Створка креста-энколпиона Богоматерь Кириотисса

• Casting, chasing. 12,6 х 8,1 х 1,1
• The State Russian Museum
• ДРМ-1458

The Mother of God of Tenderness of the White Lake

• First half of the 13th century
• Wood, gesso, tempera. 156 х 107 х 2
• The State Russian Museum
• ДРЖ-2116

The icon is based on the compositional scene of Tenderness (Greek: Eleusa), depicting the Virgin and Child with their cheeks pressed together. This particular work is one of the most famous surviving images of the Theotokos from the Old Russian period. The halflength figure of the Virgin Mary is monumental and majestic. Her enormous eyes are full of sorrow, while her countenance is turned towards Jesus. The laconic and distinct outline of the Mother of God is likened to the silhouette of a church, while the head in the dark cherry-red veil recalls a cupola.

The body of Christ Emmanuel does not extend beyond the bounds of the figure of the Virgin. The cheek of the Child brushes against His mother’s face and their haloes merge, symbolising their unbreakable unity. Christ sits on the right hand of Mary, who is worshipped by the angels with covered arms in the round medallions in the top corners. The movement of the Virgin’s hands forms a cross, while the gestures of Christ are also crossshaped.

The large image of the Infant in comparison to the Mother of God is a specific feature of the iconography of Christ Emmanuel. Jesus is dressed in a short, ochre-coloured tunic, revealing the immaculate flesh of the Child and conjuring up associations with the Eucharist sacrifice or sacrificial lamb. The entire image thus represents the incarnation of the Word inside the church of God and Jesus’ eternal, redemptive sacrifice. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 42.

Богоматерь Умиление (Старорусская)

• Wood, gesso, tempera. 99,5 х 81,5 х 3
• The State Russian Museum
• ДРЖ-2107

Святой Николай Чудотворец, с житием в 16 клеймах

• Wood, pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3032

Введение во храм

• Wood, gesso, tempera, , , . 91 х 65,5 х 2,5
• The State Russian Museum
• ДРЖ-2724

Миниатюра «Поклонение волхвов»

• 1340
• Tempera. 30,6 х 22,2
• The State Russian Museum
• Др.гр.-8

Богоматерь Одигитрия Смоленская

• Wood, pavoloka, gesso, tempera. 84,5 х 61,0 х 3,0
• The State Russian Museum
• ДРЖ-3124

Панагия

• Silver, forging, casting, engraving, gilding, niello. 15,6 х 13,6
• The State Russian Museum
• БК-3267

Богоматерь Одигитрия

• Wood, tempera. 32,4 х 26,7 х 2,6
• The State Russian Museum
• ДРЖ-2059

Богоматерь Умиление (Толгская III)

• Wood, gesso, tempera. 76,6 х 60 х 2,5
• The State Russian Museum
• ДРЖ-2703

Плащаница «Положение во гроб»

• Damask, . 140 х 186
• The State Russian Museum
• ДРТ-281

Сретение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2135

Богоматерь Владимирская

• Wood, gesso, tempera. 29 х 17,5 х 2,1
• The State Russian Museum
• ДРЖ-275

Иконка «Богоматерь Одигитрия»

• Carving. 5,4 х 4,7 х 0,7
• The State Russian Museum
• ДРКам-28

Рождество Богоматери

• Wood, gesso, silver, tempera. 32 х 24 х 1,5
• The State Russian Museum
• ДРЖ-2131

Сретение

• Wood, gesso, tempera. 103 x 81 x 3
• The State Russian Museum
• ДРЖ-2132

Успение Богоматери, с Иоанном Предтечей и архидиаконом Стефаном

• Wood, tempera. 48,2 х 37 х 2,2
• The State Russian Museum
• ДРЖ-2065

Пелена «Успение Богоматери со Спасом Нерукотворным и апостолами на кайме»

• Damask, . 82 х 140
• The State Russian Museum
• ДРТ-261

Богоматерь Знамение и избранные святые пророк Илия, Никола, Иоанн Предтеча

• Wood, gesso, tempera. 26,2 х 24 х 3,5
• The State Russian Museum
• ДРЖ-2901

Покровец. Распятие с предстоящими, апостолами и евангелистами

• Taffeta, . 51,5 х 53
• The State Russian Museum
• ДРТ-42

Rublev Andrei

Leading Old Russian artist. Little authentic information on his biography exists. Lay brother of the St Sergius Monastery of the Trinity and then the Andronikov Monastery of the Saviour in Moscow. Helped Theophanes the Greek to paint the Cathedral of the Annunciation in the Moscow Kremlin (1405). Worked in Vladimir (1408). The famous Old Testament Trinity icon of the St Sergius Monastery of the Trinity is attributed to Rublev. Canonized by the Russian Orthodox Church (1988). Feast day 4/17 July.

Введение во храм

• Wood, gesso, tempera, , , . 91 х 65,5 х 2,5
• The State Russian Museum
• ДРЖ-2724

Миниатюра «Поклонение волхвов»

• 1340
• Tempera. 30,6 х 22,2
• The State Russian Museum
• Др.гр.-8

Рождество Богоматери

• Wood, gesso, silver, tempera. 32 х 24 х 1,5
• The State Russian Museum
• ДРЖ-2131

Сретение

• Wood, gesso, tempera. 103 x 81 x 3
• The State Russian Museum
• ДРЖ-2132

Успение Богоматери, с Иоанном Предтечей и архидиаконом Стефаном

• Wood, tempera. 48,2 х 37 х 2,2
• The State Russian Museum
• ДРЖ-2065

Рождество Богоматери

• Wood, gesso, tempera, , , . 96,5 х 77 х 3
• The State Russian Museum
• ДРЖ-2070

Рождество Богоматери

• Wood, gesso, tempera. 61 х 52,7 х 2,3
• The State Russian Museum
• ДРЖ-1208

Благовещение и Успение Богоматери

• Wood, pavoloka, gesso, fabric, tempera. 32,0 х 13,2 х 1,4
• The State Russian Museum
• ДРЖ-150

Рождество Христово

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1248

Распятие

• Wood, gesso, tempera. 76,0 х 53,5 х 2,8
• The State Russian Museum
• ДРЖ-1219

Положение во гроб – Оплакивание

• Wood, tempera. 83,9 х 67,8 х 3,2
• The State Russian Museum
• ДРЖ-2083

Положение во гроб. Богоматерь и избранные святые

• Wood, gesso, tempera. 86,2 х 63,5 х 2,6
• The State Russian Museum
• ДРЖ-2785

Вознесение, из праздничного чина

• Wood, gesso, tempera. 55,5 х 43,5 х 2,6
• The State Russian Museum
• ДРЖ-1202

Успение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-3122

Преображение, с праздниками в 24 клеймах

• Wood, tempera. 133 х 102,3 х 3,6
• The State Russian Museum
• ДРЖ-1879

Рождество Христово

• Wood, tempera. 94,7 х 76,4 х 3
• The State Russian Museum
• ДРЖ-3170

Рождество Христово

• Wood, gesso, tempera. 179,8 х 155 х 4,5
• The State Russian Museum
• ДРЖ-2923

Рождество Христово

• Wood, tempera. 35,8 х 30 х 2,2
• The State Russian Museum
• ДРЖ-2757

Снятие с креста. Положение во гроб

• Wood, tempera. 35,8 х 30,4 х 2,4
• The State Russian Museum
• ДРЖ-1062

Успение Богоматери

• Wood, gesso, silver, tempera. 35,8 х 31,3 х 2,2
• The State Russian Museum
• ДРЖ-1166

Мастер Михаил

Строгановская школа

Богоматерь на престоле

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-276

София Премудрость Божия

• Wood, gesso, tempera. 32,7 х 27,5 х 2,5
• The State Russian Museum
• ДРЖ-1117

«Предста Царица»

• Wood, gesso, silver, pearls, canvas, tempera, , . 42,1 х 34 х 2,7
• The State Russian Museum
• ДРЖ-2060

Богоматерь Камень Горы нерукосечный, с предстоящими

• Wood, gesso, tempera. 32,3 х 26,2 х 2,1
• The State Russian Museum
• ДРЖ-1027

Непроходимая дверь

• Wood, , , , gesso, tempera. 151,2 х 66,2 х 3,8
• The State Russian Museum
• ДРЖ-1921

София Премудрость Божия

• 1812
• Wood, gesso, tempera. 40,8 х 29,7 х 1,5
• The State Russian Museum
• ДРЖ Б-640

София Премудрость Божия («Премудрость созда Себе дом ...»)

• Wood, gesso, tempera. 35,4 х 27,7 х 2,6
• The State Russian Museum
• ДРЖ Б-208

Царские врата с изображением Благовещения

• Wood, tempera.
• The State Russian Museum
• ДРЖ-2661

The Mother of God Enthroned

• First half of the 16th century
• Wood, tempera. 127,2 x 88,6 x 3,2
• The State Russian Museum
• ДРЖ-1805

Богоматерь Одигитрия Смоленская. Святая Параскева Пятница

• Wood, gesso, tempera. 58,2 х 44,7 х 2,9
• The State Russian Museum
• ДРЖ-1206

Богоматерь Знамение, Давид, Соломон, Вход в Иерусалим и Преображение

• Wood, gesso, tempera. 59,0 х 57,0 х 2,0
• The State Russian Museum
• ДРЖ-1563

Деисусный чин

• Wood, pavoloka, gesso, tempera, , . 22,1 х 54,2 х 2,2
• The State Russian Museum
• ДРЖ-3068

Минея на декабрь

• 1565
• Wood, gesso, tempera. 55,5 х 45,5 х 2,3
• The State Russian Museum
• ДРЖ-1565

«Не рыдай Мене, Мати...», со Спасом Нерукотворным и святыми на полях: Григорием Богословом, мучеником Никитой, мученицами Маврой и Евпраксией

• Wood, tempera, , , .
• The State Russian Museum
• ДРЖ-1016

Икона-навершие. Похвала Богоматери

• Wood, tempera.
• The State Russian Museum
• ДРЖ-2175

“Do Not Cry for Me, Mother”, Saviour Not-Made-By-Hands and Saints

• 17th century. Repainted in the 19th century
• Wood, tempera. 93 х 81 х 3
• The State Russian Museum
• ДРЖ-2073

Such compositions were popular in sixteenth and seventeenth century Russian art. The scene does not correspond to any canonical text. The dead figure of Christ indicates his real death, yet it is depicted vertically and is not nailed to the cross. A special feature of this particular work is the representation of the commissioner''''s patron saints at the edge of the central image. The unusually extended form of the large coffin also underlines the fact that this icon was commissioned in memory of the dead. The image of the Virgin Mary on the icon, in which she is not merely standing by the dead body of Christ, like in the scenes of The Crucifixion, but where she is embracing him, like in The Entombment, has a special significance. In Rus, icons with such an image were carried in a solemn procession, accompanied by the troparion "Behold, the Bridegroom Comes at Midnight", and each believer would kiss the icon. The Virgin Mary, as the embodiment of the Church, embraces Christ and merges with him, identifying with his sacrifice. The image of the Mother of God embracing her Son symbolises the love of the church and Christ. The bridegroom washes the bride in his blood and prepares her for the wedding feast of the Lamb. The sepulchre also symbolises the wedding bed of the King and the Queen and the wedding feast to which all believers are invited. The patron saints depicted above the tomb pray constantly to God for the souls of their protégés, becoming the eternal participants of the Eucharist of the Lord.

Богоматерь Знамение (Богоматерь Воплощение)

• Wood, tempera, gesso.
• The State Russian Museum
• ДРЖ-3062

Богоматерь Одигитрия на престоле, в 40 клеймах

• 1687
• Wood, gesso, tempera. 169,5 х 137 х 4
• The State Russian Museum
• ДРЖ-2894

Богоматерь Гора Нерукосечная. Евхаристия

• Wood, , , , , , gesso, tempera.
• The State Russian Museum
• ДРЖ-1476

Богоматерь

• Pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-2150

Иоанн Предтеча

• Pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-2151

Богоматерь из «Благовещения»

• Wood, gesso, tempera. 30 х 23 х 2,3
• The State Russian Museum
• ДРЖ Б-922

Переносной (походный) иконостас

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ Б-682

Мастер Стефан Арефьев

Сергиев Родион

Иванов Александр сын Казанцева

ARMOURY CHAMBER, Moscow

Тихон Иванов Филатьев

Мстера, Владимирская область

Покров Богоматери

• Wood, pavoloka, gesso, tempera. 57,3 х 43,5 х 2,7
• The State Russian Museum
• ДРЖ-1205

Покров Богоматери

• Wood, gesso, tempera. 65 х 48,4 х 2,5
• The State Russian Museum
• ДРЖ-1557

«О Тебе радуется ...»

• Wood, tempera. 143,2 х 106,2 х 2,5
• The State Russian Museum
• ДРЖ-2137

Андрей Юродивый, с житием в 18-ти клеймах

• Wood, gesso, tempera. 131,2 х 100,5 х 3,2
• The State Russian Museum
• ДРЖ-2099

Покров, с избранными святыми

• Wood, gesso, tempera. 85,3 х 84,2 х 3
• The State Russian Museum
• ДРЖ-2965

Похвала Богоматери с Акафистом в 24-х клеймах

• 1550–1560
• Wood, gesso, tempera. 147 x 113,5 x 3,8
• The State Russian Museum
• ДРЖ-1834

The Intercession of the Holy Virgin

• Novgorod
• Second half of the 16th century
• Wood, gesso, tempera. 118,5 х 69 х 3
• The State Russian Museum
• ДРЖ-2142

The subject of the icon is taken from the Life of Andrew the Holy Fool, which tells of the miraculous vision of the Mother of God in the Church of the Blachernes in Constantinople, where her raiment is allegedly kept. The event occurred during the evening service, when Andrew and his protégé Epiphanius saw the Virgin walking on the air, accompanied by St John the Baptist and St John the Theologian and surrounded by a host of angels and saints in white robes. Russian icons traditionally depicted the episode when the Mother of God offers up a prayer in front of the altar and then removes her veil (maphorius), holding it out over the congregation below. The Festival of the Intercession of the Holy Virgin (14 October) is believed to have been first celebrated in Russia in the 1160s, during the reign of Prince Andrew of Bogolyubovo in Vladimir. It was only later that it was celebrated by the Greek Orthodox Church. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 47.

«Единородный сыне...»

• Wood, , pavoloka, tempera. 14,8 × 13,4 × 1,5
• The State Russian Museum
• ДРЖ-239

Положение пояса Богоматери

• Wood, gesso, tempera. 40,1 х 33,6 х 2
• The State Russian Museum
• ДРЖ-2758

«О Тебе радуется ...»

• Wood, pavoloka, gesso, tempera. 14,8 х 12,9 х 1,5
• The State Russian Museum
• ДРЖ-240

Собор Богородицы

• 1680–1690s
• Wood, , , pavoloka, tempera. 179 × 137 × 4
• The State Russian Museum
• ДРЖ-2890

Похвала Богоматери с Акафистом в 24 клеймах

• Wood, , pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3127

Покров

• Wood, gesso, tempera. 53,1 х 42,2 х 3
• The State Russian Museum
• ДРЖ-2966

Собор Богоматери

• 1901
• Wood, gesso, tempera. 32,2 х 21,2 х 2,7
• The State Russian Museum
• ДРЖ Б-298

Мастер Первуша

The Mother of God of Tenderness of the White Lake

• First half of the 13th century
• Wood, gesso, tempera. 156 х 107 х 2
• The State Russian Museum
• ДРЖ-2116

The icon is based on the compositional scene of Tenderness (Greek: Eleusa), depicting the Virgin and Child with their cheeks pressed together. This particular work is one of the most famous surviving images of the Theotokos from the Old Russian period. The halflength figure of the Virgin Mary is monumental and majestic. Her enormous eyes are full of sorrow, while her countenance is turned towards Jesus. The laconic and distinct outline of the Mother of God is likened to the silhouette of a church, while the head in the dark cherry-red veil recalls a cupola.

The body of Christ Emmanuel does not extend beyond the bounds of the figure of the Virgin. The cheek of the Child brushes against His mother’s face and their haloes merge, symbolising their unbreakable unity. Christ sits on the right hand of Mary, who is worshipped by the angels with covered arms in the round medallions in the top corners. The movement of the Virgin’s hands forms a cross, while the gestures of Christ are also crossshaped.

The large image of the Infant in comparison to the Mother of God is a specific feature of the iconography of Christ Emmanuel. Jesus is dressed in a short, ochre-coloured tunic, revealing the immaculate flesh of the Child and conjuring up associations with the Eucharist sacrifice or sacrificial lamb. The entire image thus represents the incarnation of the Word inside the church of God and Jesus’ eternal, redemptive sacrifice. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 42.

Богоматерь Умиление (Старорусская)

• Wood, gesso, tempera. 99,5 х 81,5 х 3
• The State Russian Museum
• ДРЖ-2107

Святой Николай Чудотворец, с житием в 16 клеймах

• Wood, pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3032

Богоматерь Одигитрия Смоленская

• Wood, pavoloka, gesso, tempera. 84,5 х 61,0 х 3,0
• The State Russian Museum
• ДРЖ-3124

Богоматерь Одигитрия

• Wood, tempera. 32,4 х 26,7 х 2,6
• The State Russian Museum
• ДРЖ-2059

Богоматерь Умиление (Толгская III)

• Wood, gesso, tempera. 76,6 х 60 х 2,5
• The State Russian Museum
• ДРЖ-2703

Сретение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2135

Богоматерь Владимирская

• Wood, gesso, tempera. 29 х 17,5 х 2,1
• The State Russian Museum
• ДРЖ-275

Богоматерь Знамение и избранные святые пророк Илия, Никола, Иоанн Предтеча

• Wood, gesso, tempera. 26,2 х 24 х 3,5
• The State Russian Museum
• ДРЖ-2901

Богоматерь Умиление (Ярославская), с четырьмя клеймами: Рождество Богоматери. Отечество Собор Архангелов. Собор Апостолов

• Wood, gesso, tempera. 106 х 83,5 х 3
• The State Russian Museum
• ДРЖ-2101

Богоматерь Одигитрия

• Wood, gesso, tempera. 26,8 х 21,7 х 2,4
• The State Russian Museum
• ДРЖ-987

The Mother of God of the Dove (of Konevets)

• 16th century. Repainted in the 19th century
• Wood, tempera. 96,5 х 77 х 3
• The State Russian Museum
• ДРЖ-2766

The Mother of God Hodigitria

• Circa 1502–03
• Wood, gesso, tempera. 141,2 x 105,7 x 3
• The State Russian Museum
• ДРЖ-3095

This work depicts the Hodigitria (Greek: «she who points the way”) type of Mother of God, named after the famous Byzantine icon from the Hodegon Monastery in Constantinople. The Hodegon icon depicted the Virgin en face, turned to the worshippers and holding the Child, who raises His hand in blessing. Mary points to Christ as the path to salvation. Many different versions of the Mother of God Hodigitria have been painted over the centuries. In Russia, for example, there was the Mother of God Hodigitria of Smolensk, Tikhvin, Jerusalem and Georgia. While differing in the details, all versions retain their common elements of austerity and majesty. This particular variant of the Mother of God Hodigitria has no direct analogies prior to the seventeenth century, when works with a similar iconography known as the Mother of God Hodigitria of the Seven Lakes were popular in Russian art. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 55.

The Miracle of the Icon of the Holy Sign (Battle between the Novgorodians and Suzdalites)

• Novgorod
• Early 16th century
• Wood, gesso, tempera. 87,8 х 63,8 х 2,2
• The State Russian Museum
• ДРЖ-2129

The icon consists of a waist-length image of the Virgin Mary, her hands raised upwards, with a medallion on her breast depicting the Infant Christ. Jesus’ right hand is raised in blessing; He holds a rolled-up scroll in his left hand. Icons of this type were known in Greece as Oranta (“praying”) or Panagia (“allholy”). When it reached Russia, the image acquired the name of the Mother of God of the Holy Sign (Znamenie).

Icons of the Mother of God of the Holy Sign were popular in Novgorod in the twelfth century, when one allegedly saved the besieged city from an invasion by the Suzdalites. When Archbishop Elijah of Novgorod was praying, he heard a voice commanding him to take the image of the Virgin — the town’s patroness — from the Church of the Transfiguration of the Saviour and hang it on the city wall. During the procession, an enemy arrow struck the icon. The Virgin turned her face towards the city, giving a sign to the people of Novgorod. The Suzdal regiments were blinded and fled in terror. Following this miraculous sign, the archbishop established an official Russian Orthodox holiday in honour of the Mother of God of the Holy Sign. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 48.

Богоматерь Боголюбская

• Wood, gesso, silver, stones:, velvet, tempera. 27 х 21,5 х 3
• The State Russian Museum
• ДРЖ-331

Богоматерь Одигитрия Иерусалимская

• Wood, gesso, tempera. 105,7 х 82,9 х 3
• The State Russian Museum
• ДРЖ-2097

Богоматерь Смоленская

• Wood, gesso, silver, tempera. 31,3 х 25,8 х 1,7
• The State Russian Museum
• ДРЖ-1154

Богоматерь Одигитрия Грузинская

• Wood, gesso, tempera. 107,3 х 84,5 х 2,8
• The State Russian Museum
• ДРЖ-1317

Богоматерь Одигитрия Грузинская

• Wood, pavoloka, gesso, tempera. 115 х 90,5 х 3
• The State Russian Museum
• ДРЖ-2932

Богоматерь Одигитрия Грузинская

• Wood, gesso, tempera. 80,3 х 62,5 х 3,2
• The State Russian Museum
• ДРЖ-3073

Dionysius and Workshop

Dionysius

Circa 1440 - Before 1508

Old Russian painter of icons and frescoes. Headed a team of artists including two of his sons — Vladimir and Theodosius. Painted the frescoes and iconostasis of the Cathedral of the Dormition in the Moscow Kremlin (1481) and the Cathedral of the Nativity of the Blessed Virgin in the St Ferapont Monastery (1502-03). Created one of the recognised masterpieces of Old Russian icon-painting - The Crucifixion (1500).

Богоматерь Владимирская

• Wood, gesso, tempera. 29 х 17,5 х 2,1
• The State Russian Museum
• ДРЖ-275

Богоматерь Владимирская

• Wood, gesso, silver, glass, canvas, tempera, , . 32 х 27,7 х 2,1
• The State Russian Museum
• ДРЖ-302

Богоматерь Владимирская

• Wood, gesso, tempera. 31,7 х 25,5 х 2,4
• The State Russian Museum
• ДРЖ-1159

Богоматерь Владимирская, с чудесами в 12-ти клеймах и избранными святыми

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2777 а,б

Пелена «Богоматерь Владимирская»

• Damask, . 30,5 х 48,1
• The State Russian Museum
• ДРТ-5

Сретение Владимирской иконы Богоматери

• Wood, tempera, , , .
• The State Russian Museum
• ДРЖ-1018

The Mother of God Tenderness of Vladimir, with Feast Days and Saints

• Triptych. Moscow
• Early 17th century setting and painting
• Wood, , pavoloka, tempera, , silver, gilding, chasing, stones:, emeralds, garnets, turquoise, topaz, pearls. 40.1 x 70.2 x 4.6 (opened); 39.9 x 16.5 x 2 (volets); 39.9 x 33.6 x 2 (centre)
• The State Russian Museum
• ДРЖ-2559

The painting of the triptych icon and its setting relates to a number of leading works of the early seventeenth century. The triptych was executed by the royal icon-painter Procopius Chirin in Moscow, probably at the commission of Nikita Stroganov, for whom he often painted icons. Its fine silver setting seems to have been manufactured there at the exact same time, judging by the exact correspondence between the pictorial representations in the central and side sections and the apertures in the setting. The figured icon-cases are resolved in the shape of arches with laminated ends and are decorated with a floral ornamental design on a kantharene background. The background features a miniature rosette with trefoils leading away from it on slender bending stems. There are also spiral-shaped shoots and trefoils in the margins.

The tsata and the double nimbus with its high crown are set in pearls and adorned with stones in castes and on the points of the crown. The central representation of the Mother of God is similarly framed with pearls. Three embossed plates with Greek letters are affixed to the background. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 62.

Богоматерь Владимирская

• Wood, tempera, , silver, , enamel, .
• The State Russian Museum
• ДРЖ-3129

Богоматерь Владимирская

• 1662
• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2100

Ростовские чудотворцы

• Wood, gesso, tempera. 42,5 х 33,4 х 2,1
• The State Russian Museum
• ДРЖ Б-871

Бороздин Семен (Семейка)

Procopius Chirin

Ushakov Simon (Pimen)

Synonymous with an important period in the history of Muscovite painting in the seventeenth century and the activities of the Armoury icon-painting workshop. Began working at the Armoury as a silversmith (1648). Following his appointment as royal icon-painter (1664), took over as head of the icon-painting section and remained there until his death (1686). An engraver and icon-painter, he also decorated the interiors of churches and created book miniatures. Painted parsuni (portraits) of Tsar Alexis Mikhailovich, decorated palace fittings, compiled an album entitled Alphabet of the Arts and wrote a treatise on icon-painting. First in the history of Russian icon-painting to employ such devices of West European art as volumetric modelling of form and perspective. 

Богоматерь Знамение и избранные святые пророк Илия, Никола, Иоанн Предтеча

• Wood, gesso, tempera. 26,2 х 24 х 3,5
• The State Russian Museum
• ДРЖ-2901

The Miracle of the Icon of the Holy Sign (Battle between the Novgorodians and Suzdalites)

• Novgorod
• Early 16th century
• Wood, gesso, tempera. 87,8 х 63,8 х 2,2
• The State Russian Museum
• ДРЖ-2129

The icon consists of a waist-length image of the Virgin Mary, her hands raised upwards, with a medallion on her breast depicting the Infant Christ. Jesus’ right hand is raised in blessing; He holds a rolled-up scroll in his left hand. Icons of this type were known in Greece as Oranta (“praying”) or Panagia (“allholy”). When it reached Russia, the image acquired the name of the Mother of God of the Holy Sign (Znamenie).

Icons of the Mother of God of the Holy Sign were popular in Novgorod in the twelfth century, when one allegedly saved the besieged city from an invasion by the Suzdalites. When Archbishop Elijah of Novgorod was praying, he heard a voice commanding him to take the image of the Virgin — the town’s patroness — from the Church of the Transfiguration of the Saviour and hang it on the city wall. During the procession, an enemy arrow struck the icon. The Virgin turned her face towards the city, giving a sign to the people of Novgorod. The Suzdal regiments were blinded and fled in terror. Following this miraculous sign, the archbishop established an official Russian Orthodox holiday in honour of the Mother of God of the Holy Sign. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 48.

Створка складня «Богоматерь Знамение»

• Wood, carving, , gilding. 9,9 х 8,3 х 1
• The State Russian Museum
• ДРД-35

Богоматерь Знамение

• Wood, tempera. 63,5 х 51,4 х 2,8
• The State Russian Museum
• ДРЖ-1401

Покровец «Богоматерь Знамение»

• 1643
• Damask, , pearls. 48 х 46,4
• The State Russian Museum
• ДРТ-89

Богоматерь Знамение (Богоматерь Воплощение)

• Wood, tempera, gesso.
• The State Russian Museum
• ДРЖ-3062

Богоматерь Знамение, с деисусом и избранными святыми

• Wood, tempera, , , silver, .
• The State Russian Museum
• ДРЖ-1508

Богоматерь Знамение, с Чудом от иконы «Знамение» в Новгороде

• Wood, gesso, tempera. 91 х 70,5 х 4,1
• The State Russian Museum
• ДРЖ-2788

Андрей Первозванный в предстоянии Богоматери Знамение

• Wood, gesso, tempera. 36,8 х 32 х 2,9
• The State Russian Museum
• ДРЖ Б-521

Икона шитая «Богоматерь Казанская»

• Canvas, , , .
• The State Russian Museum
• ДРТ-143/а,б,в

Богоматерь Казанская и три святых

• Wood, gesso, tempera. 37,2 х 17,5 х 1,7
• The State Russian Museum
• ДРЖ-348

Пелена «Богоматерь Казанская, со святыми Гурием и Варсонофием Казанскими»

• . 26,2 х 21,5
• The State Russian Museum
• ДРТ-121

The Mother of God of Kazan

• Moscow
• Before 1638
• Wood, fabric, tempera. 28,7 × 24,2 × 2,5
• The State Russian Museum
• ДРЖ-2454

The original icon of the Mother of God of Kazan was discovered by a girl called Matryona among ashes in Kazan in 1579, after the city was taken by the forces of Ivan the Terrible. The work later became one of the holiest objects in Russia and wasprayed to during enemy invasions. The iconography is based on the Mother of God Hodigitria.

This work is an early copy of the original icon and was donated to the Convent of the Intercession of the Holy Virgin in Suzdal by Prince Ivan Shuisky in memory of his late wife Martha, who died in 1638 and was buried at the convent. The restrained colourlit is based on a combination of muffled tones and the rays of gold on Christ’s tunic and Mary’s shoulder-piece. The setting dates from the same period as the paintwork, resulting in a united work of art. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 60.

Богоматерь Казанская

• Wood, gesso, tempera. 31,7 х 27,0 х 3,1
• The State Russian Museum
• ДРЖ-2446

Богоматерь Казанская

• Wood, gesso, silver, tempera, , . 29,8 х 24,0 х 2,5
• The State Russian Museum
• ДРЖ-280

Богоматерь Казанская

• Wood, gesso, silver, stones:, glass, tempera. 31,2 х 27,5 х 3,0
• The State Russian Museum
• ДРЖ-2463

Богоматерь Казанская

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-3030

Богоматерь Казанская

• Wood, gesso, tempera. 31,8 х 26,5 х 3,0
• The State Russian Museum
• ДРЖ-623

Богоматерь Казанская

• Wood, gesso, tempera. 31,5 х 27,1 х 2,5
• The State Russian Museum
• ДРЖ-606

Богоматерь Казанская и Иоанн Предтеча

• Wood, gesso, silver, , canvas, tempera. 31,5 х 27,0; 30,2 х 26,5
• The State Russian Museum
• ДРЖ-2491/а,б

Пелена «Богоматерь Казанская»

• Cotton fabric, , , , pearls, . 40,4 х 39,6
• The State Russian Museum
• ДРТ-145

Пелена «Богоматерь Одигитрия (Казанская)»

• Silk, taffeta, , , turquoise, glass, metal. 33,2 × 27
• The State Russian Museum
• ДРТ-370

Икона «Богоматерь Казанская»

• Silk, , , , . 35,0 х 28,0
• The State Russian Museum
• ДРТ-87

Богоматерь Казанская

• 1694
• Wood, silver, pearls, glass, tempera, chasing, stitching. 21,7 х 19,0 х 1,6
• The State Russian Museum
• ДРЖ-2582

Богоматерь Казанская

• Wood, gesso, silver, gold, emeralds, , , , pearls, , , fabric, tempera, , chasing, engraving, stitching. 28,8 х 25,0 х 2,9
• The State Russian Museum
• ДРЖ Б-890

Богоматерь Казанская

• Wood, gesso, tempera. 31,7 х 27,6 х 3,3
• The State Russian Museum
• ДРЖ Б-189

Икона «Богоматерь Казанская»

• Silver.
• The State Russian Museum
• СерБ-188

Икона «Богоматерь Казанская»

• Copper, casting.
• The State Russian Museum
• ДРМ-4036

Богоматерь Казанская

• Copper, casting, . 7,6 х 6,7 х 0,4
• The State Russian Museum
• ДРМ-482

Богоматерь Одигитрия Смоленская

• Wood, pavoloka, gesso, tempera. 84,5 х 61,0 х 3,0
• The State Russian Museum
• ДРЖ-3124

Богоматерь Одигитрия

• Wood, tempera. 32,4 х 26,7 х 2,6
• The State Russian Museum
• ДРЖ-2059

Иконка «Богоматерь Одигитрия»

• Carving. 5,4 х 4,7 х 0,7
• The State Russian Museum
• ДРКам-28

Богоматерь Одигитрия

• Wood, gesso, tempera. 26,8 х 21,7 х 2,4
• The State Russian Museum
• ДРЖ-987

The Mother of God Hodigitria

• Circa 1502–03
• Wood, gesso, tempera. 141,2 x 105,7 x 3
• The State Russian Museum
• ДРЖ-3095

This work depicts the Hodigitria (Greek: «she who points the way”) type of Mother of God, named after the famous Byzantine icon from the Hodegon Monastery in Constantinople. The Hodegon icon depicted the Virgin en face, turned to the worshippers and holding the Child, who raises His hand in blessing. Mary points to Christ as the path to salvation. Many different versions of the Mother of God Hodigitria have been painted over the centuries. In Russia, for example, there was the Mother of God Hodigitria of Smolensk, Tikhvin, Jerusalem and Georgia. While differing in the details, all versions retain their common elements of austerity and majesty. This particular variant of the Mother of God Hodigitria has no direct analogies prior to the seventeenth century, when works with a similar iconography known as the Mother of God Hodigitria of the Seven Lakes were popular in Russian art. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 55.

Богоматерь Одигитрия Иерусалимская

• Wood, gesso, tempera. 105,7 х 82,9 х 3
• The State Russian Museum
• ДРЖ-2097

Богоматерь Одигитрия Грузинская

• Wood, gesso, tempera. 107,3 х 84,5 х 2,8
• The State Russian Museum
• ДРЖ-1317

Богоматерь Одигитрия Грузинская

• Wood, pavoloka, gesso, tempera. 115 х 90,5 х 3
• The State Russian Museum
• ДРЖ-2932

Богоматерь Одигитрия Грузинская

• Wood, gesso, tempera. 80,3 х 62,5 х 3,2
• The State Russian Museum
• ДРЖ-3073

Богоматерь Одигитрия Грузинская

• Wood, gesso, pavoloka, tempera. 117,8 х 91,3 х 2,9
• The State Russian Museum
• ДРЖ-3114

Богоматерь Одигитрия Смоленская. Святая Параскева Пятница

• Wood, gesso, tempera. 58,2 х 44,7 х 2,9
• The State Russian Museum
• ДРЖ-1206

Богоматерь Одигитрия Смоленская

• Wood, tempera. 58 х 47,2 х 2,8
• The State Russian Museum
• ДРЖ-1403

Богоматерь Одигитрия Смоленская, со святыми Кириллом Белозерским и Сергием Радонежским (?) на полях

• Wood, gesso, tempera. 26,2 х 20,5 х 1,8
• The State Russian Museum
• ДРЖ-1005

Нагрудная иконка «Богоматерь Одигитрия»

• Casting. 7,2 х 5,9 х 0,2
• The State Russian Museum
• ДРМ-399

Богоматерь Одигитрия Смоленская

• Wood, gesso, silver, tempera. 136,8 х 107,2 х 3,4
• The State Russian Museum
• ДРЖ-1871

Богоматерь Одигитрия Тихвинская

• Wood, gesso, gold, stones:, tempera, , . 9,1 х 7,8 х 1,6
• The State Russian Museum
• ДРЖ-2498

Богоматерь Одигитрия Смоленская, с избранными святыми

• Wood, gesso, tempera. 76, 5 х 52,7 х 3,3
• The State Russian Museum
• ДРЖ-1224

Богоматерь Одигитрия на престоле, в 40 клеймах

• 1687
• Wood, gesso, tempera. 169,5 х 137 х 4
• The State Russian Museum
• ДРЖ-2894

Богоматерь Одигитрия Смоленская

• Copper, casting, . 12,5 х 9,8 х 0,3
• The State Russian Museum
• ДРМ-2359

Богоматерь Одигитрия Тихвинская

• Copper, casting, . 8,3 х 7 х 0,3
• The State Russian Museum
• ДРМ-2356

Богоматерь Смоленская

• Wood, gesso, silver, tempera. 31,3 х 25,8 х 1,7
• The State Russian Museum
• ДРЖ-1154

Богоматерь Одигитрия Смоленская. Святая Параскева Пятница

• Wood, gesso, tempera. 58,2 х 44,7 х 2,9
• The State Russian Museum
• ДРЖ-1206

Богоматерь Одигитрия Смоленская

• Wood, tempera. 58 х 47,2 х 2,8
• The State Russian Museum
• ДРЖ-1403

Пелена «Богоматерь Смоленская»

• . 21 х 18
• The State Russian Museum
• ДРТ-134

Богоматерь Одигитрия Смоленская

• Wood, gesso, silver, tempera. 136,8 х 107,2 х 3,4
• The State Russian Museum
• ДРЖ-1871

The Mother of God of Tenderness of the White Lake

• First half of the 13th century
• Wood, gesso, tempera. 156 х 107 х 2
• The State Russian Museum
• ДРЖ-2116

The icon is based on the compositional scene of Tenderness (Greek: Eleusa), depicting the Virgin and Child with their cheeks pressed together. This particular work is one of the most famous surviving images of the Theotokos from the Old Russian period. The halflength figure of the Virgin Mary is monumental and majestic. Her enormous eyes are full of sorrow, while her countenance is turned towards Jesus. The laconic and distinct outline of the Mother of God is likened to the silhouette of a church, while the head in the dark cherry-red veil recalls a cupola.

The body of Christ Emmanuel does not extend beyond the bounds of the figure of the Virgin. The cheek of the Child brushes against His mother’s face and their haloes merge, symbolising their unbreakable unity. Christ sits on the right hand of Mary, who is worshipped by the angels with covered arms in the round medallions in the top corners. The movement of the Virgin’s hands forms a cross, while the gestures of Christ are also crossshaped.

The large image of the Infant in comparison to the Mother of God is a specific feature of the iconography of Christ Emmanuel. Jesus is dressed in a short, ochre-coloured tunic, revealing the immaculate flesh of the Child and conjuring up associations with the Eucharist sacrifice or sacrificial lamb. The entire image thus represents the incarnation of the Word inside the church of God and Jesus’ eternal, redemptive sacrifice. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 42.

Богоматерь Умиление (Старорусская)

• Wood, gesso, tempera. 99,5 х 81,5 х 3
• The State Russian Museum
• ДРЖ-2107

Богоматерь Умиление (Толгская III)

• Wood, gesso, tempera. 76,6 х 60 х 2,5
• The State Russian Museum
• ДРЖ-2703

Богоматерь Умиление (Ярославская), с четырьмя клеймами: Рождество Богоматери. Отечество Собор Архангелов. Собор Апостолов

• Wood, gesso, tempera. 106 х 83,5 х 3
• The State Russian Museum
• ДРЖ-2101

Богоматерь Умиление, с избранными святыми

• Wood, gesso, tempera. 69,8 х 48,2 х 2,8
• The State Russian Museum
• ДРЖ-2783

Богоматерь Умиление, типа Яхренской (Яхромской).

• Wood, gesso, tempera. 124 х 98 х 3,5
• The State Russian Museum
• ДРЖ-2133

Богоматерь Умиление

• Wood, carving, , , silver, stamping, engraving. 43,2 х 38 х 1,9
• The State Russian Museum
• БК-2822

Богоматерь Умиление

• Bone, carving, , silver, , gilding, glass. 9,7 х 6,5 х 0,9
• The State Russian Museum
• БК-2407

Двустороняя иконка Богоматерь Умиление. Св. Зиновий

• Carving, , metal. 7,8 х 5,3 х 1,1
• The State Russian Museum
• ДРКам-19

Плащаница «Положение во гроб»

• Damask, . 140 х 186
• The State Russian Museum
• ДРТ-281

Пелена «Успение Богоматери со Спасом Нерукотворным и апостолами на кайме»

• Damask, . 82 х 140
• The State Russian Museum
• ДРТ-261

Покровец. Распятие с предстоящими, апостолами и евангелистами

• Taffeta, . 51,5 х 53
• The State Russian Museum
• ДРТ-42

Пелена «Богоматерь Неопалимая Купина и избранные святые»

• Damask, . 54 х 52
• The State Russian Museum
• ДРТ-31

Сторона хоругви «София Премудрость Божия»

• Damask, . 48,2 х 53
• The State Russian Museum
• ДРТ-30

Фрагмент шитья «София Премудрость Божия»

• Silk, . 28,2 х 30
• The State Russian Museum
• ДРТ-18

Пелена «Богоматерь Тихвинская»

• Damask, . 30,8 х 28,8
• The State Russian Museum
• ДРТ-54

Пелена «Богоматерь Боголюбская»

• 1542
• Damask, . 55,2 х 104,3
• The State Russian Museum
• ДРТ-260

Пелена «Богоматерь Владимирская»

• Damask, . 30,5 х 48,1
• The State Russian Museum
• ДРТ-5

Пелена «Богоматерь Смоленская»

• . 21 х 18
• The State Russian Museum
• ДРТ-134

Шитая икона «Александр Свирский в молении перед Богоматерью»

• Taffeta, . 39,5 х 39,6
• The State Russian Museum
• ДРТ-44

Пелена «Богоматерь Страстная»

• Damask, . 25,6 х 26,7
• The State Russian Museum
• ДРТ-6

Пелена «Богоматерь Казанская, со святыми Гурием и Варсонофием Казанскими»

• . 26,2 х 21,5
• The State Russian Museum
• ДРТ-121

Пелена «Похвала Богоматери»

• . 112,5 х 100
• The State Russian Museum
• ДРТ-266

Богоматерь Знамение

• 1630
• Canvas, , , , pearls, , silver. 78 × 62
• The State Russian Museum
• ДРТ-72

Воздух «Христос во гробе»

• 1643
• Damask, . 58,5 х 80
• The State Russian Museum
• ДРТ-73

Покровец «Богоматерь Знамение»

• 1643
• Damask, , pearls. 48 х 46,4
• The State Russian Museum
• ДРТ-89

Покровец «Се агнец»

• 1643
• Damask, , pearls. 49,5 х 49
• The State Russian Museum
• ДРТ-86

Пелена «Богоматерь Печерская, с Антонием и Феодосием Печерскими»

• . 55 х 66,8
• The State Russian Museum
• ДРТ-215

Пелена «Богоматерь Одигитрия (Казанская)»

• Silk, taffeta, , , turquoise, glass, metal. 33,2 × 27
• The State Russian Museum
• ДРТ-370

Мастерская царицы Евдокии Лукьяновны Стрешневой, жены царя Михаила Федоровича

Створка креста-энколпиона Богоматерь Кириотисса

• Casting, chasing. 12,6 х 8,1 х 1,1
• The State Russian Museum
• ДРМ-1458

Панагия

• Silver, forging, casting, engraving, gilding, niello. 15,6 х 13,6
• The State Russian Museum
• БК-3267

Иконка «Богоматерь Одигитрия»

• Carving. 5,4 х 4,7 х 0,7
• The State Russian Museum
• ДРКам-28

Крест наперсный

• Wood, carving. 9,2 х 5,4 х 1,0
• The State Russian Museum
• ДРК-2

Резная иконка (створка складня) «Праздники»

• Wood, carving. 6,6 х 5,2 х 0,4
• The State Russian Museum
• ДРД-60

Резная иконка (створка складня) «Премудрость созда Себе дом...»

• Wood, carving. 6,6 х 5,1 х 0,4
• The State Russian Museum
• ДРД-47

Фрагменты хороса. Пророческий и деисусный ряды иконостаса

• Copper, casting, tin, .
• The State Russian Museum
• ДРМ-3880

Резная икона «Богоматерь на троне и Кирилл Белозерский»

• Wood, carving, , silver, chasing, engraving.
• The State Russian Museum
• БК-3467/а,б

Явление Богоматери Сергию Радонежскому

• Wood, carving, , , silver, chasing, engraving. 27,8 х 19,8 х 1
• The State Russian Museum
• ДРД-171

Богоматерь Умиление

• Wood, carving, , , silver, stamping, engraving. 43,2 х 38 х 1,9
• The State Russian Museum
• БК-2822

Богоматерь Умиление

• Bone, carving, , silver, , gilding, glass. 9,7 х 6,5 х 0,9
• The State Russian Museum
• БК-2407

Богоматерь из деисусного чина

• Wood, carving, gilding. 38,5 х 10,8 х 2,6
• The State Russian Museum
• ДРД-371

Двустороняя иконка Богоматерь Умиление. Св. Зиновий

• Carving, , metal. 7,8 х 5,3 х 1,1
• The State Russian Museum
• ДРКам-19

Нагрудная иконка «Богоматерь Одигитрия»

• Casting. 7,2 х 5,9 х 0,2
• The State Russian Museum
• ДРМ-399

Створка складня «Богоматерь Знамение»

• Wood, carving, , gilding. 9,9 х 8,3 х 1
• The State Russian Museum
• ДРД-35

Створка складня «Троица»

• Wood, carving, , gilding. 9,9 х 8,3 х 1
• The State Russian Museum
• ДРД-3

Успение Богоматери

• Bone, wood, carving. 59,0 х 39,4
• The State Russian Museum
• ДРК-114

Резная икона «О Тебе радуется ...»

• Carving. 12,0 х 8,9 х 0,7
• The State Russian Museum
• ДРК-41

Складень-иконостас

• Wood, carving, , silver, carving, gilding.
• The State Russian Museum
• ДРД-164

Деисусный чин

• Wood, carving, .
• The State Russian Museum
• ДРД-442