Ancient Russian painting played a very important and completely different role in the life of society than modern painting, and its character was determined by this role. Inseparable from the very purpose of ancient Russian painting and its achieved height. Rus' was baptized from Byzantium and inherited with it that the task of painting is to “embody the word”, to embody in images christian doctrine. First of all, this is the Holy Scripture, then the numerous lives of the saints. Russian icon painters solved this problem by creating an artistic system that was never seen before and never repeated, which made it possible to embody unusually full and vivid Christian faith into a picturesque image. And therefore, in all the lines and colors of the frescoes, we see predominantly semantic beauty - “Speculation in colors”. All of them are full of reflections on the meaning of life about eternal values and full of true spiritual meaning. Frescoes excite, captivate. They are addressed to a person and only in return spiritual work their comprehension is possible. With infinite depth, the icon painters conveyed the union of the truly human and the divine in the Son of God, incarnated for the sake of people, represented the human nature of his earthly Mother free from sin. Pearls of ancient Russian painting have been preserved in our church. Let's dwell on some of them.

The saving meaning of the Last Supper is grandiose for all who have followed and continue to follow the path of the Lord.

During this supper, Jesus Christ teaches his Covenant to his disciples, predicts his suffering and imminent death, reveals the redemptive meaning of the sacrifice contained in them: in it he will give flesh, shed blood for them and for many in atonement for sins. Love for each other, love for people, service, Jesus Christ commanded the disciples at his last supper. And as the highest manifestation of this love, he revealed to them the meaning of his soon predestined death. Before us appears a semi-oval table with a plane turned towards the viewer, and on it is a bowl - a sign of a meal that has taken place on it. At the table on the oval side sits, at the head of her blessing Teacher and marked by solemn peace, sit his disciples. And even the image of Judas does not destroy this harmony. The depth with which the ancient Russian artists revealed that luminous saving principle, which, according to Christianity, operates in the world, the depth with which they could portray good, allowed them to clearly and simply oppose evil to it, without endowing its bearers with features of ugliness and ugliness.

Remarkable freedom was given to Russian masters by the inherited ancient tradition. In an effort to convey, to comprehend the content so important to them, the artists not only preserved the artistic system as a whole, but carefully preserved everything done by their predecessors. And this ancient experience, used as an unshakable basis, allowed artists to easily and freely go further, to enrich images with new, never seen before, subtlest shades. But perhaps the most noticeable result of the development of the artistic system proper in Russian icon painting is how unusually clear it makes it clear that everything depicted in it is so great and significant that it appears not to have happened at some point in time, but to live in eternal human memory. . This stay in eternity is evidenced on Russian icons and frescoes and halos around the heads depicted and the gold, scarlet, silver backgrounds surrounding them - a symbol of unquenchable eternal light. This is also evidenced by the faces themselves, expressing unprecedented spiritual concentration, not illuminated from the outside, but filled with light coming from within. This feeling is also confirmed by the fact that the scene of action is not depicted, but, as it were, indicated extremely capaciously and briefly. To achieve all this, the ancient Russian masters learned to combine the movements and turns of people separated in time, to freely use the proportions of figures that are far from their inherent in ordinary life. , build space according to the laws of a special reverse perspective.
They achieved virtuoso mastery of the line, honed the ability to use bright, pure colors and harmonize their shades with the utmost precision. And what can be most important is to bring harmony to all the elements, the whole image as a whole. Those successes achieved by the ancient Russian masters in solving the problems facing Orthodox icon painting were undoubtedly born in intense spiritual work, in deep penetration into the Christian word and texts. scripture. The artists were nourished by the common spiritual height that medieval Rus' knew, which gave the world so many famous ascetics.

As if sculpted, filled with shining light, incomprehensible in her perfect beauty, the Mother of God appears. Her slender figure is majestic. But in a face with beautiful sad eyes and a closed mouth, prayerful tension is combined with an expression of almost painful compassion for the opened abyss of human grief. And this compassion gives hope even to the most tormented souls. Clinging to you right hand baby son, she brings her sadness to him, her eternal intercession for people. And able to resolve maternal sorrow, to answer her prayer, the infant Son is depicted here: in his face, childish softness and deep inexpressible wisdom mysteriously merged. And affirming the joyful meaning of this incarnation, making visible the effective power of the prayer of the Mother of God, the baby, with both wide-open arms, seems to bless the whole world.

Angels are represented on the frescoes as messengers of God, bearers of her will and executors of her on earth. The depiction of them on the frescoes creates a unique feeling of co-presence, heavenly service, kindling in the hearts of Christians feelings of mysterious joy and closeness to the Heavenly world.

But perhaps the most incomprehensible for people is the image of the Trinity. Three angels are arranged as if in a semicircle. The feeling of their special mysterious nature immediately gives rise to their appearance, so unusually soft, gentle and at the same time their faces surrounded by halos are inaccessible. And, multiplying the feeling of the mysterious essence of the angels, when looking at the fresco, the idea of ​​​​their deep unity, of the silent, and therefore wonderful conversation that connects them, arises and gradually strengthens. The meaning of this conversation is gradually revealed in the fresco, captures them, plunging into its depth. The artistic perfection of the fresco is also mysterious in its own way, allowing everyone to find something of their own in it, in their own way to join the harmony contained in it.

Conclusions of experts about frescoes and paintings in our church

Regarding the picturesque murals in the interior of the temple, the conclusion of the Office of State Control for the Protection and Use of Historical and Cultural Monuments established that: “Initially, the temple was painted shortly after construction, but already in 1813 the painting was renovated. Significant work on murals was carried out in the middle and at the end of the 19th century. The presence in the temple of murals made at a high professional level and representing artistic value was stated. The notion of the dignity of temple painting was confirmed by the probing disclosures commissioned by the temple by the artist-restorer V. Pankratov, as well as the expert opinion of the candidate of art criticism, the artist-restorer S. Filatov. The wall painting of each volume of the temple reflects the evolution of the style of church paintings during the 19th century. Fragments of the earliest painting, dating from the first half of the 19th century, have been preserved in the Trinity Church, which includes the composition "Old Testament Trinity" / Hospitality of Abraham /, images of St. Helena and other martyrs, towels and demarcations in the lower parts, as well as fragments of ornament on the vault . The most interesting is the painting of the refectory of Catherine's Church - the composition "The Last Supper" on the western slope of the vault. The painting is done in oil on a gilded background in the Palekh style, imitating ancient Russian painting. With an orientation towards the “academic manner” of painting on the models of the Cathedral of Christ the Savior, the latest painting was made in the altar of the Church of St. Irina. Taking into account the artistic merits of the revealed painting, it should be noted that the value of the painting is not limited to a decorative and artistic function, but includes a spiritual and symbolic program in plots and scenes of sacred history, embodying the idea of ​​a temple as an image of the universe. The conducted disclosures confirmed that the pictorial ensemble has been preserved in the temple, which must be restored. Presumably, the authorship of part of the painting of the temple may belong to V.M. Vasnetsov and M.V. Nesterov.

Sacred painting today

Painting is a view visual arts, one of the main tasks of which is to convey certain information. The informational function of painting is especially relevant when it comes to painting of temples. Sacred painting was relevant at all times, but had a different semantic load. In ancient times, the walls of the temple were decorated with frescoes telling about certain events and characters, which was necessary in order to convey to illiterate visitors to holy places an informational message about the gods and events that are significant for a believer.

Sacred art or temple painting yesterday and today is an art that is difficult to consider solely from an aesthetic point of view. Each artist working directly with temple painting should not only have certain professional skills and be a creator. For temple painting, it is not so much the images themselves that are of primary importance, but the secrets of the sacred meaning embedded in each image. Such art should be, first of all, spiritual, and only then - aesthetic. Not many masters manage to observe certain canons, create a competent thematic space and at the same time not violate the aesthetics of the temple. Thus, a high-quality painting of cathedrals should have the following features:

. the artist does not invent artistic images, but acts in accordance with the instructions of the Church Fathers;
. good work temple art should be recognized by the clergy as corresponding to the moral and religious canons;
. icons are not portraits and have a different essence, but thanks to special techniques and techniques, they can be recognized as worthy of veneration and saints. To achieve such harmony is not easy and not every creator can do it.

Painting of temples and churches

Of course, it is closely connected with the development and formation of secular art. Religious painting should not just “please the eye”, but images of saints, prophets and martyrs, as well as scenes from the Old or New Testament, should lead believers along the path of enlightenment, evoke only positive emotions.

To achieve these goals, the following methods are used today:
. fresco in the church;
. iconographic plots;
. wall painting, etc.

All elements of temple painting must be combined into a single composition, which is compiled according to certain laws. The painting of churches in Ukraine today is very relevant, as the number of parishioners is constantly growing, and more and more churches are being created every day, as well as restoration work is underway to restore shrines destroyed by the Soviet regime. The masters of the Gold Art Line company have completed many restoration works and current orders for the creation of interiors for churches of various denominations. This work always causes a special thrill and a certain state of mind that inspires creative exploits!

If you have a need to create an up-to-date painting of temple structures, then our craftsmen are always happy with such work and perform it not only with physical, but also with spiritual dedication.

The interior of the church should not look like "like a Bible for the illiterate" in the words of Gregory the Theologian.

Each temple must have its own face, while observing the laws of canonical painting.

Each individual element of the temple painting is part of an organic, indivisible whole, built on the basis of certain principles. To create a wall painting in a temple, the artist must be combined with the theologian. For example, the hieromonk and painter Dionysius, in his treatise "Erminia or Instruction in the Art of Painting", gives the first advice for an icon painter:

“Whoever wants to learn painting, let him take the first step and practice drawing and drawing without any dimensions for some time, until he gets used to it. Then let a prayer be made for him to the Lord Jesus Christ before the icon of Hodegetria.

Having made a prayer, you can get down to business

1. The painting of the temple starts from the dome and drum of the temple from top to bottom, descending to the main volume of the church quadrangle.
2. Then the painting of the temple altar begins, on the choir stalls and under the choir stalls.
3. The narthex of the temple, the entrance, and the lower multi-figure compositions in the quadrangle are painted.
4. Finally, ornaments are written at the very bottom of the temple.

Starting work from the dome of the temple, the artist seems to show with his work what is the main thing in temple of God, gradually descending in the process of work to the lower, ground level with a height of human height.

For responsible work in a prayerful place, a team of well-working artists is needed.

Artwork materials can combine several types of paint, depending on the composition. For example, some paints can be used for figured compositions, others for ornaments.

fit silicate, oil paints, artistic acrylic.

Let us turn again to the work of Hieromonk Dionysius:

What paints are used for wall painting and which are not used

Icon white, yar from copper, blue paint (lahuri), varnish and arsenik are not used for wall painting, and other paints are all used. However, you need to know about cinnabar that if you paint the outer part of the temple in a place where the wind blows, then do not lay it down, because it turns black, but replace it with light brown paint. If you paint the inside of the temple, then add a little wall white and Constantinople ocher to cinnabar, and it will not turn black.

The main stages in the work on painting the walls of the temple:

Temple painting markings

• Plastering, priming and painting walls;
• wall drawing, tracing;
• execution of linear drawings on the wall;

Image of the main architectural elements

• Drawing panels, backgrounds;
• making paper stencils for drawing ornaments;
• painting with a brush, refinement.

Painting of the dome of the temple, ornaments and images of archangels

• Drawing backgrounds under ornaments and images;
• figurative compositions of saints in decorative design;
• applying gold paint (for example, Keim Soldalit matte paint).

Painting under the choir platform

Architectural elements, ornaments are applied using tracing paper and stencils. Stencils are used for fonts in the Old Church Slavonic language.

Altar painting

Strictly according to the canon, the eastern walls of the altar and the apse are painted. In the central part is the image of the Lord Almighty seated on the throne, or the image of Christ Communion of the twelve apostles.

A large temple may have several altars and thrones. The painting of the altar is most often done with oil paints to achieve natural colors and shades.

Examples of wall painting in Orthodox churches

Annunciation Cathedral (Moscow Kremlin)

The Annunciation Cathedral of the Moscow Kremlin is small in size, because it was intended only for the Grand Duke's family.

The cathedral was built in 1489 by craftsmen from Pskov.

The icon of the Mother of God from the Deesis tier, at the entrance to the cathedral from the western gallery, seems to invite you to enter the church.

Unique surviving murals made by the son of Dionysius, the artist Theodosius, with the brethren. The medieval artel, the nameless brethren, created for us a unique painting, on which the faces look like they are alive.

Artists of those early years were obliged to make their own paint for painting.

Let's return to the monumental, wall painting of the Cathedral of the Annunciation. Three times it was decorated with frescoes in the process of reconstruction.

The painting of the cathedral is called verbose, consisting of cycles. Each cycle consists of detailed plots, which are complicated by the addition of episodes and characters. The wall painting of the Annunciation Cathedral of the Kremlin has been preserved since the time of Ivan the Terrible. There are unique characters not customary to depict in Orthodox churches:

• Greek sages Aristotle (with a scroll on which is written "First God, then the word and spirit, and one with him"), Homer, Plutarch, Menander, Ptolemy, Anaxagoras. Hellenic sages seem to proclaim the birth of Christ.
• Ancient Roman prophetesses Sibyl.

Hagia Sophia (Sophia Cathedral), Kyiv

The heart of the Sofia Reserve, an 11th-century Orthodox church in the Ukrainian Baroque style. The temple was built by Prince Yaroslav the Wise and has preserved unique fragments of murals of the 17th-18th centuries, more than 3000 m2.

In antiquity, all side walls Sophia Cathedral were decorated with water-based paints on wet plaster. In the 17th century, the galleries, towers and choirs were refurbished with adhesive paint. The damaged frescoes were plastered and whitewashed.

The new requirements of the era led to the fact that in the 18th century new oil images were applied on top of the frescoes. A century later, the new oil painting was cleared away. The subjects of the ancient frescoes were repeated.

The cathedral, listed as a UNESCO World Heritage Site, has undergone restoration work today. Ancient frescoes have been restored, and where they were lost, paintings of a later period have been left.

In Hagia Sophia, blue, deep azure on the walls of the temple is striking. How did the artists on the murals of the temple achieve this in antiquity? Here is what Hieromonk Dionysius writes in his work “ Herminia, or instruction in the art of painting»:

“How to illuminate the walls with azure.

Put the azure on the stove, add a little chenille (), called hinti (indigo), to it so that the azure does not mold on the wall, and how much chenille you put in, mix the same amount of wall white, wipe it all well and collect it in a cup. Then first prime the wall with whitewash, boiled with linseed oil, then cover it with black paint, and finally illuminate it with azure. Its reflection is made both on black die and on dark brown paint.

In the temple, created under Yaroslav the Wise, there is a unique fresco "Group portrait of the family of Yaroslav the Wise." On the fresco, Yaroslav holds a model of St. Sophia Cathedral, next to the prince, Yaroslav's wife and Princess Irina. Yaroslav and Irina were followed by sons and daughters in a solemn procession. From this large composition, four figures have been preserved on the south wall of the central nave and two on the north.

According to legend, Prince Vladimir and Princess Olga also stood near the figure of Christ, to whom the princely family is going.

Holy Trinity Ipatiev Monastery

On the banks of the Kostroma River, not far from its confluence with the Volga, the Holy Trinity Ipatiev Monastery was founded in the 15th century with a stone Trinity Cathedral with two side chapels.

The fresco cycle of the Trinity Cathedral covers the walls like a carpet. They are arranged in five tiers and the whole cycle consists of eighty-one compositions. The artel of icon painters, headed by the famous Gury Nikitin and Sila Savin, painted the cathedral in three months in 1685. This grandiose work was done by 18 people! In the imagination, pictures of the unusually selfless work of the artel involuntarily arise. Painting frescoes in the Trinity Cathedral was the final chord of the great master.

Gury Nikitin lived his life as a bean, was an ascetic and an ascetic. In the scribe book of the 17th century, the yard of the icon-bearer Guriy Nikitin is also named, about which there is only one phrase: “It’s good for poor things,” that is, he was a very poor man.

“The smallest of the painters,” as muralists modestly called themselves at that time, painted the walls of churches in many cities, including the Moscow Kremlin: the Assumption and Archangel Cathedrals. In the Kremlin of Rostov Veliky - Assumption and Resurrection Church.

One of the most famous frescoes of the Ipatiev Monastery - " Last Judgment» on the western wall of the Trinity Cathedral. When you enter the temple, you freeze from the amazing sight of this monumental work. This is one of the oldest frescoes in the cathedral and is dated 1654.

The example of the icon painter Gury Nikitin clearly shows what requirements were placed on painters who create frescoes on the walls of churches. At all times, artists working in churches should value their calling.

In our time, when more and more temples appear, there are many orders for such works. Prices depend on the amount of work, the complexity of the images. Of course, one cannot find an ascetic and ascetic like Gury Nikitin today, but it is quite possible to meet a good artist.

At the time of writing, these are the rates:

From 4,000 rubles m2, taking into account sketches and projects, but without preparing walls and scaffolding, and up to 7,000 rubles m2

Cost of materials; (~150 t rub per 1000 m2 of painting)

The inscription on the wall of the Cathedral of the Annunciation in the Kremlin will serve as an inspiration for all artists whose vocation is monumental painting in churches: “First is God, then the word and spirit, and one with him”

All creative success!

An Orthodox church, according to the teachings of the Fathers of the Church, is not just a building intended only for liturgical purposes. In an Orthodox church, everything has its own deep symbolic meaning. Each part of the temple meets the needs of worship and at the same time contains a special mysterious meaning, which is most fully revealed in monumental painting, which aims to clearly express the dogmatic teaching of the Church in spiritual images. Sacred images that are on the walls of the temple (icons, mosaics, frescoes) mysteriously contain the presence of the person they depict, and this presence is the closer, more fertile and stronger, the more the image (image) corresponds to the church canon.

Temple painting

The temple is a symbol of the universal Church, a "ship" in the boundless sea of ​​life. The temple serves as a symbol of the heavenly, heavenly abodes and the embodiment of the visible world. The altar symbolizes the heavenly world, i.e. A triumphant church, and a sanctuary with the Lord's Life-Giving Supper. The middle part of the temple is the place of the visible world - the militant Church.

Each part of the temple has its own specific meaning, according to which the symbolic meaning is assimilated to it; this meaning is clearly expressed in monumental painting. The placement of images in the temple is associated with the symbolism of its architectural parts. However, in this case, the canon of sacred images does not represent a template according to which all temples should be signed in the same way. The canon gives a wide choice, as a rule, several sacred subjects for the same place in the temple.

According to the deep meaning of the Orthodox dogma, the Sun of Truth, the true Light, Jesus Christ is the spiritual center and peak towards which everything in the Church aspires. The head of the Church is Christ; He is given the highest point in the system of murals - the dome. The Lord reigns over the whole world; It unites the earthly and heavenly Churches. Most often, Christ is depicted in the dome in the form of Pantocrator (Almighty) with the Gospel ("I am the light of the world" (John 8.12)), with a blessing right hand. Often Christ is surrounded by Heavenly forces - Angels and Archangels.

Prophets or apostles are traditionally written in the drum of the dome. They are not randomly assigned this place. Some foretold Christ, others, having become His disciples, spread the Christian teaching to all ends of the universe. Also in the drum of the dome we see eight Angelic - Heavenly ranks, called to guard the earth and peoples. Archangels are usually depicted with signs expressing the features of their heavenly ministry.

On the sails supporting the dome and the drum, the evangelists who spread the gospel teachings are represented. The temple symbolizes the ship, the movement of which is determined by the sails. Just as a ship is moved by the wind by means of sails, so the Church is established on the four Gospels, spread to all ends of the universe.

Monumental painting in the temple

The main place in the system of temple paintings is occupied by the compositions of the altar apse. The painting of the altar is ideologically connected with the images in the dome. The central place in the apse is occupied by the image of the Mother of God ("Sign" or " Unbreakable Wall"), around which the Cherubim are depicted. The Mother of God appears as the Queen of Heaven, Intercessor for the human race. This composition is an important dogmatic and ideological part of the entire temple painting. In ancient temples, altar barriers were erected low, and therefore the images were visible from the temple. The Mother of God is always to all those in need, the first intercessor before His Son. Often, the Archangels are depicted on the sides of the Mother of God. In the upper part of the vault of the altar apse, the composition "Prepared Throne" ("Etimasia") is sometimes placed.

Below the image of the Mother of God in the altar apse is the composition "Eucharist", which consists of two parts. On the one hand, Christ gives the apostles the Eucharistic Bread, on the other hand, the Eucharistic Cup. Below it in the altar are images of saints and teachers of the Church. The images of saints and teachers of the Church in the altar are not accidental. They are the direct successors of the apostles; the Church is established on their teaching. Of the saints, the images of St. John Chrysostom, Basil the Great and Gregory the Dialogist, Pope of Rome as compilers of the texts Divine Liturgy. Saints are mostly depicted in full height and turn their eyes to the mountainous place.

The system of altar paintings has an important doctrinal and dogmatic significance. Here is a majestic image of the Mother of God, Intercessor for the entire human race. The composition of the "Eucharist" visually represents and at the same time links together the events in the Sioni Upper Room and the Liturgy taking place in the temple. The faces of the saints and teachers of the Church, located in the lower part of the altar painting, speak of the succession of the hierarchal ministry, uniting the glorified face of the saints and the bishops and presbyters serving in the church, continuing the work of the gospel ministry.

In ancient times, there was no altar in the altar. He settled in a special room, in ancient Russian churches - in the northern aisle, connected to the altar by a small door. Similar aisles on both sides of the altar to the east were ordered to be arranged by the Apostolic Decrees: the northern aisle was intended for an offering (altar), the southern one for a vessel storage (sacristy). Later, for convenience, the altar was moved to the altar, and in the aisles, temples most often began to be arranged, that is, thrones were erected and consecrated in honor of sacred events and saints. In architecture, if we talk about painting on the altar, we mean painting on the part of the altar where the altar stands. The painting of the deacon is the painting of that part of the altar or that place in the temple where the sacristy is located.

The canons of the murals on the side parts of the altar - the altar and the deacon - are less stable, their variants reflect the specific purpose of this temple. Most often, the image of the Mother of God and compositions from the New Testament History associated with the Nativity of Christ are placed on the altar, which is directly related to the liturgical action of the proskomedia. In the deacon box there are images of the holy archdeacons or compositions from the New Testament History, but often there are also compositions from the life of St. John the Baptist.

The middle part of the temple symbolizes, first of all, the heavenly, Angelic world, the region of Heavenly existence, where all the righteous reside, but it also depicts the area of ​​earthly existence. Just as the earthly and heavenly Churches are indissoluble, so is the entire teaching of the Church. The heavenly Church is connected with the earthly feat of martyrs, confessors, saints, and reverends. Martyrs are the support of the Church, and therefore they are always written on the pillars. Often the images of the martyrs are placed on the walls of the central part of the temple.

All the walls of the central part of the temple have their own established canons of murals. Most often, the murals of the temple show events from the Sacred History of the Old and New Testaments. The compositions are placed in the upper part of the main space in certain rows (from three to five) and have an important dogmatic and instructive character. These are: "Holidays" (Christmas, Epiphany, Annunciation, etc.), compositions from the life of the Mother of God, saints, etc. If the temple is dedicated to the Mother of God, then most of the murals depict the life Holy Mother of God.

A special place in the murals of the temple is occupied by its western part, where the painting of the Last Judgment is often found. The East - the Mountain World - is opposed to the world of sin and temptation. The compositions of the western part are often very narrative and figurative.

Decorated with paintings and mosaics and the entrance gate to the temple (both inside and outside). Here the image of the Mother of God is often depicted as the Patroness of the house of God. On the slopes of the portals we see Angels standing guard over the house of the Lord.

Wall paintings, as a rule, do not reach the floor. From the floor to the border of the frescoes (the height of a man) there are panels on which there are no sacred images. Since ancient times, ubrus (towels), decorated with ornaments, have been painted on these panels, which gives special solemnity to wall paintings, which, like great shrine as if presented to the worshipers according to the ancient custom on decorated towels. They also symbolize the purity of the temple, its inviolability and eternity.

The general system of murals in our churches is a picture that is diverse in scale and time of execution. At different times, changes occurred in the murals, some compositions were supplemented or removed, but at their core, the plot of the murals and the canon remained unchanged to this day. All murals, combined into a single dogmatic system, are the most important part of an Orthodox church and are inextricably linked with architecture and liturgical action. They serve as a figurative edification, a kind of pictorial gospel of the entire teaching of the Church, helping to reveal to everyone the full importance of the most important event for people - salvation.

Temple painting

Our icon-painting artel has been engaged in monumental painting in churches for many years and regards this work as the main activity of the Mesters. If you need a painting in the temple - please contact us, and we will certainly help you.

Date of publication or update 01.11.2017

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“The house that should be built for the Lord must be very majestic, for glory and adornment in the sight of all lands” (1 Chronicles 22:5)

Temple painting traditions

The tradition of the magnificent decoration of the temple comes from the Old Testament tabernacle and the Temple of Solomon in Jerusalem, which, at the direction of God Himself, were richly decorated, including images of cherubs, palm trees, fruits and flowers.

The first Christian images appear around the year 200. So, for example, in a house in Dura-Europos (Mesopotamia), reconstructed by the Christian community for their own purposes, the baptismal was decorated with frescoes. Believers brought symbols and signs to the catacombs: a vine - a symbol of the sacrificial blood of Christ and communion, a cross, an anchor - a symbol of hope, etc. The image is no longer a decoration of the room, but primarily a bearer of meaning.

The art of the Christian catacombs sets itself the task of choosing the most demonstrative and suitable subjects from the huge range of subjects of the Old Testament and the New Testament. In the premises of the early Christian catacombs, one can also see the beginning of the formation of iconographic programs. So, in the entrance zone there are images associated with the theme of Baptism, in the niche zone - with the Eucharistic theme, and in the upper register of the premises - with paradise allegories.

After the victory of Christianity and icon veneration in the Byzantine period, the development of iconography was led by several. First, the image had to show identity with the prototype, recognizability. Icons began not only to be created in accordance with established rules, but also to be provided with appropriate inscriptions. Now the worshiper could come into contact with the image, which had to face him in order for a genuine meeting to take place between them. Secondly, each image had to take its proper place in accordance with the hierarchy: first - Christ, then - the Mother of God, then angels and saints in the proper order of precedence. Having absorbed these principles of sisserk decoration, they began to apply in temples, starting from the 9th century. - most often, planned in the form of a cross inscribed in a square with a dome in the middle. This perfect type of Byzantine cross-domed church, which provided the best opportunities for the hierarchical arrangement of images, was transferred to Rus'.

Story Ancient Rus', replete with enemy raids and fires, left us only a small part of the richest heritage of the picturesque decoration of temples. We list only a few of the survivors. The fresco painting of the 12th century has survived to this day in the Kyiv St. Cyril's Church. In the central apse there are images of the Eucharist and the hierarchal rank, on the pre-altar pillars - the Annunciation and the Presentation, on the southern and northern walls - the Nativity of Christ and the Assumption of the Most Holy Theotokos. The entire space of the vestibule is occupied by the image of the Last Judgment - one of the earliest in the painting of Russian churches. The Church in honor of the Transfiguration of the Savior on Nereditsa (1198) in Veliky Novgorod gained world fame thanks to its fresco paintings that covered all the internal surfaces of the walls and vaults. The frescoes not only had an independent value, but also perfectly coordinated with the structure of the temple, forming a synthesis of architecture and painting. The interior of the Cathedral in honor of the Transfiguration of the Lord of the Pskov Mirozhsky Monastery (1140) is also completely painted with frescoes that have survived to this day.

The central medallion with Christ Pantokrator in the dome is placed in such a way that it can be distinguished when viewed from west to east. Seraphim (powers of God) are depicted under the image of the Almighty along the lower edge of the sphere of the dome. In the drum of the dome - eight archangels, heavenly ranks. The apostles are also depicted in the drum of the dome, and the prophets are also depicted below. The order of the prophets may be determined by the order of the holidays on the walls and vaults of the temple. In particular, the inscriptions in the scrolls of the prophets may correspond to the holidays that are nearby. The apostolic rank of the drum is built on the basis of the hierarchical primacy of the chief apostles Peter and Paul, as well as the first-called apostles (Andrew, Peter, James and John). The inscriptions of the skufia dome can be short texts of alliluaries, prokeimns and sacramental verses of great holidays.

The middle zone of the temple is dedicated to the life of Jesus Christ. The classical cycle consists of scenes of the twelve feasts: the Annunciation, the Nativity, the Meeting, Baptism, the Transfiguration, the Resurrection of Lazarus, the Entry into Jerusalem, the Resurrection (Descent into Hell), the Ascension, the Descent of the Holy Spirit and the Assumption of the Virgin, as well as the Crucifixion. Several images are often added to this series that demonstrate the history of the passion of Christ - the Last Supper, the Washing of the Feet, the Kiss of Judas, the Descent from the Cross and the Assurance of Thomas, as well as the history of the birth of Christ - the Adoration of the Magi, the Flight into Egypt and the history of His preaching activity - cycle of miracles and parables. According to the established tradition, on the north side of the temple there are plots of the Passion cycle, reflecting the events of the Great Heel and Saturday - the Crucifixion, Lamentation, Descent into Hell. Preceding and subsequent events are more often located from the east or west. TO XIV century iconographic motifs appear in the decoration of temples that were not directly related to the life of Jesus Christ. They are located in the side naves, aisles, vestibules or narthex and often depict episodes from the life of the Virgin.

The composition of the scenes depends on the theological program of the temple. So, say, in a church dedicated to the Mother of God, scenes from the life of the Virgin Mary, the theme of the Akathist, will prevail. Nicholas Church will contain scenes from the life of St. Nicholas, Sergievsky - St. Sergius, etc.

In the middle part of the temple, on the pillars, if any, are placed images of saints, martyrs, saints, the most revered in this parish. In the "sails", they depict the four evangelists - Matthew, Mark, Luke, John. On the northern and southern walls, from top to bottom, rows follow the images of the apostles from the seventy and saints, saints and martyrs. The lower tier is often built from single figures - these are either holy fathers, or holy princes, monks, pillars, warriors. These figures are distributed according to their rank and functions, placed in accordance with the order of the days of their memory in the liturgical calendar.

Above the floor level, in the area where the worshipers stand, on the walls there are images of alternating hanging panels - “towels”, which, as it were, carry sacred images located above.

Since the Sacrament of the Eucharist is celebrated in the altar, its paintings are dedicated to subjects related to this Sacrament. The first row of paintings, starting from the bottom, represents the fathers of the liturgists: Saints Basil the Great, John Chrysostom and Gregory the Theologian and other saints with them, as well as the holy deacons, as participants in the service. Above - the Eucharist itself: the communion of the apostles under two types - bread and wine. Even higher, above the Eucharist in the conch of the apse, is placed the figure of the Mother of God, standing or sitting (type of Oranta or Hodegetria). Insofar as the altar is the place of offering of the Bloodless Sacrifice, established by the Savior Himself, then above, above the image Mother of God, often place the image of Christ. In the side apses they write images of the parents of the Mother of God - Joachim and Anna, or John the Forerunner of the Savior.

On the walls separating the altar from the nave, Old Testament prototypes of the Eucharist can be presented: the sacrifice of Abel; Melchizedek bringing bread and wine; Abraham sacrificing Isaac; hospitality of Abraham.

On the western wall of the temple are the scenes of the Last Judgment, the vision of the prophet Ezekiel. The meaning of the image of the Last Judgment is that a person, leaving the temple, must remember the hour of death and his responsibility before God. Above it, if space permits, is the image of the six-day creation of the world. In this case, the images of the western wall represent the beginning and end earth history humanity.

The painting of the vestibule consists of wall paintings on the themes of the paradise life of the primitive people and their expulsion from paradise, as well as Old Testament events from the period of natural law.

The spaces between individual pictorial compositions are filled with ornaments, where plots of the plant world or images are mainly used, corresponding to the content of Psalm 103, where a picture of earthly existence is drawn, listing various God's creations. The ornament can also use elements such as crosses in a circle, rhombus and others. geometric shapes, octagonal stars.

Modern practice of pictorial decoration of the temple

The modern practice of painting, as a rule, follows the traditional principles of placing plots and individual figures of saints on the walls and vaults of temples, depending on their size and space-planning structure.

As an example, let's take the painting of the Kosmodamianovsky temple in the city of Zhukovsky, built in 2006 according to the project of the architect M. Kesler, by the artists of the creative workshop led by K. Okhotin and D. Lazarev.

The temple is the main volume of 12x12 meters of a cubic shape, passing through the sails into an octagon, covered with a spherical dome with a light drum. To the central aisle of the temple dedicated to the Intercession of the Most Holy Theotokos, from the south adjoins the Kosmodamianovsky aisle, covered with a groin vault, from the east - a semicircular apse, and from the west - a vestibule with a vestibule, over which the choirs are located. In the exterior decoration, special niches were used to accommodate the exterior painting of the temple.

The first place where the incoming one enters is a small narrow room of the outer porch. Its painting is dedicated to the history of the creation of the world - the Six Days. The walls and ceiling are covered with ornaments on a dark background, reminiscent of the original darkness, from which six round white-backed medallions with images of the days of creation protrude.

The painting of the inner vestibule is dedicated to the life in paradise of the first people: Adam and Eve. The walls are covered with floral ornaments on a white background, reminiscent of garden of paradise. On the ceiling in round medallions plots from the Book of Genesis are depicted: the fall of Adam and the expulsion from paradise. Two medallions with Archangels flank the walls of the vestibule. In its southern part, where the candle box is located, the cycle of the Old Testament history continues: the earthly labors of Adam and his children, the sacrifice of Abel and Cain, the murder of Abel by Cain, the story of Noah. The image of the Mother of God completes the Old Testament cycle " Burning bush”, located on the ceiling of the vestibule and revealing the Old Testament prophecies about the Mother of God.

If two vestibules take us back in time Old Testament from the creation of the world to the prophecies about the Mother of God, then the main volume of the temple with a dome is the scenes of the life of the Mother of God and the New Testament, ending with the Last Judgment and the vision of the heavenly city of Jerusalem by John the Theologian.

In the center of all these plots, we are met by a large image of the Mother of God in the conch of the apse of the altar and hovering over the temple, occupying the entire dome with an area of ​​​​about 250 square meters, the composition of the Intercession of the Virgin. The dome is divided into two registers depicting the Earthly and Heavenly Church. In the skufia of the dome and in the drum are located: the shoulder image of Christ Pantocrator, cherubs and archangels in medallions, which form a single whole with the composition of the Intercession and, as it were, crown it.

In the eastern part of the arch in the upper register is the figure of the Mother of God and the upcoming heavenly forces and saints. Opposite them, in the western part of the vault, in the upper register, there is an image of the Cathedral of the Archangel Michael. In the lower register are historical characters related to the Feast of the Intercession: St. Roman the Sweet Singer royal doors and the saints present in the Blachernae Church during the appearance of the Mother of God, Emperor Leo and Empress Theophania, as well as princes, boyars and monks with the icon of the Most Pure. The western vault depicts Andrew Christ for the sake of the holy fool, pointing to his disciple Epiphanius at the appearance of the Mother of God. In the northern part of the vault there is a plot from the sixth kontakion of the akathist to the Intercession - a vision of the Virgin by Roman the Melodist in a dream.

The "sails" depict four Evangelists - Matthew, Mark, Luke, John.

The walls of the quadrangle are divided into four registers. The top one contains the Twelfth Feasts of the Lord and the Old Testament prophets with scrolls. In the second register on top are plots of parables and miracles of Christ.

In the third - the life of the Virgin. In the lower register are half-figures of selected saints, both ancient and newly glorified.

On the western wall, all four registers are occupied by the Last Judgment. Above, above the choirs - Christ enthroned in glory with the forthcoming Mother of God and John the Baptist.

To the right and left of the choirs are 12 apostles seated on thrones. Behind them are standing angels. In the center of the composition is Itimasia. To the right of Itimasia are the nations awaiting Judgment. Below - trumpeting angels call to Judgment. To the left of Itimasia are the faces of the saints - saints and righteous wives, below them - the apostles Peter and Paul, leading the righteous to paradise. In the center under Itimasia, from left to right, the body of a serpent, leading to hell, wriggles.

The immediate continuation of the theme of the Last Judgment and the completion of the New Testament cycle is the vision of Heavenly Jerusalem to John the Theologian. It opens through the choir arch on the western wall. In the girth arch of the choirs there are half-figures of the Old Testament righteous in round medallions. Abel Noah, Abraham, Isaac, Jacob and others, which compositionally connects the Old and New Testament, the beginning of the painting and its end.

Since the southern aisle is dedicated to Sts. To the unmercenaries and healers Cosmas and Damian, the theme of his painting is connected with the miracles of healing and resurrection.

In the conch of the altar of the chapel there is an image of the Old Testament Trinity. Below, on the walls of the apse, there is an ornamental frieze with cherubs in medallions. Under them are the full-length figures of liturgists: Saints Gregory the Dialogist, Basil the Great, John Chrysostom, Gregory the Theologian.

In the center of the chapel in the cross vault is the image of the Cross in a medallion. Around it are 4 medallions with half-length images of archangels.

The lower register depicts the figures of Sts. healers and martyrs, standing frontally in full growth.

The painting of the chapel is completed by the composition of the Descent of the Holy Spirit on the apostles, located on the western wall of the chapel in its entire height.

The basement part of the walls throughout the temple is decorated with white "towels" with ornaments.

of the Cathedral of Christ the Savior by Archpriest Leonid Kalinin, the painting of the Kosmodamianovsky Church is one of the best examples of church art of the last ten years and can be recommended as a standard.

During the Great consecration of the temple in May of this year. Metropolitan Juvenaly of Krutitsy and Kolomna in his speech likened the magnificence of this church to Sophia of Constantinople, which so impressed the ambassadors of Prince Vladimir with its beauty that this led to the adoption of Christianity by Russia. Church splendor is no less necessary for us today, when the road to the temple can become shorter due to the perception of its beauty.

Architect Mikhail Yurievich Kesler

Beautification Magazine No. 20 (Summer 2009)