Den heliga Fredag med scener ur hennes liv
Konstnär/Tillverkare
DateringDaterad: Dat. början av 1500-talet
Material / Teknik
Måtth x b x dj: Mått 79 x 66,5 x 2,5 cm h x b x dj: Ram 84 x 68 x 7 cm
InventarienummerNMI 266
Andra titlarTitel (sv): Den heliga Fredag med scener ur hennes liv Titel (en): Saint Paraskeva Pyatnitsa with Scenes from Her Life
BeskrivningBeskrivning: Beskrivning i utst. kat. Den ryska ikonen 1000 år, Nationalmuseum, Stockholm, 1989, kat.nr. 14: Den heliga Fredag med scener ur hennes liv. Här avbildas den helige Fredag (jfr föregående) [NMI 246] stående i helfigur, välsignande betraktaren och bärande ett språkband med nicenska trosbekännelsens inledning, samtidigt som hon av två änglar krönes med en martyrkrona. De omgivande scenerna skildrar helgonets liv, martyrskap och död mot en fond av förklarande text, hämtad ur hennes Vita, hennes levnadsskildring. Dess dekorativa verkan liksom dess symboliska värde förhöjs av att texten är skriven i rött. Här skildras, på ikonens övre hälft, hur helgonet predikar, anklagas, grips och förs inför kejsaren, gisslas, fängslas och torteras. I de följande scenerna framställs bl.a. hur hon räddas av en ängel när hon ligger i ett kar fyllt av bly samt hur hon halshuggs på uppdrag av kejsaren, som strax därpå själv störtar död till marken från sin häst. Den eleganta teckningen i denna scen i är påfallande. Den avslutande scenen skildrar så hennes begravning. Denna form av kommenterande randscener är inte ovanlig i det gamla ikonmåleriet. Randbilderna skall läsas horisontellt, från vänster till höger. Beskrivning i Icons, Nationalmuseum, Stockholm, 2004, kat. nr. 53: Se beskrivning i den engelska versionen. Beskrivning: Description in Icons, Nationalmuseum, Stockholm, 2004, cat. no. 53: Saint Paraskeva Pyatnitsa with Scenes from Her Life First half of 16th century, Pskov or Tver NMI 266 Wood: Alder (Alnus sp.), egg tempera. Panel made of three boards with two splines inlaid from the same side. Inscriptions a t.: Paper labels with hand-written text in brown ink in Cyrillic letters: 1. 12 (?) / Praskovia (local form of the name Paraskeva) / v zhitii (with scenes) / XV 15Min[...]; 2. 4616 / 750 r[ubley]/ D N’’ PROVENANCE: Kharitonenko; Antiquariat no 4616 (”Novgoroder Schule, 15. Jahrh., früher in der Samml. Kharitonenko”); Olof Aschberg 1935; Gift of O.Aschberg 1952 EXHIBITIONS: Stockholm 1988, no 14 BIBLIOGRAPHY: Dahlbäck 1954, pp 197, 198, 202, 203; Kjellin 1956, p 296; Abel 1971, pp 21, 67; Abel 1978:1, fig. 8; Taylor 1979, pp 46–47; Abel 1981, p 256; Abel 1989:2, p 13 CONSERVATION: Restored prior to entering NM: back of panel planed off; icon fitted with a new outer frame approx. 1,5 cm wide, cracks repaired with dovetails; clean - ed and retouched with artificial craquelure; original gilding of central background removed; NM 1981: crack through panel, to left of centre, repaired, dovetails re - placed, retouching. Cracks with minor paint losses; surface abraded The different scenes represent the following episodes, reading horizontally from left to right: 1.The Saint giving away her property, 2.People in front of the King, 3.Her arrest, 4.Being brought to the King, 5.Being tortured, 6.In prison, 7.Discussing with the King, 8.New discussions with the King, 9.Being tortured while tied to a tree, 10.Destroying a pagan shrine, 11.The Mother of God and angels ap pearing to the Saint in prison, 12.The Saint in front of the King, 13.Being tortured with flames, 14.Being behead ed, 15.The sudden death of the King, 16.The burial of the Saint. This is one of the earliest vita icons of the saint.1 Another with the same dating and originating from the Tver region, is in the Rublyov Museum in Moscow and comprises 15 individual miniature scenes (inv. no 252/435).2 The selection and sequence of the dif- ferent scenes are not identical in these two instances. The Tver icon, for example, begins with the birth of the saint, while the first scene of the Nationalmuseum icon is devoted to the saint’s surrender of her possessions, i.e. her spiritual birth. In the Tver icon this is presented as scene no 2. Characteristics relating these two icons include the long text excerpt from the life of the saint, which covers the backgrounds of the individual scenes. Such background texts occur in both Pskov and Tver.3 Regional determination is hindered by the existence of several similar stylistic features of icon painting in these two places. There are, however, signs which could suggest Pskov, not least considering the significance of the saint in that city4, but also by reason of the pigments, which are characteristic of the city’s icon painting, namely dark green, red/brown and yellow ochre (auripigment), which are present in the Museum’s icon. There is an interesting difference between the palaeography exhibited in the central image, on the saint’s scroll, which quotes the beginning of the Nicene Creed, and that used in the side images. The former is a more el - egant poloustav, the latter a simpler “speed writing”, skoropis. The same difference is also observable in the painting, where a more elaborate style characterises the central image and a simpler one the side images. The phenomenon is not unusual in this particular type of icon. The same vita text has been used in both the above mentioned Tver icon and in the Nationalmuseum icon, though in two differing styles of script. The panel may have been positioned as a place icon in the iconostasis of an eponymous church. The icon comes from the Kharitonenko collection. Pavel Ivanovich Kharitonenko (1852–1914) was an industrialist, art collector and patron. His extensive collections comprised both Russian art, Western European masters and a large number of icons with the particular emphasis on Novgorodian works from 15th and 16th centuries.5 1 Smirnova 1982, pp 238–239. 2 Popov 1993, pp 129–133; Evseeva 2000, pp 180–181. 3 An example of a Paraskeva icon with scenes from Her life coming from Pskov and with long texts is an icon in the Hist. Museum, Mocow, inv.nr I VIII 5762–99727. 4 Smirnova 1982, pp 237–238. Cf. also references for cat. no 58. 5 The information from the Kiev Museum of Russian Art was given by Olga Ryzhova, Kiev in a letter dated 15th June 2000, Nationalmuseum archives. [slut]
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