In Greece (30-40 years of the 11th century). In this case, sections of the barrier were separated by eastern support pillars. On the pillars on the sides of the altar, images of Christ and the Mother of God were usually made or Their icons were hung.
They did not immediately start placing icons on the partition itself. The first of them were placed on top of the architrave or relief or enamel images were made on it. First, the cross is replaced by the icon of Christ, and this in turn expands to the Deesis. Most often, icons above the architrave were painted on long horizontal boards - templons or epistyles. In the center of the epistyle is a three-figure deesis, and on either side of it are a number of holidays, that is, the most important moments of the Gospel history. Epistyles from the 12th century have been preserved (collection of the monastery of St. Catherine in Sinai)
In addition to such epistyles, a longer Deesis tier was formed, consisting of a number of individual icons, initially small main or shoulder icons, later larger waist ones. The through openings between the columns of the barrier were not occupied by icons for a very long time. In the 14th century, the icons of Christ and the Mother of God were moved from the altar pillars, now placed on the sides of the royal doors. They laid the foundation for the local row of the iconostasis.
In the post-Byzantine art of Crete and Cyprus, the altar barrier turns into a small three-tiered iconostasis, which has a local row, a festive order and a waist deesis. Such an iconostasis completely covered the altar and was similar in this way to high Russian iconostases.
Development of the iconostasis in ancient Russian art
The decoration of ancient Russian churches initially repeated Byzantine customs. The Tretyakov Gallery houses a horizontal icon of a three-figure deesis with the main images from an unknown temple of the Vladimir-Suzdal principality at the turn of the 12th-13th centuries. It was obviously intended to be mounted on an architrave. There is a hypothesis that a similar icon with the Savior Emmanuel and two archangels was intended for the architrave in the northern part of the altar, where the entrance to the altar is located. This is supported by the content of this icon, where Christ is shown as the Sacrifice prepared for the salvation of people.
Some individual icons that were part of the Deesis rite have been preserved, for example, “Angel of Golden Hair” (Archangel Gabriel) in the Russian Museum. This is a small main icon from the late 12th century. Thus, in stone churches, an altar barrier was usually made with a deesis above the architrave and icons of Christ and the Mother of God below. Only they were initially placed not in the barrier itself, but at the eastern pillars of the temple. Such an icon has been preserved from the Sophia Cathedral in Novgorod - the large throne icon of Christ “The Golden Robe of the Savior” (now in the Assumption Cathedral of the Moscow Kremlin, the painting of the 11th century was renewed in the 17th). In some Novgorod churches of the 12th century, research has revealed an unusual arrangement of altar barriers. They were very high, but their exact structure and the possible number of icons are not known.
A favorable situation for the growth of the altar barrier was in wooden churches, of which there was a majority in Rus'. They did not do wall painting, which was always very important in Byzantine churches, so the number of icons could increase.
It is not known exactly how the altar barrier was enlarged and when it turned into an iconostasis. The royal doors of the 13th-14th centuries, belonging to the Novgorod and Tver schools of icon painting (TtG), have been preserved. On their solid wooden doors the Annunciation is depicted on top, and Saints Basil the Great and John Chrysostom are depicted in full-length below. From the 13th century, temple icons have come down, that is, images of saints or holidays in honor of which temples were consecrated. They could also have already been placed in the bottom row of the barrier. For example, these include the Pskov icons “Assumption” and “Elijah the Prophet with the Life”.
Iconostasis, Annunciation Cathedral, Moscow Kremlin
By the 14th century, Deesis icons increased in size and were usually written at least seven. The Tretyakov Gallery houses the Deesis rite of the cathedral of the Vysotsky Monastery in Serpukhov. These are seven very large waist-length icons, executed in Constantinople. After the Mother of God and John the Baptist, they depict the archangels Michael and Gabriel, the apostles Peter and Paul. The Deesis rite from Zvenigorod (early 15th century, Tretyakov Gallery) had a similar composition, three surviving icons of which are attributed to the hand of St. Andrei Rublev.
An early example of a festive order is provided by three horizontal icons with 12 holidays from the Cathedral of Sophia in Veliky Novgorod (XIV century). Initially, this rank stood on the ancient altar barrier of the cathedral, and in the 16th century it was included in the new high iconostasis, occupying the third row of icons (now icons in the Novgorod Museum).
The first example of a full-length Deesis order is the icon from the iconostasis of the Annunciation Cathedral of the Moscow Kremlin. This rank is distinguished both by its composition - there are 11 icons - and by their size (height 210 cm). It has now been precisely established that this rite could not have originally been intended for the Annunciation Cathedral, but was transferred to it from another temple (which one has not yet been established, although there are many hypotheses). The time of creation of icons is considered to be either the beginning of the 15th century or 1380-90. The central icons are still often attributed to the hand of Theophanes the Greek. The most important iconographic feature of this rank is the image on the central icon of the Savior in power, that is, Christ on the throne surrounded by heavenly powers. Later, this iconography would become the most common for Russian iconostases, displacing the simpler image of the Savior on the throne (which was more common in Novgorod).
Above the Deesis rite in the Annunciation Cathedral there is a festive one, consisting of 14 icons (two more were added later). The origin of the festive rite is as unclear as that of the Deesis. It is usually believed that the Deesis and the holidays originate from the same iconostasis. The authorship of the icons is unknown, but it is clear that the holidays were painted by two different icon painters. The first half of the icons has long been attributed to the hand of Andrei Rublev, but now this hypothesis raises strong doubts.
“The Savior is in power” from the iconostasis of the Assumption Cathedral in Vladimir. Workshop of Andrei Rublev and Daniil Cherny.
“Classical” high iconostases of the 15th-17th centuries
The first known multi-tiered iconostasis was created for the Assumption Cathedral of Vladimir in 1408 (or 1410-11). Its creation is associated with the painting of the Assumption Cathedral by Daniil Cherny and Andrei Rublev. The iconostasis has not been completely preserved to this day. In the 18th century it was replaced with a new one. Only in the post-revolutionary period was the surviving part of the icons discovered and is now stored in the State Tretyakov Gallery and the State Russian Museum.
The iconostasis had 4 rows of icons. Above the local row, which has not survived, there was a huge Deesis rank (height 314 cm). 13 icons from it have survived. There are unproven suggestions that there were more. Above there was a festive row, of which only 5 icons survived. The iconostasis ended with waist-length icons of the prophets (this is the first example of the prophetic order); only 2 of them have survived. It is interesting that studies of the fastening of the iconostasis revealed the uneven arrangement of the rows of icons. The Deesis rite was brought forward to the worshipers, and the holidays were located a little deeper towards the altar. An important feature of the iconostasis was its division into five parts - it stood in parts in three openings of the altar apses and at the ends of the outer naves. This is confirmed by frescoes preserved on the western faces of the eastern pillars. Among them are figures from the 12th century and medallions with martyrs, executed in 1408. They could not be covered by the iconostasis created at the same time.
The iconostasis was arranged similarly in the Assumption Cathedral on Gorodok in Zvenigorod. Frescoes of the eastern pillars that divided the iconostasis have also been preserved here. It is possible that the second register of the painting depicting crosses was overlapped by the second row of icons of the iconostasis, while the other rows were interrupted by frescoes with two monastic scenes at the bottom and medallions with saints at the top. The iconostasis itself has not been preserved, although it could include icons of the half-length Deesis rank attributed to Andrei Rublev - the Savior, the Archangel Michael and the Apostle Paul.
“Archangel Gabriel” from the iconostasis of the Assumption Cathedral in Vladimir. Workshop of Andrei Rublev and Daniil Cherny.
Only 3 Russian iconostasis of the 15th century have survived:
- Iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery (1425-1427)
- Iconostasis of the Cathedral of the Nativity of the Virgin Mary of the Ferapont Monastery (c. 1490)
- Iconostasis of the Assumption Cathedral of the Kirillo-Belozersky Monastery (c. 1497)
Scattered iconostases are also known:
- Iconostasis of the Annunciation Cathedral of the Moscow Kremlin (c. 1392 and early 15th century)
- Iconostasis of the Assumption Cathedral in Vladimir (c. 1408)
- Iconostasis of the Assumption Cathedral in Dmitrov (mid-15th century).
The first solid iconostasis, not divided into parts by pillars, was created in 1425-27. for the Trinity Cathedral of the Trinity-Sergius Monastery. The iconostasis was performed by Andrei Rublev and Daniil Cherny from the workshop.
The iconostasis has survived to this day and remains in its original place in the Trinity Church. Its fourth tier - the prophets - was probably created a little later. In the Trinity iconostasis, the royal doors with the Annunciation and 4 writing evangelists have been preserved (now in the Sergiev Posad Museum) and a temple icon from the local series - the famous Trinity (a copy in the cathedral, the original in the State Tretyakov Gallery).
Here it is appropriate to clarify the design features of the multi-tiered iconostasis. Iconostases of the 15th-17th centuries (excluding the end of the 17th century) are usually called tyablo. "Tyablo" comes from a corruption of the Greek templon and means a horizontal beam. The tiblas separated horizontally the rows of icons, which stood on them like on shelves and were attached to them. The tyablas were painted with ornaments or decorated with a frame. Thus, the laconic design of the iconostasis was decorated. Later, vertical columns appeared between the icons, serving as a decorated frame for the icons. The royal doors and their frames were often richly carved or otherwise decorated. In this case, the images on them were made in small inclusions.
In addition to the iconostasis itself, the altar in 15th-century churches could be separated by a low stone wall with gate openings. There is such a wall in the Cathedral of the Nativity of the Virgin Mary of the Savvo-Storozhevsky Monastery. It preserves fresco images of saints, which were like a local row of the iconostasis. The altar wall in the new Assumption Cathedral in Moscow was painted in a similar way, on which numerous half-length figures of saints were preserved.
High iconostases began to appear in other principalities besides Moscow. A high 4-tier iconostasis from the mid-15th century was found in Kashin, originating from the Transfiguration Cathedral of Tver (Tretyakov Gallery and State Russian Museum). Tver was a neighbor and political rival of Moscow, as well as a distinctive icon-painting center. In other cities - Rostov, Novgorod, Pskov - the Deesis ranks of the 15th century have been preserved. However, the number of rows of the iconostasis could still remain incomplete.
“Our Lady” from the iconostasis of the Assumption Cathedral in Vladimir. Workshop of Andrei Rublev and Daniil Cherny.
By the end of the 15th century, the tradition of high 4-tier iconostases was entrenched in Moscow icon painting. A repetition of the iconostasis of the Assumption Cathedral of Vladimir was the iconostasis of the new Assumption Cathedral in Moscow (1481), which has not survived to this day (it was replaced in the middle of the 17th century). One of the largest and most famous iconostases was created around 1497 for the Cathedral of the Kirillo-Belozersky Monastery. Currently, half of his icons are kept by Kirillov and exhibited in the museum, and the rest are in the State Tretyakov Gallery, MiAR and the State Russian Museum. Apart from the local rank, only one icon from the prophetic series has not survived. The Deesis tier of the iconostasis includes, in addition to the unchanged middle (Christ, the Mother of God, the Forerunner, the archangels Michael and Gabriel, the apostles Peter and Paul) icons of the apostles Andrew and John (as in the Vladimir iconostasis of 1408), ecumenical saints, Russian saints (including Moscow) and martyrs. The festive row is one of the largest - 24 icons. The prophetic row is waist-length, the prophets are gathered in groups of three and are not facing the center of the row, since the central icon of the prophetic order - the Mother of God - is not in this iconostasis.
Icon “The Descent into Hell” of Dionysius from the iconostasis of the Church of the Nativity of the Virgin Mary in the Ferapontov Monastery, Russian Museum
Iconostasis of the wooden Church of St. John the Evangelist on Ishna near Rostov. 16th century
Fragments of iconostases by Dionysius (“The Savior is in Power” and several icons of the festive order from the Pavlo-Obnorsky Monastery) and almost the entire iconostasis of the Cathedral of the Nativity of the Virgin Mary in Ferapontovo (1502) have been preserved. The Ferapontov iconostasis does not have a festive order, but its prophetic row contains in the center the image of the Mother of God “The Sign” with the upcoming kings David and Solomon. All the figures of the prophets, written on several horizontal boards, face the central image. The Deesis rite of Ferapontov was a little later flanked by icons of stylites, which then became a widespread tradition. Several icons of the lower local row have survived, as well as small icons of the Annunciation and the Evangelists from the carved royal doors.
In the 16th century, a huge number of high iconostases were created. Moscow customs are introduced into the iconography of the cities that became part of the centralized Russian state, while some striking local features are leveled out. Many high iconostases were painted in both Novgorod and Pskov. Now full-length prophetic ranks are beginning to appear, as for example in the Cathedral of Sophia in Novgorod. At the same time, the custom of writing belt Deesis rites is preserved, as for example in some churches of the Kirillo-Belozersky Monastery.
In the 2nd half of the 16th century, new iconographic subjects, born in Moscow under Metropolitan Macarius, became widespread in Russian icon painting. New images had complex dogmatic and moralizing content, often literally illustrated liturgical texts and Holy Scripture, and included many symbols and even allegories. Among them appeared images of the Fatherland and the “Trinity of the New Testament”. These two images (especially the Fatherland, or simply a separate image of the Lord of Hosts in the form of the Old Denmi) began to be used for the 5th row of the iconostasis that appeared during this period - the ancestral one. Row 5 of the iconostasis included the Old Testament righteous (except for the prophets already depicted below) and among them the ancestors of Christ according to the flesh. The new image of the Trinity was chosen as the center of the forefathers' order. The first forefathers' rites were preserved in the Annunciation Cathedral of the Moscow Kremlin (small waist-length icons from the 2nd half of the 16th century), in the Trinity Cathedral of the Trinity-Sergius Monastery (life-size icons from Godunov's time).
In the 1st half - mid-17th century, the 5-tier iconostasis became widespread in Russia. Now it usually includes the local series, growth deesis, holidays, growth prophets and forefathers. Examples of such iconostases can now be seen in the Cathedral of the Nativity of the Virgin Mary of the Savvo-Storozhevsky Monastery and in the Church of the Fathers of the Seven Ecumenical Councils in the Danilov Monastery in Moscow. Since such iconostases completely covered the entire eastern side of the temple interior, corresponding changes took place in the architecture of the churches. The altar began to be separated by a solid stone wall, cut through by gate openings. It is interesting that in most churches in Rostov, iconostases were painted in fresco directly along the eastern wall of the temple. The gates of the local row were usually distinguished by magnificent portals.
Interior of the Archangel Cathedral of the Moscow Kremlin
In rare cases, life-size icons could be replaced with half-length or main icons. Even more rarely, the number of rows of the iconostasis was reduced. Thus, in the Assumption Cathedral of Moscow, under Patriarch Nikon, a new iconostasis was built, which exactly followed the established 5-tier scheme, but in the Archangel Cathedral, due to the very large size of the icons, the 5th forefathers’ order was not made. Apparently it was considered not to fit into the interior and they did not reduce the size of the other rows of icons.
The iconostasis of the Archangel Cathedral was made later than in the Assumption Cathedral and contains an important innovation. In it, the festive row is moved under the Deesis rank and is located much lower, immediately above the local rank. The reason for this could be the desire to bring small icons of the holidays closer to the believers looking at them. The new arrangement of holidays from this time on became generally accepted. Another innovation was the Deesis with 12 apostles instead of the previous ranks, which included saints, martyrs and pillars. The introduction of the “apostolic” deesis was made by Patriarch Nikon following the example of the Greek custom that had developed by that time.
Changes in the iconostasis in the 2nd half - end of the 17th century
At the end of the 17th century, the Moscow or Naryshkin style appeared in Russian art. For a short period from the late 1680s to the early 1700s. A lot of churches were built in this style, as well as several large cathedrals. At the same time, buildings of a similar nature were erected by the Stroganovs and Golitsyns. The new architecture of churches also caused changes in the design of the iconostasis.
Patriarch Nikon also used the services of Ukrainian and Belarusian carvers, who brought a new form of carving to Russia. Masterly openwork baroque carving, called Flemish (from German. flämisch- Flemish) came from Holland and Flanders. The new volumetric carvings were dominated by naturalistic plant motifs, primarily of the vine, and then of other plants. Twisted columns with capitals, entwined with vines and carrying an entablature, replaced the old Russian columns and tiblas. Thus, the entire iconostasis took the form of an order system. Many examples of 5-tiered, traditional iconostases enclosed in a new frame have been preserved. For example, in the Smolensk Cathedral of the Novodevichy Monastery in Moscow and in the Trinity Cathedral of the Ipatiev Monastery in Kostroma, in many churches in Yaroslavl.
Iconostasis in the Ipatiev Monastery
In the Naryshkin style temples, new decorative forms were just in place. The iconostasis in them turned into a lush gilded frame with colorful splashes of icons, dominating the interior of the temple, as it contrasted with the unpainted white walls. In this case, the sequence of verticals and horizontals of the order system begins to be deliberately violated. Icons are made not rectangular, but round, oval or faceted. Due to lack of space, the figures of the upcoming apostles and prophets can be combined three to six in one icon. The entire iconostasis begins to resemble a wonderful Garden of Eden, in which there are images of saints. Such iconostases are very similar to the decoration of Ukrainian churches of the 17th century.
In the high interiors of churches built like an octagon on a quadrangle, the iconostasis stretches all the way to the vault, tapering upward, as, for example, in the Church of the Intercession in Fili in Moscow. More traditional iconostases with even rows of individual icons enclosed in an order are installed in large pillared five-domed cathedrals, for example the Assumption Cathedral in Ryazan and the Trinity Cathedral in Pskov.
Iconostasis of one of the Yaroslavl parish churches of the 17th century
In addition to the 5 established ranks, 6th and 7th rows appeared in the iconostasis of the end of the century. They contain icons of the passion of Christ and the passion of the apostles (that is, their martyrdom). Rows 6 and 7 are placed at the very top of the iconostasis. They are in the iconostases already cited and in some others (the Great Cathedral of the Donskoy Monastery in Moscow). Their theme again comes from Ukrainian art, where it was very widespread. It is extremely rare, due to the design features of individual church buildings, that the upper tiers of the Passion of Christ and the Passion of the Apostles were divided into two more tiers each. One of these 9-tiered iconostases has been preserved in the Moscow Trinity Church in Ostankino (c. 1692).
The most unusual addition to the rows of the iconostasis were images of pre-Christian pagan philosophers, poets (Socrates, Plato, Virgil, etc.) and sibyls, placed near the floor under the icons of the local row. It was believed that although they did not know Christ, they sought to know God. Their images were accompanied by quotes from their books, in which, according to the icon painters, there were prophecies about Christ. Sometimes this had a basis, as for example in the case of the Roman poet Virgil, but there were also words taken out of context and curious nonsense. These include the absurd inclusion in this series of Hellenic gods, into whose mouths words about Christ were put.
Thus, by the beginning of the 18th century, iconostases in Russia reached their maximum size. Their content has become excessive. The additions disrupted the clear iconographic structure of the 5-tier iconostasis. The decorative design of the iconostasis increased sharply, turning it into an architectural work.
Russian iconostases of the Synodal period
Iconostasis of the Church of St. St. Nicholas the Wonderworker, Rostov the Great
The church art of the Peter the Great era is distinguished by its radical innovations, in comparison with which the middle of the 18th century was more connected with the old tradition. The architecture and painting of Russia begins to actively assimilate Western European forms. However, this process primarily affected the art of the capitals - St. Petersburg and Moscow. In the provinces, the forms of church decoration for a long time retained the features of the late 17th century.
Iconostasis of the Peter and Paul Cathedral in St. Petersburg. 1722-26 Central part (icons removed for restoration)
Iconostasis of the Peter and Paul Cathedral in St. Petersburg. Right side.
The most famous monument of the time of Peter I is the iconostasis of the Peter and Paul Cathedral in St. Petersburg, created in - . The main decision belonged to D. Trezzini, the architect of the cathedral itself. The iconostasis was made by carvers led by I. Zarudny.
It is designed in the form of a triumphal arch, similar to those that were built then to celebrate military victories. The opening of the royal doors is made unusually large, which allows one to see the space of the altar with the canopy above the throne. A small number of icons are inserted into a lush architectural frame, significantly different from the “Flemish” carvings in Naryshkin churches. Thus, the iconostasis finally turned into an architectural work. Painting does not occupy a dominant position in it; moreover, the iconostasis deliberately does not cover the altar with a solid wall.
The iconographic program of the Peter and Paul iconostasis is subtly thought out and reflects not only church dogmas, but also political ideas. For example, the icon of the Resurrection of Christ above the royal doors is associated with Russian military victories, and the canopy above the throne is reminiscent of the canopy in St. Peter's Basilica in Rome. Elements of traditional iconography are collected here in an unusual order. For example, the relief image on the royal doors of the apostles with Christ in the rotunda church with the image of the Mother of God in the mandorla, which evokes a number of iconographic associations, carries a specially invented ideological concept. The icons are complemented here by a three-dimensional sculpture - Archangels on the sides of the royal gates, kings David and Solomon on the sides of the central icon of the Resurrection, a host of angels around the Lord of Hosts at the end of the iconostasis.
Orders and carved frames become an integral design of the iconostasis of Baroque churches. The iconostasis continues the architectural design of the interior. The iconography itself has also changed seriously. Icons began to be painted more often by artists who had undergone European training, while old icon painting moved to the provinces and acquired the character of a craft. Wooden gilded or painted sculpture became widespread. It could be performed both in a naturalistic European manner and in a more folk version, continuing the traditions of ancient Russian wooden sculpture. In the form of relief or sometimes three-dimensional figures, images of the evangelists on the royal doors began to be executed, as well as the Crucifixion crowning the iconostasis with those present.
In the middle of the 18th century, iconostasis returned to the more traditional form of a high solid wall with rows of icons. This is how the iconostases were designed in the palace churches built by B. Rastrelli (they are now almost completely lost). The iconostasis of the St. Nicholas Cathedral in St. Petersburg has been preserved. It is distinguished by the excessive splendor of its architectural decoration, consisting of columns entwined with garlands, loose entablatures, a beamed pediment, volutes, and sculptural figures. The composition of the icons here is very meager and is limited only to key moments: images of the local row, the “Last Supper” above the royal doors, “The Savior on the Throne”, and the “Crucifixion” at the end.
Of the Moscow works, the iconostasis by D. Ukhtomsky, originating from the Church of St. Paraskeva on Pyatnitskaya (destroyed). It is now installed in the Smolensk Church of the Trinity-Sergius Lavra, in keeping with its flamboyant Baroque architecture. The iconostasis consists of recessed and protruding parts, straight and curved planes, creating the effect of vibration of space. It is decorated with pilasters, entablatures with heavy cornices. The icons are enclosed in carved frames and complemented by statues of angels.
Although here and in other iconostases the icons are arranged in several rows, their subjects no longer necessarily form the Deesis, prophetic and forefathers ranks. Often in the center of the iconostasis, where the icon of the Savior on the throne is usually located, the “Resurrection of Christ” is placed. The icons of the upcoming ones can be replaced by scenes from the Gospel, the Acts of the Apostles, and the Old Testament. Thus, the traditional iconographic composition of the iconostasis is either destroyed, replaced by a free selection of icons, or is still preserved due to tradition.
Large multi-tiered iconostases in the Baroque style with the same features (order, carving, sculpture) have been preserved in Pereslavl-Zalessky (Cathedral of the Goritsky Monastery) and in the Assumption Cathedral of Vladimir. The latter was created by decree of Catherine II and replaced the old iconostasis of Andrei Rublev and Daniil Cherny (the 18th century was distinguished by misunderstanding and carelessness towards the works of previous eras. They tried to replace the decoration and icons of the Old Russian style with new ones that suited the taste for European, or more precisely Italian, art).
Modern iconostases
The confident development of Russian church art towards the study and assimilation of ancient traditions was interrupted by the revolution and the persecution of religion and the Church. At the same time, colossal damage was caused to the surviving monuments, including the destruction of many iconostases of the last period. At the same time, the scientific study of ancient Russian monuments intensified. The most important discoveries were made, many icons were found and restored, and the picture of the historical development of icon painting became clearer.
The creation of new icons and church decorations continued in the Russian emigration. Art work took place both in Europe (especially Paris) and in America. Orthodox parishes became not just a haven for Russian communities, but also began to attract Europeans and Americans. The focus was on the style of ancient icons. However, the form of a high iconostasis lost its relevance; a low altar barrier turned out to be more in demand. It was influenced by the local tradition of Catholicism and Protestantism. If in the early period there were curtains and barriers in the temples of Western Europe, as in the East, then later they disappeared. For people of another culture, the complete closure of the altar from the eyes of those praying was unusual and incomprehensible. In addition, the problem became the understanding of the iconostasis in Orthodoxy itself. The iconographic composition and its meaning were largely forgotten.
Interior view of the church in Parga. Greece.
Metropolis of Thessalonica. Greece.
Often the iconostasis was perceived as a blank wall made up of a random accumulation of icons, interfering with the perception of the service. The reason for this was a real decline in the construction of temple decoration during the Synodal period. The composition of icons in iconostases during the Synodal period was either scarce or distorted. Theoretical works on icon painting appeared, aimed at studying and revealing the meaning of the iconostasis and its role for worshipers.
Modern icon painting is actively developing in Greece, Cyprus, the Balkans and other Orthodox countries. Iconostases in Greek churches follow the Byzantine and local post-Byzantine tradition. They have the form of a low wooden or stone barrier with 1-2 tiers of icons.
Since the late 1980s, active opening of churches and their restoration began. In Russia in the 1990-2000s, colossal artistic work was carried out. Many iconostases are created, both of different styles and different levels of skill. Five-tiered chapel iconostases in the style of the 15th-16th centuries. can be seen in the Cathedral of the Sretensky Monastery and at the Trinity Compound in Moscow. In many churches of the 17th century, iconostases with Flemish carvings and decorative iconography characteristic of this period are being restored. Some workshops perform masterly carving in the 18th century Baroque style, including sculpture. One example of an iconostasis in the Baroque style is the Iconostasis of St. George's Church in Lviv - 1986. The interiors of classical churches are sometimes decorated with iconostases of architectural forms characteristic of the era. At the same time, icons can be made both in the academic style and in the Old Russian or Byzantine style. In some cases, ancient icon painting fits well into a classic interior. Sometimes the architecture of the temple allows the use of the form of an altar barrier (the central chapel of the Church of Cosmas and Damian on Maroseyka in Moscow) or a high ancient Russian iconostasis (the Church of Florus and Laurus at Zatsep in Moscow). Byzantine forms of church decoration are also becoming widespread. They are especially relevant in ancient churches (the Cathedral of the Ivanovo Monastery in Pskov, the Church of the Intercession on the Nerl). A good example of a 2-tier iconostasis-barrier, integrated into the interior of the classicism style, can be seen in the Trinity Church in Vishnyaki on Pyatnitskaya in Moscow.
However, the surge in work on recreating iconostases and installing them in new churches also has its negative sides. The creation of iconostasis in some cases turns into a tricky craft, which has a detrimental effect on quality. This applies to both the architectural design and even more so the execution of icons. Currently, there is no single stylistic direction, so the shape and decor of the iconostasis, as well as the style of execution of icons, can be very different. The best results are achieved by a strict focus on the best works of antiquity, but often the main reference points are the iconostasis of the synodal period and the eclectic period. Particularly painful are the iconographic shortcomings in the construction of the iconostasis, which distort its ideological meaning.
Iconographic composition of the high iconostasis
The iconostasis usually has three doors (gates) leading to the altar: in the middle of the iconostasis, directly in front of the throne - the Royal Doors, to the left of the Royal Doors (in relation to the viewer standing in front of the iconostasis) - the Northern Gate, to the right - the Southern Gate. The side gates of the iconostasis are called deacon doors. It is customary to open the Royal Doors only during divine services (in Russian divine services only at certain moments). Only clergy can pass through them, performing the required liturgical actions. Deacon's doors can be used at any time for simple (non-symbolic) entry and exit from the altar. Also, if necessary, members of the church clergy (assisting clergy during the service) can pass through them.
The subjects of the icons in the iconostasis and their order have certain established traditions. The iconographic composition of the iconostasis expresses the content and meaning of the worship taking place in the temple. However, some of the plots may be replaced or varied, which is caused by the historical development of the iconostasis and the presence of local features. The most common composition of the Russian iconostasis is as follows:
The bottom row (or in other words “rank”) is local
Local row of the iconostasis of the chapel of the Cathedral of the Intercession on the Moat (St. Basil's) in Moscow.
Iconostasis in the Church of Elijah the Prophet, Yaroslavl
A prudent robber. Deacon's door.
It houses the Royal Doors with the image of the Annunciation and the four Evangelists on two doors. Sometimes only the Annunciation is depicted (full-length figures of the Archangel Gabriel and the Mother of God). There are life-size images of saints, most often the compilers of the liturgy - John Chrysostom and Basil the Great. The frame of the Royal Doors (pillars and crowning canopy) may have images of saints, deacons, and on top an icon of the Eucharist - the Communion of the Apostles by Christ. To the right of the royal doors is an icon of the Savior, to the left is an icon of the Mother of God, occasionally replaced by icons of the Lord's and Mother of God feasts. To the right of the icon of the Savior there is usually a temple icon, that is, an icon of the holiday or saint in whose honor this temple is consecrated.
On the deacon's doors most often the archangels Gabriel and Michael are depicted, sometimes the holy archdeacons Stephen and Lawrence, Old Testament prophets or high priests (Moses and Aaron, Melchizedek, Daniel) can be depicted, there is an image of a prudent thief, rarely other saints or prelates. There are deacon's doors with multi-figure scenes based on scenes from the book of Genesis, paradise, and scenes with complex dogmatic content. The remaining icons in the local row can be anything. This is determined by the desire of the creators of the iconostasis themselves. As a rule, these are locally revered icons. Because of this, the row is called local.
Second row - Deesis, or Deesis rank
(In iconostases later than the middle of the 17th century, as well as in many modern iconostases, instead of the Deesis rank, the festive rank of icons is placed above the local row, which previously was always located third. This is probably due to the small scale of the images on multi-figure holidays, which are less visible at high altitudes. However, this movement violates the semantic sequence of the entire iconostasis.)
“Savior is in power” is the central icon of the full-length Deesis order. Tver, around 1500.
The Deesis tier is the main row of the iconostasis, from which its formation began. The word "deisis" is translated from Greek as "prayer." In the center of the deesis there is always an icon of Christ. Most often this is “The Savior in Power” or “The Savior on the Throne”, in the case of a half-length image - Christ Pantocrator (Almighty). Rarely are shoulder or even main images found. On the right and left are icons of those standing and praying to Christ: on the left - the Mother of God, on the right - John the Baptist, then the archangels Michael (left) and Gabriel (right), the apostles Peter and Paul. With a larger number of icons, the composition of the deesis may be different. Either saints, martyrs, saints and any saints pleasing to the customer are depicted, or all 12 apostles are depicted. The edges of the Deesis can be flanked by icons of stylites. The saints depicted on Deesis icons should be turned three-quarters of a turn towards Christ, so that they are shown praying to the Savior.
Third row - festive
“Ascension” from the festive rite of the Assumption Cathedral in Vladimir. 1408
It contains icons of the main events of the Gospel history, that is, the twelve feasts. The festive row, as a rule, contains icons of the Crucifixion and Resurrection of Christ (“Descent into Hell”). Usually the icon of the Raising of Lazarus is included. A more expanded version may include icons of the Passion of Christ, the Last Supper (sometimes even the Eucharist, as above the Royal Doors) and icons associated with the Resurrection - “The Myrrh-Bearing Wives at the Tomb”, “The Assurance of Thomas”. The series ends with the icon of the Assumption. Sometimes the feasts of the Nativity of the Mother of God and the Entry into the Temple are absent from the series, leaving more space for the icons of the passion and the Resurrection. Later, the “Exaltation of the Cross” icon began to be included in the series. If there are several chapels in the temple, the festive row in the side iconostases may vary and be shortened. For example, only the Gospel readings in the weeks after Easter are depicted.
“King David”, icon from the prophetic series, Church of the Transfiguration, Kizhi Monastery
The fourth row is prophetic
Additional rows
At the end of the 17th century, iconostases could have a sixth and seventh row of icons:
- The Apostolic Passion is a depiction of the martyrdom of the 12 apostles.
- The Passion of Christ is a detailed account of the entire story of the condemnation and crucifixion of Christ.
These additional rows of icons are not included in the theological program of the classical four-five-tier iconostasis. They appeared under the influence of Ukrainian art, where these subjects were very common.
In addition, at the very bottom, at floor level, under the local row, at that time there were images of pre-Christian pagan philosophers and sibyls, with quotes from their writings, which contained prophecies about Christ. According to the Christian worldview, although they did not know Christ, they sought to know the truth and could unknowingly give a prophecy about Christ.
Symbolism of the iconostasis
The emergence of the altar curtain is associated with the construction of the Old Testament Temple of Jerusalem, where the curtain covered the Holy of Holies. Behind the veil was the Ark of the Covenant with the tablets of the 10 Commandments. Only once a year, on the day of atonement, the high priest entered the Holy of Holies with the sacrificial blood of a goat and a bull (Lev: 16), asking God to cleanse the sins of the people. The division of a Christian church into an altar, a naos and a vestibule repeats the structure of the Old Testament temple. However, now the altar - the place where the Eucharist is celebrated - has become accessible to people. The Apostle Paul calls the veil of the temple the flesh of Christ: “Therefore, brethren, having boldness to enter into the sanctuary through the blood of Jesus Christ, in a new and living way, which He again revealed to us through the veil, that is, His flesh” (Heb. 10:19-20) . Thus, thanks to the redemption of mankind by Christ, people were able to enter the temple and the Holy of Holies, that is, the naos and the altar. But the Apostle Paul points to the role of the veil itself in this. There are moments in gospel history when the veil is compared to the flesh of Christ. According to legend, at the moment of the Annunciation
4th row - Deisis
3rd row - festive
2nd row - prophetic
1st row - forefathers, at the top - Crucifixion
History of the development of the iconostasis
Iconostasis (from “icon” and Greek stasis - standing place) is a barrier (partition), which is a solid wall made up of icons and separating the altar from the main room (naos) of an Orthodox church. The Russian type of high iconostasis with rows of icons developed into a con. XIV - beginning XV centuries
The iconostasis is one of the most striking phenomena of Eastern Christian culture. Its formation has a long history. For the first three centuries, persecuted Christians did not have the opportunity to build churches; they held services in their homes or in burial places, for example, in the catacombs. At the same time, the Holy Gifts during the service were in the same room where the worshipers were. In 313, Emperor Constantine the Great granted freedom of religion to all inhabitants of the Roman Empire, after which the massive construction of Christian churches began. The first churches had the form of a basilica (from the word “royal”, “state”, i.e., a building for civil meetings) - an oblong room with a number of columns dividing it into naves. The altar space, symbolizing the Holy Sepulcher, was separated by a low partition. In the Christian East, already in the early Middle Ages, there was a tendency to close the altar, which led to the appearance of the iconostasis. In the early Byzantine temple, the altar barrier was made of marble in the form of four columns on which the architrave rested; the Greeks called it “templon” or “kosmitis”. In Russian, its name began to sound like “tyablo”. Since Russian churches were mainly built of wood, the barriers also became wooden, and the chapel turned into a shelf for icons. The oldest literary source reporting the existence of an altar barrier belongs to Eusebius of Caesarea (c. 260-340). He says that in the temple built in Tire in the 4th century, the altar was separated from the rest of the space by a carved fence. The architrave was usually decorated with carvings depicting vines, peacocks and other symbolic images, and a carved or sculpted cross was placed above the gate. Significantly ancient, according to many researchers, is the use of a woven curtain (katapetasma), which was drawn and pulled back at certain moments of the service. By analogy with the curtain of the Old Testament temple, it separated the “holy of holies” of the church - the altar - the place where the Sacrament was performed. In the letters of the Apostle Paul, the Old Testament veil received a New Testament interpretation and was likened to the flesh of Christ, in connection with which a cross began to be depicted on it, which later became an integral part of the altar barriers.
Separating the altar from the naos, the curtain, barrier, and later the iconostasis served as the boundary between two worlds: the above and below, visible and invisible, and were intended to express their indissoluble connection. The material barrier symbolized the existence of an “immaterial iconostasis,” understood in the Orthodox tradition as a collection of saints, heavenly witnesses, proclaiming to the world what is “beyond the flesh.” Priest Pavel Florensky, and after him many researchers, for example. L. Uspensky, put a lot of effort into proving the spiritual benefits of the iconostasis. In particular, Florensky writes: “The iconostasis is the appearance of saints and angels—hagiophany and angelophany, the appearance of heavenly witnesses, and above all the Mother of God and Christ Himself in the flesh. The iconostasis is the saints themselves. And if all those praying in the temple were sufficiently spiritualized, if the vision of all those praying were always seeing, then there would be no other iconostasis except His witnesses standing before God Himself, with their faces and their words proclaiming His terrible and glorious presence. . The material iconostasis does not hide something from believers - curious and poignant secrets, ... on the contrary, it points us, half-blind, to the secrets of the altar, opens to us, lame and crippled, the entrance to another world. But the material iconostasis does not replace the iconostasis of living witnesses and is not placed in their place, but only as an indication of them in order to focus the attention of those praying on them. Direction of attention is a necessary condition for the development of spiritual vision. Figuratively speaking, a temple without a material iconostasis is separated from the altar by a blank wall; The iconostasis breaks through the windows in it, and then through their glass we see, at least we can see, what is happening behind them - living witnesses of God...” One cannot but agree with this, because the semantics of the iconostasis is truly harmonious and consistent, and the main goal of this entire structure is to preach the Kingdom of God.
The historical path of transforming the altar barrier into a high iconostasis is connected precisely with the consistent disclosure of this idea. Already Emperor Justinian (527-565) complicated the shape of the barrier by placing 12 columns in the Church of Hagia Sophia according to the number of apostles, and under Basil the Macedonian (867-886) the image of Christ appeared on the architrave. By the 12th century. a templon in the form of a portico with large icons of the Savior, the Mother of God and the saint of this temple was already widespread. Sometimes a deisis was placed above the royal doors (Christ and the Mother of God and John the Baptist standing before Him in prayer). In some churches already in the 11th century. a series of 12 menain icons (facial calendars) and twelve feasts appears. They were called worshipers: the icon of the holiday was removed from the templon and placed on the lectern for worship, and after the holiday it was returned to its place. In the late Byzantine period, the barrier could reach two or three rows (deisis, apostles and prophets, holidays), but the Greeks still preferred single-tier templons. From Byzantium, the altar barrier came to Rus' and here it was transformed into a multi-tiered iconostasis.
In Russian churches of the pre-Mongol period (XI-XII centuries), the iconostasis usually consisted of a wooden beam - a chapel, on which icons were placed. Sometimes among the icons there was a deisis, written on one board and placed above the Royal Doors. (Two such deisis of the 12th century are on display at the Tretyakov Gallery). Deisis is an image of standing before Christ, the main idea of temple prayer.
Old Russian churches were mostly wooden, it was inconvenient to paint them, and therefore icons began to play a greater role in them than in Byzantium. Icons were grouped by subject and placed on panels. But earlier than the 14th century. nothing is known about the high iconostasis. The first high iconostasis is considered to be the iconostasis of the Annunciation Cathedral of the Moscow Kremlin, consisting of three tiers (in Old Russian - ranks): local, deisis and festive. According to the chronicle, it was created in 1405 by an artel led by Theophan the Greek, Elder Prokhor from Gorodets and monk Andrei Rublev. The beginning of the development of the high iconostasis is associated with the name of the latter: in 1408 he took part in the creation of the iconostasis of the Assumption Cathedral of Vladimir, and in 1425-1427. — Trinity Cathedral of the Trinity-Sergius Lavra.
At the beginning of the 15th century. The iconostasis included three rows, by the end of the century a fourth appeared - prophetic, and at the end of the 16th century. the fifth is the forefathers. And by the 17th century. The type of five-tiered iconostasis is established everywhere, and it is considered to be classic.
But the evolution of the iconostasis does not end there; in the 17th-18th centuries. The rows and height of the iconostasis continue to increase. Six- and seven-tiered iconostases are known (for example, there are seven tiers in the iconostasis of the Great Cathedral of the Donskoy Monastery). The iconostasis began to include passionate rows - the image of the Passion of Christ and the Apostles; pyadnik row (icons the size of a “span”, i.e. a hand), usually these are icons of the Mother of God or images of saints. A tier of seraphim and cherubim appears above the top row. Sometimes images of Greek sages who predicted the appearance of Christ were included in the iconostasis in an additional rank below the local row (church in Ostankino). Great Moscow Cathedral 1666-1667 decided to complete the iconostasis with the Crucifixion.
But the main evolution of the forms of the iconostasis is associated with the development of decoration. In con. XVII - XVIII centuries The Baroque style, with its lush and intricate decor, comes to Russia from Europe. Belarusian and Ukrainian carvers brought new, more complex woodworking technologies and a new type of carving called “Flemish” (from the German “flaemisch” - Flemish). Dutch and Flemish carvers were known as carving virtuosos; the fashion for it captured all of Europe and came to Russia through Poland and Belarus. The "Flem" iconostases were decorated with rich carvings, covered with abundant gilding, had a bizarre configuration, included high relief and even sculpture. The new aesthetics entailed a change in the design of the iconostasis - from a tyablo (where the icons were installed end to end) it turns into a frame one, essentially becoming a giant carved frame for icons. This, in turn, leads to a change in the design of the temple: the tyablo iconostasis assumed an open altar arch, and for the frame one, a blank wall with small openings for the entrance to the altar is more convenient.
Iconostases of the 18th century. similar to pompous triumphal arches (for example, the iconostasis of the Peter and Paul Cathedral in St. Petersburg, executed in the 1720s according to a drawing by I. Zarudny). Their architectural and sculptural decoration almost replaces the icons, which also become picturesque, the rigor and sequence of orders is not observed, the theological and liturgical meaning of the barrier is ignored. Under Russian influence, carved iconostases also appear in other countries: on Athos, Greece and the Balkans, although they are rarely higher than two or three tiers.
In con. XVIII century Baroque is replaced by classicism, the iconostasis takes on a new image: the stormy dynamics of the “Flemish carving” and the whimsicality of Baroque forms give way to strict columns, porticos, entablatures, and the decor even more often includes relief and round sculpture. The classic and empire iconostasis becomes architecture within architecture. The role of images is reduced to a minimum. This caused justifiable discontent of the Church; it even went so far as to destroy “non-canonical” iconostases. Thus, by order of Moscow Metropolitan Philaret (Drozdov), the iconostasis by V. Bazhenov was destroyed as not complying with church canons.
From the middle of the 19th century. Iconostases in the “Byzantine-Russian” style come into use. There was little Byzantine, as well as Old Russian, in them; they were eclectic: in design and general appearance they resembled “Flemish” ones, but differed from them in the dryness of forms and other decorative motifs. At the same time, the influence of classicism remained. For example, the iconostasis of the Cathedral of Christ the Savior, made in the form of a tented chapel (canopy): its tent and kokoshniks are made in the “Byzantine-Russian” style, but the independence of this small architectural structure is far from the aesthetics of classicism.
At the turn of the XIX-XX centuries. Art Nouveau comes to Russia - a style also born in Europe, but flexible and skillfully using historical forms. At this time, there is a return to single-tier altar barriers - stone, Byzantine (Kiev Vladimir Cathedral, St. Cyril Church) or wooden, ancient Russian (Pokrovsky Church of the Marfo-Mariinsky Monastery). Original iconostases were also created, for example, from porcelain (Church of St. Pimen on Novoslobodskaya Street) or black bog oak (Church of the Resurrection in Sokolniki).
During the Soviet period, church art was suppressed, but sometimes in one church or another, under the guise of restoring a cultural monument, it was possible to create a new iconostasis. It was difficult to expect new forms at this time; iconostases were created in the aesthetics familiar to the church consciousness of that time, and this was eclecticism. Of the iconostases created during the Soviet period, we note two: in the Tashkent Cathedral, where the icons were painted by M. N. Sokolova (M. Juliana), and in the Church of the Apostle Philip in Novgorod, created through the efforts of Archbishop. Novgorod and Starorussky Sergius (Golubtsov).
1988 was a spiritual milestone for Russia; after the nationwide celebration of the millennium of the Baptism of Rus', the Church finally gained freedom. All over the country they began to restore churches and build new ones, decorate them with icons, and erect iconostases. The gap in tradition, which is felt in more than one generation that grew up without faith, was also reflected in the fact that the enthusiasm of the church people, restoring churches, was sometimes carried out without knowledge of the canons and norms of Orthodox art; there was a lack of artistic taste and understanding of the theological meaning. It is comforting that in our time a whole galaxy of gifted, competent icon painters has appeared, working according to the canons of the high classics of Russian icons of the 14th-15th centuries. Many icon-painting workshops, icon-painting schools and courses appeared. Over the past two decades, thousands of temples have been restored.
St. Daniel's Monastery was one of the first to be restored. Here in the lower church of the Church of the Holy Fathers of the Seven Ecumenical Councils, Archimandrite. Zinon (Theodore) created a three-tier iconostasis, simple, stylized as a tyablo, with an emphasis on iconographic images. With the light hand of the master in many temples, con. 1980s - early 1990s They began to build similar “tyablo” iconostases, decorating them with paintings or modest carvings. But at the same time, there is a clear attraction to tall, multi-tiered forms. Thus, in the upper church of the same temple, the iconostasis was built from five rows.
Along with this, an opposite trend is also visible: a return to earlier and simpler forms - to ancient Russian single-tier iconostases and Byzantine templons. For example, a stone iconostasis with fresco images in the gate church of St. First Martyr Stephen of the Transfiguration of the Savior of the Mirozhsky Monastery in Pskov (archim. Zinon), an altar barrier with mosaic icons in the Church of the Sign in Krasnogorsk, a stone iconostasis of the lower church of the Church of the Assumption in the Assumption Enemy in Moscow.
Today in Russian churches one can see an abundance of a wide variety of stylistic trends: Byzantine, Old Russian, Baroque, from which it is difficult to single out one direction. The current situation is ideal for freedom of creativity: each church can create an iconostasis according to an individual project, based on local characteristics and aesthetic requests of the community.
Construction of the iconostasis
The traditional layout of the iconostasis, which developed by the end of the 16th century, unfolds from top to bottom and represents the history of mankind from the creation of the world to the New Testament and modern times. In a symbolic sense, the iconostasis, like the temple, is an image of the church. However, if the temple is a liturgical space that includes a meeting of the faithful, then the iconostasis shows the formation of the Church in time from the first man to the Last Judgment, representing an image of future communion with God in a new transformed world. The images of the Old Testament forefathers and prophets are formed into separate upper tiers. The forefathers' row is located above the prophetic row and represents a gallery of the Old Testament forefathers with the corresponding texts on the scrolls, through which the original Old Testament church from Adam to Moses appears. The prophetic row of the iconostasis represents the Old Testament church from Moses to Christ. It consists of images of prophets, also with unfolded scrolls in their hands, on which are placed the texts of prophecies about the Incarnation. Initially, images of David and Solomon were placed in the center of the row, later - the Mother of God with the Child on the throne or the icon of the Mother of God “The Sign”, the image of which marks the fulfillment of the predictions of the Old Testament forefathers and prophets and indicates a direct connection between the Old and New Testaments.
The next tier - festive - indicates the events of the earthly life of the Savior. However, the holiday series is not a consistent illustration of the gospel story. Its content is determined by the context of the annual cycle of worship. In the festive series, only those events are depicted that are significant stages of the divine economy. Usually this series consists of icons of the twelve feasts (12 main church holidays - Nativity of the Virgin Mary, Entry into the Temple of the Blessed Virgin Mary, Exaltation of the Cross, Nativity of Christ, Epiphany (Epiphany), Annunciation, Presentation of the Lord, Entry of the Lord into Jerusalem, Ascension, Pentecost, Transfiguration of the Lord , Dormition of the Mother of God).
The festive series is followed by deisis (in translation from Greek - “prayer”), the semantic center of which is the icon of the Savior. To the right and left of Him are the Mother of God and John the Baptist. They are followed by archangels, saints, apostles, martyrs, saints, i.e. a host of saints, represented by all orders of holiness. The main theme of the Deesis rite is the Church’s prayer for peace. Representatives of the earthly world who have achieved holiness and entered the Kingdom of Heaven, forming the Heavenly Church headed by Christ, prayerfully come before the throne of Christ, asking for leniency towards the earthly church gathered in the temple.
The first, lowest rank is local; Locally revered icons are usually located here, the composition of which depends on the traditions of each temple. However, some of the icons of the local series are fixed by the general tradition and are found in any temple.
In the center of the local rank are the Royal Doors. If we consider the iconostasis as an image of the Kingdom of Heaven, then the Royal Doors are the doors of paradise, a symbol of the entrance to the Kingdom of God, which is revealed to us through the Good News, therefore, on the Royal Doors the Virgin Mary and the Archangel Gabriel are depicted with a palm branch in their hand, together forming the plot of the Annunciation (image the beginning of our salvation). The four Evangelists depicted on the Royal Doors also represent the image of the word of God - the Good News.
The naming of the gates “Royal” is associated with the appearance into the world of Christ the Savior, Who Himself spoke of Himself: “I am the door: by me whoever enters will be saved” (John 10:9). Christ is present in the temple at every liturgy in the Holy Gifts; the path to union with Him lies through repentance and the Holy Eucharist, the image of which in the form of the Last Supper is located directly above the Royal Doors. The “Eucharist” is an image of the saving event that once occurred at the Last Supper, which is renewed in worship, uniting and embracing all times, connecting the temporary and the eternal, the earthly and the heavenly.
Sometimes images of the creators of the liturgy - Saints Basil the Great and John Chrysostom - are placed on the doors of the Royal Doors.
There is also a historical aspect to the naming of the Royal Doors. When Byzantine Christianity became the state religion, the emperors gave the Christians basilicas - the largest buildings in Roman cities, used for court hearings and trade. The main gates in these buildings were called royal, through which the emperor or bishop entered the temple. The people entered the temple through doors located along the perimeter of the basilica. In the ancient Church, the main person performing divine services, as well as the head of the community, was the bishop. The service did not begin without the bishop - everyone was waiting for him in front of the church. The entrance into the temple of the bishop and the emperor, and after them the entire people, was the most solemn moment at the beginning of the Liturgy. The name “Royal Doors” was moved from the main entrance to the temple to the gates of the iconostasis. For the first time, the gates leading to the altar began to be given independent significance only in the 11th century.
Unfortunately, our temple has lost the Royal Doors of the 17th century; presumably, they were taken to the palace of Grand Duke Sergei Alexandrovich in St. Petersburg. Those existing today date back to a later time.
To the right of the Royal Doors there is usually an icon of the Savior, where He is depicted with a blessing gesture and with the Book. On the left is an icon of the Mother of God (usually holding the Baby Jesus in her arms). Christ and the Mother of God meet us at the gates of the Kingdom of Heaven and lead us to salvation throughout our entire lives. The Lord said about Himself: “I am the way, the truth and the life; no one comes to the Father except through Me” (John 14:6); “I am the door of the sheep” (John 10:7). In our iconostasis to the right of the Royal Doors there is an icon of the Old Testament Trinity, which was characteristic of the era of the creation of the temple, and on the left side of the Royal Doors there is an image of the Intercession of the Most Holy Theotokos.
The icon following the image of the Savior (to the right in relation to those ahead) usually (though not always) depicts a saint or a holiday in whose honor the throne of a given altar is consecrated. Our order of arrangement of icons does not correspond to the classical scheme: apparently, the local row was installed according to the taste and personal wishes of the customer - Prince V. Golitsyn.
In addition to the Royal Doors, there are also deacon doors in the bottom row. As a rule, they are much smaller in size and lead to the side parts of the altar - the altar, where the proskomedia is performed, and the deacon, or sacristy, where the priest vests before the liturgy and where vestments and utensils are stored. On deacon doors they usually depict either the archangels (Michael and Gabriel), symbolizing the angelic service of the clergy, or the first martyr Deacon Stephen (1st century) and the Roman archdeacon Lawrence (3rd century), who showed a true example of serving the Lord. Old Testament prophets or high priests (Moses and Aaron, Melchizedek, Daniel) can also be depicted; there is also an image of a prudent thief (who, having repented, was the first to enter paradise); less often other saints.
This strict and logical structure changes in the middle of the 17th century. The Deesis and festive rows change places, as is done in our temple. In addition, changes are taking place within the deisis: Patriarch Nikon loved the apostolic row (deisis), where instead of saints of various ranks (apostles, saints, warriors, martyrs, etc.), in addition to the Mother of God and Christ, John the Baptist, archangels, only apostles are depicted . In the deisis of our temple, the apostles are placed on two multi-figured icons. Due to lack of space (due to the abundant carvings that prevailed in Baroque iconostases), the figures of the upcoming apostles are combined several (from 3 to 6) on one icon.
Here is the interpretation of the apostolic order, as given by I.L. Busev-Davydov, referring to Theodosius Stefanovich’s book “Report on the Church” of 1655: “The altar is the Maestat (Throne) of Christ, for this reason Christ is painted on the Maestat as a Judge, and with him are 12 apostles, for Christ himself promised them so.” Thus, the apostolic Deesis rite is associated with the idea of the Last Judgment. The first example of the appearance of the apostolic deesis under Patriarch Nikon was the iconostasis of the Assumption Cathedral of the Moscow Kremlin, the main temple of the country. This led to the rapid spread of this option throughout the country.
In the Assumption Cathedral in 1655, an icon of the Savior was placed to the right of the royal doors, and the Mother of God to the left. All these were the activities of Patriarch Nikon to “correct” the Russian church according to the Greek model, to streamline the Russian iconostasis. The central icon in this series, instead of the “Savior in Powers,” becomes the “King of Kings” and “Present Queen,” which we see in our iconostasis. In Russian icon painting of the second half of the 17th - early 18th centuries, the number of icons in which Christ and the Mother of God are depicted with attributes of royalty: in crowns or crowns with a scepter and orb, increases significantly. The Gospel genealogy of Christ traces His family and the Virgin Mary to the family of King David. In the Gospel, Christ is called the King more than once; on the Nativity icons, the Magi worship Him and give gold as a King. But in Russian icon painting, the motifs of the royal dignity of Christ and the Virgin Mary did not find development until the second half of the 17th century. Images of the crown at the end of the 17th century and the beginning of the 18th century are often found not only in icon painting, but also in fabric ornamentation, embroidery, and especially often in icon frames. According to I.L. Buseva-Davydova, this is due to the strengthening of the monarchy in Russia in the 17th century. and understanding the ruler of the earth as God’s anointed. In the culture of church baroque, the crown is one of the favorite symbols. The crown topped with a cross becomes the image of Golgotha.
Thus, the appearance of crowns on the images of Christ, God the Father and the Mother of God does not so much indicate the secularization of art, but rather the sanctification of the world.
There are variants of iconography where the attributes of royalty are determined by the plot itself. This is the “Presta Queen” icon, the centerpiece of the deisis. The literary basis of this icon is the text of the psalm: “The Queen appears at Your right hand, dressed in robes of gold” (Ps. 44.10). The Mother of God is understood here as the Church of Christ.
The iconostasis is now crowned by a passionate rank, which is located above the prophets and forefathers, and above it is placed the Crucifixion with those present, as was customary in Western altars, in Ukrainian altar barriers and in the Greek church. Back in 1667, the Moscow Cathedral prescribed, following the example of ancient Byzantine churches, the installation of a cross with a Crucifixion at the end of the iconostasis. This tradition has spread widely throughout Russia. At the end of the 17th century, it was already difficult to find an iconostasis not topped with a carved Crucifix. Moreover, the entire iconostasis is the foot of the Cross and can be read as an image of Golgotha. The iconography of such completions could not but be influenced by the corresponding composition of Russian icons depicting the upcoming Mother of God, St. John the Evangelist, St. Longinus the Centurion and the Holy Women. Hence the emergence of a number of upcoming ones.
The formation of the iconostasis has a long history. In early Christian churches, the altar was separated from the temple itself by a woven curtain or barrier, which was either a low barrier wall or a series of columns with an architrave, which in the Byzantine tradition is usually called a templon. The oldest literary source reporting the existence of an altar barrier belongs to Eusebius of Caesarea (c. 260–340). He says that in the temple built in Tire in the 4th century, the altar was separated from the rest of the space by a carved fence. Considerably ancient, according to many researchers, is the use of woven curtains. By analogy with the curtain of the Old Testament temple, they separated the “Holy of Holies” of the church - the altar - from the place of meeting of believers, serving as an external sign of the hierarchy of parts of the temple. In the letters of the Apostle Paul, the Old Testament veil received a New Testament interpretation and was likened to the flesh of Christ, and therefore they began to depict a cross on it, which later became an integral part of the decoration of the altar barriers.
Early Byzantine barriers consisted of marble barriers and columns carrying an architrave-templon decorated with an image of a cross. On the side of the altar behind it there was a curtain, which was drawn and drawn back at certain moments of the service. Such barriers, being an integral part of the architectural ensemble of the temple, highlighted the altar, emphasizing its significance as a place for performing the sacrament. Separating the altar from the naos, the curtain, barrier, and later the iconostasis served as the boundary between two worlds: the above and below, visible and invisible, and were intended to express their indissoluble connection. The material barrier symbolized the existence of an “immaterial iconostasis,” understood in the Orthodox tradition as a collection of saints, heavenly witnesses, proclaiming to the world what is “beyond the flesh.”
The historical path of transforming the altar barrier into a high iconostasis is connected precisely with the consistent disclosure of this idea. Already in the 6th century. Emperor Justinian in the church of St. Sophia placed relief images of the Savior, the Mother of God, apostles and prophets on the templon of the altar barrier. In the post-iconoclast period, starting from the 9th century, the installation of icons on templons was already practiced quite widely. For the 12th century. the decoration of the Byzantine templon with a row of icons became ubiquitous. By this time, the iconostasis had taken the form of a portico with columns and free space between them. Icons were placed on a templon or hung from it. Sometimes large icons were placed in the intercolumnae of the portico. These were, as a rule, icons of the Savior, the Mother of God and the holy temple. Above the royal doors was placed the main icon - “Deisis” (Greek prayer, in Russian the word was fixed in the form “Deesis”), depicting on one board Christ and the Mother of God and John the Baptist addressed to him with prayer. The Byzantine barrier could have from one to three rows of icons, among which there were images of prophets and Christian holidays.
The type of altar barrier that developed in Byzantium passed to Rus', where it gradually underwent a number of significant changes that turned it into a high iconostasis. According to field studies in Russian churches of the 11th–12th centuries. There were two types of barriers - with a continuous templon, which covered the entire temple, and with a shortened templon, which covered only the central altar opening. Templon, in Russian translation “tyablo”, served primarily for fastening the curtains, which covered the entire altar space by almost half the height. The fundamental difference between both types and Byzantine barriers was the absence of columns in the composition and the installation of the templon at a considerable height. Subsequently, these features largely predetermined the transformation of the pre-Mongol barrier into a high iconostasis.
The high height of the templon and the absence of vertical divisions in Russian altar barriers provoked the filling of the void formed between the low barrier and the templon. The oldest monument known to us, in which an iconostasis was installed, consisting of a large-scale “Deesis” and the royal doors, dates back to 1360–1361 (the Church of Fyodor Stratilates on the Stream in Novgorod). Here, to fasten the Deesis, another lower panel appeared. In turn, the Byzantine templon turned into the upper table. There was no local row in this iconostasis.
Regarding the development of the Russian iconostasis in the 15th century. There are two hypotheses. According to the first, a high three-tiered iconostasis, including a Deesis rank, a festive and semi-figured prophetic row, was created in Moscow with the direct participation of Theophanes the Greek. According to the second hypothesis, the formation of the high iconostasis went through two stages. At the first stage, the iconostasis consisted of a Deesis and a festive row. In the 15th century In the workshop of Andrei Rublev, an iconostasis was created for the first time, including a semi-figured prophetic row. The emergence of a new type of iconostasis is associated with the hesychasm movement and the peculiarities of worship according to the Jerusalem Rule, introduced in Rus' by Metropolitan Cyprian.
In the 16th century a new row is added to the iconostasis - the forefathers' row. With its appearance, the classic type of five-tier iconostasis finally emerged. However, the increase in the number of rows and height of the iconostasis does not stop there.
Since the beginning of the 17th century. Above the ancestral row, a tier of images of seraphim and cherubim increasingly appears. In the second half of the 17th century. the so-called pyadnichnaya row (icons the size of a “span”, i.e. a hand). Presumably, its appearance is connected with the decision of the Council of 1666–1667, which condemned the practice of parishioners bringing their own icons to the temple, because of which “everyone prays to his own icon in different countries...”. The council decided to give the icons to the temple irrevocably, and, apparently, they began to be placed above the local row to ensure proper veneration of the images. In the second half of the 17th century. a passionate row (icons depicting the passion of Christ) appeared in the iconostasis, as well as a cross with the image of the Crucifixion crowning the iconostasis. Passionate icons were placed above all others and were usually enclosed in separate carved cartouches. The crucifix was picturesque, trimmed along the contour and enclosed in a frame of gilded carvings. At the end of the 17th - beginning of the 18th centuries. Iconostases decorated with rich wooden carvings became widespread, essentially turning into giant carved frames for icons. At the end of the 17th - beginning of the 18th centuries. under Russian influence, carved iconostases began to be made on Athos, Greece and the Balkans.
Classic iconostasis
consists of five rows of icons: local, deesis, festive, prophetic and forefathers.
Forefathers' row.
The top row, represented by the Old Testament patriarchs with the corresponding texts on the scrolls, represents the Old Testament church from Adam to Moses. In the center of this row is the image of the Holy Trinity, or “Fatherland” (one of the iconographic variants of the image of the Holy Trinity).
Prophetic series
represents the Old Testament church from Moses to Christ. Prophets are also depicted holding scrolls with the texts of their prophecies about the birth of the Savior. In the center of this tier is the image of Our Lady of the Sign. The image of the Mother of God with the Baby Emmanuel in her bosom marks the fulfillment of the predictions of the Old Testament forefathers and prophets and indicates a direct connection between the Old and New Testaments.
Festive row.
The next tier of the iconostasis represents the New Testament period, namely the events associated with the earthly life of Christ. However, the holiday series is not a consistent illustration of the gospel story. Its content was determined by the context of the iconostasis as a single whole, as well as by various nuances of understanding the daily, weekly and annual cycles of worship. In the festive series, only those events are depicted that are significant stages of the Divine economy of salvation. Usually this series consists of icons of the Resurrection, the main twelve feasts (Christmas, Epiphany, Presentation, Entry into Jerusalem, Ascension, Transfiguration, Nativity of the Virgin Mary, Presentation into the Temple, Annunciation, Dormition), as well as two ecclesiological holidays of the moving cycle: Pentecost and Exaltation of the Cross .
Deesis series.
The semantic center of this series is the icon of the Savior, represented, as a rule, in the image of a formidable Judge who appeared to judge the world. To the right and left of Jesus Christ are the Mother of God and John the Baptist. They are followed by archangels, saints, apostles, martyrs, saints, i.e. a host of saints, represented by all orders of holiness. The main theme of the Deesis rite is the church’s prayer for peace. Representatives of the earthly world who have achieved holiness and entered the Kingdom of Heaven, forming the Heavenly Church headed by Christ, prayerfully come before the throne of Christ the Judge, asking for leniency towards the earthly church gathered in the temple.
Local row.
In the last, lower tier of the iconostasis, on both sides of the royal doors, icons of the Savior and the Mother of God are placed, and next to the image of Christ is a temple icon. The choice of the remaining icons in the series depends on local needs and the nature of the temple. Local icons represent the subject of the closest and most direct communication and veneration. They are applied to them, candles are placed in front of them.
North and south gates
The iconostasis leads to the deacon and altar; they depict either archangels or holy deacons as co-servants of priests during the performance of liturgical rituals.
Royal Doors,
leading to the altar, are an integral part of the iconostasis and have existed since the time of the initial construction of the altar barrier. Already in the 5th–6th centuries. they were decorated with sacred images. Usually the “Annunciation” is placed on the royal doors, and under it the images of the four Evangelists. Symbolically, the royal doors mean the entrance to the Kingdom of God. The Annunciation marks the beginning of the salvation of mankind and at the same time embodies the very “message” that was announced to the world by the evangelists. Above the royal doors the “Communion of the Apostles” or “Eucharist” is depicted as a sign that the communion of priests takes place in the altar, and the communion of believers takes place on the salt in front of the royal doors.
In a symbolic sense, the iconostasis, like the temple, is an image of the church. However, if the temple is a liturgical space that includes a meeting of the faithful, then the iconostasis shows the formation of the church in time from Adam to the Last Judgment, representing an image of future communion with God in a new transformed world. The “Eucharist”, presented in the decoration of the royal doors, being an image of the saving event that once occurred at the Last Supper being renewed in the service, unites and covers all times, connects the temporary and the eternal, the earthly and the heavenly.
Date of publication or update 11/01/2017
In addition to such epistyles, a longer Deesis tier was formed, consisting of a number of individual icons, initially small main or shoulder icons, later larger waist ones. The through openings between the columns of the barrier were not occupied by icons for a very long time. In the 14th century, the icons of Christ and the Mother of God were moved from the altar pillars, now placed on the sides of the royal doors. They laid the foundation for the local row of the iconostasis.
In the post-Byzantine art of Crete and Cyprus, the altar barrier turns into a small three-tiered iconostasis, which has a local row, a festive order and a waist deesis. Such an iconostasis completely covered the altar and was similar in this way to high Russian iconostases.
Development of the iconostasis in Old Russian art
The decoration of ancient Russian churches initially repeated Byzantine customs. The Tretyakov Gallery houses a horizontal icon of a three-figure deesis with the main images from an unknown temple of the Vladimir-Suzdal principality at the turn of the 12th-13th centuries. It was obviously intended to be mounted on an architrave.
There is a hypothesis that a similar icon with the Savior Emmanuel and two archangels was intended for the architrave in the northern part of the altar, where the entrance to the altar is located. This is supported by the content of this icon, where Christ is shown as the Sacrifice prepared for the salvation of people.
Some individual icons that were part of the Deesis order have been preserved, for example, the “Golden Haired Angel” (Archangel Gabriel) in the Russian Museum. This is a small main icon from the late 12th century. Thus, in stone churches, an altar barrier was usually made with a deesis above the architrave and icons of Christ and the Mother of God below. Only they were initially placed not in the barrier itself, but at the eastern pillars of the temple.
Such an icon has been preserved from the Sophia Cathedral in Novgorod - the large throne icon of Christ “The Golden Robe of the Savior” (now in the Assumption Cathedral of the Moscow Kremlin, the painting of the 11th century was renewed in the 17th). In some Novgorod churches of the 12th century, research has revealed an unusual arrangement of altar barriers. They were very high, but their exact structure and the possible number of icons are not known.
A favorable situation for the growth of the altar barrier was in wooden churches, of which there was a majority in Rus'. They did not do wall painting, which was always very important in Byzantine churches, so the number of icons could increase.
, Vidnoye.
It is not known exactly how the altar barrier was enlarged and when it turned into an iconostasis. The royal doors of the 13th-14th centuries, belonging to the Novgorod and Tver schools of icon painting (TtG), have been preserved. On their solid wooden doors, the Annunciation is depicted on top, and Saints Basil the Great and John Chrysostom are depicted in full-length below. From the 13th century, temple icons have come down, that is, images of saints or holidays in honor of which temples were consecrated. They could also have already been placed in the bottom row of the obstacle. For example, these include the Pskov icons “Assumption” and “Elijah the Prophet with the Life”.
Iconostasis of the chapel of the Catherine Church of the St. Catherine Monastery, Vidnoye.
By the 14th century, Deesis icons increased in size and were usually written at least seven. The Tretyakov Gallery houses the Deesis rite of the cathedral of the Vysotsky Monastery in Serpukhov. These are seven very large waist-length icons, executed in Constantinople. After the Mother of God and John the Baptist, they depict the archangels Michael and Gabriel, the Apostle Peter and the Apostle Paul. The Deesis rite from Zvenigorod (early 15th century) had a similar composition, the three surviving icons of which are attributed to the hand of St. Andrei Rublev.
Iconostasis of the chapel of the Catherine Church of the St. Catherine Monastery, Vidnoye.
An early example of a festive order is provided by three horizontal icons with 12 holidays from the Cathedral of Sophia in Veliky Novgorod (XIV century). Initially, this rank stood on the ancient altar barrier of the cathedral, and in the 16th century it was included in the new high iconostasis, occupying the third row of icons (now icons in the Novgorod Museum).
The first example of a full-length Deesis order is icons from the iconostasis of the Annunciation Cathedral in the Moscow Kremlin. This rank is distinguished both by its composition - there are 11 icons - and by their size (height 210 cm). It has now been precisely established that this rite could not have originally been intended for the Annunciation Cathedral, but was transferred to it from another temple (which one has not yet been established, although there are many hypotheses). The time of creation of icons is considered to be either the beginning of the 15th century or 1380-90.
Iconostasis of the Annunciation Cathedral in the Kremlin, Moscow.
The central icons are still often attributed to the hand of Theophanes the Greek. The most important iconographic feature of this rank is the image on the central icon of the Savior in power, that is, Christ on the throne surrounded by heavenly powers. Later, this iconography would become the most common for Russian iconostases, displacing the simpler image of the Savior on the throne (which was more common in Novgorod).
Above the Deesis rite in the Annunciation Cathedral there is a festive one, consisting of 14 icons (two more were added later). The origin of the festive rite is as unclear as that of the Deesis. It is usually believed that the Deesis and the holidays originate from the same iconostasis. The authorship of the icons is unknown, but it is clear that the holidays were painted by two different icon painters. The first half of the icons has long been attributed to the hand of Andrei Rublev, but now this hypothesis is highly doubtful.
“Classical” high iconostases of the 15th-17th centuries.
The first known multi-tiered iconostasis was created for the Assumption Cathedral of Vladimir in 1408 (or 1410-11). Its creation is associated with the painting of the Assumption Cathedral by Daniil Cherny and Andrei Rublev.
The iconostasis has not been completely preserved to this day. In the 18th century it was replaced with a new one. Only in the post-revolutionary period was the surviving part of the icons discovered and is now stored in the State Tretyakov Gallery and the State Russian Museum.
The iconostasis had 4 rows of icons. Above the local row, which has not survived, there was a huge Deesis rank (height 314 cm). 13 icons from it have survived. There are unproven suggestions that there were more. Above there was a festive row, of which only 5 icons survived. The iconostasis ended with waist-length icons of the prophets (this is the first example of the prophetic order); only 2 of them have survived.
It is interesting that studies of the fastening of the iconostasis revealed the uneven arrangement of the rows of icons. The Deesis rite was brought forward to the worshipers, and the holidays were located a little deeper towards the altar. An important feature of the iconostasis was its division into five parts - it stood in parts in three openings of the altar apses and at the ends of the outer naves. This is confirmed by frescoes preserved on the western faces of the eastern pillars.
Among them are figures from the 12th century and medallions with martyrs, executed in 1408. They could not be covered by the iconostasis created at the same time.
The iconostasis was arranged similarly in the Assumption Cathedral on Gorodok in Zvenigorod. Frescoes of the eastern pillars that divided the iconostasis have also been preserved here. It is possible that the second register of the painting depicting crosses was overlapped by the second row of icons of the iconostasis, while the other rows were interrupted by frescoes with two monastic scenes at the bottom and medallions with saints at the top. The iconostasis itself has not been preserved, although it could include icons of the half-length Deesis rank attributed to Andrei Rublev - the Savior, the Archangel Michael and the Apostle Paul.
The first solid iconostasis, not divided into parts by pillars, was created in 1425-27. for the Trinity Cathedral of the Trinity-Sergius Monastery. The iconostasis was performed by Andrei Rublev and Daniil Cherny from the workshop.
The iconostasis has survived to this day and remains in its original place in the Trinity Church.
Its fourth tier - the prophets - was probably created a little later. In the Trinity iconostasis, the royal doors with the Annunciation and 4 writing evangelists have been preserved (now in the Sergiev Posad Museum) and a temple icon from the local series - the famous Trinity (a copy in the cathedral, the original in the State Tretyakov Gallery).
Here it is appropriate to clarify the design features of the multi-tiered iconostasis. Iconostases of the 15th-17th centuries (excluding the end of the 17th century) are usually called tyablo. "Tyablo" comes from a corruption of the Greek templon and means a horizontal beam. The tiblas separated horizontally the rows of icons, which stood on them like on shelves and were attached to them. The tyablas were painted with ornaments or decorated with a frame. Thus, the laconic design of the iconostasis was decorated. Later, vertical columns appeared between the icons, serving as a decorated frame for the icons.
The royal doors and their frames were often richly carved or otherwise decorated. In this case, the images on them were made in small inclusions. In addition to the iconostasis itself, the altar in 15th-century churches could be separated by a low stone wall with gate openings. There is such a wall in the Cathedral of the Nativity of the Virgin Mary of the Savvo-Storozhevsky Monastery. It preserves fresco images of saints, which were like a local row of the iconostasis.
The altar wall in the new Assumption Cathedral in Moscow was painted in a similar way, on which numerous half-length figures of saints were preserved.
High iconostases began to appear in other principalities besides Moscow. A high 4-tier iconostasis from the mid-15th century was found in Kashin, originating from the Transfiguration Cathedral in Tver.
Tver was a neighbor and political rival of Moscow, as well as a distinctive icon-painting center. In other cities - Rostov, Novgorod, Pskov - the Deesis ranks of the 15th century have been preserved. However, the number of rows of the iconostasis could still remain incomplete.
By the end of the 15th century, the tradition of high 4-tier iconostases was entrenched in Moscow icon painting. A repetition of the iconostasis of the Assumption Cathedral of Vladimir was the iconostasis of the new Assumption Cathedral in Moscow (1481), which has not survived to this day (it was replaced in the middle of the 17th century). One of the largest and most famous iconostases was created around 1497 for the Cathedral of the Kirillo-Belozersky Monastery. Currently, half of his icons are kept by Kirillov and exhibited in the museum, and the rest are in the State Tretyakov Gallery, MiAR and the State Russian Museum. Apart from the local rank, only one icon from the prophetic series has not survived.
The Deesis tier of the iconostasis includes, in addition to the unchanged middle (Christ, the Mother of God, the Forerunner, the archangels Michael and Gabriel, the apostles Peter and Paul) icons of the apostles Andrew and John (as in the Vladimir iconostasis of 1408), ecumenical saints, Russian saints (including Moscow) and martyrs. The festive row is one of the largest - 24 icons. The prophetic row is waist-length, the prophets are gathered in groups of three and are not facing the center of the row, since the central icon of the prophetic order - the Mother of God - is not in this iconostasis.
Fragments of iconostases by Dionysius (“The Savior is in Power” and several icons of the festive order from the Pavlo-Obnorsky Monastery) and almost the entire iconostasis of the Cathedral of the Nativity of the Virgin Mary in Ferapontovo (1502) have been preserved. The iconostasis of the Ferapontov Monastery does not have a festive order, but its prophetic row contains in the center the image of Our Lady of the Sign with the upcoming kings David and Solomon. All the figures of the prophets, written on several horizontal boards, face the central image. The Deesis rite of Ferapontov was a little later flanked by icons of stylites, which then became a widespread tradition. Several icons of the lower local row have survived, as well as small icons of the Annunciation and the Evangelists from the carved royal doors.
In the 16th century, a huge number of high iconostases were created. Moscow customs are introduced into the iconography of the cities that became part of the centralized Russian state, while some striking local features are leveled out. Many high iconostases were painted in both Novgorod and Pskov. Now full-length prophetic ranks are beginning to appear, as for example in the Cathedral of Sophia in Novgorod. At the same time, the custom of writing belt Deesis rites is preserved, as for example in some churches of the Kirillo-Belozersky Monastery.
In the 2nd half of the 16th century, new iconographic subjects, born in Moscow under Metropolitan Macarius, became widespread in Russian icon painting. The new images had complex dogmatic and moralizing content, often illustrated liturgical texts and Holy Scripture verbatim, and included many symbols and even allegories. Among them, images of the Fatherland and the “New Testament Trinity” appeared. These two images (especially the Fatherland, or simply a separate image of the Lord of Hosts in the form of the Old Denmi) began to be used for the 5th row of the iconostasis that appeared during this period - the ancestral one. Row 5 of the iconostasis included the Old Testament righteous (except for the prophets already depicted below) and among them the ancestors of Christ according to the flesh. The new image of the Trinity was chosen as the center of the forefathers' order. The first forefathers' rites were preserved in the Annunciation Cathedral of the Moscow Kremlin (small waist-length icons from the 2nd half of the 16th century), in the Trinity Cathedral of the Trinity-Sergius Monastery (life-size icons from Godunov's time).
In the 1st half - mid-17th century, the 5-tier iconostasis became widespread in Russia. Now it usually includes the local series, growth deesis, holidays, growth prophets and forefathers. Examples of such iconostases can now be seen in the Cathedral of the Nativity of the Virgin Mary of the Savvo-Storozhevsky Monastery and in the Church of the Fathers of the Seven Ecumenical Councils in the Danilov Monastery in Moscow. Since such iconostases completely covered the entire eastern side of the temple interior, corresponding changes took place in the architecture of the churches. The altar began to be separated by a solid stone wall, cut through by gate openings. It is interesting that in most churches in Rostov, iconostases were painted in fresco directly along the eastern wall of the temple. The gates of the local row were usually distinguished by magnificent portals.
In rare cases, life-size icons could be replaced with half-length or main icons. Even more rarely, the number of rows of the iconostasis was reduced. Thus, in the Assumption Cathedral of Moscow, under Patriarch Nikon, a new iconostasis was built, which exactly followed the established 5-tier scheme, but in the Archangel Cathedral, due to the very large size of the icons, the 5th forefathers’ order was not made. Apparently it was considered not to fit into the interior and they did not reduce the size of the other rows of icons.
In the Naryshkin style temples, new decorative forms were just in place.
The iconostasis in them turned into a lush gilded frame with colorful splashes of icons, dominating the interior of the temple, as it contrasted with the unpainted white walls. In this case, the sequence of verticals and horizontals of the order system begins to be deliberately violated. Icons are made not rectangular, but round, oval or faceted. Due to lack of space, the figures of the upcoming apostles and prophets can be combined three to six in one icon. The entire iconostasis begins to resemble a wonderful Garden of Eden, in which there are images of saints. Such iconostases are very similar to the decoration of Ukrainian churches of the 17th century.
In the high interiors of churches built like an octagon on a quadrangle, the iconostasis stretches all the way to the vault, tapering upward, as, for example, in the Church of the Intercession in Fili in Moscow. More traditional iconostases with even rows of individual icons enclosed in an order are installed in large pillared five-domed cathedrals, for example the Assumption Cathedral in Ryazan and the Trinity Cathedral in Pskov.
In addition to the 5 established ranks, 6th and 7th rows appeared in the iconostasis of the end of the century. They contain icons of the passion of Christ and the passion of the apostles (that is, their martyrdom). Rows 6 and 7 are placed at the very top of the iconostasis. They are in the iconostases already cited and in some others (the Great Cathedral of the Donskoy Monastery in Moscow). Their theme again comes from Ukrainian art, where it was very widespread.
The most unusual addition to the rows of the iconostasis were images of pre-Christian pagan philosophers, poets (Socrates, Plato, Virgil, etc.) and sibyls, placed near the floor under the icons of the local row. It was believed that although they did not know Christ, they sought to know God. Their images were accompanied by quotes from their books, in which, according to the icon painters, there were prophecies about Christ.
Sometimes this had a basis, as for example in the case of the Roman poet Virgil, but there were also words taken out of context and curious nonsense. These include the absurd inclusion in this series of Hellenic gods, into whose mouths words about Christ were put.
Thus, by the beginning of the 18th century, iconostases in Russia reached their maximum size. Their content has become excessive. The additions disrupted the clear iconographic structure of the 5-tier iconostasis. The decorative design of the iconostasis increased sharply, turning it into an architectural work.
Russian iconostases of the Synodal period
The church art of the Peter the Great era is distinguished by its radical innovations, in comparison with which the middle of the 18th century was more connected with the old tradition.
The architecture and painting of Russia begins to actively assimilate Western European forms. However, this process primarily affected the art of the capitals - St. Petersburg and Moscow.
In the provinces, the forms of church decoration for a long time retained the features of the late 17th century.
The most famous monument of the time of Peter I is the iconostasis of the Peter and Paul Cathedral in St. Petersburg, created in 1722-1726. The main decision belonged to D. Trezzini, the architect of the cathedral itself. The iconostasis was made by carvers headed by I. Zarudny.
It is designed in the form of a triumphal arch, similar to those that were built then to celebrate military victories. The opening of the royal doors is made unusually large, which allows one to see the space of the altar with the canopy above the throne. A small number of icons are inserted into a lush architectural frame, significantly different from the “Flemish” carvings in Naryshkin churches. Thus, the iconostasis finally turned into an architectural work. Painting does not occupy a dominant position in it; moreover, the iconostasis deliberately does not cover the altar with a solid wall.
The iconographic program of the Peter and Paul iconostasis is subtly thought out and reflects not only church dogmas, but also political ideas. For example, the icon of the Resurrection of Christ above the royal doors is associated with the military victories of Russia, and the canopy above the throne resembles the canopy in St. Peter's Cathedral in Rome. Elements of traditional iconography are collected here in an unusual order. For example, the relief image on the royal doors of the apostles with Christ in the rotunda church with the image of the Mother of God in the mandorla, which evokes a number of iconographic associations, carries a specially invented ideological concept. The icons are complemented here by a three-dimensional sculpture - Archangels on the sides of the royal gates, kings David and Solomon on the sides of the central icon of the Resurrection, a host of angels around the Lord of Hosts at the end of the iconostasis.
Orders and carved frames become an integral design of the iconostasis of Baroque churches. The iconostasis continues the architectural design of the interior. The iconography itself has also changed seriously. Icons began to be painted more often by artists who had undergone European training, while old icon painting moved to the provinces and acquired the character of a craft. Wooden gilded or painted sculpture became widespread. It could be performed both in a naturalistic European manner and in a more folk version, continuing the traditions of ancient Russian wooden sculpture. In the form of relief or sometimes three-dimensional figures, images of the evangelists on the royal doors began to be executed, as well as the Crucifixion crowning the iconostasis with those present.
In the middle of the 18th century, iconostasis returned to the more traditional form of a high solid wall with rows of icons. This is how the iconostases were designed in the palace churches built by B. Rastrelli (at present they are almost completely lost).
The iconostasis of the St. Nicholas Cathedral in St. Petersburg has been preserved. It is distinguished by the excessive splendor of its architectural decoration, consisting of columns entwined with garlands, loose entablatures, a beamed pediment, volutes, and sculptural figures. The composition of the icons here is very meager and is limited only to key moments: images of the local row, the “Last Supper” above the royal doors, “The Savior on the Throne”, and the “Crucifixion” at the end.
Of the Moscow works, the iconostasis by D. Ukhtomsky, originating from the Church of St. Paraskeva on Pyatnitskaya (destroyed). It is now installed in the Smolensk Church of the Trinity-Sergius Lavra, in keeping with its flamboyant Baroque architecture. The iconostasis consists of recessed and protruding parts, straight and curved planes, creating the effect of vibration of space. It is decorated with pilasters, entablatures with heavy cornices. The icons are enclosed in carved frames and complemented by statues of angels.
Although here and in other iconostases the icons are arranged in several rows, their subjects no longer necessarily form the Deesis, prophetic and forefathers ranks. Often in the center of the iconostasis, where the icon of the Savior on the throne is usually located, the “Resurrection of Christ” is placed. The icons of the upcoming ones can be replaced by scenes from the Gospel, the Acts of the Apostles, and the Old Testament. Thus, the traditional iconographic composition of the iconostasis is either destroyed, replaced by a free selection of icons, or is still preserved due to tradition.
Large multi-tiered iconostases in the Baroque style with the same features (order, carving, sculpture) have been preserved in Pereslavl-Zalessky (Cathedral of the Goritsky Monastery) and in the Assumption Cathedral of Vladimir. The latter was created by decree of Catherine II and replaced the old iconostasis of Andrei Rublev and Daniil Cherny (the 18th century was distinguished by misunderstanding and carelessness towards the works of previous eras. They tried to replace the decoration and icons of the Old Russian style with new ones that corresponded to the taste for European, or more precisely Italian, art).
Iconostasis of the Assumption Cathedral of the Goritsky Monastery.
Classicism, which replaced Baroque in Russia in the 1760s, caused corresponding changes in the decor of iconostases. However, in addition to simply replacing the features of one style with another, new compositional solutions for iconostases also appeared during the period of classicism.
Interesting are the projects of M. F. Kazakov, who built many of the churches in Moscow at the end of the 18th and beginning of the 19th centuries. For example, he designed the iconostasis of the manor Church of the Savior in Rai-Semenovsky. Although his plan was not fully implemented, and in Soviet times the iconostasis was completely destroyed, the etching project executed by M. F. Kazakov was preserved. According to it, the iconostasis was a huge classical triumphal arch with Corinthian columns. The arch was to be crowned by a wide triangular pediment with the Last Supper. Sculptural groups were supposed to be placed above the columns.
The low royal doors left a clearly visible altar with a canopy-rotunda and an image of the Lord of Hosts mounted on top. The iconostasis was made of marble and metal, no wood was used. The number of icons has become minimal, and their sizes are small. The whole idea of the iconostasis was a spectacular architectural solution.
The theme of the triumphal arch at the entrance to the altar was further developed. In 1834-36, O. I. Bove erected a new central chapel in Moscow for the church of the icon of the Mother of God “Joy of All Who Sorrow,” giving the temple the shape of a rotunda. The temple became one of the famous monuments of the Empire style. The central part of the iconostasis is designed in the form of a free-standing arch on columns. The arch is almost devoid of images; on top of it is a picturesque “Crucifixion” with the figures of those present. The iconostasis itself is a single-tier barrier of local icons standing under the arch.
What was new was the “Russian” decor, which actually contained motifs of columns, keel-shaped kokoshniks, and onion-shaped domes. Finally, the completion of the canopy with a tent was reminiscent of Russian architecture of the 16th-17th centuries. The composition of the icons was selected with knowledge of ancient Russian traditions. In total, the canopy had 4 rows of icons: local, festive, Deesis and prophetic with the Mother of God of the Sign in the center. At the same time, the style of the icons had nothing in common with ancient Russian icon painting, remaining academic.
“Russian” motifs in iconostases, as well as churches of the pseudo-Russian style, became widespread in the second half of the 19th century. They became the initial link in the study and development of the national tradition. In addition to the “Russian” direction, the “Byzantine” direction also appeared in churches of the eclectic period. The most famous (and perfectly preserved to this day) monument of the pseudo-Byzantine style is the Vladimir Cathedral in Kyiv, consecrated in 1896 (on the 900th anniversary of the baptism of Rus'). The idea of its construction, like that of the Cathedral of Christ the Savior, goes back to Nicholas I and Metropolitan of Moscow Philaret (Drozdov). But the construction and painting of the cathedral took place in a different era. The event was the paintings of V. Vasnetsov and M. Nesterov, oriented towards ancient icon painting, although still far from its style. The iconostasis of the cathedral was made in the form of a single-tier altar barrier with images of the local rank placed in the arches. The arches were supported by Byzantine-shaped marble columns. A Byzantine cross is installed above the high opening of the royal doors. The introduction of a low barrier was determined by the desire to make visible the paintings of the altar, included in the integral program of painting of the temple.
Iconostasis of the Vladimir Cathedral of the Zadonsk Nativity of the Theotokos Monastery.
At the beginning of the 20th century, the Art Nouveau style spread in Russia. In church construction it acquired special forms. During this period, in addition to numerous buildings in the spirit of eclecticism, some churches under construction received both an original architectural design and an appropriate form of interior decoration. There was also either an orientation toward Byzantium or Ancient Rus'. But the understanding of both the form and content of ancient monuments has become much deeper and more serious. The best iconostasis of this time could very accurately repeat historical forms, while possessing a coherent, independent image. Both stone barriers were made in the Byzantine spirit, as well as tyablo Russian iconostases with a basmen frame. In the icon painting of the pre-revolutionary decades, there was also a serious interest in traditional techniques and iconography.
Unfortunately, a huge number of works from these years were destroyed soon after the advent of Soviet power. A rare preserved monument is the iconostasis in the chapel of the Great Martyr. Demetrius of Thessalonica in the Assumption Cathedral in Moscow.
Modern iconostases
The confident development of Russian church art towards the study and assimilation of ancient traditions was interrupted by the revolution and the persecution of religion and the Church. At the same time, colossal damage was caused to the surviving monuments, including the destruction of many iconostases of the last period. At the same time, the scientific study of ancient Russian monuments intensified. The most important discoveries were made, many icons were found and restored, and the picture of the historical development of icon painting became clearer.
The creation of new icons and church decorations continued in the Russian emigration. Art work took place both in Europe (especially Paris) and in America.
Orthodox parishes became not just a haven for Russian communities, but also began to attract Europeans and Americans. The focus was on the style of ancient icons. However, the form of a high iconostasis lost its relevance; a low altar barrier turned out to be more in demand. This was influenced by the local tradition of Catholicism and Protestantism. If in the early period there were curtains and barriers in the temples of Western Europe, as in the East, then later they disappeared. For people of another culture, the complete closure of the altar from the eyes of those praying was unusual and incomprehensible. In addition, the problem became the understanding of the iconostasis in Orthodoxy itself.
The iconographic composition and its meaning were largely forgotten.
Often the iconostasis was perceived as a blank wall made up of a random accumulation of icons, interfering with the perception of the service. The reason for this was a real decline in the construction of temple decoration during the Synodal period.
The composition of icons in iconostases during the Synodal period was either scarce or distorted.
Theoretical works on icon painting appeared, aimed at studying and revealing the meaning of the iconostasis and its role for worshipers.
Modern icon painting is actively developing in Greece, Cyprus, the Balkans and other Orthodox countries. Iconostases in Greek churches follow the Byzantine and local post-Byzantine tradition. They have the form of a low wooden or stone barrier with 1-2 tiers of icons.
Iconostasis of the Church of the Icon of the Mother of God “The Sign” in Pereyaslavskaya Sloboda, Moscow.
In the USSR, revival in the life of the Church began after the Great Patriotic War. Repairs and restoration of the decoration of some of the returned churches began. The famous icon painting school appeared in the Trinity-Sergius Lavra, which arose as a result of the works of the largest icon painter of the Soviet era, nun Juliania (Sokolova). The works of Archimandrite Zinon (Theodore) are widely known, for example, the iconostases in the Pskov-Pechersk Monastery and in the lower aisles of the Church of the Fathers of the Seven Ecumenical Councils of the Danilov Monastery in Moscow.
Since the late 1980s, active opening of churches and their restoration began. In Russia in the 1990-2000s, colossal artistic work was carried out. Many iconostases are created, both of different styles and different levels of skill. Five-tiered chapel iconostases in the style of the 15th-16th centuries. can be seen in the Cathedral of the Sretensky Monastery and at the Trinity Compound in Moscow. In many churches of the 17th century, iconostases with Flemish carvings and decorative iconography characteristic of this period are being restored. Some workshops perform masterly carving in the 18th century Baroque style, including sculpture. The interiors of classical churches are sometimes decorated with iconostasis of architectural forms characteristic of the era. At the same time, icons can be made both in the academic style and in the Old Russian or Byzantine style. In some cases, ancient icon painting fits well into a classic interior.
Iconostasis of the Church of the Nativity of the Blessed Virgin Mary, Kursk-Root Hermitage. . The work of the masters
However, the surge in work on recreating iconostases and installing them in new churches also has its negative sides. The creation of iconostasis in some cases turns into a tricky craft, which has a detrimental effect on quality. This applies to both the architectural design and even more so the execution of icons.
Iconostasis of the Church of the Icon of the Mother of God Joy of All Who Sorrow in Pechatniki, Moscow. The work of the masters of the Holy Trinity Brotherhood, Shchigry.
Currently, there is no single stylistic direction, so the shape and decor of the iconostasis, as well as the style of execution of icons, can be very different. The best results are achieved by a strict focus on the best works of antiquity, but often the main reference points are the iconostasis of the synodal period and the eclectic period.
Particularly painful are the iconographic shortcomings in the construction of the iconostasis, which distort its ideological meaning.
The structure and content of Russian iconostasis is strictly regulated by the canon, but, despite this, each of them is unique and unlike the others. Some altar barriers grow many meters in height and include several dozen icons. Others contain only two or three rows of several images, but amaze with the richness of their artistic decoration, paintings and carvings. Only two rows are required for any iconostasis: the Deesis row, in the center of which is the icon of Christ Pantocrator or “The Savior in Power,” and the first, called the local row.
The local row is located at the level of the passages to the altar and is a kind of “face” of the iconostasis. Here is a temple icon dedicated to the holiday or saint in whose honor the temple was built. Here are also images of the revered saints who are most revered in this particular parish.
Historically, the local row comes from icons that leaned against the supports of the altar barrier. To the left of the Royal Doors there was usually an icon of the Mother of God, to the right - of Jesus Christ. In rare cases, they were replaced by images of the Mother of God and the Lord's holidays. With the advent of high Russian iconostases in the 14th century, which completely separated the altar from the naos, the number of images in the local row increased. The tradition of placing temple icons in the iconostasis dates back to this time, which includes, in particular, the famous “Trinity” by Andrei Rublev.
The composition of the local row in the classical Russian iconostasis is built around three passages to the altar. In the center are the Royal Doors, on the doors of which the Annunciation and the figures of evangelists or saints are traditionally depicted. On either side of the passage there are paired images of the Mother of God and the Savior. Next to the image of Jesus Christ, on the right side of the Royal Gate, there is a temple icon. The doors of the side deacon's gates are covered with images of archangels, archdeacons, high priests or Old Testament prophets.
