The plot of “Esther before Artaxerxes” reflects the biblical story, which tells how the wife of the Persian king Artaxerxes, Esther, whose Jewish origin the king did not know, came to the ruler in the best clothes in all the splendor of her beauty without an invitation, to ask him not to exterminate the Jewish people . The king sat on the throne and looked menacingly at his wife, who dared to appear to him without being called. Esther lost consciousness from fear, the king rushed to her and touched her with his rod, which meant her immunity and mercy from the king. When the queen told about her origins from captive Jews resettled from their homeland by the Babylonian king Nebuchadnezzar and expressed her request for clemency for the Jewish people, Artaxerxes not only signed a decree pardoning Jews throughout the vast kingdom, but also allowed them to deal with their enemies. The Jews rejoiced and killed seventy-five thousand people, killing entire families. In memory of the feat of Esther, who saved her people, the holiday of Purim was established.
Esther before Artaxerxes.
A. P. Ryabushkin. 1887 Paper on canvas, oil. 107x221 cm
State Russian Museum, St. Petersburg
Inv. number: Ж-1826
Admission: In 1930 from the Academy of Arts
Art catalog
In 1887, Ryabushkin created a sketch on the biblical theme “Esther before Artaxerxes,” which “caused a sensation.” This work testified to the search for “historical accuracy in the depiction of settings and costumes”, the desire to “avoid the accepted theatricality in the development of mise-en-scenes and images.” A. Rostislavov, in his book about the artist, shared his impressions of this work, left in the Academy’s funds. He wrote: “And suddenly, a very special, whole composition of its own, vibrant, oriental bright colors, a seriously developed perspective from an originally taken point of view, a completely new, originally conceived poses of figures, without the usually conventional protrusion of the main ones to the fore. Particularly striking was the realistic figure of Artaxerxes, and the completely new designed costumes, which had never been seen in academic sketches. Everything was drawn boldly, deftly and vividly. ... People crowded in front of the sketch, the students admired ... The living pulse of a real artist beat in Ryabushkin, for whom stereotypes are unbearable and who knew how to act convincingly with his techniques.” Aksenova G.V. “Clairvoyant and lover of truth of past lives”: A.P. Ryabushkin
Esther before Artaxerxes.
Unknown artist.
Khabarovsk Art Museum
Regional collection of the Khabarovsk Territory
Esther before Artaxerxes.
Anton Pavlovich Losenko (1737-1773). Early 1760s.
gogol.ru
Tobius and Archangel Raphael
The adventures of Tobias (or Tobius) and his companion and guardian - the archangel Raphael - are told in the book of Tobit. The Book of Tobit is one of the so-called “deuterocanonical” books of the Old Testament, that is, those books that are not in the Hebrew text of the Bible, but are found in the Septuagint (the Greek translation of the Old Testament made in the 3rd century BC). The Orthodox Church does not place them on a par with the canonical books of the Old Testament, but recognizes them as edifying and useful.
The story begins in Nineveh during the expulsion of the Jews to Assyria in the 8th century. BC, where Tobit, a devout Jew, lived with his wife Anna and their son. He cared for his fellow tribesmen who were in need, and took care of the proper burial of those who met their death at the hands of the king. For this he was brutally persecuted, his property was confiscated, and he and his family decided to flee.
One day, when he lay down to rest in the yard (that is, outside the house, since he was, according to Jewish law, “unclean”, since on that day he was burying one of the dead), sparrow droppings fell on his eyes, which caused the formation of eyesores. and he went blind. Feeling that death was near, Tobit ordered his son Tobiah to go to Media to get some money there (at one time he deposited 10 talents of silver with the Israeli Gabael, who lived in Ragah of Media).
Tobias first of all began to look for a companion for his journey and met the archangel Raphael, who agreed to accompany him. (Tobias mistook the angel for an ordinary mortal. The distinctive feature of an angel - wings - was a late Christian convention, borrowed from the ancient Roman image of the winged goddess of Victory.)
Having received the blessing of blind Tobit, the couple set out on their journey, mourned by Anna, Tobiah's mother. The young man's dog followed on their heels. Having reached the Tigris River, Tobiah went down to the water to wash himself, when suddenly a large fish rushed out of the water at him, wanting to devour him. On Raphael's instructions, he grabbed her and gutted her, separating her heart, liver and bile. The Archangel explained that smoking made from its fried heart and liver drives out demons, and the bile of this fish cures thorns.
Upon arrival at his destination, Tobiah collected the money; then, on the advice of an angel, they went to a relative, whose daughter, Sarah, became Tobiah's bride. But Sarah, unfortunately, was bewitched by a demon, which had already caused the death of seven of her previous husbands. Nevertheless, the wedding of Tobias and Sarah took place, although not without fears. The demon was successfully exorcised using the liver and heart of a caught fish, which were placed in a censer and smoked. Then the couple in their bedroom offered a prayer of thanks.
When they returned to Nineveh, Tobiah used bile to restore his father's sight. The Archangel, when Tobias offered him a reward for all that he had done for him, revealed himself, and father and son fell on their knees before him. Although this story in the form in which it has come down to us dates back to the 2nd century. BC e., it includes elements of distant folklore - Assyrian and Persian. Among the folk tales of Europe there are also those that resemble it, for example, Andersen’s “The Traveling Comrade”. Artists illustrated most of the episodes, especially "Tobiah and the Angel" - both dressed as pilgrims and accompanied by a dog.
The "big fish" was considered a crocodile whose liver and heart were used in ancient magic as a talisman to ward off demons. When Tobiah is shown pulling out a fish, it is depicted as being no larger than a trout. The cure of Tobit's blindness is usually presented as a kind of anointing, although Rembrandt and other northern artists who painted after him depict cataract surgery. This is explained by the use of the word in the Dutch Bible to refer to "whiteness" in the eyes of Tobit.
The concept of a guardian angel was common in Renaissance Italy, and the plot of Tobias was used by the family to document their son's journey; in this case, Tobias is depicted as looking like the son of a family.
The cure of Tobit's blindness was the subject of paintings commissioned by victims of this disease, hoping that their sight would be restored to them. nearyou.ru
Tobius with an angel.
Anton Pavlovich Losenko. 1759 Oil on canvas, 105x135.
, Moscow. Inventory No. 15173.
Received in 1931 from the State Russian Museum.
nearyou.ru
Return of Tobiah (Tobiah).
N. N. Ge. Between 1864 and 1867
Tobius with an angel.
Borovikovsky Vladimir Lukich (1757 - 1825). Wood, oil. 12x9 cm
State Tretyakov Gallery
Tobius and Archangel Raphael.
V.L. Borovikovsky. Wood, oil. 282 x 72
Icon. North door of the iconostasis. Not finished
Received: in 1906 from the Trinity Church at the Smolensk Cemetery (St. Petersburg)
State Russian Museum
Inv. No. Ж-3188
Catalog 138-145. Iconostasis from the chapel of St. Michael the Archangel of the Trinity Church at the Smolensk cemetery in St. Petersburg. 1824-1825.
Wooden church in the name of Life-Giving Trinity at the Smolensk cemetery in St. Petersburg was built in the first half of the 1820s on the site of a wooden church in the name of St. Michael the Archangel, where previously there was a wooden church in the name of the Smolensk Icon of the Mother of God (1756-1792). Trinity Church had three chapels: the main one - in the name of the Holy Trinity; the second - in the name of the Holy Archangel Michael; the third (under the arches) - in the name of the Saints. martyrs Sergius and Bacchus. The icons and carvings of the iconostasis, intended by the Borovikovskys as a gift to the church under construction, were executed at the expense of the artist. The work began in 1824, but four of the six icons remained unfinished and were in his studio after the artist’s death.
http://www.tez-rus.net/ViewGood36678.html
Ruth
Ruth (Hebrew: Ruth) is the famous biblical righteous woman, after whom the “Book of Ruth” is named. Her life relates to recent years troubled period Judges. A Moabite by origin, she became attached to her husband (a Jew from Bethlehem) and after his death did not want to part with her mother-in-law Naomi (Naomi), accepted her religion and settled with her in Bethlehem. Young Ruth's righteousness and beauty were the reason that she became the wife of the noble Boaz (Boaz) and became the great-grandmother (foremother) of King David.
Ruth sitting by the tree.
Favorsky Vladimir Andreevich. Frontispiece for the book of Ruth. 1924
State Tretyakov Gallery, Moscow
www.artsait.ru
Meeting of Ruth and Boaz.
Marc Chagall. 1957-1959
www.artsait.ru
Samson and Delilah
Samson is a hero of Old Testament legends (Judges 13-16), endowed with unprecedented physical strength; the twelfth of the “judges of Israel,” whose strength lies in his hair. The culprit of Samson's death is his beloved, the Philistine Delilah from the Sorek Valley. Bribed by the “lords of the Philistines,” after several unsuccessful attempts, she finally finds out his secret and cuts off the hero’s hair, depriving him of his strength.
Samson quenches his thirst from a donkey's jawbone. (Samson quenching his thirst with water flowing from the jaw with which he beat the Philistines)
Chernov Ivan Potapovich. 1800 Oil on canvas. 215 x 158.8.
Based on a biblical story.
For this painting in 1800 the artist was awarded the title of academician.
Received in 1931 from the State Russian Museum (formerly the Museum of the Academy of Arts). Inventory No. 15164.
State Tretyakov Gallery
http://www.tez-rus.net/ViewGood22172.html
Since 2011, the painting has been shown for the first time in the permanent exhibition of the Tretyakov Gallery
Samson destroys the Philistine temple.
Zavyalov Fedor Semenovich. 1836
Samson and Delilah.
Kivshenko Alexey Danilovich. 1876 Oil on canvas. 145 x 199.5.
Chuvash State Art Museum, Cheboksary
Samson, bound by the Philistines after losing his hair.
P.D. Baskakov. 1849 Oil on canvas. 133 x 164
Old Testament. Book of Judges, 16, 19-20
Bottom right signature and date: P. Baskakov 1849
Received: in 1940 from the collection of Yu. E. Kulbis through the Financial Department of the Dzerzhinsky District (Leningrad). Inv. No. Ж-8659
State Russian Museum
For this painting in 1849 Baskakov received a silver medal of the first dignity. Exhibited that same year at the annual academic exhibition.
Almost from the very beginning of humanity, it has been brought up on parables and songs that are given in the Bible. In our time, the Bible has come through many centuries, overcoming many difficulties. It was forbidden to read, destroyed, burned in fire, but it is still intact. It took eighteen centuries to create it; it was worked on by about 30 brilliant authors who lived in different years and eras, a total of 66 books of the Bible were written in different languages.
By school curriculum Children must be taught about biblical topics in fine arts. Art in school thus introduces students to the biblical characters and stories described in the book.
Biblical scenes in painting. The great artist Rembrandt
The world's great artists have used biblical themes in fine art. Perhaps the brilliant artist Rembrandt left his mark more clearly. He managed to very truthfully and truly sincerely show the inexhaustible wealth of man through biblical scenes in painting. His heroes are similar to ordinary people, contemporaries among whom the artist lived.
In a simple person, Rembrandt could see inner integrity, nobility and spiritual greatness. He was able to convey the most beautiful qualities of a person in a picture. His canvases are filled with authentic human passions, a clear confirmation of this is the painting “The Descent from the Cross” (1634). A famous painting is “Asshur, Haman and Esther,” based on which it tells how Haman slandered the Jews before King Asshur, desiring them death penalty, and Queen Esther managed to reveal the insidious lie.
Mysterious Bruegel
In the history of art it is difficult to find a more mysterious and controversial painter than Bruegel. He did not leave behind any notes, treatises or articles about his life, nor did he paint self-portraits or portraits of his loved ones. On his canvases, biblical themes in fine art are shrouded in mystery, the characters do not have memorable faces and all the figures are devoid of individuality. In his paintings you can see the Lord and Holy Mary, Christ and John the Baptist. The canvas “Adoration of the Magi” is as if covered with a snow-white veil. That’s why the paintings are so attractive. Looking at them, you want to solve the mystery.
Bruegel's biblical heroes are depicted among their contemporaries, they lead their everyday lives on the Flemish city streets and in rural areas. For example, the Savior, burdened with the weight of his cross, is lost among a multitude of ordinary people who do not even suspect that they are doing their thing by looking to God.
Caravaggio's paintings
The great Caravaggio painted paintings that are striking in their unusualness; they still cause heated debate among art connoisseurs to this day. Despite the fact that during the Renaissance, festive subjects were a favorite theme for painting, Caravaggio remained true to himself and his tragic theme. On his canvases people experience terrible torment and inhuman suffering. Biblical themes in the artist’s fine art can be seen in the paintings “The Crucifixion of St. Peter,” which depicts the execution of the apostle crucified upside down on the cross, and “Entombment,” depicting folk drama.
His paintings always contain everyday life and everyday life. human life. He in every possible way despised paintings with a fictitious plot, that is, copied not from life; for him such canvases were trinkets and childish fun. I was sure that only canvases with images real life can be considered real art.
Iconography
In Rus', icon painting appeared in the 10th century, after Rus' adopted the Byzantine religion - Christianity in 988. In Byzantium at that time, icon painting and scenes from the Old Testament in the visual arts turned into a strict, canonical system of imagery. The veneration of icons became a fundamental part of doctrine and worship.
For a couple of centuries in Rus', the only subject of painting was iconography, through which the common people became familiar with beautiful art. By depicting moments from the life of Christ, the Virgin Mary and the apostles, icon painters tried to express their individual ideas about good and evil.
Icon painters always had to adhere to strict rules; they could not depict a fictitious or fantasized plot. But at the same time, they were not deprived of the opportunity to create; they could interpret biblical stories in the visual arts at their own discretion, choosing different combination paints The icons of some icon painters differ from others in their special writing style.
Icons of Andrei Rublev
Often the subject of scientific debate is the identity of individual icons in Rublev’s work. The only work that Rublev accurately painted is the Trinity icon. The authorship of the others is still in doubt.
The Trinity depicts the extraordinary simplicity and “laconicity” of the biblical event. With the greatest skill, the artist highlighted precisely those details that help to recreate the idea of the event taking place - this is a mountain symbolizing the desert, the chamber of Abraham and Thanks to this icon, art that simply illustrates the Bible has turned into a cognitive one. Previously, no one dared to such a transformation of the sacred text in the picture.
Old Russian painting always strictly followed the biblical text; its initial task was to recreate the image described in the Bible and the Gospel. Rublev managed to reveal philosophical meaning biblical scripture.
Subjects of the New and Biblical themes in the visual arts
Scenes from the New and Old Testaments occupy one of the main places in Christian painting. When depicting biblical scenes, the artist must transfer the sacred text onto the canvas, promote understanding, enhance emotional perception and strengthen faith. Therefore, fine art and the Bible are closely related; their history has changed together.
Christian art did not easily reproduce biblical scenes. Talented artists created stunning paintings, each of which is unique, thanks to the fact that they tell a biblical story in a special way.
Initially, Christianity arose as a new doctrine in Judaism, therefore, scenes from the Old Testament prevailed in early Christian art. But then Christianity began to move away from Judaism and artists began to depict scenes from
Abraham in fine art
One of the characters that unites several faiths (Judaism, Christianity and Islam) is Abraham. His image combines several facets:
- the ancestor of the Jews, and through the children of Hagar and Keturah - of various Arab tribes;
- the founder of Judaism, personifying the ideal of devotion to faith;
- intercessor of humanity before God and hero-warrior.
In Jewish and Christian ideas, there is the concept of “Abraham’s Bosom” - this is a special otherworldly place for the rest of the dead righteous. In paintings, Abraham is depicted sitting on his knees, with the souls of believers in the form of children sitting in his bosom or in his womb. This can be seen in the paintings “Golden Gate” and “Princely Portal”.
Sacrifice of Isaac
But the most favorite plot associated with Abraham is sacrifice.
Biblical scripture tells how God asked Abraham to burn his son Isaac to prove his loyalty. The father built an altar on Mount Moriah, and at the last moment of the sacrifice of Isaac, an angel appeared to them and stopped him. Instead of a child, a lamb was burned.
Such dramatic episode leads to the deepest thoughts about God's justice.
Biblical themes in the visual arts have always attracted artists. Despite the fact that biblical stories are a thing of the past, painters manage to reflect the modern reality of life through them.
Details Category: Fine arts and architecture of the Renaissance (Renaissance) Published 11/15/2016 19:04 Views: 2173Biblical subjects in the paintings of Leonardo da Vinci, as well as in the paintings of other artists of his time, occupy a significant place.
The first painting attributed to Leonardo is the Annunciation, although its authorship is disputed by many experts. However, this does not apply to the painting “The Annunciation” alone. Unfortunately, the unknown author made later corrections, which significantly worsened the quality of the master’s work.
Leonardo da Vinci "The Annunciation" (1472-1475)
Board, oil. 98x217 cm. Uffizi (Florence)
Picture from Wikipedia
The plot of “The Annunciation” is from the Gospel; it tells the story of the Archangel Gabriel’s announcement to the Virgin Mary about the future birth of Jesus Christ.
Gabriel reveals the secret knowledge of God. According to the Gospel of Luke, Gabriel was sent by God to Nazareth to the Virgin Mary to announce to her the good news about the future birth according to the flesh of Jesus Christ from her: “The angel came to Her and said: Rejoice, full of grace! The Lord is with You; Blessed are You among women. She, seeing him, was embarrassed by his words and wondered what kind of greeting this would be. And the Angel said to Her: Do not be afraid, Mary, for You have found favor with God; and behold, you will conceive in your womb and give birth to a Son, and you will call His name Jesus. He will be great and will be called the Son of the Most High, and the Lord God will give Him the throne of His father David; and he will reign over the house of Jacob forever, and his kingdom will have no end” (Gospel of Luke, 1, 28-33).
Description of the picture
Archangel Gabriel is depicted kneeling with a white lily in his left hand (a symbol of the purity of the Virgin Mary). Right hand he blesses Mary sitting near his house.
The Virgin Mary is depicted with the Bible (a tribute to tradition).
The realism of the picture ends there. The rich house, towers and walls of the port city in the background evoke in our imagination Big city. But there are no mentions of Nazareth in historical texts of the first centuries, which suggests that it was a very Small town or a village.
The city of Nazareth is located in the lower Galilee - in a beautiful valley surrounded by mountains.
Nazareth. Contemporary photography
Author: StateofIsrael – Nazareth, from Wikipedia
But the mountain peaks shrouded in a pale blue haze are still the same...
A. Verrocchio “The Baptism of Christ” (1475)
Wood, oil. 177x151 cm. Uffizi (Florence)
Andrea del Verrocchio(1435-1488) - Italian sculptor and painter of the Renaissance, one of the teachers of Leonardo da Vinci. Verrocchio was more involved in sculpture, but sometimes turned to painting. He educated, in addition to Leonardo da Vinci, other geniuses of the Renaissance: Pietro Perugino and Sandro Botticelli.
In this painting, some elements of the landscape and the blonde angel on the left are painted by Leonardo. The famous legend about the “defeated teacher” is connected with this circumstance: Verrocchio was so shocked by the skill of his student that after that he abandoned his brush.
Leonardo da Vinci "The Last Supper" (1495-1498)
460x880 cm. Santa Maria delle Grazie (Milan)
This monumental painting was made for the Dominican monastery of Santa Maria delle Grazie in Milan.
Santa Maria delle Grazie
Author: Abelson from English Wikipedia
Last Supper - event last days the earthly life of Jesus Christ, about whom all four Gospels narrate, as well as the 1st letter of the Apostle Paul to the Corinthians.
Jesus sent two disciples, Peter and John, to Jerusalem to prepare the Passover meal, and they prepared it. Jesus sat down with twelve disciples for a meal, during which He predicted the betrayal of one of them. At the Last Supper, Christ established the main sacrament of the Christian faith - the Eucharist, which translated from Greek means “thanksgiving.” The events of the Last Supper are constantly remembered during the liturgy, before Communion.
The Last Supper is the subject of many icons and paintings, the most famous of which is “The Last Supper” by Leonardo da Vinci.
This image is located in the refectory of the monastery, on the back wall. This painting became a masterpiece of the Renaissance thanks to technical method Leonardo: it correctly reproduces the depth of perspective. It was the painting “The Last Supper” by Leonardo da Vinci that changed the direction of the development of Western painting.
Leonardo's painting cannot in the full sense of the word be called a fresco, because the fresco is created on wet plaster, and Leonardo da Vinci painted “The Last Supper” on a dry wall. The fresco cannot be changed while working, and Leonardo decided to cover the stone wall with a layer of resin, gabs and mastic, and then paint on this layer tempera(water-based paints prepared on the basis of dry powder pigments. The binder for tempera paints are emulsions: natural (yolk diluted with water chicken egg or whole egg) or artificial (drying oils in an aqueous solution of glue, polymers).
In the center of the image is Jesus Christ. Around Him are depicted the apostles sitting in groups (from left to right): Bartholomew, Jacob Alpheus and Andrew; Judas Iscariot (clothed in green and blue), Peter and John; Thomas, James Zebedee and Philip; Matthew, Judas Thaddeus and Simon.
The moment is depicted when Jesus utters the words that one of the apostles will betray him, and the reaction of each of them to these words.
Judas has a small pouch in his hand, perhaps containing the silver he received for betraying Jesus, or simply identifying him as treasurer.
The figure of Jesus is positioned and illuminated so that the viewer's attention is drawn to Him. The light illuminating the entire scene does not come from the windows painted behind, but comes from the left.
Already in 1517, the paint of the painting began to peel off due to moisture, so repeated restorations were carried out. From 1978 to 1999 under the leadership of Pinin Brambilla Barchilon, a large-scale restoration was carried out.
Leonardo da Vinci "Salvator Mundi" (circa 1499)
Wooden panel, oil. 66x47 cm. Private collection(NY)
The authorship of this painting, like other works by Leonardo da Vinci, has long been questioned. In 2004, at one of the auctions, this work was purchased by Robert Simon, a specialist in old masters, and sent for restoration. After this, “Savior” was examined in several museums in Europe and the USA.
Attention is drawn to the high craftsmanship of glass powers(a symbol of the state power of the monarch, which was a golden ball with a crown or cross), the airy lightness of blue robes, the use sfumato(a technique developed by Leonardo da Vinci to soften the outlines of figures and objects), full correspondence of the pigments of the New York “Savior” and Leonardo’s “Madonna of the Rocks”. And still the same light, wandering Leonardo smile...
In 2013, this painting was bought by Russian billionaire Dmitry Rybolovlev.
Leonardo da Vinci "John the Baptist" (1514-1516)
Wood, oil. 57x69 cm. Louvre (Paris)
This work belongs to the late period of the artist’s work.
The viewer's attention is completely concentrated on the depicted figure due to the absence of any landscape or interior. The reception is clearly expressed sfumato, brought to perfection in this picture.
Formally, all the paraphernalia associated with John the Baptist is present: a thin reed cross, long hair, wool clothing. But...
John the Baptist was an ascetic. In the Gospel of Matthew, he is described as follows: “John himself had a robe of camel’s hair and a leather belt around his waist, and his food was locusts and wild honey” (Matthew 3:4).
The painting by Leonardo da Vinci depicts a pampered, effeminate young man, whose image does not fit in with the ascetic John, who ate locusts. There is no classical style in this painting by Leonardo; the image of John the Baptist was created in the style of mannerism, although this style arose much later. But Leonardo is the founder here too.
In A. Ivanov’s painting we see a completely different image of John the Baptist, more similar to the description of the evangelists.
A. Ivanov “The Appearance of Christ to the People” (1837-1857)
Canvas, oil. 540x750 cm. State Tretyakov Gallery (Moscow)
The figure of John the Baptist is in the center of the picture. He baptizes the people in the Jordan River and points to the approaching Jesus. The attributes of John are the same as those of Leonardo: a thin reed cross, long hair, wool clothing, but the ascetic image corresponds to the gospel description.
Introduction
Plots and images of the Old Testament in the visual arts
Subjects and images of the New Testament in Russian art of Modern and Contemporary times
1 Features of images of episodes from the Bible made in a secular manner in Russian art of the mid-17th - first half of the 19th centuries.
2 Discussion on how Christ should be portrayed
3 Biblical subjects in Russian art of the 20th century.
Conclusion
Introduction
World artistic culture is largely connected with the Holy Scriptures, especially the New Testament. Moreover, it is permeated with the ideas of the Gospel. It will not be wrong to say that the content of the Bible is one of the foundations of European culture of the New Age (and partly of the Modern Age). It should be noted that the Bible itself is a most valuable literary monument, an objective idea of which any cultured person should have.
At all times, in those countries where Christianity occupied a dominant position among religions, the attention of cultural creators, and above all masters of the fine arts, was invariably attracted to biblical images and subjects. In particular, special attention was paid central character"sacred history" - Jesus Christ. At the same time, each artist depicted the Savior in his own way, striving, of course, to convey what the God-Man came to people for. Scenes from the Old Testament were also interpreted differently. The variety of options for depicting episodes from the Holy Scriptures increased many times during the Renaissance, when in Europe artists gradually abandoned the canons once approved by the church. In the modern period, the process of “secularization” of church fine art fundamentally affected the culture of Russia. It is also important to note that the popularity of numerous biblical scenes as subjects for works of art was far from uniform. At the same time, it is known that in icon painting the manifestations artistic creativity were aimed primarily at expressing theological concepts, towards best transmission dogmatic and moral essence Christianity. Therefore, icon painting acquired a dogmatic character. The artistic canons of depicting biblical characters, which over time extended to the painting technique itself, largely contributed to the fact that in modern times icon painting began to be perceived by many highly educated people not as an art, but as a craft.
Based on the above, we can formulate targetwork: to trace the development of church fine art (mainly that part of it that is represented by works made in a secular manner). To achieve this, you need to decide the following: tasks: find out which themes from the Old Testament were most popular among European artists; to identify the main trends in the interpretation of biblical subjects by domestic painters in modern times and in the most recent period of history. Object of study: biblical scenes and images in European fine art and in that part of Russian fine art that is in to the greatest extent underwent Europeanization. Subject of study: interpretation of episodes from the Holy Scriptures by European and Russian painters in different historical periods. 1. Plots and images of the Old Testament in the visual arts
The Old Testament, written in pre-Christian times, are books revered as sacred by the people of Israel, whose religion prohibited the creation of images in artistic form. According to Chiara de Capoa, “Jewish, essentially aniconic art (refusal of the depiction of deities, humans and any living beings), that is, devoid of figurativeness, differed from Christian art, in the language of which throughout the Middle Ages decor in churches was developed with with a double purpose: firstly, to glorify the Lord, and secondly, out of the desire to capture in images the truths of faith for the flock, especially for the illiterate." As Chiara de Capoa writes, “the penetration into painting of the iconography of scenes and characters of the Old Testament is directly related to the formation of Christian art. The interpretation of some themes, such as Noah’s Ark, Jacob’s Wrestling with the Angel, Susanna and the Elders, became widespread in it already in the early Christian period, others However, the subjects become the subject of depiction only gradually, in subsequent centuries. Most of the Old Testament episodes, widespread in the visual arts, formed a certain integrity with the iconography of the New Testament, read in a Christological key. In the Middle Ages, many scenes and. characters The Old Testament was interpreted as a prefiguration of Christ and the most important moments his earthly journey. Among the various characters who foreshadow the appearance of the Savior in the world, we can highlight: Joseph; Moses - a direct prefiguration of Jesus; David - his ancestor; and, finally, Jonah, whose sea adventure, being swallowed and disgorged by a fish, contains similarities with the life and death of Christ. In the same way, Passover (Pesech), the Gathering of Manna from Heaven, or the Crossing of the Red Sea are considered, respectively, as a prototype of the Last Supper, the Eucharist and Baptism" [Ibid.]. There are a great many scenes from the Old Testament that are reflected in fine art. But some of them obviously deserve special attention. The plot of the creation of the world was widely represented in medieval book miniatures, sculptures of church portals and Gothic stained glass windows. In works of art that depict the creation of the world, the stages of creation can be combined into one act or, on the contrary, divided into different episodes. To symbolically indicate the act of creation of the world, God was often depicted measuring the Earth with a compass. He was also often represented as an eye, arms and legs surrounded by a vault breaking through the darkness of chaos. The motif of Noah's Ark has been common in Christian art from the very beginning. His image could resemble a boat, on which, according to ancient greek mythology, souls went to the afterlife; in Christian iconography, the ark symbolized the idea of the Resurrection. Noah's Ark is also compared to the Church itself, which offers believers a refuge and a path of salvation. Parallels between Noah's Ark and the Church also occur in the New Testament, for example in the scene when Christ walks on the water while his disciples sit safely in a boat. In the interpretation of this Old Testament episode, we usually see the sons of Noah helping him build the ark. They are often depicted sawing wood to build the ark. This episode was often associated with the entrance of various animals into the ark immediately following it. Sometimes subsequent episodes were included in the image: Noah releases a dove, and it returns with an olive leaf; God commands Noah and his loved ones to leave the ark. Over the centuries, the iconography of the ark has changed. In the Roman catacombs it was depicted like a chest, in the Middle Ages the ark looked like a floating house, in the Renaissance (and later) it was a real longboat. In Jan Brueghel's painting "Velvet" (1568 - 1625) "The Introduction of the Animals into the Ark" (1613), the ark is presented in the form of a large wooden longboat with several floors. However, in Hans Baldung Grin's (d. 1545) work The Deluge (c. 1525), it resembles the shape of a huge casket. Michelangelo Buonarroti (1475 - 1564), while working on the painting of the Sistine Chapel, depicted the ark as a large building floating on water. The iconography of Abraham's sacrifice was determined by its reading as a link between the Old and New Testaments. In it, according to Chiara de Capoa, “they saw the prefiguration of the Crucifixion of Jesus Christ, sent by the Father to a sacrificial death for the salvation of mankind.” The sacrifice of Isaac has often been depicted in art due to the richness of detail in the biblical text and the emotional intensity of the scene. On painting by Caravaggio(1573 - 1610) “The Sacrifice of Abraham” (1603) “the scene is dominated by cruel realism, emphasized by the light, which highlights Abraham, the hand of an angel and the head of Isaac from the whole. Abraham is ready to raise a knife to hit his son, whose neck he tightly squeezes. In In the interpretation of the scene, numerous details appearing in the biblical text are used (knife, altar, donkey, firewood and ram). The scene of the sacrifice of Isaac is interpreted as a prefiguration of the Crucifixion of Christ, given to the slaughter by the Father: Isaac carries firewood on his shoulders, just as Jesus will later carry his cross. “The ram, entangled with its horns in the thickets of bushes, is again a prototype of Christ crucified with a crown of thorns on his head.” Aries is the prefiguration of the Lamb of God. In the story of how Abraham instructed Eliezer to find a wife for his son Isaac, the episode most often depicted is the meeting of Eliezer with Rebekah at the well. This plot is interpreted as a prefiguration of the Annunciation. The depiction of Jacob's life in art is often linked to the story of his son Joseph. In different eras, artists presented scenes concerning Jacob either as part of the corresponding cycle or separately. The Christian church saw in James the prefiguration of Christ. Jacob's struggle with the angel has been interpreted in different ways at different periods in the development of Christian art. In early Christian art, Jacob is depicted wrestling directly with God. This is a struggle between the divine and human principles. Then God is replaced by an angel. In the Middle Ages, Jacob is also represented in a clash with the devil, which allegorically depicts the struggle between vice and virtue. In the painting by Eugene Delacroix (1798 - 1863) "Jacob's Fight with the Angel" (1850 - 1861), Jacob strives to defeat the angel, but he wounds him in the leg (the parallel is the episode with St. Christopher and the angel) [Ibid]. The main significance of this scene is the change in the name Jacob to Israel. The new name contains a change in the fate of Jacob, his destiny, since from now on he becomes the ancestor of the people of Israel. This episode is also read as an example of the struggle between the Church and the Synagogue, where Jacob’s damaged leg symbolizes the Jews who do not recognize Jesus as the messiah. The episode when Jacob blesses Joseph's sons Ephraim and Manasseh was read in the Middle Ages as an allusion to Judaism, supplanted by Christianity. The story of Joseph played an important role in the religious art of the Middle Ages. For many artists it was of interest in itself. Additionally, Joseph has been interpreted as an archetype of Christ. In Christian art, the story of Joseph has been depicted since the 6th century. Of all the characters in the Old Testament, Moses is considered the closest prototype of Christ. In the lives of both, one can find a number of correspondences. Therefore, the depiction of episodes from the life of Moses is widespread. The image of Moses taking off his shoes in front of a bush that burns without being consumed was usually interpreted in the Middle Ages as a prefiguration of the dogma of the virginity of the Virgin Mary. In accordance with the iconography, which has Byzantine roots, the Mother of God is depicted seated on a throne surrounded by fire. In the painting by Nicola Froment “The Burning Bush” (1475 - 1476), the image of the Madonna and Child in a bush that burns and does not burn is due to the fact that the Burning Bush is interpreted as a prototype of the Immaculate Conception and the purity of the Mother of God. In the Baby's hand is a mirror in which he and his mother are reflected. It symbolizes Immaculate Conception. In the scene of collecting manna from heaven, you can see the prefiguration of the Eucharist or the episode with the multiplication of the loaves and fishes. The iconography of David became widespread. In the typological interpretation of the Bible, David is seen as a prototype of Christ or as his direct ancestor. The same can be said about King Solomon. Solomon is a sage king who is the embodiment of an ideal ruler. IN Western European art The episode known as the “Judgment of Solomon” was especially widespread. And the plot of the meeting of Solomon and the Queen of Sheba is often interpreted as a meeting of the king of the true faith with a pagan queen, as emphasized in the Gospels of Luke and Matthew, or as a meeting of the Church of converted pagans with Christ. Sometimes this scene is seen as a prefiguration of the Adoration of the Magi. Depictions of Heliodorus' expulsion from the temple were quite widespread. This episode is seen as a prototype of Christ's expulsion of the merchants from the temple. In the fresco “The Expulsion of Iliodor from the Temple” (1511 - 1514), the author of which is Raphael Santi (1483 - 1520), Iliodor, who was robbing the temple, is defeated and thrown back by the hooves of a horse. The rider, sitting on a horse, is accompanied by two angels, who with a threatening look head towards Iliodor. The presence of two supernatural beings in the scene inspires believers with the idea that it is the Lord himself who is protecting the temple. The righteous Job was portrayed by Christians of the pagan Roman Empire, who performed their rituals in the Roman catacombs. The scenes with Job are interpreted as a prototype of the Passion of Christ. In 1450, Jean Fouquet (c. 1420 - 1481), working on miniatures from Etienne Chevalier's Book of Hours, depicted Job lying not on a pile of ashes, but on a dung heap. The fact is that the dung heap is spoken of in the text of the Vulgate - the “common” translation of the Bible into Latin. The original biblical text says that Job sat among the ashes. The acts of the prophet Elijah were also reflected in many works of art. The episode with Elijah being fed by a raven or angel was very popular. In the iconography of this plot, the angel is depicted carrying the prophet bread and a thicket, symbols of Communion. Sometimes John the Baptist was seen as a new incarnation of Elijah. Elijah's ascension to heaven on a chariot of fire is sometimes seen as a type of the Resurrection. The prophets Isaiah, Jeremiah, Ezekiel, Daniel, Habakkuk, and Jonah occupied a prominent place in the iconography of the Old Testament. The plot associated with Daniel’s defense of Susanna has become very widespread, from paintings in the catacombs to the works of modern artists. The theme of Susanna and the elders symbolizes either the triumph of innocence or the Church in danger. 2. Subjects and images of the New Testament in Russian art of Modern and Contemporary times
1 Features of images of episodes from the Bible made in a secular manner in Russian art of the mid-17th - first half of the 19th centuries. It is well known that medieval culture was generally prone to a certain “stagnation,” which in the understanding of contemporaries was more likely to be a positive quality. Reluctance to change is, in principle, natural for any society as a structure striving for self-reproduction, but in Rus' this reluctance was intensified by a number of factors. One of them is the secondary nature of Russian Christian culture in relation to Byzantine culture. This secondary nature, in contrast to modern ideas about it, was perceived as a blessing: having received faith, rituals and related cultural phenomena “first-hand” (i.e. from the first Christian empire), Rus' acquired the truth, which should be kept unchanged form . The role of the Russian Orthodox Church can be called decisive for the art of Ancient Rus' at all stages of its development. First of all, the Church stood at the origins of a new type of Russian culture, which began to take shape after the baptism of Rus'. Thanks to the adoption of Christianity and the consistent inculcation of culture and art of the Byzantine model, their adaptation to local conditions became possible, which predetermined the cultural, and in many ways socio-political, development of Rus' down to the present day. It fell to the lot of the church authorities to provide the Russian lands with standard works of new, i.e. Christian, art. This series of standard archetypes began with the Church of the Tithes of Prince Vladimir and continued with pre-Mongol city and monastery cathedrals, mosaics and paintings, and the works of jewelers. Until the last third of the 17th century. In Russia, secular fine art (with the exception of some examples of folk art and individual portraits made in an iconographic manner) did not exist. In the middle of the 17th century. In Russia, Western European iconographic samples began to appear in the form of separate sheets and collections of engravings, and sometimes, as I.L. believes. Busev-Davydov, and paintings on religious themes. Patriarch Nikon opposed Catholic iconography, but, emphasizes I.L. Busev-Davydov, “only in that part that meaningfully contradicted the Russian tradition. The uncovered head of the Mother of God for the Russian people looked absolutely unacceptable, not simply because of the inconsistency with a certain iconographic scheme, but because of a complex of ideas associated with the obscenity and danger of uncovered female hair The “native” clothes of the saints went against the ban on wearing foreign clothes.<…>And the image of the pregnant Virgin Mary in the “Annunciation” was regarded as blasphemy...” In addition, according to I.L. Buseva-Davydova, Nikon’s reference to “Fryazhian and Polish paintings” and “images of the Franks” could imply images of saints in European clothes who were present on canvases by Italian and other foreign masters [Ibid]. Gradually, Western trends penetrated into Russian painting. Archpriest Avvakum wrote about one image of the Savior: “There is a real thing, they write Spasov’s image of Emmanuel: the face is puffy, the lips are scarlet, the hair is curly, the arms and muscles are thick, the fingers are puffed up, and the thighs at the feet are the same... thick, and all like a German belly and it was made thick, without a saber being written on the thigh" [Cit. from: 2, p. 281]. At the end of the 17th century. the so-called parsuns (paintings of purely secular content) appeared, and in the 18th century. some Russian artists began to perform works of church fine art in a secular manner. In the interiors of new churches, along with icons, oil paintings on canvas with gospel subjects were increasingly used. Each stage in the history of Russian church painting of the New Age was inextricably linked with the leading trends in the development of secular art. In the middle of the 18th century. The Academy of Arts opened in St. Petersburg, whose leaders recognized biblical subjects as one of the most important themes for the works of painters. But, as it turned out, the Old Testament and New Testament subjects were very complex for the masters who worked in the 18th - early 19th centuries. A new interpretation of biblical themes was required from artists, that is, academic norms had to subordinate the general orientation of church art. However, in the 18th century. Russian painters were especially close to the traditions of icon painting. Not possessing sufficient knowledge of “sacred history” and archeology, or the skills of academic development of biblical themes, they, trying to move away from the icon-painting style, often relied on European artists. According to E.N. Petrova, in their works “there is a noticeable constraint in the depiction of situations and the atmosphere in which they occur.” Such, for example, is the canvas by Anton Pavlovich Losenko (1737 - 1773) “A Wonderful Catch of Fish” (1762). According to A.N. Benois, Losenko “in his paintings is to the last degree false and stilted.” According to E.N. Petrova, only some of the works of Alexei Egorovich Egorov (1776 - 1851), one of the most religiously minded painters of that time, were written in a truly emotional manner. Such, for example, is the painting “Calvary”, completed in 1810. For the most part, Egorov’s paintings, like the canvases of Vasily Kozmich Shebuev (1777 - 1855), Andrei Petrovich Ivanov (1776 - 1848), reflect gospel subjects in a rather detached manner. According to E.N. Petrova, in in this case“academic training takes precedence over the ability to aesthetically adequately realize religious feeling.” Some of the Russian painters of that time had been to Italy, so they had a fairly complete understanding of the art of the Renaissance, of such styles as mannerism and baroque. Their work contained Western motifs. So, A.E. Egorov, when working on his work “The Torment of the Savior” (1814), was guided by samples Italian art XVII century [Ibid] This painting caused a lot of discussion among art connoisseurs. A.E. Egorov was criticized, in particular, for the discrepancy in details with historical realities (in the opinion of E.N. Petrova, unfairly [Ibid.]). In the XVIII - first half of the XIX centuries. in Russia there was strict regulation of images for churches. Sketches and etudes in pictorial execution were subject to preliminary review by the Academy of Arts, often by representatives of the royal court and the Holy Synod. The lack of creative freedom when working on paintings intended to decorate churches often led to conflicts between artists and clients. This circumstance was one of the reasons for the relative paucity of works on biblical topics. Among them are the works of Vladimir Lukich Borovikovsky (1757 - 1825), who is known primarily as a portrait painter. They stand out among the paintings of that time not only because of their perfected technique and rich coloring. In his works on Gospel themes, a certain freedom in handling subjects from “sacred history” and the presence of mystical moods are noticeable. According to E.N. Petrova, these features of Borovikovsky’s religious paintings are due to their author’s affiliation with Freemasonry. She notes that, in particular, the painting “The Appearance of Jesus Christ with the Calvary Cross to Irina Gulimova” (1821) in no way belongs to the number of canonical images of the God-Man. The theme is based on the story of a priest of one of the churches in Nizhny Novgorod about the alleged healing of a certain Irina Gulimova by Christ. E.N. Petrova emphasizes that “the very image of the mystical contact between God and real person - a rare event in Russian art of the 1820s" [Ibid]. Since the 1820s The situation in Russian religious painting is gradually beginning to change: artists began to pay even more attention than before to details that contribute to the viewer’s developing an objective idea of the Holy Land during the years of Christ’s earthly life. Starting from the late 1810s, domestic painters began to visit the Middle East more often. In particular, Maxim Nikiforovich Vorobyov (1787 - 1855), the author of watercolors and canvases with images of Jerusalem and the interiors of Jerusalem temples, visited Palestine. This region was also visited by the Chernetsov brothers - Grigory Grigorievich (1802 - 1865) and Nikanor (1804 - 1879), who, like M.N. Vorobyov, landscape painters. These artists completed a number of watercolors, from which they later created canvases. At the end of the 1830s. Alexander Andreevich Ivanov (1806 - 1858) turned to gospel stories. While in Italy, he created the paintings “The Appearance of Christ to Marina Magdalene” and “The Appearance of Christ to the People.” A.A.'s approach Ivanov to the theme of Christ in the painting “The Appearance of Christ to the People,” according to E.N. Petrova, “is fundamentally different from what existed in Russian art before him.” Firstly, already at the preparatory stage A.A. Ivanov, working on studies and sketches, achieved maximum “historical authenticity,” although, as E.N. Petrov, but he did not strive for archaeological accuracy. Secondly, he was able to “find and show people the complex psychological atmosphere faced by Jesus, who came to save humanity.” E.N. Petrova believes that “it was Alexander Ivanov who essentially first raised the topic of the relationship between a unique individual and the crowd” [Ibid.]. A.P. Davydov writes: “In the famous painting “The Appearance of Christ to the People,” the artist Ivanov depicted Jesus as common man. It is known that when developing the concept of the image, he consulted with the Austrian philosopher and theologian D. Strauss, in whose book “The Life of Jesus” the significance of Christ for humanity is understood through the creation of a new attitude towards religion and morality and emphasizes the significance of his human nature, life and teachings . At the same time, Ivanovo’s Jesus is not a person from the crowd, which, although it welcomes Jesus the God-Man, is clearly not of a God-man nature.” “It is difficult to say what quality Ivanov’s Jesus embodies: the ability of the divine to carry the human, or the ability of the human to contain the divine,” reflects A.P. Davydov. “One way or another, Ivanov’s idea of the synthesis of the divine and human can be understood through the search for the divine-human “middle”,” through the refusal to absolutize both the otherworldly God and the people. Therefore, the embodiment of the divine in the human in Ivanov can be understood in two ways: 1 - through concretization, the manifestation of divine abstraction in the human; 2 - (to an even greater extent) through a shift of the divine towards the human in; God and therefore through the emergence of man’s ability to carry within himself the divine-human, theanthropic.” A.A. Ivanov also created many watercolors, the main theme of which is the miracles that the Savior performed. Among the images in the watercolors of the “biblical cycle” are the squares of ancient Jerusalem filled with people listening to the words of the God-man; a rainbow in the face of Zechariah, to whom Christ restores his sight; figures of the apostles, in whose eyes the Lord walks on water. Russian artists from among the “Peredvizhniki” also paid great attention to biblical themes. The first major work written after the “Appearance of Christ to the People” was “The Last Supper” (1863) by Nikolai Nikolaevich Ge (1831 - 1894). The emotional impulse for choosing this plot was, according to E.N. Petrova, a split among former like-minded people - employees of the Sovremennik magazine [Ibid]. The basis of N.N.’s plan Ge lay down moral themes, since time immemorial, familiar to all humanity: good and evil, loyalty and betrayal. F.M. Dostoevsky, who can be seen as a religious writer, sharply criticized The Last Supper. In this painting, Christ and his disciples are depicted at the moment when Jesus says the phrase “One of you will betray me.” The resulting drama of human emotions, depicted by N.N. Ge, Dostoevsky called “an ordinary quarrel between very ordinary people.” "Is this Christ?" - wrote Dostoevsky. In this image of the Savior he did not see “historical memories”, “eighteen centuries of Christianity” [Cit. from: 4, p. 107]. Dostoevsky did not recognize the “Byzantine” canonized Lord in the God-man who was depicted on Ge’s canvas, because he did not feel the usual church spirit and splendor in him. “This is not the Christ we know” [Cit. from: Ibid.], concluded the writer. What is better suited for painting an image of the Savior - following church canons or emphasizing the human traits of the Lord? The Renaissance solved this ideological problem in the West in favor of the “human dimension” rather than otherworldliness. And in Russia this issue was widely discussed in the 19th - 20th centuries. I.A. Goncharov, who actively participated in the discussion on how to depict God and the divine, expressed an opinion that is completely at odds with Dostoevsky’s ideas about N.N.’s method. Ge [See: Ibid]. From the moment “The Last Supper” appeared before the St. Petersburg public until late XIX V. In Russia, many works were created, the plots of which were episodes from the New Testament. Leading Russian painters dedicated not only to the Savior individual works, but entire cycles (i.e., a considerable segment of one’s creative path). The themes of most of Nikolai Ge's paintings were scenes from the life of the Lord ("The Last Supper", "In the Garden of Gethsemane", "What is Truth?", "The Crucifixion", or "The Passion of Christ", etc.). In his painting "What is Truth?" (1890) the author’s pessimistic moods clearly manifested themselves. Ivan Nikolaevich Kramskoy (1837 - 1887), known mainly as a master of portraiture, throughout his career created works devoted to New Testament themes. One of them is the painting “Christ in the Desert” (1872). This work is a kind of reflection on the meaning of life. E.N. Petrova sees in this work “a metaphor for the confrontation between two principles in a person: strength and weakness.” A series of works in which Christ was the main character was created by Vasily Dmitrievich Polenov (1844 - 1927). His painting "On the Mountain (Dreams)" in its own way deep meaning similar to the canvas by I.N. Kramskoy "Christ in the Desert". Polenov’s painting “Who is Without Sin” (“Christ and the Sinner”) is essentially a statement life position the author through the earthly, human hypostasis of the Lord. Just as Titian once did in the painting “What is Caesar's to Caesar,” Polenov in this case portrayed Jesus as a thinking person who commits human feat making a decision whose cost is life. Ilya Efimovich Repin (1844 - 1930) also did not ignore topics from “sacred history”. Such are his works “The Resurrection of Jairus’s Daughter” (1871), “The Torment of Christ” (1883 - 1916). Biblical motifs were sometimes used by Genrikh Ippolitovich Semiradsky (1843 - 1902), Vasily Vasilyevich Vereshchagin (1842 - 1904), Vladimir Egorovich Makovsky (1846 - 1920), Vasily Ivanovich Surikov (1848 - 1916), and many other famous Russian painters. Finally, Isaac Lvovich Asknazi (1856 - 1902) is known as a “biblical painter.” In the second half of the 19th century. Among the diverse intelligentsia, identification of oneself and one’s role in society with the Savior is becoming widespread. According to E.N. Petrova, “the fate of Christ in this sense takes on archetypal features. The artist and society, the leader and the crowd, the price of life and death, the equality of all people before suffering and death are themes that were present in the works of many artists of the second half of the 19th century” [Ibid]. Thus, the main idea of the work by I.N. Kramskoy entitled “Laughter” (the painting remained unfinished) - the antagonism between the individual and the “crowd”. .3 Biblical subjects in Russian art of the 20th century. bible fine painter secular In Russian art of the early 20th century, when known part Russian society came under the influence of religious and mystical sentiments, the theme of the earthly life of the Lord lost its former tragic resonance. Now it has acquired a philosophical and lyrical tone. This trend is especially clearly visible in the works of Mikhail Vasilyevich Nesterov (1862 - 1942) and Viktor Mikhailovich Vasnetsov (1848 - 1926). E.N. Petrova writes about the work of M.V. Nesterov and V.M. Vasnetsova: “To varying degrees and in each person’s own way, but in the works of these masters there is a noticeable fusion of aesthetic self-expression and sincerely religious feelings. Vasnetsov’s is monumental and expressive, Nesterov’s is lyrical, refined” [Ibid]. Amazingly, biblical stories and images are found in the works of representatives of various types of modernist movements. In the mid-1910s. Kazimir Severinovich Malevich (1879 - 1935), author of the infamous "Black Square", according to E.N. Petrova, “embodied several gospel scenes in symbolic style: the Ascension (Triumph of Heaven), Entombment, Christ surrounded by angels (Self-Portrait) and Prayer for the Cup (Prayer)” [Ibid]. Many of the creators of the “Russian avant-garde” turned to gospel subjects. Natalia Sergeevna Goncharova (1881 - 1962) became the author of a cycle dedicated to the evangelists (1911). St. George was repeatedly depicted in his compositions made in abstract style by Wassily Vasilyevich Kandinsky (1866 - 1944). A number of subjects from the New Testament are present in the works of Pavel Nikolaevich Filonov (1883 - 1941). Among them are “The Holy Family” (1914), “The Magi” (1914), “Three at a Table” (1914 - 1915), “Saint George” (1915), “Mother” (1916), “Flight into Egypt” ( 1918). Biblical subjects and images, including those associated with the figure of Christ, are also present in the works of Marc Chagall (1887 - 1985), who was born in Vitebsk into a family of Orthodox Jews. His first work on the theme of Holy Scripture was “Calvary” (1912). In 1938, he created the painting “White Crucifixion,” which Mikhail Vaishengolts considers as Chagall’s reaction to the Judeophobic tendencies that were growing throughout Europe throughout the pre-war period. Chagall also turned to biblical themes later. So, in 1960 - 1966. he worked on the painting "The Sacrifice of Abraham". The stained glass window "Isaac meets his wife Rebekah" (1977 - 1978) adorns the Church of St. Stephen's in Mainz. In the 1930s - 1980s. In the USSR, artists, despite existing restrictions, used biblical motifs in their works quite often. Some of them devoted significant periods of their lives to religious painting. creative career. Among the masters who turned to biblical subjects and images in their work are David Petrovich Shterenberg (1881 - 1948), Pavel Dmitrievich Korin (1892 - 1967). Particular attention should be paid, apparently, to the work of Sergei Mikhailovich Romanovich (1894 - 1968). CM. Romanovich in the 1940s. painted the paintings “The Kiss of Judas”, “Storm on Lake Tiberias”, in the 1950s. - “The Annunciation”, “The Desecration of Christ”, “Behold the Man”, “The Descent from the Cross”, in the 1960s. - “Laying on the Crown of Thorns”, etc. Conclusion
At the end of the ancient era and throughout most of the Middle Ages, European fine art was almost exclusively ecclesiastical in character. It offered ordinary Christians not so much admiration of external forms and craftsmanship, but rather penetration into the spirit of the faith of Christ and the moral principles associated with them. It taught “true faith,” affirmed it, consoled and promoted prayer. A visual presentation of the ideas of Christianity was an essential part of the service, along with the sermon. Moreover, in Europe, of all the episodes mentioned in the Old Testament, the most popular among artists were those that were most (according to theologians) connected with the New Testament. If in Europe the process of penetration of secular trends into the fine arts began even before the end of the Mature Middle Ages, then in Russia it began only in the middle of the 17th century. Secular in the manner of execution, works of painting began to appear in our Fatherland as a result of reforms carried out in the cultural sphere on the initiative of Peter I. In the 18th - early 19th centuries. Russian painters, who abandoned the use of the canons of icon painting and began to move to the position of academicism, in most cases were guided by achievements European painting Renaissance and Baroque eras. It should be noted that their creative freedom was significantly limited: they had to take into account the opinions of the leaders of the Academy of Arts, representatives of the Holy Synod and those close to the monarch himself. Subsequently, control over creative activity painters who created works of religious content softened somewhat, and in Russian fine art of the second half of the 19th century. The tendency to depict Jesus Christ as a man began to develop. It arose partly under the influence of the Renaissance tradition of the West, partly as a result of the spread of liberal and even revolutionary sentiments in the educated circles of Russian society. It manifested itself to varying degrees in the works of A.A. Ivanova, V.D. Polenova, N.N. Ge, I.N. Kramskoy. But since the beginning of the 20th century. Russian artists, turning to biblical images and subjects, depict the Savior precisely as God, as the Supreme Being. Since the time of “perestroika,” Christian motifs in art are not only not condemned, but, on the contrary, approved. The problem is that the interest of modern Russian society in religious art not tall. IN in a certain sense even Soviet society was more religious in spirit than Russian society of the 21st century. But it is clear that Christian images and motifs in painting will not disappear anywhere, no matter what direction the next turn in the history of Russia takes. List of used literature
1.Benoit A.N. History of Russian painting in the 19th century. - M.: Republic, 1995. 2. Buseva-Davydova I.L. The role of the state and the Church in the development of Russian art of the 17th century // Patriarch Nikon: the acquisition of Holy Rus' - the creation of the Russian State: In 3 parts. Part II. “The Shining of the Glory of the Fathers”: Patriarch Nikon in the history of culture. Research/Comp. CM. Doroshenko, V.V. Schmidt. - M.: Publishing house RAGS; Saransk: Research Institute of Humanities under the Government of the Republic of Mordovia, 2010. Vaishengolts, Mikhail. Marc Chagall - biblical dreamer//Hidden Treasure. - No. 4 (192). - 2013, April. Davydov A.P. The problem of mediation in European culture: the West and Russia. Article 2. Humanization of culture. Jesus in Russia\\Social sciences and modernity. - 2001. - No. 2. Capoa, Chiara de. Episodes and characters of the Old Testament in works of fine art. - M.: Omega, 2011. Petrova E.N. The earthly life of Jesus Christ in Russian fine art//Jesus Christ in Christian art and culture of the XIV - XX centuries. Exhibition catalog. - St. Petersburg: Palace Editions, 2000. Sokolov, Mikhail. Mystical realism of Sergei Romanovich // Our heritage. - No. 58. - 2001. - http://www.nasledie-rus.ru/podshivka/5812.php.
February marks the 185th anniversary of the birth of Nikolai Ge, a Russian painter and draftsman, master of historical and religious paintings. Criticism and especially the church did not always accept his interpretation of gospel subjects, too naturalistic for Russian art, but quite traditional, as the collections of the Great Collection of Fine Arts ASG show, for Western Europe.
The future artist Nikolai Ge was born in 1831 in the family of a Voronezh landowner. The unusual surname is a derivative of Gay - the artist’s grandfather was French and emigrated to Russia at the end of the 18th century, most likely fleeing the revolution.
At three months the child was left without a mother - in the year of his birth, cholera was rampant in the central provinces of Russia. At the father’s insistence, his nanny, a serf, took upon herself all the care of the baby.
Nikolai Ge's ability to draw was discovered in high school, but not daring to disobey his father, he studied first at Kiev and then at St. Petersburg universities at the Faculty of Mathematics. However, he devoted most of his time to drawing within the walls of the Hermitage. In 1850 Ge left the university and entered the Academy of Arts, where he studied for seven years. A large gold medal received at the end of his studies gave him the opportunity to travel to Europe at the expense of the Academy.
One of the main merits of Nikolai Ge, according to critics, is that he was the first among Russian artists to grasp the new realistic direction in biblical stories. Ge worked painfully: he created option after option, rarely brought them to the end, and was never satisfied with what he had done. And the very fate of his paintings was dramatic.
In 1861, Ge began writing “The Last Supper,” and in 1863 he brought it to St. Petersburg and exhibited it at the autumn exhibition at the Academy of Arts.
Nikolay Ge
Last Supper. 1863
Canvas, oil. 283x382 cm.
State Russian Museum, St. Petersburg
Today the painting is considered a powerful work, reflecting the specifics of the artist’s perception of the biblical myth. In a small room with high ceilings and stone walls in one of the houses in the city of Jerusalem, there is an ordinary couch on which Jesus leaned. Young John is at his feet, and the other apostles stand behind him. Gray-headed Peter (it is believed that Ge portrayed himself in him) is at the head of the table. Several more fuzzy dark figures are visible behind him. On the right, near the wall, there is a lamp that very brightly illuminates the entire figure of Peter (most of all his face), the white tablecloth of the table, the bowed head of Christ and the eyes of the apostles, filled with anxiety and confusion. The lamp itself is not visible: it is covered by the dark silhouette of Judas, whose appearance we guess, but do not see.
The composition reveals biblical symbolism: the table is illuminated with the righteous light of kindness and wisdom - an artistic personification of the community of spiritual food for the apostles. This light illuminates Christ, the confused glances of the apostles directed at Judas, and it also falls on Peter, guarding the gates of heaven. All of them are indignant and confused by Judas’s act, which obscured the light of their reason. And only Jesus is calm and sad.
The picture made a strong impression on the public. The official press saw in it “the triumph of materialism and nihilism,” and censorship prohibited the reproduction of this picture in copies. However, “The Last Supper” by Nikolai Ge was acquired by the Russian emperor for his personal collection. The Academy awarded Nikolai Ge the title of professor, bypassing the title of academician. Ge was elected Full Member of the Imperial Academy of Arts. Thus, his work received recognition from the sophisticated metropolitan public.
Nikolai Ge does not deviate from the religious theme and from 1869 to 1880 painted the painting “Christ in the Garden of Gethsemane.” He is criticized and forced to believe in his mediocrity, but after some time the author remakes the canvas, and then the critics fall silent. This painting is recognized as one of the masterpieces of the great artist.
Nikolay Ge
Christ in the Garden of Gethsemane. 1880s
Canvas, oil.
Ge shows the viewer Christ, who is ready to spread his hands. He knows his purpose, but it is quite difficult for him to fully agree with it. There is very little time left before the crucifixion, Jesus is tired, and in the Garden of Gethsemane he is tormented by doubts and struggling with his fears. His robe was disheveled just like the soul of great sinners. On the savior’s face we see anxiety, but not despair. All alone in dark forest he turns to the Father and knows that he is heard and forgiven.
This canvas will long time exhibit at closed exhibitions. Both good and bad will be said about him. Nikolai Ge will understand that this is real success.
The painting “Calvary” became one of the last works of Nikolai Ge and, according to critics, remained unfinished. The author tried to put a deep moral meaning into his work.
Nikolay Ge
Golgotha (The picture is not finished). 1893
Canvas, oil. 222.4x191.8 cm.
Tretyakov Gallery, Moscow, Russia
In the center of the picture are Christ and two thieves. Each character in the picture is endowed with his own character traits. Thus, the author conducts a dialogue with the viewer, subtly hinting at what is happening and talking about the mood of each of the characters. The Son of God is overcome by despair and wrings his hands. His eyes are closed and his head is thrown back. A criminal with his hands tied peeks out from behind Jesus. He opened his mouth slightly, and his eyes naturally widened in horror. On the right stands a young man, formerly a robber, now a martyr, who sadly turned away. The author deliberately contrasts his characters.
On the left, a despotic hand appears in view, giving the signal to begin the execution. The figure of Jesus radiates hopelessness, he anticipates a long and painful death, a cross has already been laid at his feet. Nikolai Ge showed with utmost precision how Christ was betrayed and sent to a shameful execution. Using all visual means, the artist emphasizes that the Son of God was executed unjustly. The task that the author set for himself was to convey to the viewer that Christ, by his act, atoned for the sins of the entire human race and gave people a chance for salvation by sacrificing his life.
Ge was reproached for his neglect of form and abuse of contrasting colors. Perhaps this was the only technique capable of expressing the artist’s feelings. Not afraid to cross the boundaries of artistry, ignoring norms and conventions, Nikolai Ge achieved amazing results in depicting the physical and moral torment of a person, depicting them with extraordinary strength and authenticity.
In addition to Nikolai Ge, other Russian painters also turned to dramatic religious subjects, in particular Alexander Ivanov (1806-1858) and Nikolai Kramskoy (1837-1887). However, the pioneers in this iconographic vein were Western European masters. The theme of the betrayal of Jesus by Judas and the passion of Christ in general is especially popular among the old masters in XVII century in the Baroque era, since these subjects made it possible to depict strong emotions in paintings: suffering, pain, repentance, torment and doubt.
Thus, the Great Collection of Fine Arts ASG contains paintings by French and Flemish masters of the 17th century, with the help of which you can trace the plot chain from “Praying for the Cup in the Garden of Gethsemane” to “Christ’s Way of the Cross on Calvary.”
Many artists have taken on the plot of “The Prayer for the Cup,” solving it with varying degrees of success. Christ in the Garden of Gethsemane was painted by Andrea Mantegna (1455), Giovanni Bellini (1465-1470), El Greco (1605) and other less eminent masters, in particular, Karel Savary - a Flemish painter, the dates and circumstances of whose life not known. The ASG collection contains a composition by Savary, executed on copper, where Christ is depicted praying on the night before his arrest in the Garden of Gethsemane.
Karel Savary
Flanders, XVII century.
Copper, oil. 68.5x87 cm.
BSII ASG, inv. No. 04-2418
In the center is a kneeling Jesus. He put his hand to his chest and looks to the heavens, praying to God for salvation from the upcoming torment. With the answer, angels fly to Christ, one of whom carries in his hands a crucifix and a cup filled with suffering, which the Son of God will have to drink to the dregs. The Savior's disciples are sleeping, and in the distance the guards and Judas are already walking.
Next in the series of tragic events follows “The Kiss of Judas” - a plot that does not leave anyone indifferent, since it is dedicated to one of the most painful themes of humanity - the betrayal of one’s neighbor. Perhaps the most famous work This subject is depicted in the world today in a fresco by Giotto (c. 1267-1337). In it, Judas is dressed in a yellow cloak, which until then was considered one of the most joyful and regal colors. Here, by the will of the artist, a negative connotation is assigned to him. In a circle painting by the 17th-century French painter Michel Corneille the Elder (1642-1708) from the ASG collection, the traitor Judas is dressed all in black.
Michel Corneille the Elder, circle
France, approx. 1700
Canvas, oil. 38.5x47 cm.
BSII ASG, inv. No. 04-2771
In the center of the canvas is Jesus in a red robe. He obediently allows himself to be kissed by Judas as a sign to the soldiers following him that this is the one they should take into custody. On the right side we see soldiers armed with spears and halberds, they hold raised torches and lanterns. The composition also included a plot with the cutting off of a servant’s ear (lower left corner of the canvas). It is mentioned in all four Gospels, although only John names its participants: “Simon Peter, having a sword, drew it, and struck the high priest’s servant and cut off his right ear; The servant's name was Malchus." Thus, an artist from the circle of Corneille the Elder contrasts the betrayal of Judas with the loyalty of another disciple of Christ, ready to fight for the life and freedom of his teacher.
After this identification kiss, the physical suffering of Jesus will begin, where one of the most difficult will be the Way of the Cross - the path of Christ from the house of Pilate to Mount Golgotha, where he will be crucified. During this journey, Jesus was scourged and mocked by soldiers, who crowned his head with a crown of thorns. And here we will return again to the work of the Fleming Karel Savary, who painted the painting “The Way of the Cross to Calvary”, also choosing for it a copper plaque of exactly the same size as for the “Prayer of the Cup”.
Karel Savary
Flanders, XVII century.
Copper, oil. 68.5x87 cm.
BSII ASG, inv. No. 04-1309
Looking at this multi-figure composition, it is difficult to immediately identify the figure of Christ with his burden. Attention is drawn to the rider on a white horse, watching the progress of this sad procession, as well as the riders in metal armor following him. Christ is depicted in the center, he fell to the ground, having lost his strength. People, trying to help, support his cross, and Saint Veronica wipes the sweat from the Savior’s face with a simple towel, on which his face is miraculously imprinted. On the right is the Mother of God, mournfully watching the torment of her son and the disciple of Christ, John, supporting her. In the distance is Golgotha, to the base of which Jesus has already reached. There were a lot of people on the mountain, waiting for the martyr doomed to execution to reach them.
The theme of the Passion of Christ is eternal in fine art. Masters from different schools and historical eras turned to her. In the Great Collection of Fine Arts of the ASG there are works by other masters who devoted their works to this topic, for example, the painting “The Way of the Cross to Calvary” by the workshop of France II Franken. All this only proves the great interest of artists of all centuries and countries in moral and spiritual problems.
Svetlana BORODINA
Alina BULGAKOVA