The Kazan icon of the Mother of God Iconography of the blessed virgin Mary
Image of the virgin occupied a special place in Christian iconography, indicating Its significance in the life of the Church. The veneration of the Theotokos is based on the dogma of the incarnation: "the Indescribable word of the father, of the mother of God you opisana voprosami..." [1] so for the first time Her image appears in such stories as "the Nativity" and "adoration of the Magi". Hence subsequently develop other iconographic themes, reflecting the dogmatic, liturgical and historical aspects of the veneration of the virgin. About the dogmatic value of the image of the virgin shows Her image in the altar apses, as She represents the Church. The history of the Church from the prophet Moses, before Christ appears as the effect of the Fishery on the birth of The one through Which is realized the salvation of the world, so the image of the virgin occupies the Central position in the prophets ' row of the iconostasis. The development of historical themes is the creation of the life cycles of the virgin. An important aspect of veneration of the virgin, which witnessed numerous miraculous icons is the belief in Her intercession for the human race "for all days". The main directions of the veneration of the virgin appeared in various forms. She dedicated temples, Her image occupies a Central place in the temple decoration, largely determining its symbolism. A variety of different types of iconography of the virgin, common icons, objects of plastic art, including jewelry Marian images. Icon of Mother of God and their liturgical veneration was promoted by the addition of developed liturgical ranks, gave impetus hymnographic oeuvre has created a body of literature — stories about icons, which in turn was the source of the further development of iconography.
The veneration of Mary developed first of all in Palestine. With the cities of Nazareth, Bethlehem and Jerusalem were associated with the most important events in the life of the virgin, was kept there Her relics and Her first icon. In these places temples were built in honor of the Annunciation and of the Nativity. A significant centre of veneration of the virgin was Constantinople, where I was the oldest Marian icons and shrines, erected temples in Her honor, and the city was conceived under the cloak of the blessed virgin. After the third OEcumenical Council the veneration of the virgin Mary is widespread throughout the Christian world. From the VI an important role in the veneration of the Theotokos play icon of Mother of God.
The enthroned mother of God
The main types of images of the virgin Mary has been our dolnomoravsky period, the earliest are in the frescoes of the Roman catacombs: the image of a seated woman with a naked baby in cubicule Velato the catacombs of Priscilla (2-I floor. II V.— 1-I floor. III C) is interpreted as the image of the virgin in the catacomb of Priscilla preserved fresco, representing the virgin on the throne in the scene of "adoration of the Magi" (IV century). Decisive role in the composition of the iconographic type of the "virgin on the throne" was played by the paintings in the Church of Santa Maria Maggiore in Rome (432-440), where for the first time in Christian art this image was represented in the conch of the apse (not preserved). The image of the virgin on the throne, put the V century in the conches of the altar apse, replaced stationed there in the earlier era image of Jesus Christ (Cathedral of St. Eufrasiana in poreč (Croatia), 543-553 - Panagia Kanakaria in Lythrangomi (Cyprus), 2nd Thursdays. VI.). Image the virgin on the throne are also found on the walls of the Central nave basilicas (Sant'apollinare Nuovo in Ravenna, VI century - vmch. Demetrius at Thessalonica, VI. - and Felix's Adaucta in the catacombs of Priscilla in Rome VI century), icons (e.g., from mon-OC Vic. Catherine at mount Sinai, VI.), as well as in the works of small plastic art (e.g., ampoules Monza (Treasury of the Cathedral of St. John the Baptist in the city of Monza, Italy), the diptychs (Awori, VI., GOS. museums of Berlin)).
Orans
Another common type of image of the virgin Orans is where the virgin Mary is represented without the child with uplifted praying hands (eg. on the ampoules from the Treasury of the Cathedral of Bobbio) (Italy), for the relief of the door of the Church of Santa Sabina in Rome, approx. 430, on the miniature from the rabbula Gospels [2], the frescoes of the apse of Mont-RYA PRP. Apollonia in Bawiti (Egypt, VI century) and the chapel of San Venanzo in Rome (C. 642), as well as on the bottoms of glass vessels [3].
Hodegetria
One of the most common is the image of the virgin Hodegetria, named after the Ecumenical Church, which housed the revered icon. According to legend, it was written by the Evangelist Luke and sent from Jerusalem uti. Evdokia. The earliest image of the virgin preserved in miniature from the rabbula Gospels [4]. The icons of this type, the virgin holds the Infant on her left hand, right outstretched to Him in prayerful petition.
Miraculous image of the virgin
In the period of iconoclastic persecution was widely known miraculous image of the virgin, according to legend arose during the life of the blessed virgin on a pillar in the temple built by the apostles in the city of Lydda. A list with the miraculous image brought from Palestine by Patriarch Herman, revered as miraculous Lidsky (Roman) mother of God (the image of the virgin with the Infant on his right arm).
Nicopeia
Special reverence had in Constantinople the image of the virgin of Nicopeia holding with both hands, like a shield, a medallion depicting the Infant Christ. This image first found on the seals imp. Mauritius (582-602), kotorogo, according to the legend, the icon was accompanied by wars. With the Emperor Mauritius also connects the establishment of the feast of the assumption. Image of the Mother of God with an oval icon of Christ in the hands of the famous in the paintings of the monastery of the PDP. Apollonia in Bawiti and the Church of Santa Maria Antiqua in Rome (VIII century).In the East in this period were circulated image of the virgin of Mlekopitatel (frescoes in the monasteries of St. Jeremiah at Saqqara (V C) and PRP. Apollonia in Bawiti), emphasizing the theme of motherhood and the incarnation of God.
Appeared in early Christian art types of images of the virgin have been further spread and development in the art of Byzantium, the Balkans, the Ancient Rus. Some iconographic harass preserved almost without changes, for example the image of the virgin on the throne with the Infant Christ, seated frontally on his Mother's lap, She holds His right hand at shoulder, and left leg. Such an image often represented in the conch of the altar apse (in the cathedrals. Sophia of Constantinople, 876 - in the katholikon of osios Loukas monastery in Phocis (Greece), 30-ies of the XI century - Church of the great Martyr. George in Old-Nagorichino (Macedonia), 1317-1318, worked at the Church of the Nativity of the virgin in Ferapontov monastery, 1502, etc.).
A repetition of the ancient sample is an image in the altar of the Church of St. Sofia in Ohrid (30-ies of the XI C.) our lady of Nicopeia holding the image of the Baby in the locket, however, polycarobonate period became widespread type of mother of God of Nicopeia (growth) with the child, are not in the medallion (eg. in the Church of the assumption in Nicaea, 787 (not preserved.)- in St. Sophia of Constantinople, 1118 - in the Cathedral, Gelati monastery, approx. 1130). The type of the virgin with a child in a medallion known in several versions: with the image in front of chest, to the growth of the Orans, Blachernitissa (the Great Panagia) (marble relief, XII century from the Church of Santa Maria Mater Domini in Venice - icon of the Mother of God with the prophet Moses and Patriarch Euthymius (XIII century, the monastery of Vic. Catherine at mount Sinai), the icon "Yaroslavl Orans" (XII C, TG)- the painting of the Church of our Savior on Nereditsa, 1199 (picture not save.)), and the depiction (in the Russian tradition known as "the Sign", for example. the mother of God icon from the St. Sophia Cathedral in Novgorod, around 1160 - a mosaic of the narthex of the Chora monastery (Carrie-Djami) in Constantinople, 1316-1321). Numerous iconographic options given the type of the Hodegetria, which includes such miraculous icons, as the Smolensk, Tikhvin, Kazan and others.
Polycarobonate period
In polycarobonate period subject to the images of the mother of God Eleusa (Merciful), Glykophilousa (Sweet kiss - in the Russian tradition of Affection), also known under the name of Blachernitissa (the icon of the XII century, the monastery of Vic. Catherine at mount Sinai), where the virgin Mary and the Infant depicted in the mutual fondling (fresco from the Church Tokali-Kilis province, Cappadocia (V. X), Vladimir, Tolga, Donskaya icon of Mother of God, etc.). This kind of image highlights the theme of motherhood and future suffering of the infant, most pronounced in Pelagonitissa — the miraculous image of Pelagoniski diocese in Macedonia. In the Russian tradition, this icon was called "Wygrana" (the fresco of the monastery of the great Martyr Church. George in Old-Nagorichino (Macedonia), 1317-1318 - icon from the monastery of the Transfiguration in Zrze (Macedonia), XIV century), as a Baby it shows escaping from the hands of the virgin. The theme of Christ's suffering is expressed also in the iconography of the Holy virgin Mary, usually presented in the type of the virgin (fresco from the Church of Panagia Arakos in lagoudhera) or Tenderness (Russian icon of the XIII century, THOM - the icon of the XV century (Byzantine Museum)), with angels on the sides that hold the instruments of the passion.
Image of the Mother of God in prayer in addition to the frontal position can represent the figure in a 3/4 turn. Such images are known from dolnobanska time. Hands stretched virgin prayer to Christ, eg., so in images of the Mother of God of Hagiosoritissa (Chalcoprateia) (mosaic in the Church of the great Martyr. Demetrius at Thessalonica, VI. (chimes) miniature from the Christian topography of Cosmas Indikoplov [5]- the icon of the XII century (the monastery of the Vic. Catherine at Sinai) icon from the assumption Cathedral of the Moscow Kremlin, XIV century) and in the compositions of the Deesis and of the Mother Paraklisis (Patron), holding in his hand a scroll with the text of the prayer, addressed to Christ (mosaic of the great Martyr Church. Demetrius, VII century - the Bogolyubovo icon of the Mother of God (assumption Cathedral of the Knyaginin convent in Vladimir, ser. XII century)- the icon of the Cathedral in Spoleto (Italy)- the XII century, the mural of the Cathedral of Mirozhsky monastery in Pskov, XII century mosaic of the Church of Martorana in Palermo (Sicily), XII century).
Often the names of certain iconographic types are identified with the epithets of the virgin, or are place names indicating the place where the revered image (in the Russian tradition, they got their name, not always literally sending the original), and can meet the icons of different versions of the scene. Mentioned icon of the Eleusa type from the monastery of Vic. Catherine at mount Sinai (XII century), accompanied by the inscription "Blachernitissa" that is associated with the existence of the revered image of this type in the Blachernae Church of Constantinople. On the mosaic icon of the same type from the Byzantine Museum (XII century) written in the guide, the for or the patroness of images of God can have the inscription "Eleousa" (monastery of chilandar, Athos, XIV C.), "Beautiful" and "Desesperately" (both from the XIV century, the Museum in Ohrid (Macedonia))- "Prilagodite" and "vsetsaritsa" (both — XVI V., SCAM), etc. - on the icon of the virgin Orans, with image of Baby in front of a chest labeled "a guide" (XV?, CAC MDA).
Symbolic epithets of the virgin can be the name of a specific iconographic type. Such icons include, e.g., the image of the virgin "life-giving spring", located in the eponymous Church near Constantinople. Mother of God is depicted waist-deep in file (the fountain), without the child, with upraised praying hands (mosaic of the Chora Church in Constantinople - Church of St. Archangels in Lesnovo (Macedonia), 1347-1348), or with an Infant, Whom She holds with both hands (the fresco of the monastery of St. Paul on mount Athos, 1423 - Russian icon 1675, Tsmiar). Especially widespread in the Russian media were distributed icons, based on literary epithets of the virgin, such as "Immortal flower", "the Blessed Womb", "perishing", "All the afflicted", "surety of sinners", "the burning Bush", "Gore narukana", "Impenetrable Door", etc.
Marian iconography based on liturgical texts
The richest source of Marian iconography are liturgical texts, especially hymnographic. The heyday of this type of iconography we have on the line. XIII–XVI century are Illustrated by a lengthy poetic cycles, dedicated to the virgin, as the Akathist to the Theotokos, and separate chants, the Central image which is the mother of God, for example, the stanza "What shall we offer you, o Christ" ("Notre Dame" — the fresco of the Church of the Savior monastery of Zica (Serbia), XIII century - fresco from the Church of our lady of Perivlepta in Ohrid, 1295 - icon the end of XIV — beginning of XV century, state Tretyakov gallery) is zadostoinik Liturgy SVT. Basil the Great "in Thee rejoiceth" (icon con. XV., TG) is the fresco of the Nativity Cathedral of the Ferapontov mon-OC, 1502)- the verse "it is truly meet" (the icon is gray. XVI century the assumption Cathedral of the Moscow Kremlin), Marian 1-hour "What Cha gonna wear the crown" (the icon of the XVII century, Tsmiar). Among the liturgical images also applies "in Praise of the virgin," based on the hymn "Over prorotsy predvozvestisha Thee" (the icon of XIV century and a fresco of the XV century from the assumption Cathedral of the Moscow Kremlin - the icon of the XVI century., RM). The topic icons are the events celebrated by the Church, associated with the worship of the virgin Mary and shrines, "the Intercession of the blessed. Virgin" (the mark Zap. gate of the Cathedral of Nativity in Suzdal, XII century - the icon of XIV century, NGOS - the icon of XIV century, state Tretyakov gallery), "the robe of the blessed. Virgin" (XV century Tsmiar).
In addition to the liturgical texts at the basis of the Marian icons can lay historical narrative. Eg. for the wonderworking Pskovo-Pokrovskaya icon of the Mother of God depicted the events of the siege of Pskov by the troops of Stefan Batory in 1581 (derived from the TS. Cover from a Break stolen during the great Patriotic war, with 7.09.2001 in the Trinity Cathedral in Pskov).
The hagiographic cycle
In close connection with the formation of the iconography of the Marian feast is the development of a hagiographic cycle of the virgin, the basis pictures are the apocryphal Protevangelium of James, the Word of the Apostle John the theologian on the Dormition of the Word venerable. John of Thessalonica and a number of other texts that tell about the events in the life of the Theotokos from Her conception to the barren Anna of the assumption. Individual images of apocryphal stories were already known in dolnomoravsky period, for example a plate with scenes of "the Annunciation" and "Test the water of rebuke" (VI., of the Museum). In the painting of the Church Kizilcukur (Cappadocia - 850-860) preserved the earliest hagiographic cycle of the virgin, includes 10 scenes from the Gospel Anna to the presentation in the temple virgin. These subjects are represented in the miniatures of the Terminology of Basil II [6] and the mosaics of the Church of the assumption in Daphne (CA. 1100). In painting the Cathedral. Sophia (30-ies of the XI C.) Protoevangelium cycle, culminating in a scene of the "Meeting of Mary and Elizabeth" presented in the South apse, the right of the main altar in the Cathedral of Mirozhsky monastery in Pskov (40-ies of the XII century) cycle, located in the South-West. compartimente included more than 20 songs (save. 16)- in the Novgorod churches of the Nativity of the virgin monastery of St. Anthony (1125), of the Annunciation in Arkaah (80-ies of the XII century), the Saviour on Nereditsa (1199, frescoes have not been preserved), George St. Ladoga (2-I floor. XII century) hagiographic cycle of the virgin is in the altar. Protoevangelium cycle can include compositions: the bringing of the gifts of the righteous Joachim and Anna, the rejection of the gifts, the crying of Joachim and Anna, praying Anne, the prayer of Joachim, the test of the Scriptures, evangelism, Anne the gospel of Joachim, meeting of Joachim and Anna at the Golden gate, the Nativity of the blessed. Virgin, the fondling of Mary power of Mary, first seven steps of the blessed. The virgin, the offering to the elders in the temple, agony in the rods, the presentation of Mary to Joseph, Joseph leads Mary to his house, the Annunciation at the well, the meeting of Mary and Elizabeth, reproaches of Joseph, Joseph's dream, testing the water of reproof.
The iconography of the Marian images of the XIII-XIV century
In XIII–XIV centuries the hagiographic cycle of the virgin is expanding at the expense of the narrative about the feast of the Dormition, which includes a scene: Jerusalem farewell to wives, farewell to the apostles, the ascension of the virgin Mary and the presentation of the belt, transfer of the body of the virgin to the place of burial, cutting off the angel of the hands of the wicked Apponyi, the apostles at the empty tomb of the virgin. One example of this long cycle is the painting of the Church of our lady of Perivlepta (SWT. Kliment) in Ohrid (1395). Scene Protoevangelium and the assumption of cycles occupy the middle register of the southern wall and the Western wall (eg. in the Church of Joachim and Anna (Kraljevo) monastery Studenica (Serbia), 1314). In the Church of the Chora monastery 20 songs Protoevangelium cycle is represented on the vaults and walls of ekzonartex.
The iconography of the Marian images of the XV-XVI century
In the XV–XVI centuries in Russian art are spreading the mother of God with scenes of the lives in the stamps. Such images were known in Byzantine art (diptych XII century, State Museum of Berlin). In Russian icons among the subjects of the assumption cycle are: the Prayer of the virgin on the mount of olives, the Death of the Annunciation, the Position of the robe and the belt of the Theotokos (Tikhvin icon of the Mother of God with scenes of his life, XV., of NGOS - the Smolensk icon of the Mother of God, XVI., TG). Hagiographic icon of the Mother of God was the basis for the development of a fundamentally new type of icons with a legend of miracles. This iconographic type, known in Byzantine art, was developed in Russia in the 2nd floor. XVI–XVII century, which is associated with the liturgical veneration of miraculous icons and compiling them with special services. The development of the tale found direct reflection in the monuments of iconography of the virgin, based on different editions of the text ("the Vladimir icon with scenes of the tale of Temir-Axaca", XVI century, PGHG- "the Vladimir icon with 64 scenes tales of her miracles", XVII century, Tsmiar - the Tikhvin icon of the XVI century, the Annunciation Cathedral of the Moscow Kremlin - the Tikhvin icon of Balakhna with scenes of the siege of the monastery by the Swedes, XVII., Tsmiar - the Tikhvin icon with scenes from his life and miracles in 99 scenes from the XVII century, the Dormition Cathedral of the Moscow Kremlin - Kazan icon, XVII., border scenes produced by - the tolgsk icon of the XVII century, AHM Ms.: "quick to hearken" icon, 2001, Pakhomiev Nerekhta women's monastery of the Kostroma diocese).
Often plot some icons became an episode of tales about miracles etc. of the image of the Mother of God. For example, Besedni the icon depicts the miracle of the apparition to the Sexton George, the story of which is contained in the tale of the Tikhvin icon story icon "Candlemas of the Vladimir icon of the Mother of God" (XVI., Tsmiar) is an episode of "tales of miracles of the Vladimir icon of the mother of God".
The iconography of the Marian images of the XIX-XX century
The iconography of the Marian images was greatly enriched at a later time. In XIX–XX centuries famous icon of Mother of God of Tenderness Seraphimo-Diveevsky (PDP cell. Seraphim of Sarov), which represented the virgin without the child, with crossed hands, with a halo, surrounded by the fiery tongues, "sporitelnitsa bread" (the name given to the PDP. Ambrose Optinsky), which captures the phenomenon in the sky of the virgin, blessing the fields, found in the village of Kolomenskoye "sovereign". The attitude of the Russian Church to the images of the virgin Mary deeply and precisely expressed in the words of Marian hymns: "And now graciously".
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Used materialpage article V volume of the Orthodox encyclopedia
[1] - -kontakion of the 1st week of lent
[2] - -Laurent. Plut. I. 56. Fol. 277, 586.
[3] - see: Kondakov. P. 76-81.
[4] - -Fol. 289 — in the growth
[5] - -Vat. gr. 699. Fol. 76, IX.
[6] - -Vat. gr. 1613, 976-1025 years.
