Theophan the Greek most famous icons. Theophan the Greek - biography of the artist, famous works, exhibitions

Byzantine painter and iconographer who worked in Russian cities in the last quarter of the 14th - early 15th centuries. Works created by Theophanes the Greek are classified as the best examples ancient Russian painting.

The beginning of the way. Byzantine creativity.

Feofan the Greek is considered one of the most famous Russian painters. He was born in Byzantium around 1340. Despite the fact that Theophanes the Greek can hardly be called a native Russian due to his origin, written tradition often classifies him as a Russian artist - largely because significant part He created his life not in his homeland, but in Rus'.

Unfortunately, information about the childhood and youth of Theophanes the Greek is fragmentary and paints a very incomplete picture. The exact dates of birth and death of the painter are unknown, so researchers, as a rule, consider these years to be very approximate. Outstanding Master medieval era, Theophanes came to Rus' around 1390, when he was about fifty years old. Before that, he worked fruitfully in Byzantium. Although his works numbered in the dozens, none of them (dating to the Byzantine period) have survived.

Biographical data about the life of Theophanes is mainly contained in the Novgorod and Moscow chronicles. Nevertheless, great importance has a letter dated approximately 1415, written by the Moscow hagiographer Epiphanius the Wise to Archimandrite Kirill of the Savior Athanasiev Monastery. In this letter, Epiphanius provides a detailed descriptive description of the principles on which almost all the works of Theophanes the Greek are built. According to Epiphanius, he even kept the Four Gospels, personally illustrated by Theophan. Moreover, the same letter confirms Greek origin Feofan. Epiphanius speaks highly of the master’s abilities, saying that “he is an excellent painter among icon painters.” If you believe the letter, then by that time Theophanes had already painted more than 40 stone churches - both in Rus' and in Byzantium - in Constantinople, Chalcedon, etc.

Theophanes the Greek and Rus'

One of the Novgorod chronicles dates Feofan's first work to 1378. It was the Church of the Transfiguration on Ilyin Street. Now it stands not only as an outstanding monument of art of the 14th century, but also as the only work of the master that has survived to this day. The Church is the main source for judging both his work and the role that Theophanes the Greek played for his contemporary era.

Taking into account the past centuries, the church is well preserved, although its frescoes have reached us only in fragmentary form. In his traditional manner, Theophanes the Greek used religious themes when painting the church, decorating the dome with the figure of Christ surrounded by archangels, and placing the figures of the forefathers (Adam, Noah, Abel, etc.) on the drum. Analyzing the surviving painting, we can say that Feofan worked in an individual manner: his painting is expressive and free. As a creator, Feofan was not afraid to experiment and used a variety of techniques, including a muted overall tone of painting and bright bleach highlights. The master's palette is dominated by brown and silver-blue paints. Thanks to Theophanes the Greek, the Church of the Transfiguration is still considered one of the most outstanding monuments of art of the 14th century.

Unfortunately, detailed information about the early work of Theophanes the Greek (that is, about the period of activity before his arrival in Rus') has not been preserved. In this regard, researchers dare to talk about only one documented work of Feofan. The rest is attributed to him in connection with a number of different factors, among which are the commonality of spiritual and aesthetic ideas, the style of painting, and the style of the era. It is not known for certain whether these works actually belong to Theophanes the Greek or were painted by someone else - probably a painter with a similar style of execution.

The time-famous Byzantine set foot on Russian soil around 1390. By that time, as tradition says, Theophanes was deeply imbued with the ancient teachings of Hesychaism. This was a renovationist movement in Orthodoxy, the essence of which was the veneration of the Divine light. This light was revealed to believers only through the practice of regular meditation - deep internal concentration. The fascination with Hesychaism directly influenced the work of Theophanes the Greek. The idea of ​​​​the possibility of gaining God's kingdom on earth through regular meditative practices captured Feofan and was visually embodied in the expressive-spiritualistic manner of his painting.

The work of Theophanes the Greek was practically unknown to the general public until the beginning of the 20th century - and this despite the fact that from the meager chronicle information it is quite obvious that he was revered by his contemporaries. Modern researchers often equate the names of Theophanes the Greek and Andrei Rublev. Rublev, being a younger contemporary of Theophanes (the age difference between them was about thirty years), is also considered an outstanding icon painter for his era. In the work of these two masters there is a clearly constructed religious picture, embodied in matter - painting of icons, churches, temples. Both creators, to some extent, pose a mystery to researchers, since very little reliable biographical information about their lives has been preserved. For icon painting of the 14th century, Andrei Rublev and Theophanes the Greek were key figures who combined, on the one hand, the talent of monumentalists, and on the other, the talent of icon painters. It is the impossibility of tracking their lives from birth to death that allows modern ordinary people to concentrate on the work of both masters.

Among the works attributed to Theophanes the Greek and authentically completed by him, but which have not survived to this day, it is necessary to mention the Assumption Cathedral in Kolomna (it was later rebuilt). Most likely, Feofan painted it upon his arrival on Russian soil, i.e. around 1390. The Annunciation Cathedral of the Moscow Kremlin subsequently contained an icon, whose authorship many experts are accustomed to associate with the name of Theophanes - “Our Lady of the Don”, which was originally located in the Assumption Cathedral in Kolomna.

Stylistic style of Theophanes the Greek

The Greek's manner of painting icons and frescoes is ambiguous. The frescoes performed by the Greek are rather gloomy - the saints are depicted as stern, as if detached from those watching them, immersed in themselves. After all, this is precisely the meaning of existence - to find salvation by seeing oneself. As for Greek iconography, the images embodied in it are impressive and monumental. The entire composition is aimed at subordinating one goal - to exalt to the Almighty prayer of thanksgiving. When painting, the creator paid attention to each face, trying to convey its smallest features. If Theophanes' frescoes create a rather depressing atmosphere, then his iconography is directed towards calm and tranquility. This ability to express an idea using completely different techniques (not only stylistic, but also technical) certainly makes Feofan the Greek a true master of his craft and a creator of amazing talent.

Painting of the Trinity chapel in the Church of the Transfiguration on Ilyin Street in Novgorod.
1378

(Born around 1337 - died after 1405)

Theophanes the Greek is one of the greatest masters of the Middle Ages. His works executed in Byzantium have not survived. All his famous works were created in Rus' and for Rus', where he lived for more than thirty years. He introduced the Russians to the highest achievements of Byzantine spiritual culture, which was experiencing one of its last ascents in his time.

Little information about Theophanes is found in the Moscow and Novgorod chronicles, but of particular value is a letter written around 1415 by the Moscow spiritual writer and artist Epiphanius the Wise to the archimandrite of the Tver Athanasiev Monastery of the Savior, Kirill. Epiphany’s message is interesting because it provides a unique opportunity to get an idea of ​​the principles of the master’s work. In his message, he reports on the Four Gospels that he kept, illustrated by Theophan and decorated with an image of the Church of Hagia Sophia in Constantinople.

The description of the drawing is given in many details. “When he depicted or wrote all this, no one saw him ever look at the samples, as some of our icon painters do, who constantly peer in bewilderment, looking here and there, and do not so much paint with paints as look at the samples. He, it seemed, was painting a painting with his hands, while he constantly walked, talked with those who came and thought about the lofty and wise with his mind, but with his sensual, intelligent eyes he saw reasonable kindness. No matter how much anyone talked to him, they could not help but marvel at his mind, his allegories." parables" and its cunning structure."

From the message it is known that Theophanes, “a Greek by birth, a skilled book isographer and an excellent painter among icon painters,” painted more than 40 stone churches in Constantinople, Chalcedon, Galata, Cafe (Feodosia), as well as on Russian soil.

In the Novgorod III Chronicle, Feofan’s first work is mentioned in 1378. It talks about his painting of the Novgorod Church of the Transfiguration on Ilyin Street - the only work of the master that has survived to this day, has documentary evidence and remains the main source for judging his art to this day.

The frescoes of the church have been preserved in fragments, so the system of its painting can only be partially restored. The dome of the temple depicts a half-figure of Christ Pantocrator, surrounded by archangels and seraphim. In the drum there are images of the forefathers, including Adam, Abel, Noah, Seth, Melchizedek, Enoch, the prophets Elijah, John the Baptist. On the choir in the northwestern corner chamber (Trinity Chapel) the images are better preserved. The chapel is painted with images of saints, compositions “Our Lady of the Sign with the Archangel Gabriel”, “Adoration of the Sacrifice”, “Trinity”. Feofan's style is brightly individual, characterized by expressive temperament, freedom and variety in the choice of techniques. The form is emphatically picturesque, devoid of detail, and is constructed using rich and free strokes. The muted overall tone of the painting contrasts with the bright white highlights, like flashes of lightning illuminating the stern, spiritualized faces of the saints. The contours are outlined with powerful, dynamic lines. The folds of clothing lack detailed modeling, lying wide and rigid, under sharp corners.
The master’s palette is spare and restrained, dominated by orange-brown and silver-blue, corresponding to the intense spiritual state of the images. "Theophanes's painting is a philosophical concept in color, moreover, the concept is quite harsh, far from everyday optimism. Its essence is the idea of ​​man's global sinfulness before God, as a result of which he found himself almost hopelessly removed from him and can only await the arrival of his an uncompromising and ruthless judge, whose image looks with extreme severity at sinful humanity from under the dome of the Novgorod temple,” writes researcher of Russian medieval art V.V. Bychkov.

"Stylite"

Theophanes the Greek creates a world full of drama and tension of the spirit. Its saints are stern, detached from everything around them, deep in the contemplation of silence - the only path to salvation. Artists in Novgorod tried to follow Feofan’s style when they painted the Church of Fyodor Stratilates on the Stream, but in general the master’s individuality turned out to be exceptional for Rus', a country far from the spiritual experience of Byzantium and looking for its own path.

After 1378, Theophanes apparently worked in Nizhny Novgorod, but his paintings from this period have not reached us.
From about 1390, he was in Moscow and briefly in Kolomna, where he could paint the Assumption Cathedral, which was later completely rebuilt. Here, in the cathedral, the later famous shrine was kept - the icon “Our Lady of the Don” (on its back - “Assumption”), which was later transferred to the Annunciation Cathedral of the Moscow Kremlin (now in the State Tretyakov Gallery). Some researchers associate its performance with the work of Theophanes the Greek.

The master completed several paintings in the Moscow Kremlin: in the Church of the Nativity of the Virgin Mary with the chapel of St. Lazarus (1395), where Theophanes worked together with Simeon the Black, in the Arkhangelsk (1399) and Annunciation (1405) cathedrals. He painted the latter together with Andrei Rublev and Prokhor from Gorodets. In the Kremlin, Feofan took part in the paintings of the treasury of Prince Vladimir Andreevich and the tower of Vasily I. None of these works have survived. It is possible that Theophanes the Greek participated in the creation of icons of the Deesis rank, currently located in the Annunciation Cathedral. However, as proven by recent research, this iconostasis is not the original one dating back to 1405, and the Deesis rite could have been moved here only after the devastating fire in the Kremlin that occurred in 1547.

In any case, the icons “Savior in Power”, “Our Lady”, “John the Baptist”, “Apostle Peter”, “Apostle Paul”, “Basily the Great”, “John Chrysostom” reveal such features of style and such high technical skill that allow assume here the work of a great master.

Theophan the Greek's style of icon painting (if we agree that the icons of the Deesis rite of the Annunciation Cathedral of the Moscow Kremlin were painted by Theophan) differs significantly from the fresco style. This can be explained by the specifics of icon painting. The images of the Deesis rank are impressive and monumental. Almost two-meter figures, filled with inner significance and self-absorption, form a single composition, subordinated to one plan - to embody the thanksgiving prayer of the saints to the Savior, creator and ruler heavenly powers, and their intercession for the human race on the day of the Last Judgment. This idea determined the iconographic solution for the entire group as a whole, and for each image separately. The iconography of the rank has its origins in the altar paintings of Byzantine churches and is closely connected with the texts of the main prayers of the liturgy. A similar program of the Deesis rite with “The Savior is in Power” subsequently became widespread in Russian iconostases, but here it appears for the first time.

Unlike fresco painting images of icons are not so expressive in appearance. Their drama and sorrow seemed to go deep, revealing themselves in the soft glow of their faces and the muted colors of their clothes. Each face by type and expression emotional state brightly individual, almost portrait-like. The contours of the figures are calmer; the classical tradition, going back to antiquity, is more clearly visible in their design. The icons are painted masterfully, using complex and varied technical techniques that only an outstanding master can do. Among the icons supposedly associated with the name of Theophanes are “John the Baptist Angel of the Desert,” “Transfiguration” and “Four Parts” (all in the Tretyakov Gallery).

"Our Lady"

Icon of the Deesis tier of the iconostasis of the Annunciation Cathedral of the Moscow Kremlin

Years of life: approx. 1340 - ca. 1410

From the biography

• Theophanes the Greek is a talented icon painter, miniaturist and master of monumental painting.
• A native of Constantinople. But it was in Rus' that he became famous and for Rus' he wrote his works for almost 30 years, here he became famous throughout the world.
• Starts working in Novgorod. In the Novgorod Chronicle his works are mentioned in 1378. It contains information about his painting of the Novgorod Church of the Savior on Ilyin. They liked these paintings so much that the Greek was invited to Moscow, where he painted many churches.
• This is a talented artist. He created many icons that constitute the treasury of Russian culture.

Historical portrait of Theophanes the Greek

Activities

Features of the work of Theophanes the Greek

• Feofan the Greek had an individual, unique style of writing. It is characterized by expressiveness, a variety of methods and techniques, and freedom in their choice.
• His saints are depicted as stern, as if detached from everything. Their figures are somewhat elongated, which gives them strict harmony and grandeur.
• It was as if he embodied in colors his philosophy, the essence of which is as follows: man is sinful, and he awaits God’s judgment with fear, God strictly looks at man and his actions,
• The saints in his canvases are full of drama. On their faces one can read torment, doubt, the desire for moral perfection, for God.

RESULTS OF ACTIVITY

• Theophanes the Greek had a huge influence on the development of icon painting and temple painting, introducing new thoughts, colors, and methods into creativity.
• He became a teacher for many generations of icon painters. One of his talented students was Andrei Rublev.
• The work of Theophanes the Greek filled the Russian school of painting with new colors, the desire for freedom, for emancipation.
• The diversity of the artist’s talent and the originality of his works put the name of Theophanes the Greek on a par with the best world artists. His work is the national treasure of Russia.

This material can be used when preparing for the topic: Unified State Examination C6 (No. 40) historical portrait.

Works of Theophanes the Greek

Church of the Savior on Ilyin in Novgorod. It preserves frescoes by F. the Greek.

Trinity. Painting of the Trinity chapel in the Church of the Transfiguration on Ilyin in Novgorod. 1378 Fresco.

After six days had passed, Jesus took Peter, James, and John his brother, and led them up a high mountain alone, and was transfigured before them: and His face shone like the sun, and His clothes became white as light.(Mt. 17 :12). The mysterious event of the Transfiguration of the Lord has been understood and discussed for many centuries of Christian history. But one of the most profound reflections on this topic belongs not to a theologian or even a saint, but to the famous icon painter Theophanes the Greek.

Culturologist and art critic Irina Yazykova told Foma how Tabor’s light seemed to “materialize” in the artist’s palette.

Medieval Renaissance icon painter

The name of Theophanes the Greek is in the first rank of ancient Russian icon painters; his outstanding talent was already recognized by his contemporaries, calling him “a very cunning philosopher,” that is, very skillful. He made a huge impression not only with his works, but also as a bright personality.

Unfortunately, the dates of the artist’s life are unknown. Presumably they fall on 1340–1410. From Byzantine Empire Feofan arrived in Rus' as an already established master. We learn about this from a letter from Epiphanius the Wise, an ancient Russian writer and disciple of the monk, to Cyril, archimandrite of the Tver Spaso-Afanasyevsky Monastery. Epiphanius reports that Theophanes painted forty churches in Constantinople, Galata (a suburb of Constantinople), Kafa (a city in the Crimea, modern Feodosia) and other cities. In Rus', as Epiphanius writes, the Greek worked in Veliky Novgorod, Nizhny Novgorod, Kolomna and Moscow.

What is surprising is not only the manner of Theophanes the Greek (which will be discussed below), but also his very personality. Frescoes and icons give an idea of ​​him as an outstanding artist and representative of hesychasm. But, as Epiphanius the Wise notes, the Byzantine master was an extraordinary personality, he painted freely, regardless of samples, preached from the scaffolding, and wittily answered questions from people who came in crowds to the cathedral, where he painted frescoes. Epiphanius describes the Greek as we would describe the masters of the Renaissance. But, apparently, this was Feofan, a Byzantine master who left his bright mark on ancient Russian art.

"Our God is a consuming fire"

Feofan’s first work is considered to be the painting of the Church of the Transfiguration on Ilyin Street in Novgorod. It is mentioned in the Third Novgorod Chronicle: “In the summer of 6886 (1378 A.D.) the Church of the Lord God and our Savior Jesus Christ was signed in the name of the magnificent Transfiguration…. And it was signed by the Greek master Feofan.” Unfortunately, the painting has not been completely preserved, but even in this form it amazes with its amazing artistic skill and freedom. And the originality of the images testifies to the author’s familiarity with the teachings of the hesychasts, mystic monks, whose spiritual practice was based on the contemplation of the uncreated Tabor light.

Church of the Transfiguration on Ilyin Street, Veliky Novgorod. Author: Alaexis – own work, CC BY-SA 2.5 , Link

Crossing the threshold of a small but elongated temple, you find yourself literally before the fiery gaze of Christ the Pantocrator, depicted in the dome: lightning seems to sparkle from His wide-open eyes. A powerful image dominates the space of the temple and makes us remember the words from Holy Scripture: Our God is a consuming fire(Eur 12 :29) or I have come to bring fire to the earth(OK 12 :49). Feofan’s pictorial language is built on this - the master uses only two colors - ocher and white, and writes with great expression. On an ocher background (the color of the earth), lightning flashes of white light flash - this is an image of divine energies that pierce the flesh of the world, burn all untruth, dividing creation into light and darkness, heavenly and earthly, spiritual and mental, created and uncreated.

Theophanes the Greek. Christ the Pantocrator. Author: Vash Alex kun, Link

Researchers argue about the unusual color scheme of the painting. They put forward a version about a fire that discolored the painting. But archaeologists found no traces of the fire, and restorers confirmed that the paint layer was like this originally. And the figurative structure of Feofanov’s painting suggests that this is a metaphorical language that conveys the action of divine energies.

Theophanes the Greek. Elijah the Prophet. Fresco by Theophanes the Greek. Church of the Transfiguration, Veliky Novgorod

Unfortunately, the painting has not been preserved in its entirety: there are small fragments in the apse and on the walls of the temple. The dome part turned out to be the most preserved. In the dome, Christ the Pantocrator is surrounded by angelic forces. An inscription from the psalm runs around the circle: “Lord, look from heaven to earth, hear the sighs of the chained (prisoners. - Note ed.) and to loose the sons of those who were slain (to loose the sons of death. – Note ed.), let him preach the name of the Lord in Zion (Ps. 101 :20–21)". The drum represents the forefathers Adam, Abel, Seth, Enoch, Noah, Melchizedek and the prophets. Here the theme of light-fire continues: if the first world perished from water, the second will perish from fire, but the ark in the hands of Noah is a prototype of the Church. The prophets Elijah and John the Baptist symbolize the connection between the Old and New Testaments; these are fiery prophets: Elijah brought down divine fire from heaven onto the sacrifice and was himself taken on a chariot of fire to heaven (2 Kings 1-2 ), and John the Baptist baptized the people in water and proclaimed that Christ would baptize with the Holy Spirit and fire (Matthew 3 :11).

Illuminated on the stone

The most unusual thing in the Church of the Transfiguration are the paintings of the so-called Trinity Chamber - small room in the choir, intended for individual prayer. On the eastern wall is placed (“The Hospitality of Abraham”): Abraham and Sarah not so much receive as they contemplate three Angels sitting around the sacrificial meal. The figures are painted in ocher, and white paint indicates semantic accents - the outlines of halos, highlights on the wings, staves with trefoils at the end, toroki rumors (ribbons) in the hair, flashes of light on the faces and in the eyes. The bright white strokes in the eyes of the Angels make us remember the image from: His eyes are like a flame of fire(Open 1 :14). The image of three angels is shown as a luminous phenomenon.

Theophanes the Greek. The Holy Trinity. Fresco of the Church of the Transfiguration on Ilyin Street, Veliky Novgorod

Along the walls of the chamber, on three sides, there are depictions of stylites and hermits standing in prayer. In these images, the dichotomy of Feofanovsky coloring acquires special strength and tension. Activity white grows from image to image.

Daniel the Stylite. Feofan the Greek, Link

The Monk Daniel the Stylite appears with his hands extended forward, on the tips of his fingers there are energetic strokes of white - he seems to be touching the light, feeling it physically. The light slides in free streams over his clothes, pulsates on the curls of his hair, and is reflected in his eyes. The Monk Simeon of Divnogorsk, with his arms spread to the sides, receives the stream of light descending on him. The light reflections on his clothes resemble sharp lightning bolts piercing his body like arrows. There are no pupils in the open eyes, light is depicted in the eye sockets - the saint contemplates God, is filled with uncreated light. The Monk Alypius the Stylite has his hands folded on his chest, his eyes are closed, he listens to his heart, as the hesychasts advised: “Lower your mind into your heart and then pray.”

Macarius of Egypt. Feofan the Greek, Link

And, finally, the image of the Monk Macarius of Egypt: the elongated figure of the ascetic is completely engulfed in light, like a white flame. He is the only one depicted not on a pillar, he himself is like a pillar of light. On the white figure, the face and hands painted in ocher stand out, put forward with palms open outward. This is a posture of acceptance of grace, openness to God. The light shines on the face, but the eyes are not written at all, because the saint does not need bodily eyes, he sees God with his inner (spiritual) gaze, he does not look at the external world, he is all inside. The Monk Macarius lives in the Light, he himself is this Light, like the Apostle Paul: It is no longer I who live, but Christ who lives in me(Gal 2 :20). Macarius of Egypt is an image of exceptional power, which has no analogues either in Byzantine or ancient Russian art. This is a vivid illustration of the hesychast mystical experience: the ascetic, in the process of communion with God, is immersed in the Light, in the Divine reality, but at the same time does not dissolve in it like salt in water (as, for example, Eastern religions teach), but retains his personality, which is purified and transforms. Hesychasts called it theosis (Greek), adoration.

Favorsky light

If the Novgorod painting has documentary evidence of the authorship of Theophanes the Greek, then the same cannot be said about the icons. In ancient times, authors did not sign their works. Nevertheless, several icons are associated with the name of Theophanes. One of them is “” from. Nowadays it is in the Tretyakov Gallery, and previously it was a temple image of the Transfiguration Cathedral in Pereslavl-Zalessky. The icon is large (184x134), monumental. The bright and original nature of the painting is similar to Feofanov’s style: the same temperament, the same fiery sound of light, the same expressive manner of painting. But there are also differences. Firstly, the icon is polychrome; here the master fully follows tradition. Secondly, the character of the image of the Savior is different: the face is not formidable, as in the Novgorod frescoes, but merciful, his features are softened, his gaze is attentive and meek.

Icon of the Transfiguration of the Lord. Feofan the Greek – White City Publishing House

The composition of the icon is elongated vertically: Christ stands on the top of the mountain, and the disciples fell to the ground in fear and trembling. The Savior is surrounded by a radiance of glory, golden rays emanate from Him, the light pulsates with bluish reflections on the hills, on the trees, on the clothes. The light also penetrates deep, exploding everything from the inside, so that traditional caves on the coaster look like explosion craters. The Miracle of Transfiguration is shown as a cosmic event that turns the universe upside down, transforming all creation.

Next to the Savior stand the prophets Moses and Elijah, personifying the completeness Old Testament(“Law and Prophets”) and the fulfillment of all hopes and prophecies in Christ. The presence of prophets also has an eschatological meaning - the Transfiguration is shown as the threshold of the Judgment of God, the Gospel says: The judgment is that light has come into the world(In 3 :19). But the secret of the Transfiguration is that the apostles are not passive contemplatives of the miracle of the Transfiguration. They themselves change under the influence of this Light, become different, Divine energy is already pulsating in their hearts, making them partakers of the Kingdom of God. This is exactly what the hesychasts taught, who practiced contemplation of the Divine Light.

Superlight darkness

Theophanes the Greek is also credited with creating the Don Icon Mother of God(c. 1395). There is no reliable information in favor of Theophanes’ authorship, but the painting style reveals the hand of a Greek master, and the interpretation of the image correlates with hesychast teaching. The painting style is lush, free, the colors are saturated, creating a precious surface, the light pulsates inside the form like a clot of energy. Luxuriously played out combination of blue color and gold. The faces of Christ and the Virgin Mary are painted thinly, in many layers, the soft melt with a slight blush creates a feeling of warmth of the flesh, a gentle light flows from the eyes. The artist does without outwardly extravagant techniques, as was the case in Novgorod frescoes, but at the same time creates an image full of beauty and spiritual strength.

Don icon. Feofan the Greek

The Don Icon is double-sided, external, it was a temple image of the Assumption Cathedral in the city of Kolomna, on its reverse side it is written “The Dormition of the Blessed Virgin Mary.” And again we see a special interpretation of the image. The Mother of God lies on a bed, the apostles came to say goodbye to Her, behind the bed stands Christ, holding in his hands a small figure in white shrouds - this is the soul of the Mother of God, born for eternal life. A burning candle is placed in front of the bed, this is a symbol of life, the candle, when burned, gives off light, a symbol of prayer offered to God, as well as a symbol of the Mother of God, who in the Akathist is called the “light-receiving candle.” But like a burning candle, the figure of Christ in golden robes with a bright red seraphim flaming above Him is also painted. The light lines up the vertical axis of the composition and, together with the horizontal bed of the Mother of God, forms a cross - a symbol of Christ’s victory, Resurrection, and the Triumph of life over death.

The mandorla is unusually interpreted on this icon - the radiance of glory around Christ; it is written in dark blue. This finds an explanation in the hesychast tradition. The hesychast fathers taught about the unknowability of God by the rational mind, and the Divine Light was called “incomprehensible darkness” or, in the words of St. Gregory Palamas, - “super-light darkness.” Unapproachable light is often perceived by a person as blinding darkness. The meeting with him by many ascetics was perceived as entering darkness. Let us remember that Paul, on his way to Damascus, was blinded by this Light (Acts 22 :6–11). The image of the Dormition as birth into a new life is built on the opposition of light and darkness, life and death, the divine and the human.

Deesis. Feofan the Greek

Feofan the Greek worked a lot in Moscow, he painted the Kremlin cathedrals. According to the chronicle, in 1405, by order of Grand Duke Vasily Dmitrievich, the painting of the princely house church of the Annunciation was carried out by an artel, headed by three masters: Feofan the Greek, Prokhor from Gorodets and monk Andrei Rublev. The iconostasis in which Theophanes wrote the deesis (an icon or group of icons in the center of which Christ is depicted) has been preserved. The brightness and originality of the Greek’s manner manifested itself here with amazing force. The central image of the Savior in the Forces has been preserved least fully, but it is clear that it was written powerfully and masterfully. Christ in white robes, pierced with gold assist (touches of gold or silver leaf) sits on a throne. His face is noble and sublime, a majestic gesture of blessing makes one stop and become silent. John the Baptist and the Mother of God stand before Christ in prayer. The most expressive image of the Mother of God is in a deep blue robe with the lightest blue gaps, as if flickering in the darkness. This color reminds gem- a sapphire symbolizing the mystery of the Ever-Virgin. The elongated figure looks like a candle, and the flame of this candle is the face of the Mother of God, the light flows in a soft and at the same time energetic stream from the eyes. The light seems to be restrained from within, but its power is such that it can ignite the whole world.

Theophanes the Greek left a bright mark on ancient Russian art. Traces of his influence are visible not only in icon painting and monumental art, but also in manuscripts, for example, the miniatures of the Khitrovo Gospel (late 14th century) and the Gospel of Fyodor Koshka (late 14th - early 15th centuries) have some similarities with the works of the Byzantine master. Art historians argue whether Feofan was Andrei Rublev’s teacher, but they worked together, and this could not but influence the formation of the younger master, who, after the departure of the great Greek, would determine the path ancient Russian art, creating your own version of a transformed world.

There are many cases in the history of Russia when a visiting foreigner increases its glory and becomes national pride. So Theophanes the Greek, a native of Byzantium, a Greek by origin (hence the nickname) became one of the greatest

Choice in favor of Rus'

Most likely, if Theophanes had not decided to radically change his life by coming to Russia instead of Italy in the retinue (as is assumed) of Metropolitan Cyprian, he would have gotten lost among the numerous Byzantine artists. But in Muscovite Rus' he became the first of a brilliant galaxy of icon painters. Despite widespread recognition, the dates of the artist’s birth and death are approximately 1340-1410.

Lack of information

It is known that Theophanes the Greek, whose biography is full of blank spots, was born in Byzantium, worked both in Constantinople itself and in its suburb - Chalcedon. From the frescoes preserved in Feodosia (then Kafa) it is clear that for some time the artist worked in the Genoese colonies - Galata and Kafa. None of his Byzantine works survive, and world fame came to him thanks to work done in Russia.

New environment

Here, in his life and work, he had the opportunity to intersect with many great people of that time - Andrei Rublev, Sergius of Radonezh, Dmitry Donskoy, Epiphanius the Wise (whose letter to Archimandrite Kirill is the main source of biographical data of the great icon painter) and Metropolitan Alexei. This community of ascetics and educators did a lot for the glory of Rus'.

The main source of information about Theophanes the Greek

Theophanes the Greek arrived in Novgorod in 1370, that is, a completely mature man and an established artist. He lived here for more than 30 years, until his death. His performance is amazing. According to the testimony of the same Epiphanius the Wise, Theophanes the Greek painted 40 churches in total. The letter to the archimandrite of the Tver Spaso-Afanasyevsky Monastery was written in 1415, after the death of the master, and has survived to this day not in the original, but in a copy of the second half of the 17th century. There are also some chronicle confirmations of facts and additions. One of them reports that in 1378, by order of boyar Vasily Danilovich, the “Greek” Feofan painted the Transfiguration Church, located on the Trade Side of Veliky Novgorod.

Beginning of the Novgorod period

The frescoes of Theophanes the Greek on the walls of this monastery became his first work in Rus' mentioned in documents. They, even preserved in fragments, being in very good condition, have survived to our time, and are among the greatest masterpieces of medieval art. IN best condition there is a painting of the dome and walls where the choirs of the Trinity chapel were located. In the depicted figures of the “Trinity” and Macarius of Egypt, the unique style of writing that the brilliant Theophanes the Greek possessed is very clearly visible. The dome preserves a chest-to-chest image, which is the most grandiose. In addition, the figure of the Mother of God has been partially preserved. And in the drum (the part that supports the dome) there are images of John the Baptist. And this is why these frescoes are especially valuable, since, unfortunately, the works created over a number of subsequent years are not documented and are disputed by some researchers. In general, all the monasteries are made in an absolutely new manner - lightly and with wide, free strokes, the color scheme is restrained, even stingy, the main attention is paid to the faces of the saints. In the manner of writing of Theophanes the Greek one can feel his special philosophy.

Rus''s ability to revive

It hasn't happened yet great victory Dmitry Donskoy, the raids of the Golden Horde continued, Russian cities burned, churches were destroyed. But Russia is so strong because it was revived, rebuilt, and became even more beautiful. Theophan the Greek also took part in the painting of the restored monasteries, who since 1380 worked in Nizhny Novgorod, in the capital of the Suzdol-Nizhegorod principality, which was completely burned in 1378. Presumably, he could take part in the paintings of the Spassky Cathedral and the Annunciation Monastery. And already in 1392 the artist worked at the request of Grand Duchess Evdokia, wife of Prince Dmitry. Later, the cathedral was rebuilt several times, and the frescoes were not preserved.

Moving to Moscow

Feofan the Greek, whose biography, unfortunately, is very often associated with the word “allegedly,” after Kolomna moves to Moscow. Here, and this is confirmed by the Trinity Chronicle and the well-known letter, he paints the walls and decorates three churches. At this time he already had his own school, students and followers, with whom he active participation In 1395, the famous Moscow icon painter Simeon the Black painted the walls of the Church of the Nativity of Our Lady and the chapel of St. Lazarus in the Kremlin. All work was carried out by order of the same Grand Duchess Evdokia. And again it must be stated that the church has not been preserved; the existing Bolshoi Church stands in its place.

Evil fate haunting the master's work

A recognized genius of the Middle Ages, icon painter Theophanes the Greek, together with his students, began in 1399 to decorate the Archangel Cathedral, which was completely burned by the Khan of the Golden Horde and the Tyumen Principality - Tokhtamysh. From Epiphany’s letter it is known that the master depicted the Moscow Kremlin with all its churches on the walls of the temple. But in the second half of the 16th century, the Italian architect Aleviz the New dismantled the temple and built a new one of the same name, which has survived to this day.

The art of Theophanes the Greek is mostly represented by frescoes, since until the end of his days he painted the walls of churches. In 1405, his creative path intersected with the activities of Andrei Rublev and his teacher - the “elder from Gorodets”, the name given to the Moscow icon painter Prokhor from Gorodets. These three most famous masters of their time together created the cathedral church of Vasily I, in the Annunciation Cathedral.

The frescoes have not survived - the court church was, naturally, rebuilt.

Unconditional evidence

What has been preserved? What memory of himself did the great Theophanes the Greek leave for his descendants? Icons. According to one of the existing versions, the iconostasis that has survived to this day was originally painted for the Assumption Cathedral in Kolomna. And after the fire of 1547 it was moved to the Kremlin. In the same cathedral there was “Our Lady of the Don,” an icon with her biography. Being one of the many modifications of “Tenderness” (another name is “The Joy of All Joys”), the image is covered in the legend of its amazing help in the victory won by the army of Grand Duke Dmitry over the hordes of the Golden Horde in 1380. After the Battle of Kulikovo, both the prince and the patron icon received the prefix “Donskoy” and “Donskaya”. The image itself is two-sided - with reverse side there is the "Assumption of the Mother of God". The priceless masterpiece is kept in the Tretyakov Gallery. Many analyzes have been carried out, and it can be argued that its author is certainly Theophanes the Greek. The icons “Four-digit” and “John the Baptist - Angel of the Desert with Life” belong to the icon painter’s workshop, but his personal authorship is disputed. The works of masters of his school include the icon quite large sizes, written in 1403 - “Transfiguration”.

Lack of biographical information

Indeed, very few documented works of the great master exist. But Epiphanius the Wise, who knew him personally and was friends with him, so sincerely admires his talent, diversity of talent, breadth of knowledge that it is impossible not to believe his testimony. The Savior of Theophanes the Greek is often cited as an example of the work of the Greek school with a distinctly Byzantine style of writing. This fresco, as noted above, is the most grandiose of all the surviving fragments of wall paintings of the Novgorod Cathedral discovered in 1910. It is one of the great architectural monuments known throughout the world. medieval Rus'. Another image of the Savior, which belongs to the work of the master, is located in the Kremlin on the Annunciation iconostasis.

One of the great "Trinities"

Among the frescoes of this cathedral there is another masterpiece of world significance, the author of which is Theophanes the Greek. “Trinity” is perfectly preserved and is located in the choir. The canonical plot of “The Hospitality of Abraham” lies at the heart of this work, although his figure on the fresco has not been preserved, the “Trinity” deserves a hitherto unrealized detailed study. In his letter, Epiphanius admires the many talents of Theophanes the Greek - the gift of a storyteller, the talent of an intelligent interlocutor, and the extraordinary manner of writing. According to the testimony of this man, the Greek, among other things, had the talent of a miniaturist. He is characterized as an icon painter, a master of monumental fresco painting and a miniaturist. “He was a deliberate book painter” - this is how this praise sounds in the original. The authorship of miniatures from the Psalter, owned by Ivan the Terrible and kept in the Trinity-Sergius Lavra, is attributed to Theophanes the Greek. He is also supposed to be the miniaturist of The Gospel of Fyodor the Cat. The fifth son, the direct ancestor of the Romanovs, was the patron of Theophanes the Greek. The book is superbly designed. Its skillful headbands and initials made in gold are striking.

The identity of Theophanes the Greek

Before Theophanes, many icon painters, and even his contemporaries, relied primarily on tracing (a thin outline previously made from the original) in the production of their works. And the Greek’s free style of writing surprised and captivated many - “he seemed to paint the painting with his hands,” Epiphanius admires, calling him a “wonderful husband.” He certainly had a pronounced creative individuality. Unknown exact date death of a genius, in some places it is even said that he died after 1405. In 1415, the author of the famous letter mentions the Greek in the past tense. Therefore, he was no longer alive. And Feofan was buried, again presumably, somewhere in Moscow. All this is very sad and only says that Russia has always experienced many troubled times, during which the enemies destroyed the very memory of the people who made up its glory.