Title of the article:

FORMATION OF THE IMAGE OF THE MOTHER OF GOD “JOY OF ALL WHO SORROW” IN N. A. KOSHELEV`S CHURCH PAINTING. TRADITION AND INNOVATION

Author(s):

Svetlana I. Mikhaylova

Information about the author/authors

Svetlana I. Mikhaylova — Senior Lecturer, A. N. Kosygin Russian State University (Technology. Design. Art), Institute of Slavic Culture, Khibinsky pr. 6, 129337 Moscow, Russia. E-mail: na.svet@mail.ru

Section

History of Arts

Year

2020

Volume

Vol. 55

Pages

pp. 210–219

Received

November 14, 2019

Date of publication

March 28, 2020

DOI:

10.37816/2073-9567-2020-55-210-219

Index UDK

7.046.3

Index BBK

85.147(2)

Abstract

Works on religious themes of N. A. Koshelev, the Russian artist of the second half of the 19th century, are little known, since most of them died during the persecution of the Church. The paper focuses on two large images from the house temple at the charitable shelter founded by manufacturers-entrepreneurs Brusnitsyn brothers that are of interest among the preserved ones. Back in the 1920s, these icons were secretly taken to the Kazan Church in the remote village of Vyritsa, where they now reside. The article deals with iconographic features of one of these images — the Mother of God “Joy of all who sorrow”. Its iconography first mentioned in 1683, as the iconographer of the Armory Bezmin wrote such an icon for the members of the Royal family. By the 19th century, the image of the Mother of God “Joy of all who sorrow” became widespread and loved by the people, as these icons became famous for their miracles. The image studied did not receive a definite clear iconography: a number of versions are known, with the very image of the Mother of God varying from the regal, solemn to the simplest, “with a white headscarf on the head”. This latter one was chosen by the artist Koshelev when conceiving the image for the Brusnitsyns ' shelter. The paper compares the work of N. A. Koshelev with the first icons of this iconography — from the namesake temple on Ordynka in Moscow, from the Tikhvin chapel near the glass factory in St. Petersburg, as well as with the works of artist`s famous contemporaries — V. M. Vasnetsov and T. A. Neff. Koshelev's work fully reflected the trend of searching for new iconographic samples by Russian artists of the 19th century. As the study shows the images created by him are distinguished by an extraordinary warmth and spiritual sublimity and act as best examples of Russian religious painting of the 19th century.

Keywords

N. A. Koshelev, icon of the Mother of God “Joy of all who sorrow”, iconography, composition, religious painting, image, Divine child, temple.

References

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