grew in
intensity. It was during these raids that the northeast of the country took important
significance. Within a century, this area changed from one on the periphery to one in the
center of a new Russian state. The lifestyle and economic conditions were different.
Foreign trade had been the main economic activity on the river. But the upper Vulga river
on the upper right corner. So the upper Vulga River was removed from trading centers of
the world. Either the Baltic or the something. So large tribes developed in this region, and
they were agriculturally oriented. The Prince Uri Delgaruki, the second son of Vladimir
predicated a great future for the region. In 1157, prince uri founded the city of Moscow,
named the after Moscow. Moscow was founded in 1147 important date to
remember.
Vast radical changes resulted from colonization of the northeast. The majority of the
population had been Finish, but they had no established political organization. The native
Fins of this region mated with Slavs. Thus the Russian of the northeast were different
from those in the valley.
The Russians of the Yipper were the beginning of the Ukrainian nationality and language.
We were talking about Kievan Russia, but now the center of Russian life moved from
Kiev to this area.
His son and grandson played important roles throughout the century. Prince Degaruky
ruled the northeast. His son was given the newly created town of Vladimir as his
principality. He lived there without ever going to Kiev. Unusual behavior for member of
Rudikite family. He saw the future of Russia in the northeast; not in Kiev. His father
became grand prince in Kiev, but Degarusky affirmed importance of northeast.
Prince Henri sent army to Kiev, and it ruined the town in the most barbarous fashion. The
attack on Kiev demonstrated the division between the princes of the south and those of
the northeast.
So at the time Russia consisted of different independent states which were involved with
each other, so it was divided Russia. The chronicle rcallls that the worst disaster was the
division between these principalities. Instead of going to Kiev as grand prince, he moved
his capital to Suzdal, and he made additional domestic changes in his principality. He
enraged his constituents by moving the capital away from the two major cities of the
northeast, and establishing it at the city of Vladimir. Because the Vietchur met
somewhere else, there was no precedent for it to meet in Vladimir. Babalusky took it
away from the northeast. At the end of his life, he was assassinated. He set up Vladimir as
a major cultural center. He ordered the golden gates to be built there following model of
golden gates in Kiev.
Vladimir became a major city in Russia, a cultural center, and now I will show you some
of the views of Vladimir cathedral.
The difference between Vladimir Suzdal, where the main person who would commission
the church would be the prince, in the city of Novgorod, the people lived on the street,
who decided to commission a church, or buyers, land owners, rather than princes, and it
is very important, because Novgorod was a democratic republic, and the Cathedrals of
Novgorod were different from grandiose cathedrals of Vladimir-Suzdal.
VLADIMIR, THE DORMITION CATHEDRAL. (dormition or Assumption)
Vladimir. The Dormition Cathedrawl (1185-61).
Here you can see a schematic drawing, and then the church became this huge cathedral.
You have to keep in mind that what you see today is not what it was when it was build.
For all churches in Russia, it was very important how they were placed in surrounding
environment, in landscape. This is overlooking the river and the area around it. This is the
hilly area.
Vladimir became a city of culture. During the 11th century, Kievan princes extended their
authority over the northeast. At the end of the 11th century, Suzdal was foritified and
required its own prince. It was foritied by Vladimir, which was close. After Monamarts
death in 1125, prince Uri DelgaRuky built much in this city, the center of his principality.
He set lots of surrounding areas in the city. So Moscow started as insignificant city in that
area. Prince Degaluskys intention was to transfer power.
This conformed to 12 tier plane typical of that period, and it displayed leaf garden on its
facaded. The distinctive features of the structure include large drum and cupola. The
columns were guilded, and the surfaces between the columns also had some guilding.
When we look at this church today, we dont see the same grandeur than the people did
when they first saw it, because there were many guilded details that deteriorated over the
century.
Certain features of Vladimir churches suggest Western, Medieval, German, and
Romanesque presence. The plan maintains Medieval architecture as developed in early
Russia. It dominated the town and surrounding countryside. Inside this cathedral, there is
a fresca painting, which can still be found, and it depicts apostles. This is a fresca
painting from 15th century of famous icon painter ANDREI RIMOLF (last name
spelling?)
CONNECT THIS FRESCA with the DORMITION CATHEDRAL.
The golden gates of Vladimir, from 1158 to 64, were based on the model of
Constantinople. The main church was constructred in center fo Constantinople.
THE GOLDEN GATES, Vladimir (1158-64)
A whole architectural ensemble was grouped in the Dormition Cathedral. The documents
mention construction of some court, but they were destroyed in a fire in the 12th century.
This forms the composition of the last judgement. This is not just the torments of hell, but
a contemplative time, and the coming ressurection. This is important to remember about
this fresca.
ANDREI RUBLEV. The APOSTLES, fresco in the Dormition Cathedral in Vladimir,
1408.
It is calm and filled with joy anticipating resurection.
Prince Andrei made his new capital Vladimir very strong creating a mighty ring of fence
(?). The prototype was Kiev. These are the Golden Gates of Vladimir, and at one time it
was painted with frescos, but they didnt survive. At the top of the tower above the
archway, there was a gaped church, which was a miniature version of church in Vladimir,
and surrounding gallery enclosed in battlements for defensive purposes. Vladimir
withstood. They served not only decorative, but major defensive purpose.
Bogoliubovo translation God loving. Bogo was located ten minutes from Vladimir.
The center of Bogoliubovo consisted of prince palace, domestic buildings. All the
buildings were of white limestone. All the churches will be of white limestone, whereas
other places added crusted brick that gave it a brown, reddish, hue color. Prince Andrei
needed a palace to house the merchants he received. It was on this site in the summer of
1164 that Andrei made his death at the hands of drunk conspirators. They were angered
by his storng temper and strong autocratic tendencies.
Church of the Intercession on the River Neri, near Bogoluibovo, 1165. Subtle design and
articulation create a sense of proportional harmony unsurpassed in Medieval Russian
architecture. It was built in the memory of a mans son during a battle. As I said, in many
cases in Russian history, churches were erected to commemorate Russian historical event.
Sometimes nomads, and in other cases, like this was built in memory of Andrei
Bagl,m,.dm,.ms son.
It protected the church from high water and also served as a visual accent.
The vertical lines of the church are determined by proposition in vertical space. The
expression of the proportion is determined by number of arches and blind arhes, and
rhythmic rhythm of the columns creates this pattern and dcor for the church. As you can
see, this is why I said Ill show you all the slide sbefore the exam, because different slides
give you completely different color of the work, depending on which angle and which
climates. Whether it was lit by the sun or rainy day, you cannot recognize the same
church if you recognize different images.
You can see images of King David and images of animals which represent royal power
and strengths, so all the images we will look at today. You will see, on another cathedral,
similar images. These animals signify royalty, power.
The Cathedral of St. Dimitrius, Vladimir (1194-97). Prince someone the 3rd, built this
church and dedicated it to patron saints. Saint Dimitrius. The Cathedral of St. Dimitrius is
very similar to the church we just looked at, but the proportions are more squat, the form
closer to a cube. The Cathedral now stands alone, but it used to be surrounded by other
buildings of the princes palace. Frescos cover half of the walls surfaces.
Dmitrii Solunsky, St. Michael Cathedral, Kiev. Mosaic, 1113. This is mosaic. Dmitrii was
considered the patron saint in Madoni. Dmitrii was a citizen of ancient Solunkica. His
father was Christian, but the emporer asked Dmitrii to fight all the Christians, but instead
Dmitrii became Christian, and then died. Dmitrii is celebrated as martyr and warrior.
Slavic people mention him as their protector and military defender All researchers of the
iconography have noticed the glorification of the man who commissioned it. The
cathedral of St. Dimitrius was built on the site of the ancient St. Dimitrius temple. Prince
Celabulb received a nickname about his reproductive prolificness.
Now we will look at incredible relief of St. Dimitris cathedral in Vladimir and we will
talk about iconography of some of the images. So as I said, the entire surface of this
cathedral was covered with this carved stone relief. This is how this cathedral, again it is
a schematic drawing, how it looked in its original form.
This looks like ARMENIAN and GEORGIAN art. You can see that there are a lot of
elements from Persia, and different oriental countries, so it looks like the masters that
created this relief were familiar with various different countries artworks.
The image of King David appeared three times in various parts of the cathedral.
King David. Limestone carving on the Cathedral of St. Dimitrius.
The same with Russian icons. Even materials for icon painting had a particular
symbolism.
Lion is an image or power, and birds are images of creatures of paradise. If you see the
image of a pigeon, pigeon is a symbol of holy spirit. Then eagle, eagle is a symbol of
Christ and power. Very trees symbols of tree of life, tree of paradise. Palm tree would
mean or symbolize victory, victory of Christ over death, and resurrection. It wouldnt just
be an image of palm tree. In many carvings, you will see image of King David, and these
three depictions of King David were almost identical, but the background around this
picture place the images in specific context. In one carving King David would be
represented as a Czar, another one as a prophet, and another as a singer of psalms.
Next to King David is mythological animal. It would have head of a bird, and wings, all
combined in one creature. This is typical of ancient Greece. Combination of word and
animals is a symbol of two sides and two aspects of Christ. His man-like aspect and holy
aspect, so this griform image was also a reference to Christ.
Then there is another animal, you will see it in some of the carvings, you will see body of
wolf and a dog, and it had symbolic meaning, because wolf was a representation of a
leader of a clan or tribe, and in Byzantine culture, wolves were compared to soliders, or
rather soldiers were compared to wolves, so this combination would symbolize a leader
of soldiers for example. And this type of animal was also a personal symbol of the prince
of Vladimir.
Each had a symbol:
Crown: david
Book of Psalms: david
Star and nimbus: virgin mary
Soldier with sword: image of Dmitrii
Sever the 3rd commissioned this church, and his father was Russian, but his mother was
Greek. Later he married Czech counters, so you can see how all these countries
intervened, and his interested included interests in various cultures reflected in all these
decorations which you can see looking at St. Dmitriis Cathedral.
Limestone was readily available in Novgorod. Not only that, but what other elements can
you see. Novgorod churches are more simple. Novgorod churches, except St. Sophia are
much more simple and much less elaborate than Vladimir churches, and one of the reason
is because these churches were commissioned by local people who needed to build
church quickly so they could worship, while in Vladimir, churches were constructed of
main church of principality. The appearance of the churches were related to who
commissioned them.
Vladimir princes invited Italian and German architects, which is why you can see all
these elements from Romanesque style, and some of the elements might be reminiscient
of Lombardia, Lombardian art.
Battle of the Novgorodians with the Suzdalians. The icon tells the story of the events that
took place in Novgorod when the city refused to accept some Prince as their ruler. The
allied troops lead by prince attempted to bring the rebels out by laying siege on the town.
In 1170, a battle started that lasted the whole day, and ended with victory for the
Novgorodians. This memory remained in the hearts of the Novgordian people, they were
sure that the icon Our Lady of the Sign saved them. The anonymous artists of 15th century
presented the historical event as the sequence of three interrelated episodes. The upper
tier celebrates the cerimonial procession of the icon to St. Sofia in Novgorod. The middle
row represents the talks and the negotiations of both sides. The representation of
Novgorodians as humble, and Suzdal in this case represents Vladimir Suzdal and
Moscow as well. The letter in contrast, arrogant and confident of their future victory,
broke off the negotiations and start shooting at the defenders of Novgorod. Tis is what
you see the arros that pour down like rain. One of them hits the icon. The lower level tells
the story of the defeat of the Suzdal troops. The saints lead the Novgorod troops and act
as the miraculous shield protecting them from their enemies arrows and swords. Many
Novgorod horsemen did something. The army of Suzdal is defeated. This icon depicts
particular historical event, and it also shows the miraculous victory which was achieved
according to the legend and the miracle of the icon of Virgin Mary, and the Saints who
lead the powers of the soldiers in Novgorod. So you can see how this history and various
saints related to history of the church was intervened, combined in this particular icon.
10/5
No unknown images 10 out of the 20. Try to write one or two paragraphs about each
work, and then memorize the bullet points, and then when you see the image, hopefully it
will immediately come back to you.
I will continue for a few minutes about Tar-Tar Mongol invasion, because it is an
important piece of Russian history, and then I will talk about the frescos and the icon
painting of one of the major Russian artists Theophanes the Greek.
Persia and China fought off the Mongols as strongly as Russia, and had similar
populations to adminster. Russia remainded unoccupied, because it was unuseful to the
Mongols. Commerce in and through Russia may have been important for the Russians,
but was minor compared to trade elsewhere. Mongol taxes might have been a cripple on
the Russian economy, but for the Mongols, this was insignificant. Russia was peripheral
to the Golden Hordes interests.
Before reaching Russia, the Mongols had assimilated many Turkish tribes; the indigenous
people, like the Turkish people, were by in large shamanish nomads who were culturally
similar to the other cultures. Russia absorbed cultures very different from its own.
Russias religion and culture were as hostile to the Mongols as those of China and Persia,
but Mongol rule lasted longer in Russia, because it was indirect. Mongols let Russian
prices be in power; they just had to pay the Mongols. Russian liberation came only after
the disappearance of Mongol political harmony within the tribes. Mongols initially rules
Russian through Mongol officials. Russia was ruled by messangers, who communicated
the Mongols goals. Russia had little to do with collapse of Golden Hoard.
As I told you, when I studied history of Tar-Tar Mongol in Russia, we were told that the
Russians conquered the Mongols, and thus there was propagandistic film about Vladimir.
The Mongol state, due to various circumstances, dissolved without such a great Russian
involvement. The immediate impact of the Mongol invasions was absolutely catastrophic,
beyond anything Russians previously experienced. The Mongols combined the
weaponry of the Muslims and the Chinese and used it on an unprecedented scale. When
cities fell, Mongols would raise them, and massacre the inhabitants. Before the Mongols
came, Kievan Russia had been reasonably prosperous. International commerce with East
and West, while sustaining a variety of artisal activities. The Mongol campaigns of 12371240 really deterioriated Russian economy. Many cities lay in ruins; their populations
slaughtered. Laborers and skilled artisans were deported to the state or else sold into
slavery. We talked about the prosperity of Kievan Russia, and the main city becomes
Vladimir and the Vladimir-Suzdal principality became the center. The only city not
occupied by the Mongols was Novgorod.
The tribute the Mongols demanded was the greatest drain on the Russian economy, but
there were many others; direct and indirect. The greatest patrons, which guaranteed the
Russian orthodox church freedom from taxation, they had to pay great tribute to the
Mongols? They also had to feed and house the Mongol people as they came from the
Golden Hoard to visit various principalities. The lowest possible estimate indicate that the
Russians paid the Mongols a lot of money, a tremendous amount of money. For the
ravaged Russian economy, it must have been an enormous burden. Mongol campaigns
destroyed cities and depopulated many regions. The building of churches, the first sign of
economic surplus, came to a hault. This gloomy picture must be modified. The Russian
peasantry felt the Tar Tar invasion much more than aristocracy. Princes even profited
from exploitation from Mongol.
Historians have almost invariably assumed that the grand princes grew rich through
embezzling the tribute. Prices manipulated the tax burden. They exempted certain lands
from paying. Princes participated in Tar Tar/Mongol invasions against Russian neighbors
and shared in the loot. The Mongols conquest varied in different regions of Russia.
Many cities were devastated, but others suffered little or no damage and were never
sacked. During the first half of the 14th century, the Tar Tars directed their raids against
Moscows enemies. Then in the second half of the century, and in the next, Tar Tars
perceived Moscow as real threat, and then attacked Moscow. Mongols attacked
whichever city became stronger, and Mongols would support the enemy of that city.
Hopefully this brief overview helps you understand the occupation of the Mongols.
1240-1480 Mongol occupation.
Now we will talk about one of the few artists whos name you would have to know
during this course. There are only practically like four artists. Among the artists, you have
to know
Theophanes the Greek
And other names I cant pronounce.
St. Trinity-Serguis Monastery. Here on the screen you can see one of the most important
and famous monasteries. Monastery of the cave was important in Kievan Russian.
The sources of the period usually tell us far more about those who commissioned their
works than about the artists who created them, who in the eyes of society were on the
very lowest of rungs in the hierarchical ladder. Chronicles tells us a year when a church
was decorated. There is a remarkable written source available to scholars a letter from
contemporary of the artists, EPIPHANIUS THE WISE to his friend. It provides us with
an amazingly detailed view of his character.
Epiphanius
When I was leaving in Moscow, the exceedingly schrewd philosopher,
Theophanes, made his home there. He was an important illuminator of books. He
decorated many churches, more than 40.
Before coming to Russia, he had worked in Constantiople. Theophanes lived in difficult
times, was witnessed to endless popular uprisings, and the terrible onslaught of Turkish
armies that seized all the Greek possessions of Asia Minor, but also Constantinople.
Constantiople could no longer sustain its scholars, artists, and other intellectuals, and so
their exodus became, stretching out over a period of 100 years. Adding to economic and
political ideas, were ideological considerations. The theoretical movement was counter to
the flowering of humanistic ideas. Many immigrants set out for Italy, and other left for
Russian, the only Slavic land not completely overrun by the church. The Russian part of
the intellectual exodus of Byzantium consisted of artists and theological philosophers. It
was also in Tesolonica, that a dispute arose, under the name HESYCHASTIC. The other
confusedf history of Hessychasm, who had revived oriental mysticism. It was dominated
by a mystical striving after God, and an escape from distressing reality, and eventual
salvation into the heavens.
Among the towns that Theophanes The Greek had spent time, Epiphanius also mentioned
another city. It was with Novgorod that the first work was mentioned and leaked. The
frescos which have possible survived within church of the savior were cleaned in several
stages between 1910 and 1944. These frescos constitute the main source of the study for
the Alphonso Greek Style.
Church of the Transfiguration of the Savior on Elijah Street. Novgorod. 1374.
Theophanes the Greek.
Pantokrator by Theophanes the Greek. Church of Transfiguration of the Savior,
Novgorod. 1378. The main parts of this fresco were completely covered over with plaster,
so it wasnt known that these master pieces were covered in plaster. This happened in
1910 and continued until 1944. After this tremendous restoration, only 10% of this site
remains.
These are the frescos of the savior, and the tier of the iconostasis area of the Moscow
Kremlin.
The icons which I will show you today are attribute to Theophanes the Greek. The
frescos in this church and the deesis in the Krelim are works attributed to Theophanes the
Greek. Most of the work executed by Theophanes the Greek in Moscow has not survived.
Neither the Church of the Nativity, nor the cathedral fo the archangel nor something else
he did have survived.
He painted a panoramic view of Moscow on one of the walls, and decorated one of the
residents with frescos. In his letter, Epiphanius the Wise refers to Theophanes the Greek
was an important illuminator of books. He wasnt only a painter of frescos and icons, but
he also illuminated books. When creating his Deesis for the Annunciation Cathedral,
Theophanes was faced with a new text.
Deesis Jesus, Virgin, John the Baptist. This is Deesis Christ, John the Baptist, and the
Virgin. This is an image of Christ in majesty, and he is covered with a MONDORLA or
MONDORNA which is an elliptical background like a nimbus which signifies uncreated
light.
Iconostasis, Cathedral of the Annuciation, Moscow Kremlin. 1482-90
Church of the Transfiguration of the Savior, on Elijah.
Four years later, Theophanes the Greek was given the commission to decorate the church.
As you probably remember, Novgorodian churches were commissioned by people who
lived in Novgorod, not just by BYRARS or GRAND PRINCES. This church is a
tremendous representation of Christ in the dome. The long type has received the term
PANTOKRATOR God Almighty, judging mankind. In his power is the fate of the
whole universe and every individual. God Almighty. He is surrounded by four archangels
and four seriphims. In the wall behind the windows, there are figures of the patriarchs. A
bitter struggle began against a major theoretical movement, that of Sherers. This broad
democratic movement was opposed to church hierarchy. Its followers held up to shame
the self interest of the priests, and they refused to acknowledge the bishops, and they
rejected many forms of their cult, including all the sacraments. They only recognize
Eucharist. They didnt believe in life after death, and they didnt believe in the obligation
to play for the dead.
Theophanes the Greek emerged during this time, and this probably resulted in him
thinking more creatively. Theophanes the Greek never used manuals manuals which
indicated the shape of the bear for quite minor saints. In this case, Theophanes the Greek
never used the manuals, and that is why his images are so personal and so expressive.
Theophanes the Greek disregarded all the earlier clichs. He was mastering a more
personal artistic language. His work is not similar to 12th century artists, who depict saints
are perfect people who experience no inner torment or doubt, so when you look at
Byzantine saints, they look tranquil. Theophanes saints were always struggling against
the desires of the flesh. The manner of Theophanes the Greek testifies to the testament of
the time. Symmetrical shapes, energetical bold lines and shapes that are essentially
dynamic. Theophanes the Greek molds his figures with energetic brush strokes, adding
highlights to dark fresh tones, thus achieving an intensity of expression. The highlights
are by no means always white, sometimes they have a bluish tint, and sometimes a grey
one. Theophanes range of colors was narrow and restaint, even monochromatic.
Theophanes the Greek saints all have something in common. Their austere spirituality.
THE STYLITES stylites, pillar saints. Stylitism is one of the more extreme and original
forms of Eastern Christian asectism. These stylized pillars were 10 feet high, and
STYLITES people on top of these columns. They would teach and celebrate mass. The
most famous stylite or pillar hermit, who remained on his column for 27 years, and
performed miracles. Another Stylite was Simoen the Younger, he founded a monastery,
and he climbed the pillar at its center in 551 and he became a priest in 554. Archeologists
have unearthed the remains of his monastery atop of which Simeon the Younger spent 40
years.
He lived on a pillar for 53 years, according to the legend, the last 14 years, this stylite laid
down to his severe illness.
THEOPHANES THE GREEK, OLD TESTAMENT TRINITY. CHURCH OF THE
TRANSFIGURATION OF THE SAVIOR, NOVGOROD, 1378, Fresco.
The teaching of the Holy Trintiy refers to the Trinity of three manifestation of one origin.
In the middle of the table, there are cups with the head of the sacrificial cult. This animal
had been a symbol of power since old times. It is an important part of the old testament,
part of Christs sacrifice. A cup is always depicted in the center of the table when you
look at the trinty to signify Christs sacrifice. To drink from the cup of death was to go
through suffering and die. The angels are usually depicted holding long sticks in their
hands, reminding us of the long way they have travelled. There were many more details
in this iconographic subject matter, and we can look at many icons with details of the
trinty later, and in his version of the trinity, THEOPHANES the greek was more
interested in the psychological personalities of the persons.
Only fragments remain of the ruins from the Church of the Savior. It is most probably
that the theme fo the last judgment was the main theme of the whole ensemble.
Theophanes wanted to depict specific individuals of firm character who were depicted as
opposed. It is by no means accidental that these representations are determined by the
balance between two forms of subject matter: the representation of the trinity and
numerous portraits of Eastern ascetics. These STYLITES represented the struggle
between the flesh and the mind. They are withdrawn from the everyday world, so this is
the gesture. So these STYLITES rejected central pleasures, and they ascended onto tall
pillars and escaped onto the mountains. The hustle and bustle of life is gained by them by
straining their physical strength to the utmost. And now, I will show you some images
from the iconostasis, which is considered undoubtably the work by THEOPHANES THE
GREEK.
This is the present view of the CATHEDRAL OF THE ANNUCIATION, MOSCOW
KREMLIN. 1484-90.
Some scholars believed that Theophanes the Greek created his iconostasis for either this
previous cathedral, or, some even think he created iconostasis for another cathedral in
Kremlin, but then it was moved to the archangel cathedral, but then later, from that
cathedral, the iconostasis could be translated to the cathedral of the annuciation.
Iconostasis was painted in 1405 and this cathedral was constructed in 1480 and 1490. So
the iconostasis which Theophanes created was painted in 1405. This is the drawing, the
page illuminated manuscript, depicting Theophanes the Greek, who is decorating St.
Michaels Cathedral in Moscow Kremlin.
Iconostasis, Cathedral of the Annuciation, Moscow Kremlin. 1482-90. This is another
view of the iconostasis. When I was saying that iconstasis is a wall of icons, you can
clearly see here that it looks like a wall of icons.
THEOPHANES THE GREEK, Detail of the Deesis, Iconostasis, Cathedral of the
ANnuciation, Moscow Kremlin.
The central icon depicts Christ in majesty, whereas the other eight are presented in slow
motion towards the Christ in majesty. You can see a firm, precise, and lucid outline with
the figures standing out against a golden background. Part of the color didnt come down
to us; it deteriorated, but nevertheless you can see these expressive images, and this is an
image of St. John the Baptist.
THEOPHANES THE GREEK, St. John the Baptist, Detail of the Deesis.
He paints similar to fresco technique. His frescos are flowing, expressive, an incredible
freedom of expression. This was in marked contrast with the stiff rigidity of the icons.
The main thing that asserts the affinity of the icons from the annuciation cathedral is the
masters fantastic ability to convey the spiritual life of men in the images of the saints,
whos figures are presented in static postures. Any outward movement is reduced to the
minimum, whereas the inner life of passion is created using subtle shades of reflection.
These are definitely very personal images and expressions of face.
THEOPHANES THE GREEK, Our Lady of the Don. On the reverse, The Dormition of
the Virgin, 1380s-1390s.
DOUBLE SIDED ICON.
You shouldnt describe the color just looking at the slides.
Iconographically, our Lady of the Don is one of many variations of the Madonna of
tenderness. The description of the Don originates from the Legend of the miraculous
hell? In the famous battle of 1380. The chronicles first mention the icon connected to
1552 when some Czar prayed to it, before setting off to his campaign. This icon was
probably painted for that cathedral. Russians use icon in the battle, because they thought
it may protect them from the enemy. The Virgin was moved. In honor of the icon that was
believed to have saved Moscow from these people, there was another painting made.
Experts are confident about the dating of the work, but they remain uncertain whether it
was created by Theophanes the Greek.
In another side of the icion, DORMITION OF THE VIRGIN.
This icon is more abbreviated iconographic version of the DORMITION. Jesus is
wearing golden clothes, set off against dark blue mondorla, an image of divine light. On
the left, there is St. James, brother of the Lord, appointed bishop of Jersusalem. Their
representation is large in comparision with other disciples. Some saints could e depicted
much larger in size, depending on importance for particular church or cathedral. The
bishops are also adorned with nimbi, and attired in bright clothes with large crosses. The
characteristic feature of the dormition iconography is the seraphim with open wings
crowing Christs glory.
ARTIST OF THE CIRCLE OF THEOPHANES THE GREEK, THE TRA. MOSCOW
TRANSFIGURATION circa 1403 the transfiguration.
Artist of the circle of Theophanes the Greek
10/10
Today we will just deal with Moscow. Moscow architecture and Moscow painting. It
makes sense to group it all together, because we will also watch the film on ANDREI
RUBILEV.
The Sakai page is up! You already said you were able to print out the articles, so I put
some articles related to icon paintings etcetera. There are also some dictionaries that I put
online: terms that I gave you, architectural terms. In case you lost them, you can look on
sakai. I also put some of the books on the topic on reserve in the art library. Those who
didnt take this handout please do so.
The books are:
The Russian Icon From Its Origins to the 16th Century
USE ^^^^^ THAT ^^^^ BOOK ^^^
VIKTOR LAZARUS.
Also the book by someone else, named the meaning of icons, which will help you
conceptualize icons and place them in the context. So the meaning of icons by
UZBINSKY. There are other books that are not in English; they are in Russian, but they
have many pictures which you are lacking in the Hamilton textbook. They give you a lot
of pictures. If you read Hamilton, it will be a good preparation for the midterm exam,
because you will have to figure out what icons are what, because the inscriptions are in
Russian. The last book on the list:
Mosaics, Frescos, Icons. This is specifically helpful for pictures on Kievan Russia. For
mosaics on St. Sophie in Kiev. So the only ones that are really helpful in terms of reading
are this book by Uzbinsky and this book by Lazarus. In terms of architecture, starting
with architecture, Bloomfield is pretty thorough, but I will go to the library and see if I
can add books on various Russian towns. Many of the books are in Russian, so Im not
sure if they will be helpful to you. There are enough pictures of architecture in
Bloomsfield book. It is very thorough and has enough illustrations, but to add to what
you have in Hamilton, you have all these books on icons in reserve. This is in terms of
our little changes in syllabus and books on reserve.
Today, I will lecture on Novgorod icon painting. Novgorodian icon painting.
Mini quiz.
CHRIST PANTAKROTOR Cathedral of St. Sophia in Kiev.
Theophanes the Greek also Christ Pantakrotor. VERY POSSIBLE THAT I WILL
COMPARE THESE TWO IMAGES ON THE MIDTERM. IT IS SO STRAIGHT
FORWAD AND EASY TO COMPARE AND DESCRIBE THEM THAT YOU WONT
HAVE ANY IMAGE.
The Cathedral of the Transfiguration of Our Lord, 1130. Mirozhsky, Monastery, Pskov.
Interior view.
We touched on this subject a little bit, but today I would like to summarize it more. I
scanned interiors of Russian churches, so you can see how these paintings are painted
from floor to ceiling, and they have a specific iconographic program for painting. Do you
remember where this image is?
St. Sophia in Kiev Christ Pantakrator. This is a very good slide, because you can see
how they are related to each other.
Rostov, Kremlin, Gate Church of the Resurrection.
The Cathedral of the Transfiguration of Our Lord, 1130. Mirozhsky, Monastery, Pskov.
Interior view.
As the image of the cosmos, the iamge of the Russian orthodox church embodies the
descent of the heavenly to earth, both symbolically and horizontally? The columns or
pillars in Russian orthodox church respond to the parts of the church. With the pillars of
columns, you can always see images of angels and saints. The main dome repeating the
message of the altar symbolizes the heavenly god, and that is why you can always see an
image of Pantakrator in the Dome. Corresponding to the separate stages in the courses of
the liturgy, the Berma symbolizes the different locations of the events of the gospel. The
processional cross and the 7th branch something stand behind the altar. As the place of
death and judgment, the vestibule of the church may hold funerary monuments. The
number of the domes has its part in the symbolic importance of Russian orthodox church
that the church corresponds to the interior.
12 small domes surrounding the main one 12 apostles and christ
9 domes symbolize the nine ranks of angels
five domes symbolize Christ and the four evangelists
Three domes symbolizes the trinity
One dome symbolizes the one God as head of the Church
All the domes carry the cross as a slanting beam on the bottom arm and often a second
cross beam. The moon over the cross is a sign of victory over the Tar Tars. The East and
the area above the altar where salvation actually takes place establishing the program.
Both liturgically and symbolically, God is located here and in the main dome. The
iconography in the sanctuary refers to the Church, the Ressurection of Christ, etcetera.
Lowered down, the last Supper is depicted in direct allusion to the sacraments celebrated
at the altar, with the apostles taking bread at the left side, and someone on the right. There
is a representation of the Church fathers. The iconographic program is verticle in
arrangement. The pillars or columns where the figures of martyrs, asetics, and saints. The
last vestibule is given over to the last judgment, so the west side of the church is always
dedicated to the last judgment. If you enter any Russian church, on the left you will also
see the last judgment. This program was varied and expended. Favorite subjects included
Russian saints, national feasts, provincial Russian variants of the types of the virgins, and
their associated legends, local princes, and national events. In addition to this general
arrangement and general program, Russians added national saints. If a minor saint was
dedicated, his painting would be found in the church?
This follows the hieratic spatial structure. The most important and the largest paintings
are placed in the highest and the lightest dome. At lower levels, the closer the painted
surfaces are to the ground, the closer the motifs are together. The horizontal arrangement
following the liturgy and cosmology has an east-west directional flow. The techtonic
space, with its various forms, itself becomes the pictorial space. In St. Sophia in Kiev, the
two pillars of the triumphal arts are used.
Vertically, the iconographic program starts in the main dome, the highest and lightest
place of honor with the Pantakrator. The congregation is exposed to his grace, and
separated from him by the light from the window to the drum. The figure of the mother of
God, Orans, with her outstretched arms, appears behind the iamge of the Pantrakrator.
She stands before God as representative of the Church on Earth, to answer for the sins of
the world. The Pantrakator is surrounded by four arch-angels, his servants and
instruments, which serve his model as the four corners of the earth, which is why he is
surrounded by four arch angels. These arch angels are portrayed above the pillars. The
prophets and the pillars, the old testament and new testament prophets, are around the
windows of the drum, accompanied by Issac and Jacob. The uppar parts of the walls
carry a cycle depicting most important scenes from life of Christ, and other parts of
Church calendar, including annuciation. Any church willl have the same kind of
iconographic program of their murals.
I also found better slides of SUZDAL pages. Cathedral of the Nativity. Detail of the
western golden doors. 1230-33, The Crucifixion
Smaller churches are more or less the same, but it becomes more abbreviated. So in big
churches, you will see iconostasis with all possible saints depicted, in smaller church, you
will only see abbreviated versions.
If a smaller church is dedicated to particular saints, you will see icons of that saint. These
are just better images which I scanned for you of SUZDAL GATES.
Church of the Savior on Nereditsa, Novgorod. 1198.
Here you can see this a very small compact church of the savior, from the 12th century. I
wanted to show you this church, because I think the popular spirit of this church is
similar to icons.
Traditions of icon painting were important. The Novgorod school is the most significant
in Russian painting. Russia was observing a Byzantine culture. Local features emerged
from the selection of scenes from iconographic program and from local affinities
regarding Byzantine painting.
Novgorod icons are distinguished by massive figures, stale faces, and bright colors,
applied with bright brush strokes. Red color plays a leading part in the color theme. You
will see that many of those icons have this red color throughout the icon, and red colors
serves as a background for many color when, I talk about symbolism of color, I
mentioned that red color, because of its dynamism, was as significant as golden color,
which symbolized divine light, because of its dynamic qualities.
Novgorod succeded in the 14th century when the rest of the country didnt. Novgorod has
a public assembly of its own, and a secular executive authority, presided over by a
governor and a military captiain. In this system, land owning merchants possess great
influence. Many churches in Novgorod were constructed in decorated by people in the
area where the church was built. Icon painting was determined by popular taste, or
composition composed of several saints are very typical of Novgorod icon painting. They
assume the same place where a church is dedicated, and they assume the local tier of the
iconostasis. The surrouding regions of Novgorod were constructed of wood, and even
stone locked monumental painting, and even icons took their place. Icons were much
more popular than murals, then paintings on the wall, and many of these icons which we
will look at today are noted for symmetrical compositions, clear cut drawing and coloring
with strong contrast of red green and blue.
THE HOLY FACE (MANYLION) or THE SAVIOUR-NOT-MADE-BY-HUMANHANDS. Icon, tempera on wood, second half of the 12th century. NOVGOROD.
I will just briefly repeat the legledn associated with this icon. So the holy face dates back
to the 10 th century BYznatine art. It became very popular after the image working
miracles was transported to Constantiople. Legend has it that the savior himself sent a
towel with his face on to the ruler of Odessa in Syria. This Ruler was sick with leprosy,
and he was healed the moment he touched the holy image. You will see the veneration of
the cross, and this icon was rbought from Novgorod by Ivan the Terrible. Among the
older Russian icons, THIS ONE IS DATED THE EARLIEST. We already talked about
some of the stylistic features, like flatness, symmetrical, almost geometrical treatment of
the hair, ornament like, stiffness, etcetera. We will always think about different stylistic
figures of the icon depending on when it was created. I wanted to show you the same
image, same subject.
SAVIOR NOT MADE BY HUMAN HANDS. I want you without knowing when this
image was dated from, to date this image.
This icon is dated 17th century, so you can see a big difference in style, because icon
painters starting introducing volumetric treatment and paitning becomes closer to
portratiture. And remember when I gave you a tour of the Rubilev collection, I gave you
the term PERSONA. PERSONA were created in this type of style, where the artist would
already include the something, being influenced by European painting at the time.
On the other side of the image, there is THE ADORATION OF THE CORSS. Reverse of
the icon of the Holy Face. Icon, egg tempera. Late 12th century.
The cross mounted with a cave, inside which you can see the skull of adam, which is a
reminder of the crucifixion. For the Greeks and the Roman,s the palm tree was a symbol
of victory, where Orthodox people saw it as a symbol for eternity and immortality. These
are two early icons from Novgorod.
St. George, 12th century. Novgorod. Cathedral of the Dormition. Moscow.
According to the legend, St. George was a warrior. He declared himself a Chirstian, and
then he was killed. His cult became very big in the 12th century.
This icon is found in the Cathedral of the Dormition, but according to scholars, it
originated in Novgorod. Im showing you close up views of this icon. No wonder you can
see all these damages.
THE DORMITION OF THE VIRGIN. ICON. NOVGOROD. Early 13th century. The
DORMITION OF THE VIRIGN. Iconography of the Dormition was formed in the 11th
century on the basis of the apocraphal texts and teachings of thesaints. The bed with the
viring falling asleep is placed in the center of the composition with apostles and saints
depicted around it. To the right you can see the apostle Paul, the apostle John, to the left
stands apostle Perta. The figures of Christ with the virgin soul dominates the center of the
composition. The red shoes at the step symbolize the end of the arly life. The other part of
this icon depicts the apostles flying on the cloud, with the angels flying to heaven. This is
a close of view of a detail o this icon.
This is the imgae of Christ holding the soul of Virgin mary. Any time you see Christ with
this little child, it means the soul of the Virgin. The red shoes represent the end of life on
earth. They arent on her feet; they are on the ground.
ST. NICHOLAS. NOVGOROD. ICON, mid 13th century.
Novgorodian icon painting has a long and complex history, as you can see its origins go
back to the 11th century. Its first flourishing was in the 12th and 13th century, and the
greates in the late 14th century. So the masterpieces of the Novgordian icon painting come
from the 14th and 13th century. Icon painting began to decline; they nevertheless fell short
of the quality of the earlier work. The loss of Novgorods independence and periods lead
to the disappearance of the factors that brought about its flourishing. You cant really talk
about art and not discuss the history of the period, because it is all connected. Before its
annexation by Msocow, Novgorod was a free city with its own republic and way of life,
and its own republic and traditions. They abandoned natural wealth and economic
management; all of these factors contributed to the fall of Novgorod. If you compare the
art of Novgorod with that of Kievan Russia or Vladimir Suzdal, you will notice its strong
affinity with life and its spontaneity and its freshness. The artists of Novgorod preferred
to depict the most venerated local saints.
This icon was commissioned by Novgorod prince, who holds the sword in his princely
estate. The most likely virgin was someone. he was a prince of Novgorod at the request
of the people of Novgorod and was driven out by them in 1174. It was commission, and it
came from the son of Andrei Babluvsky.
The Greek icons were brought to Novgorod in broad numbers and the lively cultural
relations were maintained between Novgorod and Constantinople. Alexis visited Novgord
in 1186. In 1193 and 1289, they existed in Novgorod, influential parties that wanted to
have an arch bishop. Novgorod made lots of pilgrimages to Constantiople. Novgorodian
princes also continued to maintain strong times with Kiev, which was a source of
Byznatine influences. Along with the Byznatinizng trend, there existed another trend, in
which local features prevailed over Byznatine features. This trend was a result of the
LOCAL ASSEMBLIES. Merchants and craftsmen became more and more conscious of
their power; they were bound to make themselves felt in art. When we look at some of
the Novgorodian icons, you will see that they were less and less influenced by Byznatine
art.
This is the icon of Saint Nicholas. It is signed by the artist, and it is signed: Alexis, son of
Peter. Most icons arent signed. Images of medallions are painted in much smaller scale,
which of course showed that the image of saint Nicholas was important for this church.
This image of St. Nicholas was remarkable because it has very small images on the
background of Christ and virgin mary. In subordinating Christ and Mary to St. Nicholas,
they violated Church hierarchy. Nicholas is much bigger than he should be. He did this
became St. Nicholas is the namesake of the donor, so he wanted his namesake larger than
Virgin Mary and Christ. This is a very important icon for Novgorod which depicts St.
John, St. George, and St. Blaise.
St. John Climacus is HUGE compared to the other two. One saint is larger. He was a
patron saint or a namesake. All of them are depicted in stiff, frozen postures, and they
resemble carved and wooden idols. St. George is twice the size of the saints in front of
him, and unquestionably disproportional scale was selected by the donor. Blaise was one
of the most popular of Novgorodian saints. He emerged from the veneration of Slav deity.
We are talking about paganistic beliefs, and this is how it came to Russian through
paganist god. You can see the very bright red color of the background which is typical for
Novgorodian icons. This is a larger detail, and the name that you can see written on the
background are the names of Saints. In case the people ewho go to the church wont
understand who the saints are. If you look at this image it looks like a wooden sculpture
practically, like popular art.
THE PROPHET ELIJAH. Icon. Novgorod. This very bright red background. So I hope
that you will be able to distinguish icons from Novgorod from other icons pretty easily,
because they all have this similarity and this red color.
THE APOSTLE THOMAS, Icon, NOVGOROD, 1350-1370.
He is weraring traditional garb, and is dressed in red. Nimbus. This icon originally
formed part of a Deissus group of icons, and it might have been intended for a churcho r
chaple dedicated to saint Thomas, and it might have ben commissioned by someone
named after this saint. People who dated this icon were wrong, but then other people
fixed it. when we talk about a number of these icons, the dating you can find as different
in different books. Some scholars are still debating about the date.
Red is sin, dynamism, and royalty, depending on the context.
So a few more words about St. Nicholas.
Nikola Lipny, Icon, Novgorod. 1298
St. Nikolas lived in Asia minor in the 3rd and fourth centuries. He died around 1845. He
has been named a miracle worker and quick to help, he was often considered the patrong
saint of sailors and merchants. He worked his more glorified works at sea. He was a
patron of merchants, and as we discussed, Novgorod was prosperous in terms of its trade.
Priests were weaker than patrons in many cases.
And as I said, the people played more important role than the prince for example. That is
why you can see the difference between Moscow icons and Novgorodian icons; they look
much closer to the populous. In many cases, people who lived on a street could make a
church or commission an icon. Remember those early images of BYznatine art that I
showed you at the beginning and look how strikingly different this image is.
St. Florus, Nicholas, Blaius, and Anastasia. Icon. Novgorod. Late 14th century
Why do we see many saints in one row?
Novgorodians were very practical people; they werent that esoteric. Each of the saints
signified some kind of protection, so they decided: why should we just have some person
who protected us from fire? The other one will protect our cattle and our children. These
icons that would features different saints becme very popular in Novgorod.
St. Florus and Laurus (The Miracle of the Archangel Michael). Icon. Novgorod. Early
16th century. Their cult aroose and replaced the ancient cult. These brothers were
worshipped widely as healer and painters of horses. The origin of this icon type;
archangel Michael handing over the reigns of the horses that he had saddled up for battle
is uncertain. The composition includes the images of three holy horsemen. According to
the legend, the brothers were horse breeders and attended to the horses in the festivity of
the Greek goddess. Their names mean: he who speak the name of the horse and he who
takes place of the horse. The saints suffered for their faith when they adopted Christianity.
This work exemplifies the best features of classic Novgorodian art. The red color
thourought the icon, very bright and festive colors, and you can see that the saints: Florus
and Laura as well as archangel Michael are depicted much larger in scale than the horses
or the characters in the icon.
HIERATIC SCALE VERY TYPICAL FOR NOVGORDIAN ICONS.
St. Elijah, Nicholas, and Anastasia. Icon. Novgorod. Late 14th century. Here is an example
where you can see these three saints. The figure of ANASTASIA combines two martyrs
venerated by the Orthodox church. She is often depicted with the vessel, which evokes
her role as a healer of diseases. She was also called the one who sets captives free,
because according to the legend, she dedicated herself to assisting those who were
imprisoned for the sake of Christ. The cult of ANATASIA spread very far. In the icons of
the Novgorod provences, she is depicted with saints of agriculture, and she is also of
agriculture and sheep.
St. Boris and Gled. Icon. Novgorod. Cica 1377
These princes were the first saints to be canonized. The sons of Vladimir who adopted
Christianity after the death of their father. They murdered their brother who was afraid to
compete fairly for the great princedom of Kiev. Both borthers were glorified, considered
saints for protecting Russia. The saints appeared as two warriors on horseback to
prisoners who prayed to them for their release. This icon is the earliest of this kind.
Spiritual strength, the readiness to accept death, this is the image by which the saints are
depicted.
ST. BORIS AND GLEB, ICON.
THE VIRGIN OF MERCY (THE INTERCESSION OF THE VIRGIN). ICON.
NOVGOROD. LATE 14TH BEGINNING 15TH CENTURY.
A well known episode from the life of St. Andrew. According to the legend, when St.
Andrew and his disciple witness and went to the church in Constantiople; they witnessed
a majestic figure of the monument of God. She raised her veil and extended it over all
those in the church, and that is why the subject became known as the protecting veil of
the mother of god, and it became a major religious festival in Russia in the 12th century.
THE NATIVITY OF THE VIRGIN. ICON. NOVGOROD. FIRST HALF OF THE 14th
century.
Here you can see St. Ana and the virgin that was just born. It looks very different from
Byznatine art, and look smuch more like folk art and popular culture.
This image of
THE SAVIOUR ENTHRONED, WITH CHOSEN SAINTS. ICON. NOVOGOROD.
Second half tf the 13th-early 14th century.
ST. GEORGE. Haiographical icon, Novgorod. Hagiographical when you see the life of
the saints depicted in the icon. In the borders, you can see scenes from the saints life.
This is one of the scenes from the saints life.
ST. GEORGE AND THE DRAGON, which comes from Novgorod, late 14th century.
Considered masterpiece of Novgorodian art and Russian icons in general.
St. George was also one of the most venerated saints in Russia. A number of literary
sources survive given details of his life. He publicly proclaimed himself a Christian, and
was killed. The veneration of St. George began in the 15th century, particularly in
somewhere. The cult of St. George increased during the reign of someone in the 12th
century. St George was a patron saint of Russia. He played a great part in Russian
political life. He was equally venerated by the common people, not only as a courageous
warrior, but also as a patron saint of those who were in battle. Russian icon painting
assimilated several different iconographic types of St. George. In the pre-Mongolian
period, the saint was depicted in a specific manner.
Also widespread was an image of the saint clad as a matter with cloak and cloth, but the
most popular image was of St. George and the dragon.
You can immediately see what this image signifies the victory of good over evil, the
victory of Christianity over paganism. The dragon represents Paganism. Look at how this
icon is executed there are no extraneous details, only the most important images which
held to decipher the plot. This one, alternatively, is very close to folk tale and Russian
craft and is much more elaborate than the first one. This is Hagiogrpahic icon, which
depicts on the borders scenes of saint Georges life. Shown at the margins are scenes of
the martyrdom of saint George. The fairytale overtones are intensified in this icon. There
is nothing war like about St. George himself, though holding a spear in his right hand, he
doesnt strike anybody with it. The small pictures are also interesting which show scenes
of his suffering. He is shown quartered, beaten, stones are piled upon him, and he is
subjected to many other tortues ,but all in vein. Each time he emerges completely
unchanged as if he felt nothing.
10/17
WEDNESDAY NOVEMBER 2ND MIDTERM
NEXT CLASS ON THE 19TH I WILL BRING ESSAY QUESTIONS, THEN
AFTER YOU SEE WHAT YOU HAVE AS ESSAY QUESTION, YOU DECIDE
WHETHER YOU WANT TO DEAL WITH ESSAY QUESTIONS OR YOU
PREFER TO WRITE A PAPER
By this weekend, I want you to email me whether you are doing essay questions or
whether you want to write a paper. If you want to write a paper, I need y ou to give me
optional topics, so this at least will prompt you to start thinking about the topics. On the
weekend, I am getting your topics, and then on Monday I can talk about those topics with
you, and then after you midterm, by November 9th, what I want to get from you is your
bibliography, selected bibliography. I want to get your selected bibliography from your
topic, and see what literature is available in English on your topic. You should use three
sources, minimum. The same refers to essay questions. For each question, you need to
present me with bibliography. Also, I will need from you one paragraph where you will
kind of summarize your thesis, and what exactly you want to achieve in your paper.
Today I will continue a little bit about Moscow Kremlin, because we have several more
monuments to discuss, and then I will concentrate on the work of the artist Andrei
Bublov. One of the most known icon painters in Russia. This is the Annuciation
Cathedral, and I already discussed this last class. I want to add a little story about Russian
Tzar Ivan the Terrible. Russian Orthodox Church allowed only three marriages, but Ivan
was married five times, so when he wanted to get married the fourth time, the Church
wouldnt let him in. So Ivan the Great added a little addition to the story.
Ivan the Great Bell Tower.
The Faceted Chamber.
RED SQUARE.
Two more churches we have to look at. THE CHURCH OF THE ASCENSION AT
KOLOMENSKOE. And the Cathedral of St. Basil, which we started discussing last class,
but I will summarize.
In looking about for sources of inspiration, the Russian architects turned to the
indigenous forms of wooden church architecture, examples of which they could see in
and about Moscow. Their galleries, porches, and their picturesque stairways, all of these
distinctive features of wooden architecture must have impressed peasants. All of these
churches appeared in rapid succession, and many wooden forms were reflected in Mason
architecture. The assertion of this wooden architecture brought about the substitution of
this tower for the cupola. Introduction of entrance of porches and the use of external
galleries. Combination of the cupola with something else, and the introduction of
separate, free-standing bell towers. All of this shit came to Russian architecture from
wooden architecture. The tall tent of churches of the 16th and 17th century constitute a
complete break with the Byzantine traditions of the dome-cruciform church. When we
talked about churches before, we always talked about dome cruciform churches.
Vascily the 3rd commissioned this church as a public act of thanksgiving for the birth of
his heir, Ivan the 4th. Integrated into the surrounding landscapes, it towers above the
banks of the nearby Moscow river. Its concecration by Vascily was celebrated with three
days of festivities and banqueting. The churches build of brick, with their techtonic
details in limestone. They laid all of these bricks inside the previous one. The influence of
wooden churches can be easily observed here. The pyramidal verticle construction, and
the absence of an apys. There were many apyes are these semi-circular volumes; very
typical for Russian churches of previous time. It becomes a prototype from this church,
and it came from the wooden architecture where they didnt use apyses. The corners of
this church are excentuated by tall pilasters with something else. The compliments on the
pilasters compliment someone. This detail looks like a head that Russian women would
wear; a custom. They formed a transition from the square of the plan to the octagon. The
position of the church, on high ground, enabled it to serve as a military function. The
space at the top of the roof was equipped to hold a look out. You can see, and it is
important to remember that it was a commemorative church, and as I said, many Russian
churches were build as commemoration of some particular historical events, and in this
case it was the birth of the Russian Tzar, Ivan the 4th. It also served and had some military
function.
RED SQUARE. Last class we started talking about this famous monument; the cathedral
fo the intercession of the virgin, or the cathedral of St. Basil the blessed. This church
served as a prototype. This structure is uniquely Medieval Russia in content, form,
feeling, and technique, but you can also see influences from Renaissance imitation,
Persian and Oriental motifs. But Russian architects combined all of these influences
together, and created this unique monument. St. Basil has been either greatly ridiculed, in
terms of a deceased imagination, or highly praised as a Medieval expression of Russian
genius. Some writer compared this to the crystals of a giant something beautiful. Other
Western observers, for example some French guy, described this ensemble as:
A bush, a plant, or a bouquet of very colored flowered.
The church is uniquely original in design, execution. This reflected the beginning of the
new National epoch in Russian art. It is dedicated to the Virgin of the Intercession, after
the day when Ivans troops took a fort of the Golden Hordes. A wodden church was built
before the end of 1552, succeeded by the stone building on the same side, and again, it is
essentially a monument and a symbol. The central pillar structure is dedicated specifically
to the feast of the Virgin of the Intercession.
This central part is dedicated to the feast of the virgin of the intercession. The four
encircling chapels, dedicated to saints and other people and important battles around the
city of Kazan. The cathedral became known popularly by the name of BASIL THE
BLESSED, A HOLY FOOL, who became famous for his denunciations of Ivan the
Terrible, Ivan the 4th. After Ivan the 4ths death, St. Basil was canonized. Most of St. Basil
was build in brick, but there is also some limestone. The original helmet domes were
covered with tin plated sheet iron. During the 1670s and 1680s, the church was build with
bright colors. You can see various close up details of this cathedral, and the plan. This is a
close up view of the Cathedral. As I already mentioned, when you look at old Russian
architecture, you have to realize that what youre looking at today isnt the same as it was
before. Sometimes churches would be burned, and then a new one would be build on the
side of it. This church was must more restained in color when it was originally
constructed, and later it became so elaborately decoratd and painted. St. Basil, for whom
this extraordinary Church is named, was a popular prophet and miracle worker of the 16th
century, who claimed that he was idiotic for Christs sake. Hence, St. Basil Gods fool.
Idiocy was a common form of religion beliefs in Russian, and Gods fools were treated
with reverence. St. Basil was finished and concecreated in 1660? According to a legend,
St. Basil was designed by an Italian architect who was then blinded by the Tzar so that he
would not be able to produce a more beautiful church elsewhere, but it is just one fo the
legends. Another version of the same legend says that the Tzar asked the architect if you
can a build a finer, more magnificent Church. The Tzar ordered him beheaded, so that St.
Basil would remain an unrivaled monument. These are just legends to show how unusual
and beautiful this cathedral was at the time.
The interior of this church is by contrast much more sober. It produces the impression
that the church was sculptured from one huge block of stone. The chambers, suggestive
of ancient frescos on catacombs, are connected by low vaulted passages with thick walls
and narrow corridor around them. The interior had some frescos in 18th century, and the
other surrouding churches acquired frescos only in 1960. Inside, it was quite restained in
decoration.
Red in old Russian language also meant beautiful.
Now I would like to say a few words about one of the major Russian saints in history,
who was extremely influential for artists, and his name was Sergov. His ideas were
connected with the Trintiy, as painted by Andrei Bublov. St. Sergov is like the St. Francis
of the Russian people; he preached the brotherly love, performed miracles, and had
various mystical visions. He was also an architect of the spiritual and moral rebirth of the
Russian people. His support for prince someone in the famous battle against the Tar-Tars
was decisive. He was worshipper of the mystery of the Trinity, and he was also the first
Russian Saint to have a vision of the mother of god, as we can see in one of his icons.
This is an icon carved of wood, and it is depicting ST. SERGEI OF RADONEZH, who
had a vision of the mother of god appearing before him, and this is what you see in this
icon, so he had various miraculous visions. Just a few years after his death, under the
Trintiy, the monk Andrei Bublov painted his famous icon Trinity, which became a
theoretical and spirtitual synthesis of ST. SERGEI. This is a great event associated with
the Trintiy. On the left is the mother of god, behind her at St. John and St. Peter, and
before them, someone is praying. The icon presents a vision sent towards St. SEIGEI at
the end of his life. The description of his vision and the iconography came from monasic
sources. The icon accompanying the vision did something with the Russian army in 1552.
I will read you a few stories from the life of St. Sergei.
St. Sergie dates this as 1314, 1492, and he was the most popular of Russias saints, and he
was considered the patron after the Russian victory over the Mongols in 1380. These are
excerpts which I am reading from his life story. St. Sergie lead a laborious life. He denied
himself even beer, and was dressed in poor garments. He was given the name of Sergei in
religion, since it was customary to give a monk the name fo the saint celebrated that day.
He was 23. Wild enemies were surrounding him and even sniffed at him. Once a bear had
taken to coming every day to his place of living, seems that the beast came with no evil in
mind, but in order to obtain some food, the saint would give him a piece of bread na
dplace it on a block of wood. If he had only one piece of bread left, he would always
share it with his beast. Chronicles that describe life of Sergei described how kind and
selfless he was. A small number of monks, about 12 in all, gathered around him, they
build cels and enclosed the ground with a fence. They start of kind of organizing a little
monastery around St. Sergius. St. Sergius broke his bread and cooked his food; he cut and
produced his clothes, and he got water for the prince.
At the time when the monastery of the Trinity was build, there were many needs and
privations. The clothes he wore were so shabby. Some visitors that didnt know about
him, were mislead by his appearance.
This is a wonderful embroidery from the 17th century, depicting St. Sergius of Radonezh,
and you can see many golden threads, and this is a page illustrating the life of St. Sergius
of Radonezh, because of his miraculous abilities, he helped Russian princes in the battles.
This is the very of the St. Trinity-SErgius Monastery, which he founded.
Now I will talk about ANDREI RUBLEV. THE OLD TESTAMENT TRINITY. Most
famous icon by ANDREI RUBLEV. In old textbooks of the history of art, this work is
like the only examples of the work of Russian Medieval artists. Moscow, which appeared
the historical scnee very late, didnt have its own artistic culture in the 15th century.
Centers of Novgorod, Vladimir-Suzdal, so Moscow had to make use of accumulated
heritage of old Russian cities, and it is only natural that she would first follow the
tradition of the Vladimir-Suzdal principalities. The Tar-Tars destroyed much of what was
of cultural value in Moscow. The Tar-Tar general torched some shit. Later in the 14th
century, there was a change that was the beginning of Russian art. Artists visited Greece,
and the South, and the slavs, and Russian art changed.
When icon painting in Russian began to flourish, Moscow had the best artists from the
developed schools of Vladimir-Suzdal and Novgorod. Moscow enjoyed its Renaissance,
hitting a platea in the 14th century. In 1405, Theophanes the Greek executed the
iconostasis for the cathedral fo the annuciation in the Moscow Kremlin.
Little is known about Andrei Rublev. Scholars dont even know when he was exactly
born, when he exactly died, so all the dates are kind of questionable, because there are
only two comments or remarks during his life time in the chronicles, and how do we
learn about Medieval artists? We learn about them from the Chronicles, because icon
painters didnt sign icons, because icons were considered product of god and church,a nd
if they wrote inscription, it would indicate name of saint, not name of painter. During
Andrei Rublevs lifetime, there were only two remarks. The first time was in 1405, when
he worked in the iconostasis in Moscow Kremlin, and he worked with Theophanes the
Greek. The name of Andrei Rublev was known as the third artist. The second time Andrei
Rublev was mentioned, after the name of his colleague. In 1408, both Daniel the Black
and Andrei Rublev went to Vladimir to decorate the dormition cathedral, and by that
time, by 1405, Andrei Rublev was already well recognized artist. He worked in a city
near Moscow, and he especially sent much time working in Trinity-SERgius monastery,
and Andronica Monastery. Practically, many scholars still debate and are debating which
works can be attributed to Andrei Rublev, and which works can be attributed to other
painters working with him. I saw productions of work, dedicated to Andrei Rublev. I was
shocked, because many of the works that I would present to you as Andrei Rublev, are
now not scholarly considered to be works by Andrei Rublev. So we still dont even know
what works are definintely painted by him, except the Trinity, since there is a mention in
the chronicle, so there are several works that we know for sure. He participated in the
creation of the Annuciation Cahtedral, because there is a mention in the chronicle, and he
participated in the creation of its iconostasis, and then he participated in the creation of
the iconostasis of the dormition cathedral in 1408. Also, he created the iconostasis of the
Trinity Cathedral of Trinity Monastery, and even the dating of this Trinity icon, here I
have circa 1410. This slide was very old slide that I used ten years ago. When I looked at
recent scholarship, it turns out that the opinion is not that it was painted in 1410, but
instead 1427.
This icon was commissioned by Nicon, and it was cleaned and discovered in 1904. In
1904, when this icon was clean, it was apart of this iconstasis in this monastery. You can
see here: this is an icon. Now it is in the collection of the gallery; it isnt apart of the
iconostasis.
In 1904, one restorer was asked to clean these icons, and I will show you another view of
the cathedral, where you can see iconostasis right here, but at that time, 1904, the icon
looked completely different. It was a brownish color, very unattractive, and it was
covered by this cover.
OKLAD for the Trintiy by Andrei Rublev
People can only see faces and hands, but those faces and hands were not of the color that
Andrei Rublev used, but much later editions, because this icon was completely covered
and damaged. No one used oil at that time: they used egg tempera. Someone at the time
overpainted Rublev icon, ruined the design, and moreover, as I told you about all Russian
icons practically, were, after completion, covered with BOILED OIL which would protect
the icon, but because of the candles in the church, in the period of time this layer of
boiled oil would dark significantly and become dark brownish, so that is why no one
knew what this icon looked like. This restorer decided to clean this icon. He diluted the
oil with spirits. It happened in 1904. Now this icon, and practically after it was
completed, was considered a model work from all other painters that would paint the
Trinity. So the most current research says that it is unlikely that the Trintiy could be
painted in 1411, because in 1408, the Sergius Monastery was burned down by the TarTars, and some scholars thought this was made for the wooden church, but other scholars
disagreed with this opinion, and they say that it doesnt make any sense to create such big
icon for wooden cathedral. Scholars came to the opinion and the conclusion that this icon
was most likely painted in the 1420s, not 1414. 1422 or 1427.
THIS TRINTIY IS EXPELLARY WORK. At the basis of this icon, scholars attribute
other works to his brush. The old Testament Trinity. I want to show you how the subject
of Trinity was usually handled or presented. This is a later icon, mid-16th century, but this
would be very typical, very narrative. The whole story about Sarah and Abraham, and
everything is very elaborately detailed. We compared two works of St. George fighting
the Dragon, and other icon discussing sins of St. Georges life. I want you to understand
why one work would be considered a masterpiece, and another one will be. That is why
we will look closely at Andrei Rublevs trinity. This image is based on text from Book of
Moses. Three angels appeared and foretold the birth of their son Issac. God the Father,
God the Son, and this is the Holy Spirit, so three manifestations of one origin. In the
middle of the table, there stands a cup with the head of a sacrifical cow. This animla had
been a signal of peace and power since the old times. A symbol of sacrifice for Christ. In
old Russian literature, the phrase, the cup of death is to go through painful suffering and
then die. The trinity also presented the unity of the three virtues. The triumph of faith,
hope, and charity. Three aspects of one God, but also faith, love, and charity. This other
icon dealt with this story in a very narrative way. This icon was painted for the Trinity
cathedral of the Trinity something, and it was commissioned by Father Nicon, the
disciplie and successor of St. someone. This icon is based on the story from Genesis. The
artist outlook was highly influenced by the swords of St. Sergius. In the lifetime of St.
Sergius, the Trinity acquired a reputation as mutual love, sacrifice, UNITY OF RUSSIA.
This icon called for unity of Russia. The position fo the second angel expresses
submission to fathers will. Concluding the communion, the angel on the right reaffirms
the great ethic of sacrifical love. This composition differs from other iconographic
depictions, as the artist leaves only one cup on the table, and this cup becomes the
conceptual center of this masterpiece, representing the sacrificial land of the new
testament.
The same ideas when we talked about St. George fighting the dragon. Here you can see
only the essence of things. It is suggestion rather than detail. This icon becomes a symbol
of peace and unity, and that is why it is so famous. OF course the composition is
masterful, and you can see this geometrical structure, as you can look at all Russian icons
from this geometric structure. These figures can be placed in a circle which make them
unified composition. Now I will show you some of the details.
When we talk about composition and color, although there are two angels representing
God the Father and the Holy Spirit are represented on the foreground, this angel should
be in the background, but because he is depicted with bright color clothes and much
darker than the other; he kind of looks as if he is also in front. They become like on the
same plane, so instead of using perspective and depicting the two archangels on the
foreground, the way the artists organized his colors makes it look like they are on the
same picture plane.
This is later icon from 1770. Introduction of volume, perspective; it becomes much more
like genre painting, and you can see how many details are here, and it becomes a genre
painting, and almost like a landscape, which you dont see in this icon by Rublev.
Images from iconostasis of Trinty cathedral by Rublev.
He started working with Theophanes the Greek on the annuciation cathedral in Moscow,
and hopefully you remember the pictures when I showed you him.
TRINITY calm contemplation, spiritualness, completely different feel, peace, love,
unity, spiritual contemplation.
Slavic features as opposed to severe BYznatine icons, so very different spirit than the one
by Theophanes the Greek.
ANDREI RUBLEV, archangel Michael.
These icons constitute a part of Deesis, which initially included at least seven icons. They
were discovered in 1918 in a barn in a cathedral of the dormition. That is why DEESIS is
from somewhere. Andrei Rublevs authorship of THE SAVIOR is not documented, but
the finest qualities of this DEESIS provide sufficient ground the believe that they were by
major icon painter. Some scholars doubt whether this icon was made for this cathedral.
This cathedral was intended for cathedral of nativity or other icon. It is possible that icons
were commissioned by other people. So here we have a case where there is nothing in the
chronicles mentioned about who did this icon, btu they all believe it was Andrei Rublev.
He was a major painter, and he would be commissioned to create an iconostasis like this.
VLADIMIR THE DORMITION CATHEDRAL built in 12 century, Vladimir was
major city.
This is Andrei Rublevs fresco, which all scholars agree is by Andrei Rublev. This fresco
is supposed to depict the last judgment, so if Theophanes the Greek would paint it, you
can imagine this dramatic and theatrical picture. I want to show you a more close up
view.
Formed in Russian art at the tiem ofAndrei Rublev, this is the main rank of the high
iconostasis that replaced the low screen of the Byznatine temple. It was created for THE
DORMITION in VLADIMIR. The Trinity, The Chronicle, describes this work by the
icon painters, which is why we know this work is created by both Andrei Rublev and
someone else.
Andrei Rublev. Festival Tier of the Iconostasis, from Vladimir Cathedral of Dormition.
Scholars describe the authorship of these icons to different artists. They believe Andrie
painted the last icon, the accession. They believe the other ones were probably painted by
MASTER DANIEL.
This icon was certainly Andrei Rublev, but now we have it with question mark, and as
you can see, the prototype for this icon
10/24
Mock exams: this is obviously a mosaic, but for whatever reason most of you thought this
was a fresca or an icon. Many of you confused this image which is in the apse, not the
dome, with Christ Pantrakrator. Orans is the position of Virgin Mary in this position of
prayer, and dont be angry that I quote, because I do so indiscrimately from different
papers. One person even wrote this is Christ Orans, but that is only a type of specific
prayer for Virgin Mary. One person wrote it was Iconostasis at St. Sophie at Novgorod,
which means that person should study St. Sohpie at Kiev.
12 century as opposed to 11th is forgivable, but saying that it is 18th century is
unforgivable.
ONLY TWO MOSIACS ON LIST OF SLIDES
Theophanes
Rubilev
And the person we talk about today. We have to practically three names.
EMAIL TOPIC WITHIN THIS WEEK
A visualization of Rubilev sacrifice for mankind.
Charkovskys visual representation
We must remind people that they are people
evil is everywhere
Someone will always sell you
Suffering happens all the time but the Russian keeps working
Severely religious
Theophanes the Greek was not a monk, but Rubilev was a mokn
Elements of fantasy combine with elements from real life, and separate pieces
Although we only talking about Theophanes the Greek and Rubilev and Dioneesis, but
there might have been other painters of the same quality, but there is little information
about particular artists that existed during that time.
Iconostasis of the Annunciation Cathedral, Moscow Kremlin
THEOPHANES THE GREEK
St. Serius of Radonzeh, Hagiographical icon, Mid-16th century, Moscow
Narrative scene you e
Virgin Hodegetria and St. Sergius of Radonezh. Hieratic scale most important saint is
much larger in scale
The third painter who was very important for the development of Russian painting:
Dionysus. Icon painting contributed to flourish throughout 15th century, with an ever
increasing demand for icons for use in private chapels. The common people were also
aspiring to have icons in their homes, several if possible, because each image of the
virgin and some particular important saint was believed to possess superhuman powers
and protection. One of the articles in sakai deals with this question, so please read the
articles, those of you who didnt. The icon became an inseparable part of Orthodox
Russia. It became usual to place an icon in the far left corner of each room. As I told you
during my previous lectures, icons could be found everywhere. Railroad stations, even
the hosues of prostitution, you could see icon. The outstanding icon painter from the
second half of the 17th century was Dionyses. Moscow became a cultural upsurge, and the
art acquired Russian character native to Byznatium. It became a center for commerce and
industry, thus the entire mode of monasic life acquired a more learned character.
Dionysess paintings were pronounced by something. In 1480, with three of his coworkers, Dionyses was sent to Moscow to execute iconostasis fo rhte Church of the
Dormition. Dionyses with his son painted an extensive series of icon for the Monasty at
somewhere. Dionyses was working with his son, and here on the screen you can see
another monastery that became associated with Dionyses. St. Cril of Belozersk
Monastery.
The work of Dionyses opens up a new era of Russian art. There is much in his work
related to icon painting, and there is also a foreshadowing of the beginning of the crisis of
artistic ideals in the Rubilev era.
Impressed by the monks erudition and love of books, som
Dinoysius and Workshop. The life of St. Cyril of Belozersk.
Psychological portraits by Theophanes the Greek.
These ones are much more mannored, sleek. All of his figures are very elongated, even
more than in other icons.
There is no psychological depth. It seems like Rubliev was more ethereal.
THIS BOOK IS USEFUL IF YOU DONT KNOW THESE SUBJECTS
The Marriage at Cana of Galilee; The Raisings of Jairuss. You dont need to be Christian
or religious in general to know these subjects, because you can find them in all Western
European paintings, so it is a matter of culture as opposed to religious subjects. This is
the miracle of water to wine
Ivan married someone and Moscow became known as the Third Rome.
The spiritual significance of individual images and festive and decorative ideal, as we see
in this work of Deensius. Dynosius art is mentioned in Moscow Chronicles in 17th
century. Dionysis became especially famous for this cycle of frescos.
Dionysisu scenes from the Life of the Virgin and Archangels, fresco, portral of the
church. 1502-1503. He came to Northern Russian to build a hermit cell and in 1498 he
founded a monastery that would later be famous monastery. Many books were copied and
edited at this monastery that soon became home to outstanding library, and this library
was at its height in the 15h century; thus was the eriod of construction. Dionysius was
invited to work on cathedrals inner dcor, and together with his sons he dedicated the
frescos and the iconostasis.
Let us recall what this cupola signifies.
We See the Holy Virgin as a Flaming Torch a scene from Acathistus to the Mother of
God, within the liturgy, songs dedicated to Virgin Mary
All of these fracas serve as illustration from these songs dedicated to Virgin Mary, to a
cycle of songs. That is why we see the line here, and she is depicted here with this candle,
but it is practically an illustration dedicated to one of the lines in Virgin Mary.
Pay attention to extremely elongated figures.