Continuation of the publication of questions of the Kremlin test for guide-interpreters in 2014 and answers to them.
Beginning in articles:
.
.
This review is devoted to some items from the collection of the first floor of the GOP.
STATE ARMORY CHAMBER
First floor
COLLECTION OF LITTLE GARMENTS

– From what fabric is Metropolitan Peter’s camp of sakkos made?
a) Turkish gold satin
b) Iranian fabric
c) Italian fabric
d) Byzantine atlas
Correct answer: Turkish gold satin.

Sakkos of Metropolitan Peter

Sakkos. North-Eastern Rus', 1322 (?); braid - Byzantium, late XIII - early XIV centuries; golden satin - Türkiye, late 16th century (?); fragments - Moscow, XIV-XVII centuries. Gold satin, satin, damask, silver, pearls; weaving, basma, sewing, embossing. Made for the Metropolitan of Kyiv and All Rus' Peter.

– Country of origin of Patriarch Nikon’s “Pokhvalsky” sakkos?
a) Byzantium
b) Türkiye
c) Italy
d) Russia
Correct answer: Russia.

- What fabric is Nikon's sakkos made of?
a) Turkish gold satin
b) Iranian fabric
c) canvas
d) Italian Aksamit
Correct Answer: Canvas.

(“Pokhvalsky” sakkos. Moscow, 1655. Workshops of Tsarina Maria Ilyinichna. Canvas, gold threads, pearls, embroidery. Belonged to Patriarch Nikon” - a quote from the book by I.V. Faizova).

SOCIAL COSTUME COLLECTION

- For whom was the payment made, stored in the Armory?
a) Mikhail Fedorovich
b) Alexei Mikhailovich
c) Fedor Alekseevich
d) Peter I Alekseevich
e) Ivan Alekseevich
Correct answer: for Peter I Alekseevich.

- For whom were barms made, which we see on Peter's fee?
a) Fyodor Ioannovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: for Tsar Fyodor Ioannovich.

- The payment of Peter I was used:
a) for the coronation,
b) weddings to the kingdom,
c) ceremonial occasions
d) receiving ambassadors
I find it difficult to name the only correct answer. Most likely, this is point c), for special occasions. Below is an explanation.
I quote from the book I.V. Faizova: “Paid with barm was the main ceremonial attire of the king, it belonged to the Great Alongside and had the value of a regalia. It was intended for the wedding ceremony for the kingdom and solemn exits. “Payment of Peter I ... was sewn in Moscow in 1691 from the Italian aksamite, donated to the tsar by the Hetman of Ukraine Mazepa. According to the Inventory of the royal treasury, in addition to the preserved silver lace, it had a sable edge and thirteen gold buttons with emeralds and rubies. “The ceremonial royal dress, intended for the wedding ceremony for the kingdom, large festive exits to cathedrals and solemn receptions of foreign ambassadors was multi-layered.”
Thus, from the above reasons to wear for a fee, point a) is obviously wrong - the fee was NOT used for the coronation.
Agent Note #2:
“In a private conversation with a Kremlin employee during the training, a question was asked about the appointment of a fee. The answer was:
“Imagine that Peter I was crowned king in it. This is impossible - Peter was very small then. Charged for an adult. Of course it was used for special occasions.”
That's how I answered the test. Although I did not see my mistakes, but by their number I think that this should be the correct answer.

- Who owned the Ferezei from the collection of the Armory?
a) Alexei Mikhailovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: Alexei Mikhailovich
According to I.V. Faizova: “Ferezeya. Kremlin workshops. End of the 17th century. Was part of the wardrobe of Tsar Alexei Mikhailovich.
I did not find a picture of the Ferezei. Maybe someone knows where to get it?

First part: . In it, we addressed our colleagues with an introductory speech and highlighted the general historical issues of the test.
Second part: . The publication is devoted to the history of the architecture of the Kremlin, the Kremlin cathedrals and the features of iconography.

Literature:
I.V. Faizova “Methodological recommendations for a sightseeing tour of the State Armory of the Moscow Kremlin”, Moscow, 2011
The article uses photographs from the "golden guide" to the Armory. “The Armory”, Moscow, 2000

Dear readers! If you have the opportunity to thank and financially support the authors of the site for the work that we have invested in writing articles, you can transfer any amount to our Yandex wallet.

Sakkos is decorated with more than a hundred embroidered images of characters from biblical history and portraits of political figures of his contemporary era. Portraits embroidered on sakkos give an idea of ​​the secular monuments that have not come down to us, first of all - clothes.

bible scenes

Sakkos is decorated with miniatures of gospel events: the Annunciation, the Crucifixion of the Lord, the Entry of the Lord into Jerusalem, the Entombment, the Last Supper, the Descent into Hell, as well as individual figures of the Old Testament prophets - Solomon, David, Isaiah, Jeremiah and others, as well as saints and martyrs ( including the Vilna martyrs canonized in 1374).

The center of the sakkos is decorated with the image of the Crucifixion of Jesus Christ with chest images of the upcoming Virgin Mary and John the Theologian, in the scene of the crucifixion, the centurion Longinus and another warrior are also depicted. Above the cross are two angels clinging to it, and at the four corners of the composition are the prophets. Above the cross is placed the image of the youth Jesus and an angel with instruments of passion. At the foot of the cross is the traditional image of the head of Adam, and under the whole composition is the Holy Sepulcher (depicted in the form of a rotunda) with the body of Jesus lying in it.

The mantle is decorated with images of Jesus Christ, the Mother of God, John the Evangelist and angels.

Portraits of statesmen

Sakkos is decorated with images of Grand Duke Vasily I, his wife Sophia Vitovtovna, their daughter Princess Anna and her husband John VIII Palaiologos. The researchers point out that " Near the Russian princely couple - accompanying Russian inscriptions, while near all other images - Greek. In the foreground is a Byzantine couple; the halos surrounding their heads also emphasize the paramount importance that the Byzantine rulers had in the eyes of the master.". There is also an image of Metropolitan Photius himself on the sakkos. The placement of these images on the sakkos is the result of the ecclesiastical and political activities of Photius, aimed at strengthening the ties between Rus' and Byzantium.

The description of the portraits of the family of Grand Duke Vasily I is given by the historian V.V. Nazarevsky (1870-1919):

Basil I in this portrait has a manly face, with a black mustache and a moderate beard, bifurcated at the end. He is wearing a low-belted red caftan with checks and narrow green harem pants, hidden in high boots made of red morocco, intercepted in three places with clasps; a rather short cloak, or “dragging”, of green color, with golden stains, on a blue lining, is thrown over from above. A golden wrist is visible on the right hand; with this hand he holds a scepter studded with pearls. On the head of the Grand Duke is a transparent golden crown, with crosses at the top and with a red velvet crown. Grand Duchess Sofya is wearing a sarafan made of silver brocade, with red checks in gold frames; the sundress is decorated with a gold necklace, with the same apron and belt. Above the sundress is a fur coat, or a long cloak, gold, with silver circles and blue and red crosses. The crown on the princess is almost the same shape as on her wife. This image is very important not only in iconographic terms, but also for the history of Moscow clothes. Emperor John Palaiologos and his wife are depicted in Byzantine royal attire, with a nimbus, or crown of holiness, around their heads. Metropolitan Photius is represented in a golden sakkos, with crosses in red circles; over the sakkos is a silver omophorion with golden crosses. Photius's head is not covered, thick black hair and a bushy beard are visible; around the head is the same halo as the others depicted

A. G. Barkov Large sakkos of Metropolitan Photius. To the attribution and reading of the compositional concept of the blessed memory of Galina Sergeevna Kolpakova. The collection of the Moscow Kremlin Museums has been supported by D. A. Rovinsky, who considered the richest collection of ancient liturgical images of Anna Vasilyevna and Vasily Dmi vestments, formed during Trievich on a blue background, evidence that almost four centuries. A special place among them had already died by the time the sakkos was created. they are occupied by two obverse sakkos, known to Archbishop Savva, G.D. emperor during their lifetime, researchers of church antiquities of the reigning emperor. 6 (This idea was subsequently expressed already in the 19th century, but even now I.P. Medvedev argued in detail, who has not weakened interest in them. John VIII was crowned The basis for identifying the Great Novan as co-ruler already in 1414 7) In addition, the sakkos with the vestments of Metropolitan Photius became G. D. Filimonov in his work expressed the extreme pearl-embroidered inscription “Metropolitan Photius”, doubt about the possibility of depicting - as well as the image on it of Anna Vasilievna's Metropolitan Deposition after her death. Lita case. For the first time, as “sakkos Photius”, he mentions that John was married two more times - in 1421 he is found in the inventory of the Patriarchal sacristy of 1631 2 on the Italian princess Sofia Montferrat - In the first mention of sakkos in literature, and after her death in 1429, on Mary in 1842, I. M. Snegirev determined the date of the creation of the Komneno8. 3. This point of view was refuted by the archbishop tal unlikely and believed that the sakkos was Savva of Mozhaisk.4 He noted the obvious anach - made during the marriage of John VIII and ronism - the daughter of the great Anna Vasilievna depicted on the sakkos, i.e. between 1414 and 1417 It is important for Prince Vasily I Anna became the emperor’s wife to note that the point of view of G.D. The date of manufacture of the sakkos began to be considered a wedding and proposed to date the sakkos to 1425–1431, so John VIII and Anna Vasilyevna, and the sakkos was supposed to depict a married couple allegedly presented to Metropolitan Photius by the emperor in imperial clothes before the coronation of John, precisely for this reason occasion; it is this attribute - VIII in 1425. was impossible. This dating later became generally accepted.9 However, 1 Big sakkos. 1 These names appeared in the Russian Public Museum. M., 1876. No. 6–10. 9 See: Mitteilungen der Gesellschaft für Detail: Metropolitan Photius. even in the inventories of the Patriarchal sacristy of the 17th century. Materials. C. 2. altrussische Kunst. 1874, 45; Uspensky A. Constantinople. 1410s. 3 Snegirev I.M. Monuments of Muscovites - the Patriarchal Sacristy // World of Art. The Moscow Kremlin Museums themselves were not associated with their symbolic antiquities. M., 1842–1845. S. 175. 1904. No. 10. S. 204–205, 240–241; Braun J. meaning or special conditions mention- 4 Savva, ep. Mozhaisky. Index Die liturgische Gewandung im Occident und consumption, but indicated only if - for viewing the Moscow Patriarch Orient. Nach Ursprung und Entwicklung, ratio of images of the (now Synodal) sacristy. M., 1863. Verwendung und Symbolik. Freiburg im on one and the other sakkos. According to our p. 18. Breisgau, Herder. 1907. S. 305; Lazarev V. N. opinion, the Small sakkos was created at the end of 5 Rovinsky D. A. Detailed dictionary Moscow painting, embroidery and sculpture of the XIV - early XV centuries, and it does not follow the connection with Russian engraved portraits. St. Petersburg, first half of the 15th century. // History of Russianization with the name of Metropolitan Photius. See: 1889. T. 1. P. 46. of art: in the XIII volume / Under the general editorship. Barkov A. G. "Small sakkos of Metropolitan 6 Filimonov G. D. Icon portraits of I. E. Grabar, V. S. Kemenov and V. N. Laza-Fotiy" from the collection of the Museums of the Moscow Russian Tsars // Bulletin of the Drevrev Society . M., 1955. T. 3. S. 192; Pisarskaya L. V. Kremlin. Problems of Style and Dating // Non-Russian Art at the Moscow Museum Monuments of Byzantine Art The Moscow Kremlin of the 14th century. Ancient public museum. 1874–1876 Issue. 6–10. V-XV centuries in the State Armory shrine and historical monuments. Collection - S. 45–48. ward. M.; L., 1964. S. 28–29. Tab. LVI - nickname of articles. Moscow, 2009, pp. 349–375. 7 Medvedev I. P. Granddaughter of Dmitry LXI; Bank A. V. Byzantine art 2 Viktorov A. E. Inventory of the Patriarch of the Don on the Byzantine throne // in the collections of the Soviet Union. L., 1966. sacristies of 1631 // Bulletin of the TODRL Society. 1976. V. 30. S. 255–262. S. 23, 328. Il. 285–288; Obolensky D. Some of Old Russian art at Moscow- 8 Filimonov G. D. Icon portraits Notes Concerting a Byzantine Portrait of Russian Tsars. P. 46. John VIII Paleologus // Eastern A. G. Barkov 360 2 Large sakkos. Front side. Constantinople. 1410s. Museums of the Moscow Kremlin G. D. Filimonov never mentioned this, testifies to the idea of ​​the superiority of the Byzantines, considering that the sakkos was made during (italics of the Tian emperor over all the others mine. - A. B.) the marriage of the heir of the Byzantines to the rulers 10 He also suggested that the Saka throne and the Russian princess. kos was a personal gift of John VIII to Metropolitan Photius’ iconographic and theological program for special merits 11 John Meyendorff sakkos almost did not attract special attention and came to the conclusion that the image of three litas attracted the attention of researchers, but in the historiography of the martyrs, next to the portraits of Basil, a number of important remarks can be found . D. D. Obo-Dmitrievich and Sofya Vitovtovna witnessed that the nature of the images indicates a short time of peace between Moscow of imperial and grand ducal portraits and Lithuania and the unity of the metropolis12. E. Piltz Churches Review. 1972. T. 4/2. P. 141–146; Assumption Cathedral of the Moscow Kremlin. 11 Following E.E. Golubinsky (see: Medvedev I.P. Granddaughter of Dmitry Donskoy Materials and Research. M., 1985. Golubinsky E.E. History of the Russian Church. on the Byzantine Throne; Piltz E. Trois S. 194; Mayasova N. A. Medieval T. 2. Part 2. M., 1997. P. 367) D. D. Obolen- sakkoi byzantins: Analyze iconographique. facial sewing // Byzantium. Balkans. 47-49; Tachiaos A.-E. N. Rus'. Icons from the end of the 13th - the first half to Rus' with an important mission - to arrange a marriage The Testament of Photius Monembasiotes, 15th centuries: Exhibition catalogue. State between the heir to the Byzantine pre-Metropolitan of Russia (1408–1431): Byzan Tretyakov Gallery. M., 1991. Cat. table and daughter of Grand Duke Vasily tine ideology in XVth century Muscovy // No. 10. P. 44–51; Byzantium: Faith and Power by Dmitrievich. Προςφορα to professor Dmitrij Sergeevich (1261–1557) / Ed. by H.C. Evans. New York: 12 Meyendorff J. The Three Lithuanian Lichachev (Cyrillomethodianum 8–9). Thes- The Metropolitan Museum of Art, 2004. martyrs: Byzantium and Lithuania in the salonique, 1984–1985. pp. 77–109; Mayasova P. 297–298. Fig. 10.6. P. 299. Fourteenth Century // St. Vladimir's Theo- N.A. Monuments of the medieval obverse 10 Obolensky D. 1972. T. 4/2. P. 141–146. logical Quarterly. 1982 Vol. 26. No. 1. sewing from the collection of the Assumption Cathedral // Large sakkos of Metropolitan Photius 361 3 Large sakkos. Reverse side. Detail A. G. Barkov 362 4 Small sakkos. Front side. Constantinople - Moscow. The end of the XIV - the beginning of the XV century; late 15th - early 16th centuries The Moscow Kremlin Museums suggested that the iconography is limited only by general characteristics, the gram of the Great Sakkos reproduces deco-related to the entire period the Late Paleo- ration of any of the court churches of the church art 16. A. V. Bank in one of his imperial palace in Constantinople 13. The idea of ​​correlative remarks regarding the style of depicting images on sakkos with frescoes of the Great Sakkos, noting related cycles, was subsequently supported by W. Wood. began with Finn, who in his work noted the obvious - XV century. 17 and the fact that the five-blade arches, in which the program of the sakkos and classically are interconnected, are the saints on the side parts of the sakkos, the decoration of the cross-domed church 14. are similar in form to the hallmarks on the setting of the icon of God – the only attempt to investigate the theologian-mother of Vladimir 18. As for the problematic program of the Great Sakkos at today's place of the creation of the sakkos, all researchers, this day is the work of M. Theoharis.15 Noting the excellent quality of sewing, the monosyllabic theological content, researchingly attributed it to Constantinople. The telnitsa made the assumption that the author of the recently appeared two principle programs could only be the metropolitan himself, who had a different point of view regarding data - Photius - "a major theologian of that time." rovings and accessories of the Big sakkos. A detailed stylistic analysis Bol-I.M. Kachanova put forward a hypothesis that the sakkos of the sakkos was also not carried out. Only the work of E. Piltz was exceptionally made for the Ferraro-Florentine nienie, but the Cathedral of 1439 and belonged to Metropolitan Issi, due to the inaccessibility of the studied material, it is doru. 19 In her opinion, there could not be 13 Piltz E. Trois on the sakkos sakkoi byzantins... sionnel et diplomatique // Old Russian doba. Teach stingy. Resava. Beograd, 1968. R. 58–59. art: Byzantium and Ancient Rus'. K 100-pp. 49–60. Il. No. 3, 4. 14 Woodfin W. Late Byzantium Liturgical on the anniversary of A. N. Grabar. Digest of articles. SPb., 18 Ibid. pp. 52. Vestments and the Iconografy of Sacerdo- 1999. pp. 41–426. 19 Kachanova I. M. Two Byzantine tal Powers. Ph. D. diss. University of Illinois 16 Piltz E. Trois sakkoi byzantins... sakkos from the Armory collection at Urbana-Champaign, 2002. R. 174–179. 17 Bank A. V. New features in the Byzantine (new version of attribution and dating) // 15 Theocharis M. S. Le sakkos de Photios, applied art XIV– 6th Trienial Meeting for the Baltic States Restor- metropolite de Kiev - un document confes- XV centuries // Moravian school and њeno ers. Sacred Art Heritage: Investigations, Large sakkos of Metropolitan Photius 363 images of the current (living) metropolitan artistic features were not given polit, because, according to the symbolism of the divine service, due attention was paid. Such a situation can be explained in different ways. On the one hand, to the repentant ones.20 I. M. Kachanova suggests that the shaping of the sakkos by the time of Metropolitan Photius, such a complex programmatic vestment, could not have been questioned for a long time, and therefore not to be created on the occasion of the wedding of John VIII required comprehensive argumentation. On the other hand, and Anna Vasilyevna, but had a reason on the other hand, facial sewing is not customary to study significant; such an event could only be a church from the point of view of the artistic style. If the attached cathedral, and therefore this vestment, was widely owned by Metropolitan Isidore, his stylistic analysis is not used, which is a mediocre participant. The researcher, along with technical and technological refinements, suggests that the metropolitan could appear as niyami, which is the most important instrument at the cathedral dressed in sakkos, although there is no information about this in matters of attribution of monuments, but in sewing. The point of view of H.D. Fili is different. In general, the author did not consider monov’s research and concentrated on questions of the liturgical I. M. Kachanova’s hypothesis was subjected to criticism by S. A. Belyaev21. could not serve in the field of imagery, paleographic features with its image 22, as well as the features of inset inscriptions, technology. The study of the opinion that the wedding of John VIII and Anna Vasilyevna could not be the reason for its creation of the artistic language of embroidered works is reduced to elementary characteristics, so the author reacted very negatively to the idea of ​​belonging; role in relation to the painting of the union with the Catholics. In his opinion, as the main form of art. Meanwhile, the reason for the appearance of embroidered miniatures on the Kremlin Sakkoslovskaya from the point of view of the monument, which is so complex with deification, which shows the existence of a rich arsenal of essentially a compendium of Orthodoxy, could be artistic means and techniques, with the help of only one event - the placement in Russian of which the main categorical cathedra of Archbishop Jonah were transferred, and in this con- dition of fine art: space, the text sakkos is a symbol of autocephaly, volume, color and light. Their presence is difficult to explain to the Russian Church. The time of creation of the sakkos was a thread only mechanical copying or attributed by S. A. Belyaev to the 1440s. reproduction of the artist's "instructions" - So, the key aspect in the dating of the Bolle-znamenchik, they arose as a result of a conscious sakkos were and remain portraits of the historical use of the properties of sewing materials. In accordance with this, one of the main tasks of polit Photius, and the fact of his lifetime, is the study of sakkos as an outstanding depiction by a number of authors of categorically monuments of medieval art. denied. It is the portraits of the historical It is important to realize that in the absence of direct evidence, they give researchers a reason to put forward claims about the time of creation of the work (substantially opposite attributions, letters or annalistic references), it itself information. The study of the artistic features of embroidery and one of the most important monuments can provide arguments for considering those for understanding Orthodox art and divine or other historical versions. This blessed thought of the first third of the 15th century. in general, he is pleased that the Great Sakkos has been preserved by Conservation and Restoration. Vilnius, 21 Belyaev S.A. Afterword to article 23 This attribution influenced the identification of the Lithuanian, 21–23 November 2002. Lithuanian I.M. history and culture was also named Photius. Similar ten-Centre. Vilnius, 2002, pp. 207–210; Kachanov of Russia. pp. 217–225. The same article of reproduction is also preserved in the works of the late I. M. About the time of the origin of the sacco is published in the book: Abelentseva O. A. Metropolitan time, where conclusions related to owls associated with the name of Metropolitan polit Jonah and the establishment of autocephaly to one sakkos, by inertia transferred Photius // Orthodox shrines of the Moscow-Russian Church. M.; SPb., 2009. on the other. So, S. A. Belyaev, attributing the Kremlin in the history and culture of Russia. pp. 295–316. Large sakkos by the time of the Metropolitan Collection of articles. M., 2006. S. 187–215. 22 The question of the possibility, or, on the contrary, of Jonah, without any argumentation, spread 20 S.A. Belyaev appeared in liturgical vestments.Several observations about the harm of I.P.Dmitry Donskoy’s granddaughter only recently.In the pre-revolutionary period, the creation and purpose of sakkoses on the Byzantine throne.) This fact did not evoke Metropolitan Photius in the pre-revolutionary literature. neither Archbishop Savva, the shrine of the Moscow Kremlin in history, nor secular scientists, and the culture of Russia, p. 303). A. G. Barkov 364 5 Large sakkos. Front side. Detail: John VIII Palaiologos, Anna Vasilievna, martyrs John, Eustathius and Anthony, Vasily Dmitrievich and Sophia Vitovtovna without major interventions and renovations, and all could be distributed as widely as its parts were embroidered at the same time. traditional cross-shaped sakkos and phelonions. In spite of this, there are a number of references to the history and symbolism of Byzantine liturgy about facial vestments, especially giric vestments, studied quite early in the late period of Byzantine art. 24. However, it is extremely difficult to trace the process of formation, for example, in the Inventory of the sacristy of Hagia Sophia and the development of the tradition of decorating them with facial ones in Constantinople in 1397, a large number of images are extremely difficult - a large number of shrouds, airs, stoles, as well as some of the monuments have not survived to our time - several phelonions and sakkos, embroidered with gold thread. This was primarily associated with everyday life and silk.29 The earliest surviving items themselves: fabrics wore out, examples of facial Byzantine vestments suffered during fires, were redrawn, and are the Large and Small sakkos, as well as the sakkos - ultimately lived out their century in cathedral scythes from the collection of the Treasury of the Cathedral of St. and monastery sacristies 25. One of the reasons for Peter in Rome. 30 His decoration apparently was also the fact that the vestments differ from the Kremlin sakkos, presenting the shaft in the coffin along with the body the deceased bishop 26. represents a different direction in the iconography of the bogos- To date, the only attempted liturgical vestments. It can be assumed that much more belonged to the systematization of all known examples of varieties of compositional schemes of dried liturgical vestments. W. Woodfin will prove it indirectly.27 The material he collected can serve as both Greek and Russian sakkos and felons of a later period of Byzantine and Western origin.31 He concluded that the main scenes embroidered with ferments appear already in the 4th-6th centuries. The process of making cruciform hallmarks and surrounded by L-shaped ones was extremely hallmarks; the central parts with evangelical teahouses are expensive and technologically complex, and the material is flanked by images. The composition of the feasts with the construction of a whole temple. 28 Therefore, they do not repeat the Small Sakkos on the front side, it is 24 Literature on the history of vestments See, for example, the description of Athos risakkos took about three years. very extensive. In the context of this thread: Kondakov N. P. Monuments of Christians- To this it is necessary to add the time of work, here are just a few: Braun J. of art on Athos. M., 2004. for the creation of a painting program and the work of Die liturgische Gewandung im Occident und S. 241, 244. denominator. Orient. Nach Ursprung und Entwicklung, Ver- 26 This conclusion is supported by whole 29 Guillou A. Byzantine Civilization. Wendung und Symbolik. Freiburg im Breisgau: nearby archaeological finds. One Ekaterinburg, 2005. S. 283–287. Herder, 1907; Millet G. Broderies religieuses of the last and most notable 30 Byzantium. Faith and Power. du style byzantine. Paris, 1947; Johnstone P. was the acquisition of the relics of St. Arseny Cat. No. 177. The Byzantine Tradition of Church Embroi-Elasson and parts found at the same time 31 For example, sakkos from Rostov dery. London, 1967; Walter C. Art and Ritual Epitrachili decorated with gold and helm - Metropolitan Iona Sysoevich and cauldron - of the Byzantine Church. London, 1982; forged sewing (see: Arseniy of Elasson Metropolitan Lavrentiy, created by Woodfin W. Late Byzantine Liturgical Vestsky - Archbishop of Suzdal. Collection of scientific Stroganov masters about se- rious articles. Vladimir, 2008). dynes of the 17th century (See: Silkin A. V. Stroganov - 25 Sacristy where the ancients were kept 27 See: Woodfin W. Late Byzantium Litur- Facial sewing. M., 2002. P. 90–96. vestments and other liturgical fabrics, gical Vestments... P. 45 - 67. Cat. No. 86, 95; The World of Byzantium, no longer used in worship - 28 Estimated Museum. Athens, 2004. No. 343). nii, were sheds-junk. only for the process of embroidering the Great Large Sakkos of Metropolitan Photius 365 "The Crucifixion" and "The Descent into Hell". In the corners from the domes - at the top - "Christmas" and "Candlemas", at the bottom - of the scenes there are L-shaped stamps with the feast - "Prayer for the Chalice" and "Kiss of Judas". In the corners there are nicknames, which in some cases are depicted at the top with a cross - “Flight into Egypt” and “The fall of the wife, not in each individual brand, but in pairs. idols", below in two medallions - the prophets Above the "Crucifixion" in two brands - "Annunciation - Daniel and Gideon. On the sides of the cross are the prophets, under them, also in two hallmarks, is the Entrance of Malachi and Micah with scrolls. In the lower group to Jerusalem"; above the "Descent into Hell" - "Tai - in L-shaped stamps on top -" Baptism "Naya Supper" and "Washing of the Feet", below - portraits and "The Resurrection of Lazarus", below - "The Descent of Emperor John VIII Palaiologos, Anna Vasya- Holy Spirit." In the corners of the cross above are two medallions, of Grand Duke Vasily I and Sophia Vitovlion with Saint Theophan and Saint Joseph. tovny. The L-shaped hallmarks do not adjoin the domes. On the sides of the cross are depicted St. Cosmas scenes, as in the Small Sakkos, and Mayumsky and St. John of Damascus are pushed aside. In the center to the edges, thus forming a square group at the top - "Hospitality of Abraham", in the middle of the form. The cross marks are narrower, in connection with the dyne - "Transfiguration". On the lateral parts, with what is freed in each group, the spacious side depicts saints (in this order for additional scenes. In the corners of the crosses in the same order as on the front side): Dionysius placed medallions with half-figure images (Areopagite), - Sylvester, Pope of Rome, with the lives of the prophets: four near the scene “Crucified Jacob Alfeev; Clement of Ancyra, Anthimius” (Solomon, David, Hosea, Zephaniah) 32, on the sides of Nicomedia - Basil the Great, Mitro - full-figure images of prophecies from the cross; Averky, Ignatius - Nikifor, Pavel kov Isaiah and Jeremiah with scrolls, near the “Soshe-Confessor; Eleutherius, Ambrose (Mediolansia to Hell” in medallions - the prophets Job and Abba) - Miletius of Antioch, John Milokum, and on the sides and above the portraits of the imperial steve; Polycarp of Smyrna - John the Postnik; and grand-princely couples - saints Constantine Ananius of Damascus - Blasius. On the side parts there is Elena, holding in her hands ten-pointed crosses at the bottom, two Old Testament plots: “The Tree of Iesta. The compositional construction of the sowing and the Burning Bush complete the composition. The choice of the saints of the front centerpiece is three scenes: at the top between it differs from the program of the Small Sakkos, where the hallmarks with the “Annunciation” - “An unsleeping eye is depicted in addition to the Church fathers and saints”, in the middle “Christ in the tomb” and below - three Lithuanian martyrs: St. John, St. Eustathius and Saint Anthony. All scenes in the centerpieces on the obverse and reverse sides are framed with an embroidered Greek text of the Creed. On the sides of the central part on the front side are depicted saints (in pairs from top to bottom): Clement Pope of Rome, Peter of Alexandria - Nicholas of Myra, Spiridon of Trimifuntsky; Gregory the Theologian 33, John Chrysostom - Amphilochius of Iconium, Epiphanius of Cyprus; Ignatius the God-bearer, Babyla, Bishop of Antioch - Gregory Decapolite, Gregory of Nyssa; Athanasius the Great, Cyril of Alexandria - Andrew of Crete, Gregory of Akragantia; Tarasius of Constantinople - Gregory the Dialogist; Photius Metropolitan of Russia (with a halo, but without the designation "saint") - Triphyllius of Cyprus. Below on the sides are two Old Testament scenes: “Abraham's Sacrifice” and “Jacob's Ladder”. On the reverse side, this scheme is repeated with some changes. The main holidays here are: “Ascension” and “Assumption” (in contrast to the Small Sakkos, where “Transfiguration” and “Ascension” are placed). Above the upper cross mark in squares 6 Small sakkos. Front side. Detail: Crucifixion 32 In the Small sakkos, the composition is different: Isaiah, 33 In the catalog of N. A. Mayasova, Jeremiah, Moses, Zephaniah were added. a mistake - instead of Gregory the Theologian, Gregory the Great was named. A. G. Barkov 366 apostles. In the Great Sakkos, the apostles of the Emperor's pome- pere will spread lore. His portrait, distinguished in the scenes of feasts, and in the lateral hallmarks from others, has been poorly preserved,34 but still only the Church Fathers, saints and confessors. allows you to see some details: thin mustaches and a short beard are visible on the sleeves of the sakkos in round medallions, the facial expression is placed half-length images of martyrs. strict, slightly detached. Anna Vasya's clothes - On the front side on the left - Dmitry Solunlevna - completely golden and decorated with embroidered sky, Theodore Tiron and Mina, on the right - Nestor, gems. Trapezoidal headdress Eustathius and Lupp; on the reverse side on the left - a form similar to the crown of St. Helena. In the hands of Procopius, Theodore and Nikita, on the right - Photius, Anna has the same attributes of power as her husband. Nikita and Mercury. Both of them, in contrast to the grand ducal couple. The images of all the saints are emphatically individual and, in accordance with their position, depicted in a sto-dual manner; Constantine's features. Helena also seems to be especially “portrait”. The clothes of the Grand Duke and his wife, depictions of historical persons, including svyaz, are worked out in more detail. Vasily Dmitritykh to Konstantin and Elena. The saints on the front evich are dressed in a short, above the knees, semi-kaf-side on the left (including Metropolitan Photius), a red tan, embroidered with gold, and narrow ones, and on the back - on the right, dressed in green cross trousers, embroidered with large sakkos and omophorions with crosses. On the other hand, there are hundred-wave-like stitches, which are reminiscent of all the saints in simple phelonions with a cross wool pile. From above it is thrown over with a short chat omophorion. Everyone has the gospel in their hands. an ash cloak decorated with a round ornament. Images of the emperor made of greenish-olive silk, from the checkered and grand ducal families, have their own characteristics. John VIII with the lining of the same color. On the feet of the prince, he is dressed in a scarlet robe embroidered with gold and low red boots with gold clasps, decorated along the hem with embroidery in the form of jewels. His head is decorated with a high cap of the same stones. His headdress is round and trapezoidal in shape. In his right hand, Vasily is also red with gold. In his right hand, Dmitrievich holds a cross resembling a ski-emperor holds a thin scepter, ending with the emperor's peter. Sofya Vitovtovna's attire, which is made of a small equal-pointed cross, is not inferior in beauty and richness to her costume, which has expansions at the ends (this is the form of her husband. Her dress is sewn with gold and silver - it is better visible on his wife), through the left hand with threads, decorated with a diamond-shaped pattern 7 Large sakkos. Reverse side. Detail: Dormition of the Mother of God 8 Large sakkos. Front side. Detail: Crucifixion 34 There are some minor losses, but no traces of restoration have been found. Large sakkos of Metropolitan Photius 367 with red silk inserts. Even images of buttons or fasteners are visible. A cloak with red crosses in gold circles is thrown over the shoulders of the Grand Duchess. The headdress is the same as that of the spouse. Sofya Vitovtovna points with a gesture at the Grand Duke. The boundaries of the hallmarks, the spatial niches in which the saints are placed, the outlines of their figures and halos on the side parts and some of the most important characters in the scenes of the holidays, as well as the cross in the “Crucifixion”, the crosses in the hands of the Savior in the “Descent into Hell” and in in the hands of Emperor Constantine, his mother Elena and Grand Duke Vasily Dmitrievich Before 1418. Painting of the Church of the Trinity Sheny with pearl trim. Some researchers in the Resava monastery, Serbia, noted its later origin, pointing out that this technologically central place is occupied by cross-stitch marks, which is not characteristic of sewing in the 15th century. , and around which coal is concentrated, which is often covered with rather rude overlays-brands. However, this is where the similarity of the sakkos ends in images, hiding some of them. Artistic and technological details. 35 All inscriptions, including the text of the Symbol of the peculiarity of sewing, show essential beliefs, embroidered in Greek. The exception is the differences in their style, which only at first sight are the inscriptions embroidered in Slavonic above the vellum, which may seem formal to the eye. Before the princely couple. A paleographic analysis of everything, this concerns the understanding of the depiction, was carried out by B. L. Fonkich, who noted that the space is both inside the scenes themselves, so that the text of the Creed, although it has a distinct and general compositional structure. So, some of the inaccuracies in the Small Sakkos (ill. 4) are all parts of the composition in writing, definitely embroidered in Greek, united into a single whole due to the maximum (by the Constantinople) master of the high quadruple approximation of coal marks to the central lithification from the original 36. Slavic angels - angels from the scene of the Crucifixion are placed, but the inscriptions have characteristic errors, indicating the charcoal stamps with the prophets; all the scenes suggest that they were also embroidered by a Greek, puppies in round medallions, inscribed in a cross, apparently poorly understanding the pronunciation of chat forms, to which some Russian letters are pushed close. prophets. Apo- there are two small inserts of blue satin, tables and martyrs in the side arches facing which differs from the main fabric of the sakkos, in a three-quarter turn to the central ones with embroidered Russian inscriptions: “Photia the capital of the front and back sides. All vmepolita”, “Seraphim” and “Cherubim” and their (Seraphim ste creates a single illusory environment in which and Cherubim) images. They are made with pearl, all parts of the image directly with cast iron interact with each other without preliminary gold embroidery. This character is difficult to read, since some of the features are reflected in the art of the frontier, the letters are mirrored. These inserts, apparently from the 14th–15th centuries, to which, in our opinion, apparently appeared during the renovation of the sakkos, the Small Sakkos also belongs.38 Most likely, under Patriarch Nikon, who, as is known, was especially interested in Greek otherwise (ill. 5). There is no single pictorial heritage here. space, it is intelligible, consists of separate parts connected with each other At the first glance at the Great Sakkos with sta-verbal constructions, the system of metaphors becomes obvious - its iconographic and allegory. The central cross-shaped hallmarks are similar in structure to the Small Sakkos, which are presented here in a “pure” form, without indentation, and made it possible at the earliest stage of studying round sleigh medallions, and coal marks to attribute them to the same period of time. Both sak- strongly moved away from them. The resulting spit dates back to the classical polystaurian type: lacunae made it possible to include additional 35 Mayasova N.A. Monuments of the Middle Ages and help in writing the work. 38 For more on this, see: A. Barkov G. of facial sewing... P. 194. 37 For example, the pronunciation of the letter "Small sakkos of Metropolitan Photius"... 36 We express our deep gratitude to "y". So, the name of the Moscow prince is written S. 349-375. B.L. A.G. Barkov 368 10 Development of the vaults of the Church of Our Lady of Pantanassa in Mistra 11 Prophet Zechariah. The painting of the northeastern dome of the church and the scheme of the Great Sakkos of Our Lady of Pantanassa in the Mistra of the image. So, between the scene "The Annunciation - The whole space of the Great Sakkos is clearly divided", located in two corners at once, is divided into several separate plans. hallmarks, is the "Watchful eye". Below First of all, this is expressed in the difference in the veli-scene "Entrance to Jerusalem" is divided by the order of the figures: the largest - the figure of the Savior Christ in the tomb, which is the center of the whole in the central cross-stamps, holy compositions. On the reverse side of the sakkos on the side parts and portraits of the historical "Descent of the Holy Spirit" consists of four persons; a little less - Saints Constantine and Helena, parts: the apostles are depicted in two corners - prophets in medallions near the scene “The Descent of scenes, between which there is a figure into hell”; even less - the prophets in height in the medallion-Cosmos, and the rays descend on the apostles from under us at the "Crucifixion"; finally, the smallest - a cross-shaped brand with the "Assumption" (ill. 7). All figures depicted in the corner scenes. It is important that the images are highlighted sharply and unambiguously, it should be noted that the hallmarks where the portraits are placed, due to which its surface looks disconnected - the imperial and grand-ducal families, no. This feature was pointed out by A. V. Bank, who noted in height a little more than the rest of the L-shaped “process of increasing fragmentation of space-brands. Their sizes coincide with the figures of the priesthood” and the strong congestion of the images on the side parts, which, of course, speaks due to the desire to accommodate the maximum about the intentional selection of these images 40. The number of characters and scenes of holidays 39. it is impossible to grasp and read the space that develops not only at once, at the same time. The viewer needs height and width, but also depth. Figures progressively unravel complex semantic, which at first glance are in the same flat interweaving, have a certain “code” for sti, are distanced from each other. For example, deciphering pictorial text. The system of images of Saints Constantine, Helena and Lithuanian images requires certain intellectual martyrs in relation to the imperial and great efforts, perfect knowledge of the sacred couples of the princes, or the figures of svyatistov, the creations of the holy fathers, as well as co-contemporaries in the side niches with respect to all theological writings and political depictions of the centerpiece on the reverse side. sky context. In this regard, it is important in this spatial scheme, which consists of the fact that on the Great Sakkos, in contrast to the several isolated plans established by the Small, there are no texts on the scrolls of the prophets. The strict hierarchical sequence itself, the images and their location relative to which the main and secondary scenes are clearly marked, should evoke certain sedate scenes and characters in memory. In fact, we are different quotes. we see the layering of several spatial 39 Bank A.V. New features in the Byzantine-40 I.M. .: Kachanova I. M. On the time of occurrence of marks, came to the conclusion that these veins of sakkos ... P. 197). Large sakkos of Metropolitan Photius 369 wings, in one of which, in the outer one, there is the viewer himself. Moreover, each plan is autonomous relative to the other and excludes their association or interpenetration. As an example, we can cite the full-length figures of the prophets on the sides of the main scenes (near the Crucifixion, Ascension and Assumption). Upon closer examination, it is clear that their views, although directed towards the center, seem to glide over the top. In the scene “Abraham's Sacrifice”, Abraham's gaze is not turned to the angel, but is directed to the central part of the sakkos, to the image of the crucified Savior. We see the same multifaceted space inside the scenes of the holidays. In the “Crucifixion” (ill. 8), the Mother of God and John the Theologian depicted in the sleeves of the cross are taller and located higher than the soldiers at the foot of the cross. They stand before the Savior, but their presence seems distant, timeless. Thus, this composition can be 12 Large sakkos. Reverse side. correlated with the scene of worship of the King of Glory, Detail: Prophet Gideon placed on the collar of the sakkos on the reverse side. The outlines of the hallmarks take on special scenes, in a certain historical perspective - these are not just the limits of the space of the depicted scene, but the boundaries of a peculiar complex compositional construction of the Bol-window, through which one or another sakkos can be observed is the basis for an extremely different fragment of sacred history . Especially developed iconographic program. This is vividly expressed in the main scenes, for example, the imagery makes it possible to compare this in the “Crucifixion”, where the warrior piercing the side of the Savior vestment with a full-fledged theological writer is half hidden by the border of the stigma, or denial, imprinted in visible images. In the Ascension scene, where the limits of the stigma are overwhelmed, this theme requires a separate scaling of the figures of the apostles. Everything is generally conscious research, so in this paper gives a kind of historical and spiritual, we will only briefly note some key perspectives in which each particular aspect. In our opinion, the understanding of the program plast is no longer physically connected with another, but depends directly on the compositional structure, upcoming sacred events, vestments in general. The images on the sakne are direct participants in the spit and are not arranged in a linear chronological order of the ongoing action. We find a similar understanding of sequence, but volume, like real spaces, in works, in a new architectural environment, where, for example, scenes close in time to the Great Sakkos. Before the Twelfth Feasts, placed for each other, on a shroud, embroidered by order of the Metropolitan in the central dome space of Photius41, where the angels with ripids, standing together, are opposite each other, standing behind the Body of the Savior, significantly smaller than those share in the dialogue. Each scene or group of hallmarks that are on the sides. In the murals of the monastery, a certain semantic pair corresponds, Resava in Serbia (c. 1418) on the sides of the composition creates a kind of antiphonal sound “Watchful Eye”, on the vaults, images. The reading of the scenes is possible in a variety of prophets David and Solomon, their figures in significant directions: vertically, horizontally exaggerated in relation to the scale and diagonally. So, for example, along the horizon of the stage itself (Fig. 9). In the Church of Our Lady of Pantali, a group is read, consisting of scenes of tanassa in Mistra (c. 1428) in the composition “Tai-"Annunciation", "Watching Eye" and "Crucified Supper" over the apostles, in a heap of tiye". The "Annunciation", divided into two parts, architectural scenes, as well as placed images, contains in its space the prototype of the salvation-prophets. Their size, on the contrary, is reduced by the body death and Resurrection of Christ, and for the very reason they are perceived separately from the gospel scene itself. Such a comparison 41 Mayasova N. A. Medieval face- obvious when comparing a similar catch and are perceived as an integral part of sewing... Cat. No. 7. P. 34. compositions from the Church of Our Lady Periv - participants in the scene. 42 Difference in understanding of the depiction (also in Mistra), where the prophets of the same space become even more similar in size with the figures of the apostles- AG Barkov 370 13 Big sakkos. Front side. 14 Large sakkos. Reverse side. Detail: The Crucified Christ Detail: The Baptism is known in monumental cycles, beginning with a sequence of arrangements, concrete from the mosaics of Kievan Sophia, where the images of the archangel couple are all important for understanding - Gabriel and Mary, located on the east of the sakkos program. pillars, precede the space of the altar and This vertical is also visible in the depiction. Below is the composition "Entrance to Jerusalem" by historical figures. So, the saints Kon- are compared with the “Crucifixion” and the Holy Sepulcher, the stantin and Elena are above the imperial one, with which, in turn, are also connected with the “Tai and the Grand Duke’s couple, clearly expressing the Supper” and “The Resurrection of Lazarus”. The scene “Christ - the idea of ​​the succession of power, which was removed in the coffin” is not only a compositional element in the sakkos of D. D. Obolensky and Fr. John Meiny center, as mentioned above - on her endorf - the first Christian emperor, the rest of the images are focused on the face of John VIII, and St. Helen is above the Moscow howl of the sakkos. In “The Sacrifice by the Grand Duke as a Reminder of the Holy Prince Abraham”, who is, as it were, on the periphery of Gina Olga - the first in the princely family to accept compositions, Abraham's gaze is directed to the value of baptism. All together they are connected with the scene, causing specific associations with the victim “Descent into Hell”. The Savior is holding the Savior in his hands. An important role is assigned to the vertical cross, which he gives to Adam, the same cross of the axis, on which the main semantic lines are outlined, we see in the hands of Saints Constantine and Helena the lines: “Crucifixion” - “Descent into Hell”; “Nedre- and further at John VIII, Anna Vasilievna and Vasiman’s eye” - “Christ in the tomb” - Lithuanian Lia Dmitrievich. It may also be noted the martyrs; "Annunciation" - "Entrance to Jerusalem". that Christ, leaning towards Adam, at the same time On the reverse side: "The Old Testament Trinity" - leaning towards the imperial couple, as if for the good - "Transfiguration"; “Baptism” - “The Descent By binding them. This detail puts an important emphasis on that Spirit.” The same applies to the figures of saints depicted on the meaning of imperial power, emphasized on the side parts. Their choice is her authority in the Orthodox world.43 43 In this context, one can recall the patriarch reminding the prince that the empire of nations. Six Byzantine portraits - a letter from Patriarch Anthony VI to the great Tor - the head of all Christians (for more details, see Comrade M., 1998, p. 281). to Prince Vasily Dmitrievich, in which Obolensky D. D. Byzantine consort- Large sakkos of Metropolitan Photius 371 - Nopole and other Christian Churches. Undoubtedly, noteworthy is the placement of the image of St. Clement of the Pope in the upper part of this rank. The veneration of this saint has been especially widespread in Rus' since the time of Saint Vladimir. The compositional structure of the Great Sakkos can be interpreted as a kind of three-dimensional scheme of a cross-domed church. Correlation of images on sakkos with monumental painting was proposed by E. Piltz. However, this idea was not developed in her work - only a circle of analogies was outlined (the paintings of the monasteries of Decani in Serbia and Dohiar on Mount Athos, as well as the cathedral in Montreal in Sicily)44. The identification of individual elements of the image with specific architectural forms was shown by A. V. Silkin in relation to Stroganov's 15 St. Sergius of Radonezh. Detail. Cover. 1422–1425 sakkos of the 1660s, which, in turn, were the Sergiev Posad Museum-Reserve, are oriented towards ancient Kremlin prototypes 45. To understand the program of painting the sculptural volume, the Great Sakkos was not provided for; it is also possible to offer a “verbatim” reproduction of architectural similar variant of reading the composition. structures. It was not a drawing in the modern way. Creation of the image of the temple in various ways, but it is a symbol, ideal by predictive means - one of the most important ideas about the forms of the Heavenly Temple. Therefore, the Byzantine and Russian medieval themes are sometimes enough art to create such an image. It appears even in pre-iconoclasm - it was necessary to introduce into the image only a small epoch and receives special distribution an architectural quotation, which should have been in the Middle Byzantine period, when it was easy to “read” in the architect, causing the cross-domed type of body to crystallize in the consciousness of the viewer. image system. This art building and at the same time a classical device is taking shape finds analogies in the texts of the decoration system with its complex Simbyzantine authors, who described the ancient spatial and contemporary temples with a volitional interpretation.48. sakkos symbolic knowledge, in which this theme is expressed in a clear image of the temple space, can be seen in easily identifiable forms: miniatures - in the form and arrangement of the main and secondary wall copies of the domed building, quadrifoam hallmarks. In the Small sakkos, it was conveyed through a liya or niches with semicircular endings.47 Combination of forms of cross-shaped hallmarks and round ones. interaction between gospel and vetkhoz - miniatures of Homilies of Jacob of Kokkino-bath of vetted scenes. There is no visual representation (second quarter of the 12th century) of a miniature of Ostromi, a circle inscribed in a cross. However, the image of the dome of the moat (1056) and the Mstislav Gospels (1103). When it does not completely disappear, it is relegated to a distance, it is important to understand that the image is a sacred plan and is only guessed in the form of a small space on a plane or in small medallions concentrated in the corners 44 Piltz E. Trois sakkoi byzantins... P. 58. 47 For more details on this, see: Etin- and writers, see: Sedov V. V. Kilisse 45 Silkin A. V. Stroganov's front embossment O. E. Image of the Mother of God. M., 2000. Jami: Metropolitan architecture of Byzantium. sewing. pp. 94–96. Cat. No. 86, 95, pp. 177–204 (with references). Moscow, 2008, pp. 95–122. 46 Demus O. Mosaics of Byzantine temples 48 On the peculiarities of perception and opium. M., 2001. The sanation of temples by Byzantine historians A.G. Barkov 372 and the diagrams of the Great Sakkos show their almost complete coincidence (ill. 10). This similarity is further enhanced by the fact that in both cases the images of the prophets are placed in the domes-medallions (ill. 11). Other parts of the sakkos can be interpreted in a similar way. So, the location of the stamps with images of the holy fathers can be understood in several aspects. W. Woodfin considers them as a reflection of the theme of the Great Deesis - the saints on the obverse and reverse sides flank the half-figure images of Our Lady Oranta and the image of Christ the King of Glory with archangels and seraphim coming to them.50 Another option can be proposed - a reproduction of the "Service holy fathers." (On the front side, the saints stand in front of the central image of Christ in the tomb.) Images of saints are traditional for altar paintings, but their location in separate niches is not common, only one 16 Large sakkos. Reverse side. An example is the painting of the Church of God Detail: Saints Nicholas and Spyridon of the mother of Afendiko in Mistra, where the images are also enclosed in niches. Continuing a series of architectural cross marks. This allusion to the shape of the dome of spatial associations, it is important to note, is reflected in the real architectural special place in the decoration system of the Greater sac-forms. Examples include the scythe assigned to the images of Saints Constantine by the system of vaults in the narthex and exonarthex of the church and Helena and the portraits of historical persons under them. Chora Monastery, the five-domed completion of the church. They are located in the lower part of the front stove of St. Panteleimon in Nerezi, Assumption Rhone, around the “Descent into Hell”, and also find churches in Gracanitsa, the Church of the Holy Trinity parallel in the real architectural space of the Resava Monastery , decoration of the crucifixion, where the images of the Equal-to-the-Apostles saints and Ctides of the Church of Pantocrator in Dechany.49 Interests are located, as a rule, in the western analogy of the compositional construction of the temple compartments. The scenes on the Great Sakkos are monuments. I would like to emphasize that this tract is Mistra: the Church of Our Lady of Hodegetria (circa tovka compositional construction, predla- 1311) and Our Lady of Pantanassa (about 1428). Both are believed to be only as an auxiliary scheme, these temples represent a special variety for understanding the complex relationships in the system of visibility of the construction of the cross-domed type of painting of the Great Sakkos. with a strongly elongated in the longitudinal direction. Among other artistic features of the volume due to the increased space of the stalk of the Great Sakkos, an important place is occupied by the vims and the presence of a narthex. Development of horizon-volume-plastic solutions. The proportions of the tal movement in the interior are also correct - all images are correct, without deliberately the presence of a two-tiered bypass, which encircles the building from the western wall to the apses. swarm of the third of the 15th century. The figures stand firmly on their feet. In Pantanassa, the southern and northern galleries are deprived of their freedom during the second movement and end in a spontaneous tier in the east with small sti, characteristic of the images of saints on the chapels, which are illuminated by the Small Sakkos. Here we see two small domes, which are not of a purely motional nature. In addition to them, life, but rather its symbol. The images are devoid of internal dynamics at the corners of the naos, which is square in plan, above the choirs; It suffices to compare the figures of the prophets in the lateral eastern domes, which, together with growing, for example, Malachi to the left of the “Ascension-central dome, form a traditional nia” and the archangel Gabriel from the “Annunciation” with a five-domed scheme. Direct comparison with the prophets on the Small Sakkos. At the same time, the posture and architectural composition of Pantanassa’s gestures of children in the “Entrance to Jerusalem” differ 49 Here, in the cross vaults, the principle of rounding the rounded surface is divided as parts of a single spherical rib into four segments, place - all images are deliberately curved shapes . puppies various subjects. 50 Woodfin W. Late Byzantium Liturgical feature of their construction is characteristic horizontally and therefore, being placed next to each other, perceived by Vestments... P. 169–172. The large sakkos of Metropolitan Photius 373 is surprisingly plausible. These oso-interpretations of the figures. This is especially noticeable in the depiction of the images of the Great Sakkos, not wearing the clothes of those saints on the side parts of both, are exceptional. The same cut, which are dressed in sakkos - we find their height from the outside in others have a small oval bend at the bottom, reworks of the 1410s–1420s. So, in frescoes it gives a perspective distortion. The holy warriors only seem full of volumes to the revelation of Resava, and the active use of movement by them contributes, their faces bear the stamp of special light and shadow modeling. In contrast to coystia and appeasement. The same dissonance from the sewing of the second third of the 15th century, for example, is recently observed in the icon “Annunciation” from the Trinity Shrouds of the workshop of the Archbishop Sergius Monastery 51 - the figure of the Archangel Gauriskop Euthymius, where open mud was used, at first glance, strikes with its striving - "whitening" highlights, laid down in form by body, but in his face - the same detachment. large light planes 54, in the Greater Hence, a heap of intricate architeksakkos light is transmitted in a different way. Here, round forms (different-sized arches, columns, and shading of the edges of the shape of ticks, vellums) are actively used, as in the “Crucifixion” from the Assumption and eye sockets, as a rule, slightly darker ocher - the Cathedral of the Moscow Kremlin 52, “Annunciation” is stym, and sometimes in a cold light blue tone (TG) or miniatures of the Gospel of the Assumption threads (ill. 12), but more importantly, the purpose of the cathedral. sewing features. presented in a slightly different way. Influence Unlike the Small sakkos, where the surface of the medium here is exposed to space itself, the faces are smooth and uniform, and the stitches, smoothly broken into separate components, change their direction in shape, in the Large central cross-shaped hallmarks and pushed back all the faces are embroidered large, “in a split” , resembling squares to the edges. painterly strokes. The thickness of the threads on the faces Another characteristic feature of the images on the Large Sakkos, which is thinner than on the hair on the head and beard, is extremely voluminous, which, due to the difference in texture, enhances the volume. 17 Large sakkos. Reverse side. Detail: Assumption of the Mother of God 51 State Tretyakov Gallery of the Moscow Kremlin // Russian-Balkan 54 Ignashina E. V. Ancient Russian lyceum. Collection directory. T. 1. Old Russian cultural ties in the Middle Ages. High and ornamental sewing in the art collection of the 10th - early 15th centuries. GTG. M., Sofia, 1982. S. 313–328. Novgorod Museum: Catalogue. Veliky 1995. No. 79. 53 Research and restoration of one Novgorod, 2003. No. 9; Mayasova N. A. 52 Ostashenko E. Y. Byzantine icon of the monument. Gospel of the Assumption Cathedral Old Russian facial sewing. Catalog. "Crucifixion" from the Assumption Cathedral of the Moscow Kremlin. M., 2002. M., 2004. No. 7. A. G. Barkov 374 Stitches also repeat the anatomical structure. Cheekbones, frontal arches are highlighted by movement in bone carving), where the volume is conveyed not by stitches resembling vortex flows, only by the relief itself, but also by varying degrees sharply changing their direction to the edges of light reflection from many surfaces. from horizontal to vertical. This feature and their artistry make the edges of the form at some angles of interpretation and allow us to speak of the sakkos of the review as strongly shaded, although the tone of the threads is like a huge gold setting. Enhances this (flesh color) remains unchanged. The whole impression is that the sewing of the sakkos was used in the fact that, depending on the type of seams, different types of seams, resembling directions, refract and reflect both the basma ornament and the high chased light in different ways, which creates the impression of a contrasting relief. Most of all, this is noticeable in the performance of light and shade modeling. This characteristic of especially significant figures, where the form is separated, is observed on all faces, and especially from the golden background, not only by lines, but also by another type of ornamental seam on the figure of the Savior in the scenes of the Crucifixion (ill. 13). Thus, the “Baptism” (ill. 14), where in this way the technique of sewing with silk linen is highlighted in the Great Sakkos the structure of the body. The stitches do not just lay down in threads, it looks more like “silk embossing”, on the surface, repeating the outlines of the form, than like “painting with a needle”, and this is one of the things that create a kind of “turbulent” swirl - its fundamental differences from the rhenium sewing technique, on which the light plays when the Small Sakkos changes. The abundance of gold makes the image of the viewing angle. A similar effect can be observed difficult to perceive, especially given in other monuments of sewing, for example, from a long distance. Apparently, this served as the 18th Great Sakkos. on the first embroidered cover with an image of a reverend - a reason for emphasizing the contours of hallmarks, arches and front side. St. Sergius of Radonezh (1422–1425) (ill. 15), the most significant figures in the scenes of the holidays Detail: The emperor of epigonation with the “Assumption” from the Putna Monastery with a pearl band. The surviving lower part of John VIII Palaiologos of the beginning of the 15th century. 55 or stole from the monastery is probably related to the 17th century. and noticeably rude John the Evangelist on Patmos. 56 The drawing of the images is visually striking. Whether there was a comparison with the picturesque ones from the very beginning is an open question. This knowledge of the first third of the 15th century, where an intense possibility cannot be ruled out for the reason that light and shade modeling is the main thing, is that the practice of decorating facial sewing with pearls, a means of creating an emphatically voluminous alien hem, was widespread 61. interpretations of figures and faces. The most striking in addition, the use of pearls was associated with analogies are the icons "The Apostles Peter, not so much with aesthetic beauty, but with his and Paul" 57 (see ill. 2 on p. 144) and "Crucifixion" (see ill. 5 deep Pearls, so on p. 348) from the Assumption Cathedral of Moscow, but like gold and silver, in the Byzantine system of the Kremlin 58, miniatures of the (Morozovsky) Gospel symbols were perceived as an image of the uncreated, Liya of the Assumption Cathedral 59, the Apostle from Cyril-divine light , was his "absolute Belozersky monastery (Other gr. 20) 60, the gospel metaphor" 62. In this context, the allocation of gems - Radoslav 1429 (F I 591). in the Great Sakkos of the Savior, nimbuses, in addition to the decorative function of the reflective properties of silk, allows tsiya, is perceived as the radiance of the divine to talk about their conscious use of energies. Therefore, it can be assumed that it is also about a special artistic technique, unknown to the currently existing late reproduction, by the painters who worked with paints. leads an earlier one, which was important 55 Musicescu M.A. La broderie medivale 57 Barkov A.G. Icon “The Apostles Peter and Byzantine Civilization. S. 285). Also roumaine. Bucarest, 1964. No. 5. 7–8. Pavel” from the Assumption Cathedral in Moscow, it is known that the salary of the Gospel of the Assumption is 56 Byzantium. Faith and Power. Kremlin. The problem of style and dating // Cathedral (Morozovsky) originally Cat. No. 184. R. 308-309. Unfortunately, the Orthodox shrines of Moscow had a pearl trim, which, if not sewn here in a very bad Kremlin in the history and culture of Russia. opined, was an important element of the overall preservation, but the available fragments of the Collection of Articles. M., 2006. S. 105–113. 58 Icons of the Assumption Cathedral of the Moscow-Yu. , sewing "in ras- M., 2007. No. 19. Kremlin // Proceedings of the Department of Scientific Restavkol" with a change in the direction of the stitches, 59 Research and restoration of one walkie-talkie and conservation of the State use of a thinner thread for the monument. cultural museum-reserve of sewing faces in comparison with hair and the Moscow Kremlin "Moscow Kremlin". M., 2004. Issue. 1. beard. Although the epitrachelion has in the letter - 60 Vzdornov G. I. The Art of the Book in Ancient - S. 124). tour earlier than the Great Sakkos, her Rus. 62 Averintsev S.S. Gold in the dating system (second half of the 14th century), Pere-Eastern Rus' of the 12th–15th centuries. 1980. No. 68. symbols of early Byzantine culture // numerical features testify 61 This, for example, is evidenced by the Poetics of early Byzantine literature. about their obvious stylistic relationship. the already mentioned Inventory of Konstantinino-SPb., 2004, pp. 404–425. St. Sophia Cathedral in Poland (see: Guillou A. The Large Sakkos of Metropolitan Photius 375 is an element of the original decoration system of the sakkos. Saints are easily recognizable in the side sakkos niches, prophets, apostles in the scenes of feasts. - activity, expressed in an abundance of precious lei, is evoked by images of historical figures of materials, in a large number of depictions - in the lower part of the front side.In them, the same characters and sacred scenes, their characteristic compositional construction, large-scale individual features are definitely guessed. Even at the earliest theological program, the abundance of the first precious materials used in the study of the sakkos by G. D. Filimonov, you drew attention to the obvious similarity of 19 Pisanello. ) on the Great Sakkos with a portrait of John VIII is not noticeable, and only upon closer examination and in the manuscript with the writings of Pseudo-Dionysius Palaiologos. About 1438–1439. Friction reveals amazing beauty from the Louvre (1403–1405) 64, where he is depicted with his images. technical features of sewing. There are many of them. Indeed, despite the poor preservation, the complexity is comparable not only with a miniature-embroidered image, these two portraits are very close, but with icon-paintings, and even with the only difference that on the Parisian mini- with monumental works. At first glance, attention is paid here to the enormous ature of the future emperor, still in his youth, at the second age, as evidenced by the absence of a beard to growing details. Most of all, this is noticeable in the mustache, and on the sakkos it is depicted as a fully grown-up young man in the image of faces, hairstyles, beards, clothes. For comparison, you can saints and historical characters, where you can see another portrait of the emperor, which is every detail, every strand of hair, gestures. No ry, no doubt, has the greatest resemblance of any recurring type, everywhere its own with the original. This is a profile image of the features that give the images a specific on the medal by Pisanello (ill. 19), made-individuality. You can often find gray hair during the Ferrara-Florence Cathedral, interspersed with blond hair, for example, in 1438-1439. 65 On it, the emperor will be represented by St. Nicholas of Myra (ill. 16), linen already in adulthood, slightly stooped, with and sometimes with cold, bluish strands, strict features, a sharp beard, medium like the prophet Malachi. Heads of angels and archanea of ​​length. Comparing two early portraits of gels, lush hairdos from Pisanello's feathers are adorned with confidence, braided curly curls. All faces are asymmetric to speak of almost documentary accuracy, which gives them a greater realism of picturesque and embroidered images and their sharpness. Each character has a mime-like temporal affinity. An interesting feature that expresses his state and specific features is the fact that John's clothes and emotions. This is especially noticeable in the central ones in which it is presented on sakkos, identical compositions. Thus, in the Crucifixion, the expression on the face of the robe of his father Manuel II on another Parisian and the gesture of the centurion Longin conveys the moment of his miniature (grec 309) (1409–1411). the son of the current event. In the Dormition there are two groups of apostles in dark-colored robes, but here both robes of fish and saints on the sides of the bed of the Mother of God are reddened, embroidered with gold and decorated with each other, and their faces, especially with precious stones. This fact, indirectly depicted with a censer on the left, fully indicates that the sewing of a sakkos is close to inconsolable grief (ill. 17). In The Last Supper, in time for the portrait of Manuel II (1409-1411). “The Ascension” and “The Washing of the Feet” emphasized the Portrait of Anna Vasilyevna (ill. 20), on the contrary, the confusion of the apostles, they are excitedly discussed, it seems more stylized, in comparison they give what is happening. In this case, it is necessary to have with the image of the spouse. It is known that this is the only thing, in view of the fact that the dimensions of the images are very small, the faces are a natural image of her. height - no more than two centimeters! The images of Vasily are no less expressive. We emphasize once again that all without exception - Dmitrievich (ill. 21) and Sofia Vitovtovna (ill. 22). The images are deeply individual, portraiture. Unfortunately, other images of the grand duke - the finest nuances of the physiognomic family have not been preserved 67, therefore, comparative analysis does not seem to have simple features and features of psychological conscience. This feature undoubtedly plays an important possible. However, if we take into account the extreme similarity of the imperial 63 Filimonov G.D. Icon portraits 65 Byzantium. Faith and Power. Fig. No. 2.8. study of the remains of the Grand Duchesses of the Russian Tsars. R. 21. and reconstruction of their portraits; 64 See: Moravian School and Jeno Doba. 66 Ibid. No. 1. P. 26. It is possible that in the course of this work there will be Scientifically stingy. Resava. Beograd, 1968. 67 At the present time, the image of Sofya Vitovtovna has also been recreated in the Museums of Moscow. Anthropological portraits are kept in the Kremlin of the Kremlin, then the image of Vasily Dmitrievich, with its diversity and complexity, can be considered equally authentic. So, in the “Crucifixion” the clothes of the soldiers are lifted. This is facilitated by their excellent, timidly worked out, in contrast to the half-figures, their preservation, which allows one to examine in detail the images of the Virgin and John the Theologian, characteristic portrait features. Thus, those depicted are emphatically symbolically out of measure, in the face of the prince we can note the lightness of time and out of real space. In very Asian shades: high cheekbones, a slightly smaller composition “Hospitable eyes. The expression on his face seems to be more the property of Abraham, ”the master depicted as rather concentrated than strict. The portrait of Sophia Vitovtovna, on the contrary, is a complex table with three arches, on the contrary, it strikes with its severity on which he placed not only a bowl with a head. Judging by the way these lambs are made, there are also table utensils of different shapes. portraits, it can be assumed that the author of these we see the same thing in The Last Supper, where, in addition to the images, he also knew what such woks looked like, various high-ranking persons were scattered all over the table. Special attention - food. In the scene "The Sacrifice of Abraham" the clothes are also mentioned. At the imperial couple, a tied lamb, firewood burning with all its solemnity and wealth, a hearth and even sparks from a fire are embroidered. the robes are likened to the clothes of Saints Constant. Extraordinary portraiture and authenticity and Helena, which is why the stylization in the transfer of the objective world looks more typical. The clothes of the grand ducal couple, a clear feature of the art of the first third of the 15th century. Noticing, they amaze with their “documentary”. Another moat can lead to this mass. This and the murals G. D. Filimonov noted that the vestments of Vasily Resava (c. 1418) 69 and Kalenich (after 1418) 70 in Ser-Dmitrievich are “very dapper” and that they are through, where the variety of robes of holy warriors is extremely detailed. for the “icon portrait” 68. despite the fantasy of their forms, If the clothes of the emperor and empress strike with the reality of their image (ill. 23). Unfortunately, close to the clothes of the saints, which is consistent with the sewing, such analogies are practically with their sacred title, the garments of the great have not been preserved. To shed light and reinforce the prince, as a person who does not bear the sacred, our conclusions could be a shroud ordered by the title, as realistic as possible. This is a remark by Metropolitan Photius, but personal sewing seems to be quite justified. The action is much lost. Therefore, perhaps most importantly, there is more freedom in their depiction, even the already mentioned fantasy can serve as an example, they are richly ornamented, the first cover of St. portrait-sewing reproduces the smallest details, such new similarities are due, on the one hand, to the way the fabric pattern on the semi-caftan, cloak and that it was created shortly after the death of the saint, lining, sleeve trim, precious stones, and on the other hand, the general orientation of the era on the under- and buttons on the clothes of the princess, and even scribbled illusory images are conveyed. Over time, woolen villi on the prince's pants. Exactly the "realistic" type will be smoothed and ideally the same "woolen fabric" can be found zated. As an example, one can cite in other images, for example, in the "Assumption" the second cover of St. Sergius, created near the angel who cuts off the hand of the wicked Athos - the middle of the 15th century. 72 niyu, in the clothes of a shepherd in the "Christmas" or among children Summarizing the above, we highlight the most in the "Entry into Jerusalem". In the same composition, there are important stylistic features of the depiction - amazingly realistic postures and movements on the Great Sakkos. These are: children spreading their clothes in front of the Spa - a special perception of space, voluminous tractor. In addition, even flowers are embroidered here, figures are embroidered with the help of special technically rather complex forms, with buds and leaf techniques and black and white modeling, thrown at the feet of the Lord. listing, “portrait” in faces, elaboration Increased realism of tracing the smallest details, emphasized interest in all images of the Great Sakkos, in the material, objective world, apply the image of a saint with an extremely fine penetration of complex shades. For sakkos botanical face or gospel scenes. Each is also characterized by a special understanding of light: not the original image can be looked at for a long time, hoping from within matter, but falling from the outside, finding in them the smallest details that strike not dissolved in color, but existing 68 Filimonov G. D. Icon portraits 70 Simiћ- Lazar D. Kaleniћ - slikar - Old Russian art: Sergius of Rado - Russian tsars. stvo, history. Kragujevac: Kaleniћ, 2000. Nezhsky and the culture of Moscow in the 14th–15th centuries. 69 Todiћ B. Manastir Resava. Beograd, 71 Mayasova N. A. Icon of the Monk St. Petersburg, 1998, pp. 40–53. 1995. Sergius of Radonezh in Old Russian 72 Ibid. P. 45. sewing (On the issue of iconography) // Large sakkos of Metropolitan Photius 377 20 Large sakkos. Front side. 21 Large sakkos. Front side. 22 Large sakkos. Front side. Detail: Anna Vasilievna Detail: Vasily Dmitrievich Detail: Sofia Vitovtovna separately. We find all these features in the embroidered writings of the 1410s–1420s and partly in the early 1430s. miniatures on the Great Sakkos are contradictory to later dates. In our work, we can name: the murals of the Church of the Mother of God in relation to the Small Sakkos, we brought the circle of Pantanassa in Mistra 73 (ill. 24), Resava and Kale - counteranalogies of his painting 79: Puchezhskaya Nicha in Serbia 74; the icons “The Crucifixion” 75 and “The Apostles’ Shroud (1441) 80, the Shroud of Novgorod Peter and Paul” from the Assumption Cathedral of Moscow-Archbishop Euthymius 81, the Romanian Shroud of the Kremlin 76, “The Resurrection of Lazarus” from the Russian Museum 77, from the Neamt Monastery (1437). For the Great Sakkos, the embroidered cover with the image of St. Sergius is relevant to this argument. Radonezh; oklad and miniatures of the Gospel Let us recall that in recent times there were pre-Assumption Cathedral 78, the gold oklad of the icon of Vladi - attempts were made to revise the dating of the mundane Mother of God, with minted holidays of the Great Sakkos; the main argument pro- on the margins and the monogram of Metropolitan Photius. against attributing it to the time of the metropolitan The study of embroidered and pictorial works Photius is his own portrait (ill. 1). Deny suggests that in Moscow I. M. Kachanova and S. A. Belyaev appeal to the idea that the Greek painters could work, and even the entire symbolism of this vestment, which is the workshop of embroiderers. This supposedly, according to Theodore Balsamon, the Byzantine tradition (relative to the workshop that the canonist of the 12th century was engaged in, goes back to the scarlet garment with Christ-embroidered) can only be accepted as a hypova and is a “clothes of sorrow”82. other works, an image perceived as an axiom, but made by these masters. 73 Mouriki D. The Wall Painting of the 75 Ostashenko E. Y. Byzantine icon 79 Barkov A. G. “Small sakkos of the Metropolitan Pantanassa at Mistra: Models of a Painter's “Crucifixion”... lit. Photius "... S. 371–372. Workshop in the Fifteen Century // The 76 Barkov A. G. Icon "The Apostles Peter 80 Mayasova N. A. Old Russian Twilight of Byzantium: Aspects of Cultural and Pavel" in the Assumption Cathedral of Moscow Facial sewing. No. 7, pp. 90–93. and Religious History in the Late Byzantine of the Kremlin... pp. 105–113. 81 Ibid. P. 55. Il. 27. Empire. Papers from the Colloquium Held 77 Byzantine art in collections 82 Op. Quoted from: Woodfin W. Late Byzantium at Princeton University 8–9 May 1989. USSR. Exhibition catalogue. Ch. 3. M., 1977. Liturgical Vestments... P. 106. See also: New Jersey, 1991. P. 217–231. No. 958. P. 91. Dmitrievsky I. I. Historical, dog- 74 Todiћ B. Manastir Resava; Simiћ- 78 Research and restoration of one mathematical and mysterious explanation Lazar D. Kaleniћ. monument. Gospel of the Dormition Cathedral of the Divine Liturgy. SPb., 1884. S. 80. Moscow Kremlin. A.G. Barkov 378 22 Holy warrior. Painting of the Church of the Trinity 23 Entrance to Jerusalem. Church painting in the Resava Monastery, Serbia Our Lady of Pantanassa in the Mistra of Sayings.83 However, the documented prohibition of a possible customer does not go into any comparable images anywhere, for example, with the prohibition to depict Rich, it is, as it were, implied, deduced the logo of the Father (Deut. 4:12, 15-17; Ex. 20:4; 2 Cor. III 6). cheski from the general practice and symbolism of worship, On the contrary, in the thousand-year history of Byzantium. At the same time, the fact that portraits of secular persons were placed on the vestments of Russian and medieval art does not cause any mass of such “impermissible” from the point of view of doubts and objections, although this would also be quite justified from the point of view of ideal theology. Assuming that sacramental images, including those in special braids, were embroidered in the late 1430s or 1440s. 84. Here are just a few of them: other questions remain, for example: was it possible for the portraits of the Emperor Justinian and Theodora to depict the emperor with the long dead in the altar of the Church of San Vitale in Ravenna; portraits of his wife and father-in-law, while he was two more times customers, coming to Christ, married in the conchs of apses? If the sakkos was embroidered for the Patriarch of the Churches Santa Agnes (VII century), Santa Prassede Joseph for the Florence Cathedral (according to Santa Cecilia (IX century) in Rome; a portrait of Emperor I. M. Kachanova), then why is it so vividly speaking Leo VI in front of the Savior over the south, the theme of relations with Konstantin is presented - the entrance to the church of Hagia Sophia in Constantinople, Moscow and Lithuania? Why after the death of the field (c. 912); Photius (1431) and Vasily Dmitrievich (1425) are depicted in St. Sophia of Kiev, after the whole family of Prince Yaroslav was on the same level as the results of the Florentine Council, when in the glas- na of the Eucharist (thereby they equated the Russians, the Greeks apostatized from Orthodoxy, to communion apostles). In paleologists, suddenly the idea of ​​​​continuity arises again during this period, this tradition of depicting Ktito - from Byzantium to Rus'? What kind of attitude towards autokers is spread extremely widely 85: Phalia of the Russian Church (according to S.A. Belyaev) the portrait of Fyodor Metokhita in the mosaics of the monastery is Photius, who at one time kept the Russian Chora; portraits of Serbian kings (Milutin, the metropolis from the schism, who preserved it in the bosom of Stefan Urosh III, Stefan Urosh IV, Dzhurzha Constantinople Mother Church? Brankovich) in the murals of the churches of Gracanitsa, Photius’ ferment as the owner of the sakkos or his icon “Saints Peter and Paul” from the Vatican 83 “Metropolitan Photius could not (emphasis on liturgical practice; such examples 85 See: Velmans T. Le portrait dans l'art mine. - A. B.) to place one's image - the centuries-old history of Christian des Paléologues // Art et société à Byzanse on a par with the saints of God The Church does not know, it is simply un- sous les Paléologues. Venise, 1971, pp. 91–148. and turn to oneself with prayers "you can" (Belyaev S. A. Afterword to the article Pl. XXXV–LXIV. (Kachanova I. M. About the time of the emergence of I. M. Kachanova ... P. 297). 86 Todic B Serbian Medieval Painting The Sakkosov... 2006, pp. 191–192); “It's under- 84 Just listing all the Ages of King Milutin. Belgrade, 1999, pp. 31–74. It is permissible, neither according to the canons of the Church, nor according to similar examples, could become an independent study. Large sakkos of Metropolitan Photius 379 Pinakothek 87; on the oklad of the icon of Our Lady of Odi- An additional argument in favor of the life-githria (TG) 88 in the row of evangelists and the martyred image of Photius is that Constantine the Acropolitan and his are depicted on the reverse side of the sakkos on the right arm-wife Maria Komnenos. Life time porviers depict the image of the martyr Photius - the tezoimeters were placed, among other things, on the liturgical saint of Moscow Metropolitan fabrics and vestments: on the Romanian epitra - Prince Alexander of the construction of the Great Sakkos, stylistic with his wife Marina 89, on the other stole from the characteristics of embroidered miniatures, taking into account their Putna monastery (1457–1497), a prince of unique preservation is depicted, which allows us to confidently say that the sakkos was conceived and I wanted to I would like to emphasize that in all pre-created with the direct participation of the cited examples, we have Photius' lifetime polit in an artistic depiction of customers close to him. In most cases, the environment. As for the reason for making - this is confirmed by the presence of accurate dating of the sakkos, here we share the point of view of the monuments, and sometimes the portraits themselves help I. M. Kachanova - the marriage of the Byzantine heir - to determine the time of their creation. In this regard, the metropolitan of the Tiy throne with the Moscow princess depicted on the Great Sakkos was hardly the main motive. This event, Photius and other historical figures did not look - most likely, it was one of the components of the day supernatural or "inadmissible". general intention. The main reason, apparently, this tradition had such an appearance, can be called a unifying widespread for the reason that the cathedral, but without a specific reference to Ferraro, for these people, as well as for their modern Florentine Cathedral. The fact is that the idea of ​​nicknames, it was important to feel and realize oneself the restoration of the unity of the church by convening those involved in sacred events. This idea of ​​a church council was present in the minds and lies at the basis of the perception and understanding of both Orthodox and Catholics, starting from the time of the divine service, when each believer of the schism.92 time, when on a holiday), is a witness and an acute question arose about the military and financial participant in the sacred history 91. help of Byzantium from the West against the Great Sakkos in itself is an exception to the resistance of Turkish aggression. However, this movement from the "rules", about which we only have a meeting, did not imply the achievement of the most general ideas. Represented by the Greeks of the goal at any cost (union with Rome) - on it a complex of images can be traced - on the contrary, in monastic circles there was a desire tovan as an image of the unity of Heaven and Earth to convince the "enemy" of his rightness through the Church in its entirety. All the characters of the pre-dogmatic dispute. It was at the beginning of the XV century. sacred events stand here out of time, the first anti-Latin collections appear, since for the Lord everyone is alive. In addition to the complex writings 93. Among them was the “Sermon on the origin-theological content, in his program of the giving of the Holy Spirit” by the Moscow Metropolitan, a certain historian Photius 94 is clearly traced, in which he opposes the political aspect that gives the sakkos the Stalatine Symbol faith, citing sayings tus historical document. Here one can visibly show the holy fathers, whose images are included in the painting behind two branches of power: the spiritual - from the Lord, the vestments under study.95 The Bolshoi itself through the holy patriarchs to the Russian metroposakkos can be considered as an autonomous lita, and the secular - from the Tsar Glory, through the saints, a polemical text, expressed in the visible Constantine and Helen to the emperor and the great images, supported by the abundance of the gospel-prince. The images of the Lithuanian martyrs reflect the Old Testament and Old Testament quotations pointing to the unity of the Russian metropolitanate and the direct sub-dogmatic traditions of the Church before the schism, affirming that the Russian Church is in some way the main principle of which was the conciliar integral part of the Byzantine Mother Church. unity. 87 Byzantium. Faith and Power. Cat. No. 23. 90 Millet G. Broderies religieuses du style 93 Ibid. pp. 330–331. 88 Ibid. Cat. No. 4. byzantin. No. 8. 94 Photius, Metropolitan of Kiev 89 Epitrachelion up to our time 91 It would not be an exaggeration to compare all Rus'. The book is called Fotios. has not been preserved, but these processes are known from Western European writings. M., 2005. S. 77–114. according to archival photographs (see: the tradition to place the biblical 95 of the 39 saints (excluding the Musicescu M. A. La broderie medivale rou- scenes in real landscapes and contemporary Photius) in the text there is a coincidence- maine. No. 7). new interiors. nie with 14 holy fathers. 92 Florya B. N. Studies in the history of the Church. Old Russian and Slavic Middle Ages. Collection. M., 2007. S. 328.

In connection with the repair and restoration work, the entrance of visitors to the territory of the Kremlin is through the Trinity Gates, the exit - through the Borovitsky Gates. Passage of visitors to the Armory and exit is through the Borovitsky Gate.

From August 22 to September 01

visitors will not exit through the Spassky Gates.

May 15 to September 30

The Moscow Kremlin Museums are switching to summer mode. The architectural ensemble is open to the public from 9:30 to 18:00. The Armory is open from 10:00 to 18:00. Tickets are sold at the box office from 9:00 to 17:00. Day off - Thursday. The exchange of electronic tickets is made in accordance with the terms of the User Agreement.

May 15 to September 30

the exposition of the bell tower "Ivan the Great" is open to the public.

In order to ensure the preservation of monuments under adverse weather conditions, access to some museum-cathedrals may be temporarily limited.

We apologize for any inconvenience caused.

The application must indicate:

• Class
• subscription name
• number of children and adults
• contact person and phone number.

The date of payment for school subscriptions will be announced additionally by e-mail after the approval of the class schedule.

Vestments. Style change January 27th, 2014

In the comments to the previous post, a discussion began on the topic of style preferences. The mention of the competition for the project of the temple said: "It was indicated - there must be a Russian style (the patriarch blessed it so)". And what is the "Russian style" in relation to modern church architecture? And in relation to contemporary church art in general...(?)
Tastes are changing. And the understanding of the style by the leadership of the Church (the same style - the Russian church style) varies depending on many reasons, including personal tastes, knowledge, moods ...

Very interesting material for understanding the moment is given by the style of vestments - this is the subject of daily personal use, so it clearly reveals the taste of the owner. ( All photos are taken from the site http://www.patriarchia.ru/).

The late Patriarch Alexy preferred the soft texture of velvet combined with gold embroidery with rich floral ornaments.
His vestments are true works of art.
The miters were generally of the same color, material and style.

Patriarch Kirill, after enthronement, was dressed in the same sakkos of Patriarch Alexy.
Mitra is more ancient. The omophorion is large (in the upper photo of Patriarch Alexy, this is a small omophorion from the same set).

But very soon the style of vestments changed radically.

Patriarch Kirill prefers a polystavrion - a sakkos with large crosses of the simplest geometric form. Sometimes without a border on cuffs and hem (as depicted in ancient frescoes). On the omophorion are crosses of the same shape.
And here is the miter... from some other set.
Here's another example:

If a border is used on the miter, then with a very large geometric ornament.
The texture of the fabric is rigid, all contour lines are almost straight (the vestment does not "sit" on the figure, but "stands" ...).

Recently, details have appeared that reproduce the same elements on the iconic vestments of saints: for example, a border with red and green stones, on which glare is embroidered in the way it is depicted on icons.
The golden lines of the assist are also reproduced by embroidery (but apparently - by a typewriter, too mechanically).
Mitra - know-how :)) No one else had such. I would not say that it adorns the most holy ...

But this sakkos - almost literally reproduces the sakkos of Metropolitan Peter from the icon of Dionysius (although the icon has neither a club nor a miter, so they were added as best they could))).

Maybe this is - RUSSIAN STYLE?