Relevant bibliographies by topics / Icon painting – Russia

Academic literature on the topic 'Icon painting – Russia'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Icon painting – Russia"

1

Yurieva, Tatiyana V. "FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.

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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.
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Nikolskaya, Tatyana M. "Tambov icon painting direction as a way to preserve and enhance the traditions of statutory icon painting." Neophilology, no. 24 (2020): 807–18. http://dx.doi.org/10.20310/2587-6953-2020-6-24-807-818.

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We consider the current situation associated with the revival of icon painting traditions. It is believed that the icon, despite all the difficulties of understanding, is the element that contributes to the revival and formation of internal foundations, so necessary at the current stage of society development. The work traces the situation associated with the destruction of traditional spiritual values in the post-revolutionary period. We tell about those people who, in such a difficult time, tried to preserve the basic dogmatic canons of icon painting. We prove that it is their constant desire to preserve and spread the original values, as well as tireless work, that help such a vibrant cultural heritage not disappear. We analyze the features of traditional statutory icon painting existence in Tambov. We substantiate that the emerging Tambov icon painting direction with its own traditions, development stages and expressive means, based on the pious and artistic expe-rience of our ancestors, preserves and enhances the icon painting traditions in Russia. Also, the use of malachite color gives the created images uniqueness, filling them with its own semiotic context. We note the peculiarities of this direction. We conclude that it is necessary to revive a highly spiri-tual personality by studying this direction.
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Nicholsky, E. V., and Dorota Walczak. "HERETICAL MOVEMENTS: THE FIRST INCENTIVE FOR THE DEVELOPMENT OF RUSSIAN THEOLOGY OF THE ICON ITSELF AND RUSSIAN POLEMICAL LITERATURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (July 15, 2020): 492–96. http://dx.doi.org/10.35634/2412-9534-2020-30-3-492-496.

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This article is devoted to the analysis of the influence that the emergence of heretical movements had on the development of Russian theology of the icon. The theological idea of icon painting appeared in Russia only in the 16th century and its beginning was connected precisely with the spread of heretical movements - Strigolniki and “Judaizers”, who rejected icon veneration. The polemic with heretics, expressed in the epistles of St. Joseph of Volotsk, helped to develop new aspects of the theology of the icon, especially since regardless of some terminological and factographic errors, St. Joseph defended not only the veneration of icons in itself, but also began to justify the specific iconic plot, which was the Old Testament Holy Trinity.
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Etinhof, Ol’ga E. "“CHRIST PANTOCRATOR” OF THE 13TH CENTURY FROM THE COLLECTION OF RUBLEV MUSEUM IN THE CONTEXT OF GREEK-RUSSIAN RELATIONS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 98–113. http://dx.doi.org/10.28995/2686-7249-2022-1-98-113.

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It still seems to me correct to date the icon “Christ Pantocrator” from the Rublev Museum back to around 1200 or to the first quarter of the 13th century, that is, the pre-Mongol period. Masterfully painted, but far from the refined roots of the Constantinople style, the icon bears clear signs of the art of Northern Greece and Macedonia, and the tradition of Kastoria seems to be especially close. The origin of the object remains unclear; it could have been the work of both a Greek and a Russian master. However, even if we consider both the icon board and its painting to be by Russians, it is very close to Byzantine art, and precisely of this region. Probably, such closeness is an indication of the influence of Northern Byzantine art on the development of regional features of the painting of 13th century North-Eastern Russia.
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Konstantinova, Elena Yu. "PAVEL FLORENSKY’S CONCEPT OF THE ICON." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 19–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-19-32.

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This article is an analysis of the concept of the icon as seen by Pavel Florensky, a priest, philosopher of religion, and theologian. He expressed his views on the art of icon painting in the articles The Church Ritual as a Synthesis of the Arts, Devotional Icons of St. Sergius of Radonezh, and Reverse Perspective, as well as his work Iconostasis. Florensky’s theory is of great interest for art history, contributing to it not only by highly evaluating Russian icons of the 14th and 15th centuries but also by offering a new approach to realism in art. Yet as his concept is complex, it is also controversial. Viewing the icon as a work of art and following Plato’s philosophy, Florensky believes the objective reality of the Realm of Ideas to be the basis of artistic creativity in general and icon painting in particular. According to him, the creation of art is not an artist’s subjective search for the ways of self-expression but the result of the soul’s ascent to the truth, the world of prototypes. The icon reflects divine reality and is thus realistic in nature. Highly evaluating the icon painting in the 14–15 century Russia, he believes Andrei Rublev’s Holy Trinity to be an art masterpiece. However, developing his concept, Florensky discards the term “image”: for him, the icon is merely a symbol pointing to the prototype. The artistic image is born in the artist’s soul and exists independently from the icon, and can then be born in the soul of the beholder, who is guided to the prototype by the symbol. This is how the icon, as a result of artistic creation, is reproduced in the person viewing it. Florensky underlines the importance of aesthetics in assessing an icon, for a work’s artistic perfection is inseparable from its ability to testify to the prototype, and beauty is measured with the truthfulness of this testimony. Yet by acknowledging the fact that all icons created according to the canon are of the same value, he renounces the artistic criterion and makes the masterpieces of icon painting equal to many other artworks of average quality. For Florensky, the icon is an integral part of a synthetic work of art – the church ritual – and its existence as an art phenomenon is dependent on certain conditions: if these are not met, it “dies” as art.
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Rebinsky, G. A., E. S. Gamov, A. V. Martynova, and S. B. Tonkovid. "Temple Art and Icon Painting at The Universities - the Spiritual Formation of Students in Russia." International Journal of Engineering & Technology 7, no. 3.5 (July 7, 2018): 54. http://dx.doi.org/10.14419/ijet.v7i3.5.15202.

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This article shows the results of the research of the term "icon". The importance of icons in the Orthodox Church is shown. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. Information on achievements in the field of icon painting at the Lipetsk State Technical University is adduced. (FSEI HE «LSTU»)
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Dobrolyubov, Petr. "Painting as a prayer of the spirit." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.

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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.1975) - a student of I.I. Mashkov, N.P. Krymov, G.G. Ryazhskiy, K.F. Yuon, V.V. Krainev, P.I. Kotov, V.I. Finogeev, K.G. Dorokchov. Dobrolyubov V.P., was the veteran of the Great Patriotic war (1941-1945), - the 75th anniversary of the Victory which we celebrate this 2020 year. The author analyzes the paintings of V.P. Dobrolyubov - a natural colorist, nugget, artist, philosopher and citizen of his country. His thoughts on the art of painting based on the beauty and traditions of the Russian school of iconography were the Foundation, the spiritual platform, for all of his painting, created in a short period of life. The author's paintings Dobrolyubov V.P. is of well-deserved interest for art studies and make a worthy, significant contribution to it not only by their high appreciation of color, color spot, and lyrical appearance, but also as works of the history of Russian painting and in particular, the Moscow school of painting, 30-60-ies of XX century, of which he was a representative. Also noteworthy is his understanding of art, his creative pictorial, original, author's handwriting, and also an amazing vision of color and color spot, his own, individual. As well as the interpretation of personal perception, the attitude and understanding of the fundamental foundations of realism in the domestic and world fine arts, expressed and approved in their own, no one repeats, coloristic pictorial language. Dobrolyubov V.P. considered icons, the Russian icon, as a work of art, which following the tradition of Byzantine masters of iconography, undoubtedly constitutes the core of the soul of the artistic creative process, and especially the work of iconographers such as Andrei Rublev, Theophanes the Greek, Vladimir-Suzdal, Moscow, Yaroslavl school of icon-painting as an objective reality of the world of spiritual images in their own work. Artistic creativity, in his opinion, as a representative of the Moscow school of painting, is not an abstract search and self-expression of the artist's beliefs and ideas, but the result of a deep, divine transformation of the soul, its path to truth and to the foundations of realistic art, through the perception of artistic images. Russian iconography of the XIV-XVII centuries, brought to Russia from Byzantium, Dobrolyubov V. P. considered the Russian school of iconography the main, unsurpassed, imperishable Foundation and a masterpiece of Russian fine art. Everywhere in his memories, in his understanding of the basics of art, the artist renounces the concept of copying the image and the icon for him is like a conditional historical symbol, indicating the spiritual image of past centuries. An artistic image is born in the soul of the painter and of course exists outside of iconography, but then it can appear in the minds of other people who contemplate the master's canvases, in which the image of the universal universe and the beauty of the universe is encoded, if you want, encrypted in the very deep images of Russian iconography. Therefore, the icon itself, its image and composition, as a work of art created once in the depths of past centuries, is personified in the mind of the author, as grace and inspiration sent from heaven. Dobrolyubov V.P. confirms the aesthetic and spiritual platform created for any person. Therefore, Russian icons created as spiritually and artistically perfect, self-sufficient works of Russian culture are inextricably linked to the General process for Russian art history, its ability to testify to its highest level in the hierarchy of world art. For the artist Dobrolyubov, Russian iconography is an inseparable part of his spiritual platform, and his works of painting – and, temple art, in conjunction with ancient Russian architecture, with the interiors of churches and their decoration, as well as the sacrament of divine services, baptisms, weddings and funerals, and are the most essential foundation, being, as the very artistic image of all his art work and now, in 2020. Today, 45 years after his death in 1975, his artistic paintings are just as beautiful and heartfelt.
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8

Makhonina, Valeria A. "Sketch 'God the Father beholding dead Christ' of Vladimir L. Borovikovsky as a synthesis of the western European and the Orthodox tradition." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 72–83. http://dx.doi.org/10.36340/2071-6818-2022-18-1-72-83.

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Vladimir Lukich Borovikovsky, little Russian icon painter and St. Petersburg portrait painter, combined western European painting language and the Orthodox religion in his creativity. The sources of the painter's susceptibility to western European influence lie in his Ukrainian origin — the atmosphere of active interaction of Orthodox and Catholic cultures developed in Little Russia of XVIII. At XVIII—early XIX century icon and temple painting was approaching secular art and came under influence of European baroque and academism. Religious painting, that is the subject of the study, occupied an important place in the creativity of the painter. Master's icons and pictures demonstrate nontrivial iconographic, conceptual and dogmatic solutions. The sketch 'God the Father beholding dead Christ' from collection of the State Tretyakov Gallery is example of an original thought of the artist, who based it on the western European composition scheme, but gave it new meaning. The study theme is exploring features of interpretation by V. Borovikovsky of Catholic the Holy Trinity iconography. In order to identify specific motifs and ideas borrowed from Western European art and the Orthodox iconography of the Otechestvo (the Fatherland), which influenced the composition of the sketch, a comparative iconographic and stylistic analysis of works with similar iconography was carried out: with a fresco from the church in Marino (Rome) attributed to Guidoreni, and a painting by P.P. Rubens 'The Holy Trinity'. The iconographic analysis showed connection between of the sketch and wester European scheme 'God the Father contemplating the dead Christ', which goes back to iconographies 'God the Father holding a Crucifix' and Pieta, and to orthodox iconography Otechestvo. V. Borovikovsky rethinks traditional motifs, typical for the European painting (motifs of parental grief and reminder of sinfulness) and for the Orthodox icon painting (motifs of triumph over death). Stylistic analysis showed that the master formulates his own interpretation of the images of God the Father and God the Son, unifying both the Orthodox and the western European approaches. V. Borovikovsky borrows reception of relationship the Sabaoth and Christ as loving the Father and the Son, but doesn't borrow tragic reception of the plot, replacing it with the idea of the comprehensive divine love and the triumph over death. Thus, V. Borovikovsky combines icon symbolism and immediacy of realistic painting.
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Petrova, Evgeniya I. "PRESERVATION OF ICON-PAINTING HERITAGE IN RUSSIA (based on Yaroslavl regional materials)." Tractus Aevorum 3, no. 2 (2016): 139–46. http://dx.doi.org/10.18413/2312-3044-2016-3-2-139-146.

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Крупина, О. В. "Newly discovered icon “The Intercession of the Theotokos” by the Vyatka icon painters Kuznetsov from the collection of the Vyatka Art Museum." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 104–11. http://dx.doi.org/10.46748/arteuras.2022.02.010.

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Статья посвящена иконе «Покров Пресвятой Богородицы», которая поступила в собрание Вятского художественного музея по результатам экспедиции в п. Лальск в 1976 году. Состояние сохранности памятника вызывало серьезное беспокойство. После плановой реставрации удалось получить один из замечательных образцов иконописного искусства. Кроме того, была открыта подпись, позволяющая датировать икону 1734 годом, а также были открыты имена династии иконописцев — Стефан Артемиевич Кузнецов (1707–?), Иван Григорьевич Кузнецов (1707–?), Борис Григорьевич Кузнецов (1687–?). Исследовательский интерес вызывает выбранная авторами иконография праздника Покрова Пресвятой Богородицы и отражение в ней традиций ведущих иконописных школ России и местных традиций. В статье представлены результаты реставрационных работ и искусствоведческо-стилистического анализа иконы. Она является одним из редких произведений древнерусского искусства с выявленным авторством и датированным памятником вятского иконописания первой половины XVIII столетия. The article is devoted to the icon “The Intercession of the Theotokos (the Protection of Our Most Holy Lady Theotokos and Ever-Virgin Mary)” from the collection of the Vyatka Art Museum. The researchers discovered the icon of the expedition to Lalsk in 1976. The state of preservation of the monument caused serious concern. As a result of the planned restoration, it was possible to obtain one of the remarkable examples of icon painting art. In addition, a signature was discovered, allowing the icon to be dated 1734, and the names of the Kuznetsov dynasty of icon painters were also discovered. The iconography of the Feast of the Intercession of the Theotokos chosen by the authors is of research interest. As well as the reflection in it of the traditions of the leading iconographic schools of Russia and local customs. The icon is another newly discovered signed and dated monument of Vyatka icon painting of the first half of the 18th century.
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Books on the topic "Icon painting – Russia"

1

R, Milner-Gulland R., ed. Icon and devotion: Sacred spaces in Imperial Russia. London: Reaktion, 2002.

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Arts, Royal Academy of, and Schirn Kunsthalle Frankfurt, eds. The art of holy Russia: Icons from Moscow, 1400-1660. London: Royal Academy of Arts, 1998.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia). Russkiĭ muzeĭ: Ikony. Moskva: Izd-vo "Galart", 1997.

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I͡Azykova, I. K. Bogoslovie ikony. Moskva: Izd-vo Obshchedostupnogo pravoslavnogo universiteta, 1995.

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Ikonenmuseum der Stadt Frankfurt am Main, Stiftung Dr. Schmidt-Voigt, ed. Unbekanntes Russland: Ikonenmalerwerkstätten der Altgläubigen im 18. und 19. Jahrhundert : Vetka, Guslicy, Nev'jansk und die Werkstatt Frolov in Raja = Neizvestnai︠a︡ Rossii︠a︡ : ikonopisnye masterskie Staroobri︠a︡dt︠s︡ev XVIII i XIX vekov : Vetka, Guslit︠s︡y, Nevʹi︠a︡nsk i masterskai︠a︡ Frolova v Rae = Russia unknown : Old Believer icon-painting workshops in the 18th and 19th centuries : Vetka, Guslicy, Nev'jansk and the Frolov workshop in Raja. Frankfurt am Main: Henrich Editionen, 2010.

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Kost︠s︡ova, A. S. Drevnerusskai︠a︡ zhivopisʹ v sobranii Ėrmitazha: Ikonopisʹ, knizhnai︠a︡ miniati︠u︡ra i ornamentika XIII-nachalo XVII veka. Sankt-Peterburg: "Iskusstvo-SPB.", 1992.

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Nikitich, Lazarev Viktor. Russkai͡a︡ ikonopisʹ: Ot istokov do nachala XVI veka. 2nd ed. Moskva: "Iskusstvo", 1994.

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Popov, G. V. Tverskai︠a︡ ikona XIII-XVII vekov: [alʹbom]. Sankt-Peterburg: Izd-vo "Avrora,", 1993.

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N, Trubet͡skoĭ E. Tri ocherka o russkoĭ ikone. Moskva: InfoArt, 1991.

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Vorobʹev, Nikolaĭ Aleksandrovich. The history and art of the Russian icon from the X to the XX centuries. Manhasset, N.Y: Siamese Imports Co., 1986.

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Book chapters on the topic "Icon painting – Russia"

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"Chapter Four. Solntsev And The Reform Of Icon Painting." In Visualizing Russia, 75–84. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004183438.i-184.13.

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Kriza, Ágnes. "Depicting Orthodoxy in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 188–218. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0010.

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An outline of the history of mural and icon-painting in Novgorod demonstrates that the pictorial references in icons to church constructions, interiors, and their mural decorations had a long-standing tradition in Novgorod. Over time, these references became more and more explicit, so that they identified the Christian Church recognizably and exclusively with Byzantine Orthodoxy. The first half of the chapter analyses church decoration and the second icon-painting of Novgorod, thus seeking to explore the direct iconographic roots of the Wisdom icon. The chapter discusses the meaning of the prepared throne (Hetoimasia) in the Novgorod Sophia image, its light symbolism, and the development of anti-Latin ecclesiological iconographies in Novgorod.
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Khokhlova, Irina L. "Image of Feats of Repentance in the Ladder and in the Hagiographic Icon of John Climacus." In Hermeneutics of Old Russian Literature. Issue 21, 495–513. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-495-513.

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The article examines image of feats of repentance in the Ladder and in the hagiographic icon of John Climacus. The ascetic composition of the Byzantine Saint John Scholasticus The Ladder of Heaven has a rich history of embodiment in old Russian painting. The original type of iconography, born of the Ladder, are the scenes of monastic exploits in the monastery-dungeon, described in the Word 5 On Repentance. A developed cycle of images of repentance scenes of monastic recluses surrounds mullion of the recognized masterpiece of the last third of the 16th century — the icon Vision of St. John of the Ladder with 24 Stamps of Life and Exploits from the collection of the Rybinsk Museum-Reserve. The purpose of study is to trace in this rare monument nature and features of translation of the fifth chapter of the Ladder from literary to pictorial language. The tasks of studying an icon are to determine its closest iconographic and stylistic analogies and protographs in frescoes, icons, miniatures. This will clarify the dating and attribution of the icon. Using a method of comparative analysis of text and image, a method of iconographic and stylistic comparisons, an iconological method, author finds parallels between hagiography and iconography. A consistent comparison of the icon’s brands with similar scenes of monks’ repentance in the fresco of the western gallery of the Annunciation Cathedral of Moscow Kremlin (1508–1564) and in the miniatures of the manuscript Ladder of the 1520s–1530s from the RSL (Russian State Library) proves the obvious close acquaintance of the icon’s author with these monuments of metropolitan origin. The uniqueness of iconography and elitism of icon’s writing lead to the conclusion that it was written by a Moscow isographer by royal order, probably as an image of the patron saint of prince Ivan, the son of Ivan the Terrible.
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"General Information on Russian Icons and Frescoes." In The History of the Discovery and Study of Russian Medieval Painting, 1–10. BRILL, 2018. http://dx.doi.org/10.1163/9789004305274_002.

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Kriza, Ágnes. "Representations of Wisdom in Rus." In Depicting Orthodoxy in the Russian Middle Ages, 67–76. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198854302.003.0005.

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The second ‘Image’ part of the book places the Wisdom image in the context of late Byzantine and medieval Russian art, and investigates the validity of the claims of the first ‘Word’ part about the meaning of the Novgorod Sophia icon. This chapter surveys two major sophiological themes of medieval Russian painting with a female or genderless figure of Wisdom: ‘Wisdom has built her house’ illustrating Proverbs 9:1–5 and the representations of Evangelists inspired by Wisdom. These iconographies appeared in late fourteenth-century Novgorod painting for the first time and are apparently intertwined. The link between them is created by the Sophiology of the fourth-century church father, Athanasius of Alexandria who distinguishes between two—created and uncreated—wisdoms which are distinct but united in the Person of Christ. However, this Novgorodian interest in representations of Sophia was driven primarily not by Christological debates, but by the fact that Novgorod’s main church, built between 1045 and 1050, is dedicated to St Sophia, the Wisdom of God.
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Alaverdov, Emilia. "Religious Tourism as a Source of Knowledge Sharing and Trading." In Accelerating Knowledge Sharing, Creativity, and Innovation Through Business Tourism, 132–48. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3142-6.ch008.

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Religious tourism in the 21st century is presented in one form or another in many segments of the tourism business, and even in those that are not directly related to it. The goals of religious tourism at present are the knowledge of traditional cultures, the history of religions, national religious traditions, rituals, ceremonies, and ceremonies, participating in them as spectators, acquaintance with unique architectural monuments, including the traditional methods of building religious buildings, with masterpieces of icon painting, sculptures, mosaics, and decoration. In the modern scientific community, there is a stable definition of tourist trips associated with visiting religious sites for various purposes. This chapter explores religious tourism as a source of knowledge sharing and trading through a Russian case.
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