{"title":"利赫文多布里修道院的代表性圣像:年代、类型学、圣像学、风格特征","authors":"Valentin Golubev","doi":"10.15382/sturv202247.136-157","DOIUrl":null,"url":null,"abstract":"The article is devoted to the “podnosnoy” with the view of the Likhvin Dobryi Monastery of Intercession of Theotokos near Kaluga from the collection of the Andrey Rublev Central Museum of Ancient Russian Culture and Art (CMAR): the dating of the monument is specified, its typology is determined, the iconography and style are characterized. Due to the information about chronology of construction transformations carried out in the monastery it is possible to date the icon with the time range of 1818-1832. The lower dating limit is based on the stylistic features of this icon are formed by influence of architectural drawing from 1818. The upper limit determined due to the typological characteristics of the icon as a gift (testimonial icon) for a special important person in memory of the solemn consecration of the renovated monastery ensemble in 1832. The typological characteristic of the monument as a special gift is supported by a number of iconographic and typological analogies. The iconographic program of the icon shows the principles of compositional constructing of \"podnosnoy\" (tray) and \"razdatochnyy\"(handout) icons: the pictorial surface is divided into two parts; at the bottom a panoramic view of the city or monastery placed, and at the top of it there are celestial patrons. Taking into account the administrative dependence of the Likhvin Dobryi Monastery from the Kaluga diocese and comparing the icon with a number of dated works close to it in style, it was possible to place them in the circle of works of the Kaluga icons and artistic context of Empire era. A number of these analogies constitutes a separate stylistic line of this regional artistic tradition: it is distinguished by delicate coloring, sentimentality and classical restraint.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"28 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Presentational icon with a view of Likhvin Dobryi monastery: dating, typology, iconography, stylistic features\",\"authors\":\"Valentin Golubev\",\"doi\":\"10.15382/sturv202247.136-157\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article is devoted to the “podnosnoy” with the view of the Likhvin Dobryi Monastery of Intercession of Theotokos near Kaluga from the collection of the Andrey Rublev Central Museum of Ancient Russian Culture and Art (CMAR): the dating of the monument is specified, its typology is determined, the iconography and style are characterized. Due to the information about chronology of construction transformations carried out in the monastery it is possible to date the icon with the time range of 1818-1832. The lower dating limit is based on the stylistic features of this icon are formed by influence of architectural drawing from 1818. The upper limit determined due to the typological characteristics of the icon as a gift (testimonial icon) for a special important person in memory of the solemn consecration of the renovated monastery ensemble in 1832. The typological characteristic of the monument as a special gift is supported by a number of iconographic and typological analogies. The iconographic program of the icon shows the principles of compositional constructing of \\\"podnosnoy\\\" (tray) and \\\"razdatochnyy\\\"(handout) icons: the pictorial surface is divided into two parts; at the bottom a panoramic view of the city or monastery placed, and at the top of it there are celestial patrons. Taking into account the administrative dependence of the Likhvin Dobryi Monastery from the Kaluga diocese and comparing the icon with a number of dated works close to it in style, it was possible to place them in the circle of works of the Kaluga icons and artistic context of Empire era. A number of these analogies constitutes a separate stylistic line of this regional artistic tradition: it is distinguished by delicate coloring, sentimentality and classical restraint.\",\"PeriodicalId\":212447,\"journal\":{\"name\":\"St. Tikhons' University Review. Series V. Christian Art\",\"volume\":\"28 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-09-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"St. Tikhons' University Review. Series V. 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Presentational icon with a view of Likhvin Dobryi monastery: dating, typology, iconography, stylistic features
The article is devoted to the “podnosnoy” with the view of the Likhvin Dobryi Monastery of Intercession of Theotokos near Kaluga from the collection of the Andrey Rublev Central Museum of Ancient Russian Culture and Art (CMAR): the dating of the monument is specified, its typology is determined, the iconography and style are characterized. Due to the information about chronology of construction transformations carried out in the monastery it is possible to date the icon with the time range of 1818-1832. The lower dating limit is based on the stylistic features of this icon are formed by influence of architectural drawing from 1818. The upper limit determined due to the typological characteristics of the icon as a gift (testimonial icon) for a special important person in memory of the solemn consecration of the renovated monastery ensemble in 1832. The typological characteristic of the monument as a special gift is supported by a number of iconographic and typological analogies. The iconographic program of the icon shows the principles of compositional constructing of "podnosnoy" (tray) and "razdatochnyy"(handout) icons: the pictorial surface is divided into two parts; at the bottom a panoramic view of the city or monastery placed, and at the top of it there are celestial patrons. Taking into account the administrative dependence of the Likhvin Dobryi Monastery from the Kaluga diocese and comparing the icon with a number of dated works close to it in style, it was possible to place them in the circle of works of the Kaluga icons and artistic context of Empire era. A number of these analogies constitutes a separate stylistic line of this regional artistic tradition: it is distinguished by delicate coloring, sentimentality and classical restraint.