Allegorisk ikon med de kyrkliga dygderna
Konstnär/Tillverkare
DateringDaterad: Dat. 1729
Material / Teknik
Måtth x b x dj: Mått 32,5 x 27 x 3 cm h x b x dj: Ram 35 x 28 x 7 cm h x b: Mått 17,5 x 17,5 cm Panel
InventarienummerNMI 219
Andra titlarTitel (sv): Allegorisk ikon med de kyrkliga dygderna Titel (en): The Image of the Divine Eagle slaying the Dragon
BeskrivningBeskrivning: eskrivning i utst. kat. Den ryska ikonen 1000 år, Nationalmuseum, Stockholm, 1989, kat.nr. 41 Allegorisk ikon med de kyrkliga dygderna. Denna allegoriska ikon med sitt komplicerade teologiska innehåll är typisk för den nya stil som börjar uppträda under 1500-talet och som gäller såväl innehåll som form. Fenomenet sammanhänger med djupgående förändringar både i det ryska samhället och inom kyrkan. Ett uttryck för detta är de två stora kyrkomöten som ägde rum i Moskva 1551 - kallat de hundra kapitlens koncilium - och 1667, där ikoner, deras innehåll och stil, var ett centralt ämne. Ikonen är ovanlig också därigenom att den saknar en övergripande titel. Kanske skulle det övre centrala språkbandets text, "Välsigne årets gång med Din nåd", kunna tyda på att detta är en ikon för årets eller kyrkoårets början, men i övrigt finns inget som stöder detta antagande. I bildens centrum finns den krönta bysantinska dubbelörnen, en bild av kyrkan men också med anspelning på tsaren och på Moskva som Konstantinopels arvtagare, uppfattningen om Moskva som "det tredje Rom". Över örnens huvuden en framställning av Gudsmodern och i dess centrum Guds öga. På dess vingar är skrivet bl.a tro, hopp, kärlek, bön, vishet, godhet, mod, barmhärtighet, mildhet. Örnen, som i sina klor bär en pil och en palmkvist, bärs upp av en trädstam, som slutar i en gyllene spjutspets genomborrande en drake. I rankornament t.h. och t.v. de tolv apostlarna. Överst Treenigheten, med Gud Fader törnekrönande Kristus. I hörnen evangelistsymbolerna i kartuscher. Enligt en inskrift nere t.h. utfördes ikonen på uppdrag av katedralen i staden Ustiug, som var centrum i det stroganovska familjeimperiet. Detta förklarar ikonens av Stroganovmålarna påverkade stil. Signatur och datering, med arabiska siffror, återfinns i inskriften längst ned, i mitten. [slut] Beskrivning i Icons, Nationalmuseum, Stockholm, 2004, kat. nr. 176: Se beskrivning i den engelska versionen Beskrivning: Description in Icons, Nationalmuseum, Stockholm, 2004, cat. no. 176: The Image of the Divine Eagle slaying the Dragon 1729, Ustyuzhna, Central Russia NMI 219 Wood: Pine (Pinus sp.), egg tempera on gold ground on canvas. Panel made of single board with two splines inlaid from opposite sides put into frame with two splines inlaid from opposite sides; along the lower edge of the central panel a secondary, superimposed spline; back painted brown. Signed: Semen Ivanov, Ustyuzhna Inscription: See below PROVENANCE: Olof Aschberg; Gift of O.Aschberg 1933 EXHIBITIONS: Stockholm 1988, no 41 BIBLIOGRAPHY: Kjellin 1933, no 219; Krasilin 2001, p 53–56 CONSERVATION: Restored prior to entering NM: crack in the lower edge of the central panel mended with a new spline; scattered retouches; NM 1950: crack mended; 1988: removal of older wax-resin, partially restored, varnished. Crack along edges of central panel with paint loss; wide crack in lower edge of frame, left of centre, with paint loss; cracks in the back of the icon; losses of paint layers and ground along the edges; yellowish varnish In the centre of the composition is a crowned, two-headed eagle on whose outspread wings have been inscribed the names of various virtues. In its talons the eagle holds, on the left, a small spear and, on the right, a branch of a tree (palm?). In the centre of the bird is an all-seeing eye from which bands of text emanate. With a long spear the eagle is slaying a dragon, portrayed against a dark background in the lower central part of the icon. Immediately above the eagle’s head, the Mother of God is shown halflength, herself crowned and blessing the eagle with both hands. On either side of the large spear is a stylised stamen with a semi-recumbent male figure. Along the left and right outer edges there is a larger stylised plant with six calyxes. In each of these a male figure is seated, according to the inscriptions representing the twelve apostles, each of whom is specified by name. All the various plants emanate from the larger of the two spears. At the top in the centre is the Trinity of the New Testament surrounded by angels and the symbols of the Evangelists are displayed in the corners. This allegorical icon has a fairly unusual iconography. With its com - plicated theological content, however, it typifies the radically new style that came in with the 16th century, in terms of both form and content. This phenomenon is connected with profound changes in Russian society and in the Church. These are manifested, for example, by the two great Councils of the Church which took place in Moscow in 1551 – known as the Council of the Hundred Chapters – and in 1667, at which the icon, its content and style were a central issue. In the centre of the icon is the crow n - ed Byzantine two-headed eagle, here symbolising the Church but also allud - ing to the Tsar and to Moscow as the heir of Constantinople, i.e. Moscow as “the Third Rome”. Although this view originated in the 15th century, it acquires its first clear pictorial expression at the end of the 17th.1 A closely related iconography showing the same symbiosis of spiritual and secular power occurs in a drawing from about 1700 of the crowned double-headed eagle, which moreover wears a third crown given by the Lord God of Sabaoth while the Mother of God is depicted at the centre of the eagle, in the position which, in the Nationalmuseum icon, is occupied by the Eye of God. A car - touche at the bottom contains the following poem: “Orlu dvoyeglavnu, rossiskaya slava. / Bogom venchanna, tsarskaya derzhava. / Orel Bozhiu Mater znamenuyet, / syn Eya mertvym tsartsvie daruyet” (To the double eagle, the honour of Russia. Crowned by God, the empire of the Tsar. The eagle is the sign of God’s mother, whose Son gives eternal life to the dead).2 The icon is unusual also while it lacks a traditional titular epithet. The very extensive text is spread all over the surface and is mostly not direct quotations of biblical texts but paraphrases of these. The form, including certain rhymed parts, with its baroque herald - ry and high degree of complexity is influenced by the Virsha poetry.3 According to the inscription, bottom right, beneath the symbol of the evangelist Mark, this icon was commissioned by Matvey Kiryakov, a priest of the Cathedral of Ustchuzna (Po prosbe ustyuzskago sobora i iereya Matfiya Kiryakova syna). The signature and date, the latter in Arabic figures, are in the inscription at the bottom edge, in the centre: [...]napisanya v U[...]zhne leta 1729 indikta sedmago risoval i malyaroval izograf Semyon Ivanov mesyatsa iyulya f (=9) (Painted in Ustyuzhna in the Year of the Lord 1729 in the seventh indiction. Semen Ivanov the icon painter drew and painted on the ninth in the month of July). The icon painter is otherwise unknown.4 The full text of the icon is quoted in App 1. 1 Tarasov 1995, pp 357–360, ill. 157–159. 2 Synodik 1902, p 1; the author is grateful to R. Stichel for this reference. 3 Nilsson 1964; A. Turilov, Moscow, on a visit to the Museum in November 2000. 4 Thanks are due to Elisabeth Löfstrand, Stockholm University, for valuable assistance in identifying the texts of this icon. [slut]
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