Fresco painting of ancient Rus' presentation. Presentation on the topic "painting of ancient Rus'". Theophan the Greek "Transfiguration"Icon from Pereyaslavl Zalessky

Slide 13

Slide 14

Our Lady of Three Hands

Slide 15

Great Panagia Wider the Heavens and Yaroslavl

Slide 16

Dormition of the Virgin Mary

Slide 17

Savior Not Made by Hands

This is the oldest of the canonical images. According to legend, the first image of Christ was miraculously imprinted on a board brought to his face. This cloth had miraculous powers - it healed the king of the city of Edessa, Abgar, from leprosy. Thus, the creator of the first icon was Christ himself. Initially, the Holy Plath was kept in Edessa until 944, then it was transferred to Constantinople. Simon Ushakov

Slide 18

Good Shepherd

The second oldest image of Christ, rooted in ancient painting, is the Good Shepherd. In the Gospel of John it is written: “I am the good shepherd, the good shepherd lays down his life for the sheep.” All icons depicting the good shepherd date back to the early Middle Ages. In later periods, images of the Good Shepherd are rare.

Slide 19

Christ Emmanuel

Many touching images were created within this canon. Emmanuel (“God is with you”) – Christ in infancy. The Scripture says: “And they will call his name Emmanuel.” The Little Christ is usually depicted with a scroll in his hand. The scroll emphasizes that exactly the one whom the Old Testament prophets spoke about came. IN in this case Christ is depicted with an open Gospel in his hand - as the Judge at the Last Judgment.

Slide 20

Christ - Pantocrator

The largest number of icons, frescoes and mosaics were created within the framework of this canon. The serious, stern Pantocrator (“Almighty”) seems to be surveying the earth from heaven, saying: “I am Alpha and Omega, who Was, who is and who will be, the Almighty.” His eyes seem to look not only at you, but through you, inviting you to look to heaven through his eyes. According to the canon, in Christ’s left hand there is a closed Gospel, the fingers of the right hand are folded in such a way that they form the Greek symbols “IC XC” (index and middle fingers up). Usually Christ’s outer clothing (himatium) was depicted in blue - this is a symbol of the human incarnation of Christ; and the shirt (tunic) - red, sometimes purple - is a symbol of the divine essence of Christ.

Slide 21

Savior on the Throne

The Savior on the Throne is a type of Pantocrator, an image of the King of Heavenly Jerusalem. Christ in royal robes sits on a throne with an open Gospel in his hand - a symbol of the Last Judgment. According to this canon, Christ is depicted in sparkling gold or scarlet clothing, often decorated with crosses. A crown (miter) is often depicted on the head. The background of the icon is usually gold. This icon was painted by Simon Ushakov. Christ holds the Gospel of Matthew open, and the following words can be read: “Come, you whom my Father has blessed... For when I was hungry, you gave me food; I was thirsty, and you gave me wine to drink; I was a wanderer, and you gave me shelter; I was naked, and you gave me clothes ... "

Slide 22

Savior in Strength. Andrey Rublev. 1410

A special type of the Savior on the Throne - the Savior in Power - found distribution mainly in Russian icon painting. Christ, surrounded by angelic forces, also sits on the throne. In the background, Russian icon painters depicted a diamond or quadrangle of intense red color (a symbol of glory) and a blue-green oval superimposed on each other.

Slide 23

Spas Yaroe Oko – icon of the mid-14th century

In Russian icon painting of the Golden Horde period, the Ardent Eye of the Savior was very popular. This face seems to be a reference to the words of Scripture: “I did not bring you peace, but a sword.” This is a shoulder-length image of Christ with a mournful face and furious eyes. This icon is from the Assumption Cathedral, which was painted by Greek masters. Here you can see the energetic light and shade and color modeling of the volumes. Artists try to depict the energy of the saint.

Slide 24

Theophanes the Greek. Christ Pantocrator

Theophanes the Greek strives to convey the saint at the moment of religious feat or ecstasy. His works are characterized by expression and inner strength.

Slide 25

Frescoes by Theophanes the Greek

The frescoes of Theophanes the Greek are easily recognizable by the pastel colors and white highlights that are used to depict the hair of the saints and the draperies of their clothes. The lines are quite sharp.

Slide 26

Theophanes the GreekAvel. Fresco from the Church of the Transfiguration in Novgorod

Slide 27

Saints Boris and Gleb. Theophanes the Greek. Hagiographic icon from Kolomna.

Icons depicting selected saints are especially popular. Nicholas the Wonderworker and Saints Boris and Gleb were especially revered in Rus'.

Slide 28

Theophan the Greek "Transfiguration"Icon from Pereyaslavl Zalessky

The miraculous manifestation of the divine nature of Christ, stunning the apostles and casting them to the ground, is embodied with amazing energy. Excitement and drama are combined with compositional dynamics.

Slide 29

John the Baptist - icon of the Annunciation Cathedral in Moscow

Three masters - Feofan the Greek, Andrei Rublev and Prokhor from Gorodets - painted the Annunciation Cathedral in the Kremlin. This is a figure from the Deesis rank

“Ancient Russian icon painters with amazing clarity and strength embodied in images and colors what filled their souls - a vision of a different truth of life and a different meaning of the world.” from an article in the book. Trubetskoy “Speculation in Colors” What do you see as the difference between religious and secular painting?

“ICON” - (gr. – eikon) – image. The task of religious painting is to translate words into images Christian doctrine. All types of painting techniques: mosaic, fresco, miniature, icon painting in religious painting are subordinated to a single goal - the revelation of Christian truths. An icon is a sacred object that acts as an intermediary between man and God.

TECHNOLOGICAL SEQUENCE OF WORK ON AN ICON Icons were painted on boards connected using dowels (bars). The boards were dried and covered with gesso (a mixture of glue and chalk). Translated the drawing. The background and crowns of the saints were gilded. They painted chasubles (clothes) and landscapes - “dolchnye letter”. They painted faces and open parts of the body - a “personal letter”. Icons were painted with tempera - a pigment (colored clays, minerals) mixed with eggs or casein (milk whey). The finished icon was covered with drying oil (vegetable oil). Icons were painted using the principle of reverse perspective, that is, the vanishing point of all objects was on the person praying, standing in front of the icon. “Reverse” perspective is characterized by the combination of several points of view of an object contained in a common space. In the “reverse” perspective - unlike the “direct” one - what is behind remains the same size, and most often increases. Objects seem to unfold towards us with different faces, and the viewer feels simultaneously seeing from above, below and from different sides.

According to legend, the first icon was Ubrus - a towel on which was imprinted the face of Christ - the Savior Not Made by Hands. In Rus', icons were treated with reverence. They didn’t buy or sell, they just bartered. They could not be thrown away or burned. Old icons were buried in the ground or floated down the river. Icons were the first to be saved from fires and redeemed from captivity. Deliverance from misfortunes was associated primarily with the miraculous effect of icons.

1.Savior Not Made by Hands. Icon. Novgorod. XII century one of the main types of images of Christ, representing His face on a veil. Christ is depicted at the age of the Last Supper. In Rus', a special type of Icon Not Made by Hands has developed, the “Wet Beard of the Savior,” an image in which Christ’s beard converges into one thin tip.

2.Savior Almighty (Pantocrator). Mosaic in the Cathedral of St. Sofia in Constantinople. XII century Mosaic Pantocrator or Pantocrator (Greek παντοκρατωρ omnipotent) is an image in the iconography of Christ, representing Him as the Heavenly King and Judge.Greek. The Savior can be depicted full-length, sitting on a throne, waist-deep. In the left hand there is a scroll or Gospel, the right hand is usually in a blessing gesture. Throne Gospel. So, this image traditionally occupies the space of the central dome of the Orthodox church. The dome of the temple

3. Savior is in power. Christ is the judge. The red square is the earth, the blue oval is the spiritual world, the red diamond is the invisible world. Icon from the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin. Theophanes the Greek (?). End of the 14th century. Theophanes the Greek 4. Savior Emmanuel. Simon Ushakov Simon Ushakov The Savior is in power, the central icon in the traditional Russian iconostasis. Christ sits on a throne surrounded by an angelic host of “Heavenly Forces”. The angelic Savior Emmanuel, Emmanuel is an iconographic type representing Christ in adolescence, often with a book in hand.

5.Bishop Great. Icon. End of the 17th century depiction of Christ as the New Testament high priest sacrificing himself. 6. Don’t cry for me, Mati. Icon. End of the 18th - first quarter of the 19th century. iconographic composition representing Christ in the tomb 8. Good Silence. Icon. Ivan Dyakonov (?). XVII century An image of Christ before coming to people (incarnation) in the form of a winged youth with an eight-pointed halo. halo 7.Good Shepherd. Icon. Greece. XX century The Savior is depicted as a shepherd surrounded by sheep, or with a lost sheep on his shoulders.

Iconographic type of Orans. Or “The Sign” of Oranta Icon of the Great Panagia. Yaroslavl. Around 1218, Oranta (from the Latin orans praying) is one of the main types of image of the Mother of God, representing Her with her arms raised and outstretched to the sides, palms open outward, that is, in the traditional gesture of intercessory prayer. Lat. Prayer of the Mother of God

2. Eleusa (Greek Ελεούσα merciful from έλεος compassion, sympathy), Tenderness is one of the main types of depiction of the Mother of God in Russian icon painting. The Mother of God is depicted with the Child Christ sitting on Her hand and pressing His cheek to Her cheek. On the icons of the Mother of God of Eleusa, there is no distance between Mary (the symbol and ideal of the human race) and God the Son, their love is limitless. The icon prefigures the sacrifice of Christ the Savior on the cross as the highest expression of God’s love for people. Greek Mother of God icon painting by Christ Don Icon. Theophan the Greek 1392 Tretyakov Gallery Theophan the Greek Vladimir IconVladimir Icon of the Mother of God. Byzantium. XII century

3. Hodegetria (Greek: Οδηγητρια Showing the Way), Guidebook, one of the most common types of images of the Mother of God and Child. The Child-Christ sits in the arms of the Mother of God, with his right hand He blesses, and with his left he holds a Greek scroll. Our Lady of Christ of Smolensk Hodegetria Hodegetria from the Museum. Andrey Rublev

ANDREY RUBLEV () Founder of the Moscow art school. He spent his youth in the Trinity-Sergius Lavra and was a monk. Lived in the Andronikov Monastery, was buried there. Painted frescoes and iconostasis for the Annunciation Church of the Moscow Kremlin. (everything perished) 1408 – re-painted the Assumption Cathedral in Vladimir (“The Last Judgment”, dome, vaults) and the iconostasis for the cathedral. Three icons from the Deesis order were found in Zvenigorod. Shortly before his death, he painted the Trinity Cathedral of the Trinity-Sergius Monastery (not preserved), but the “Trinity” icon was preserved. Canonized as a saint. Spas from the Zvenigorod rank.

Features of the style: - Smooth, calm rhythm of lines, - rounded, continuous lines, - favorite paint - “cabbage roll” blue-blue azure, - Inner wisdom, beauty of images - Expressive gestures of the icon of the Zvenigorod rank: Archangel Michael, Apostle Paul ICONOGRAPHIC SYMBOLS Mountain – spiritual ascent Tree - the tree of life, eternal life Chambers - new construction, a symbol of harmonious structure Chalice - a sign of fate and sacrifice Circle - unity Holy Trinity. Andrei Rublev is the most perfect icon in the history of ancient Russian painting.

Dionysius. Archangel. Fragment of a fresco from the Church of the Nativity of the Virgin Mary of the Ferapontov Monastery DIONISY (ca) - was not a monk; - painted 87 images for the Joseph-Volokolamsk Monastery (not preserved). - in 1482 he painted icons for the Assumption Cathedral of the Moscow Kremlin. Features of the style: - Elongated proportions of figures, - bright colors of frescoes, - predominantly light delicate colors in icons, - light, weightless images, as if floating in the sky, - musicality, elegance

Presentation for the 10th grade MHC lesson: " art Ancient Rousi", Contains Additional information about the iconography of Jesus Christ and the Mother of God. Presentation in 2 parts. Can be connected when used.

Download:

Preview:

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

Fine art of Rus'. Icons, frescoes, mosaics, Jesus Christ Main types. (IX-XVII centuries) Andryukhina Z.A. Teacher of MHC MOU "Secondary school in the village of Dubki, Saratov district, Saratov region" "2013"

“Yesterday I saw a collection of old icons. This is true great art. I am in love with their touching simplicity, which for me is closer to the paintings of Fra Angelico. In these icons, like a mystical flower, the soul of the artist is revealed. And from them we need to learn to understand art.” Henri Matisse, French painter and sculptor (1869-1954)

Iconographic image of Jesus Christ. Pantocrator (Almighty) Savior on the throne Savior in Power Savior Emmanuel (God is with us) Robe of Jesus Christ: a tunic on which from the shoulder to the bottom of the hem there is a stripe - klavt - a sign of power. On top of the chiton is a blue himation cloak.

Jesus Pantocrator (Pantocrator) In the Church of St. Sophia in Kyiv. 11th century Mosaic.

Jesus Pantocrator (Pantocrator) In the Church of the Transfiguration on Ilyin Street. Fresco.1378 Velikiy Novgorod.

Jesus Pantocrator (Pantocrator) Icon. Around the 15th century.

Savior on the Throne Icon 16th century (?). Tver.

Savior in Power Icon. 15th century Tver.

Savior not made by hands Icon. 12th century Novgorod State Customs Committee.

Savior Emmanuel Icon 1670 Armory Chamber. "Emmanuel" - "God with us"

Deesis Chin Deesis (Greek δεησις - petition, prayer; deisis) - an icon or group of icons with an image of Christ in the center (most often in the iconography of Pantocrator), and to the right and left of him, respectively, the Mother of God and John the Baptist, presented in a traditional gesture prayerful intercession (three-figure deesis). May include similar images of the apostles, holy fathers, martyrs and others (multi-figure deesis).

Deesis rite of the Savior Emmanuel with the Archangels. Icon. 12th century State Customs Committee.

1 slide

Painters of ancient Rus' “And he, painting the holy icon, only on Saturdays and Sundays received communion of food and with great zeal, vigil in great silence, completed it” Archimandrite Pachomius

2 slide

Theophanes the Greek arrived in Novgorod as a mature, established master from Byzantium. He was the last representative of Byzantine art. He was very smart, educated, famous as a sage and philosopher. Before arriving in Novgorod, he had already painted about 40 churches.

3 slide

4 slide

“Transfiguration of the Lord” 1403, Tretyakov Gallery. The main scene of the composition is the figure of Christ shining with heavenly light, surrounded by the apostles and Elijah and Moses who appeared at the scene of the event. The composition is complemented by scenes of Jesus and his disciples ascending Mount Tabor and descending from it. Their execution on a smaller scale visibly denotes a different spatiotemporal action. The figures of the fallen prostrate Peter, John and James in the lower part of the icon are expressive. They express different emotional states. Only Peter dares to look at the miracle. John opened his face, but did not dare to turn towards the Teacher. The arched pose of the reclining Jacob, who covered his face with his hand in fear, is dynamic. His large figure reveals him as a physically strong man, but weak in spirit, not yet ready for insight.

5 slide

6 slide

Our Lady of the Don 1392, Tretyakov Gallery She was a revered image of the Assumption Cathedral of Kolomna, built on the eve of the Battle of Kulikovo. Ivan IV the Terrible highly revered this icon, the intercessor of Russian soldiers in the Battle of Kulikovo. Glorified by miracles, it was transferred by royal decree to the Annunciation Cathedral of the Moscow Kremlin. The baby sits with his legs bent and bare below the knees. Noteworthy is the peculiar gesture of Mary’s right hand, not directed in prayer to the Son, but frozen at her chest to support the soles of his legs. The expression of soft thoughtfulness on the face of the Mother of God, looking over her Son, is characteristic of icons of the “Tenderness” type, which emphasized not the momentary, but the sacred-timeless nature of communication Holy Virgin Mary and the Child.

7 slide

According to the chronicle, the Annunciation Cathedral of the Kremlin was one of three churches in Moscow painted by Theophan the Greek.

8 slide

Slide 9

Row diagram: A. Local row; B. Pyadnichny row; B. Deesis rite. Around 1405; G. Festive row. Around 1405; D. Prophetic series; E. Forefathers' row

10 slide

Apostle Peter. 1405. Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

11 slide

John the Baptist. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

12 slide

Our Lady. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

Slide 13

Apostle Paul. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

Slide 14

Archangel Gabriel. 1405 Cycle of details of icons of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

15 slide

16 slide

Church of the Transfiguration on Ilyin Street, Novgorod. The first frescoes of Theophanes the Greek in the Church of the Transfiguration in Novgorod were discovered around 1912. Even then, experts drew attention to the high quality of these frescoes. Since the painting in the Church of the Savior has reached us in the form of random fragments, the reconstruction of the painting system encounters significant difficulties. The plots of many lost compositions, of course, are no longer recoverable. Likewise, it is not always possible to determine the names of the saints represented by Theophan. By a lucky coincidence, in the Church of the Transfiguration the frescoes decorating the dome and the walls of the light drum are well preserved.

Slide 17

In the mirror of the dome is written a colossal shoulder-length image of Christ Pantocrator. He is wearing a lilac-gray himation with orange folds and a red chiton. A large halo surrounds the head of Christ, which is naturally the most expressive part of this fresco. Christ is presented as a formidable deity. He looks angrily at the ground below. The fingers of his right hand seem to be clenched, in his left he holds a closed book, which, according to the “Revelation of John the Theologian,” will be opened on the day of the Last Judgment. The inscription surrounding the image of Christ reads: “... from heaven the Lord looked down to earth to hear the groan of the prisoners, to release the sons of death, so that they would proclaim the name of the Lord in Zion...”.

18 slide

The archangels are presented full-length. They are dressed in ceremonial divisions, decorated with lores, and short combat cloaks. They hold measurements in their right hand and large spheres in their left. Large inscriptions indicate the names of the archangels. This, therefore, is the color of the heavenly army - the guard, which is entrusted with guarding the throne of the Almighty and serving as a mediator between heavenly power and the human race.

Slide 19

Fresco Abel, 1378 Fragment of a fresco in the Church of the Transfiguration, Ilyina Street, Novgorod Abel is depicted with a lamb in his left hand, traditional for the iconography of this saint, since he was the “shepherd of the sheep.”

20 slide

Old Testament Trinity, 1378; Fragment of a fresco in the Church of the Transfiguration, Ilyina Street, Novgorod. The position of the angel sitting in the center is strongly emphasized. Abraham (his image on the fresco of the chamber is lost) and Sarah at the divine meal, who treat and serve the angels. Feofan chooses from three elements of the traditional background - a chamber, a tree and a rock - only the image of the Mamre oak: its crown in the form of a highly generalized dark spot. The wide-spread powerful wings of the middle angel, personifying Christ, seem to overshadow the entire meal and the angels sitting on the sides.

21 slides

Three Stylites, 1378 Theophanes depicted five stylites: one each on the sides of the pillar and three figures on the southern wall. The stylites were written on pillars or on other structurally important, load-bearing parts of the building, since the stylites were the true pillars of the church, its foundation and support. They express the idea of ​​​​the inviolability of the pillar mass and support the vaults. Stylites sit on tall structures that look like faceted towers with door openings at the bottom and stylized capitals at the top. David is presented first from the left. The next pillar is Daniel. Then, among the three pillars, whose images are written on the southern wall, we see two Simeons. Alimpius is depicted last in the row of pillars.

22 slide

Stylites David. The Greeks do not know a stylite with this name, but the Monk David, originally from Mesopotamia, is known. In Thessaloniki, like the stylites, he spent three years on an almond tree, stiff from the frost and suffering from the heat, so that the grace of God would be revealed to him. Daniel. A native of Mesopotamia, he performed his exploits and good deeds in the vicinity of Constantinople. The first Simeon, a native of Cilicia, the founder of Stylites as special type as a hermit, he indulged in standing on a pillar. A certain Anthony, who undertook to write the life of this saint, experienced great difficulty in fulfilling his task, since Simeon’s deeds were so unusual and so beyond the capabilities of human nature that they could easily seem “fabulous and unreliable.” Irrigated by rain, showered with snow and scorched by heat, he performed his exploits for forty-seven years, for which he was awarded special grace. Another Simeon was nicknamed Divnogorets, since the mountain on which this saint stood bore the name Divna. Alimpiy. Instructed by an angel, this saint was in the desert and on the pillar for fifty-three years, and the legend about him adds that for the last fourteen years of his life, due to illness in his legs, Alimpius did not stand, but was already lying on the pillar, experiencing torment, but blessing God.

Slide 23

What are the main features of the painting of Theophanes the Greek? Ideological basis Theophan’s painting is made up of the idea of ​​universal sinfulness, as a result of which man has found himself so far removed from God that he can only await the coming of the Judge with fear and horror. Let us remember the Almighty - his face is the embodiment of punitive power. And all the mediators - forefathers, prophets, pillars - are strict ascetics, with stern faces and majestic gestures. Each of them turns his spiritual gaze inward. The colors are also harsh: dark yellow, brown, reddish-pink, greenish-blue. The concept of tragedy, gloomy hopelessness, escalation of the situation, a call to pray and ask for forgiveness of sins.