Wedding

Lectures on happy people. Theme I. Introduction

The Central Museum of Ancient Russian Culture and Art named after Andrey Rublev begins a new season of the lecture hall. The lecture cycles offer a variety of topics, including Byzantine iconography and its influence on Russian iconography and culture.

As a scientific discipline, iconography is one of the brightest and most interesting sections of the history of Christian art. A systematic study of Christian iconography, which has developed over more than a millennium and a half, makes it possible to visually trace the process of evolution of the pictorial schemes of Christian subjects in various historical eras and their continuity. This is a fascinating and exciting process, often a mirror of the worldview trends of its time.

Byzantium. XIII century. Cathedral of Sophia of Constantinople

Iconography of the Savior, Mother of God and Saints in Byzantine and Russian Iconography
(cycle of 6 lectures)

In Byzantine and ancient Russian icon painting, Jesus Christ and the Mother of God are the central images, but saints are also widely represented - people of high righteousness. Works of Byzantine and Russian art allow you to look into the world of the spiritual traditions of medieval man. Sacred sublime images were thought of as part of eternity, they still amaze and delight a person.

December 2nd
The veneration of Christian martyrs and its reflection in the Byzantine and Russian painting tradition

Lectures are given by MAR researcher A.E. Sazhina

Subscription price - 900 rubles.
Subscription price for students and pensioners - 600 rubles.
Subscription price for children under 16, disabled people of groups 1 and 2, large families - free of charge

arch. Alexander Saltykov

Iconology

That the foundations [of icon veneration] are given in the Old and New Testaments, the New Testament provides the real foundations for icon veneration, and that icon veneration will develop from this real foundation. This is exactly how the question should be put in connection with the extensive incursions of any non-Orthodox into the Russian Orthodox traditional environment, when many people become embarrassed and tell you and me that these are idols, “we will not pray for portraits.”

Let us turn to the Holy Scripture itself.

The first thing I want to point out to you is that the icon - the icon of God - is the person himself. This is the first, and, I must say, one of the main arguments in favor of icon veneration. “Let us make man in our image and after our likeness.” - says God. He speaks here (forgive me for the crude analogy) as an artist who creates a self-portrait. I dare to say this because the Lord speaks here of His own image and likeness. The similarity enhances the similarity. By this, the Lord places a person high - above the Angels, because it is not said about the Angels that they are created in the image and likeness of God, although they are rational spirit and eternal. To be in the image and likeness [of God] is the privilege of man alone. And this gift of God to man - to be in His image and likeness - is extremely multifaceted, extremely deep, and all the creative possibilities of man lie in this - in the fact that man is the image and likeness of the Creator. God is the Creator, and man is also the creator. And narrowing down this huge topic for our specific question, we must say that being a creator, a person is also able to create images and similarities.

But what images and likenesses that man can create will be worthy of the glory that God has given to man? If God Himself created His own image and likeness, then why should man also create God's image and likeness? It's like a mathematical formula: God created His image and likeness - man, therefore, man can also create the image and likeness of God.

By the way, the Lord created His image and likeness from clay, that is, from some material. From what, then, should a person create an image and likeness? Also from the material. The Lord did not disdain clay - or red earth, as the Hebraists say. Therefore, icons must be painted with paint - also from the earth. Art historians, iconologists and artists know that many colors are called "earths".

So the first and most important argument [in favor of icon veneration] is that man is the image and likeness of God.

But for what purpose did the Lord intend this His image and likeness, where did He place it? In Paradise - in Eden, located in the East.

Let us remember that Eden was in the East, and the Tree of Life grew in the center of Eden. Somewhere nearby, the Tree of the Knowledge of Good and Evil grew, and the man was a living icon of God, residing in Paradise in the East. And the whole world was arranged “very well” - “very good” - and was given to man so that he would cultivate it and elevate it to a heavenly state.

Now, without further ado, look at the Orthodox church. An altar is located in the east, in the center of the temple there is a throne, decorated with a menorah in the form of a tree. Behind the throne is an icon. That's just the tree of the knowledge of good and evil, I don't know where it is. True, [...] says that the tree of the knowledge of good and evil is the entrance to the altar. Because you can get out of it. You can fall out of Paradise and never return to it (that will be the knowledge of evil).

In a word, only an Orthodox church is likened to a world-encompassing church created by the Lord. The Lord created the whole world as His temple. "Heaven is my throne, earth is my footstool." Moreover, when Orthodox churches arose, no one, of course, sought to specifically liken the temple to Eden. It all arose as if by itself, but we see that it is so. If the Lord placed an icon in this His world-encompassing temple, then it is natural that we should also create icons worthy of God and, naturally, place them in the temple. Since all this is stated on the very first pages of the Bible, then this occupation is the most worthy of a person and, one might say, his calling - the most important occupation. The icon thus receives an extremely high status - from the first two chapters of the Book of Genesis. We will not touch on the history of the Fall here - this is not part of our task, we do not have biblical studies, but iconology, therefore, I think, what has been said is enough. But I just ask you to pay attention to it.

A few years ago I was at the same conference - joint with Protestants and Catholics. And in my report, I just said about this: since the Bible says all this, since the Bible likens the world of God to a temple with an altar in the east, then there is no doubt that temples with an altar in the east, with an altar decorated with a menorah, symbolizing the tree of life, and with an icon - after all, all this has already happened. The Protestants were very offended, I must say, and even some of them stopped talking to me, but I'm not to blame for anything.

Well, all this was in the primordial world, which then collapsed. There was a kind of explosion, everything perished, darkened. Empirical earthly history began, and just then, as if Moses very definitely tells us that it is impossible to create an idol for yourself: do not create for yourself an idol and any likeness of a Christmas tree in heaven, a Christmas tree on the earth below, and a Christmas tree in the waters under the earth (Isaiah 20:4). This is always referred to.

This famous commandment in the Bible is confirmed in other places. For example, Deuteronomy 4:15-27. There the Lord says: “Hold firmly in your souls that you did not see any image on the day when the Lord spoke to the kam at Horeb from the midst of the fire, so that you do not become corrupt and do not make yourself statues, images of any idol representing a man or a woman, the image of any livestock that is on the earth, the image of any winged bird that flies under the heavens, the image of any creeping thing that creeps on the ground, the image of any fish that is in the waters below the earth; and lest when you look up into the sky and see the sun, the moon, and the stars, and all the host of heaven, you should not be deceived and bow down to them and serve them, since the Lord your God has given them to all the nations under the whole sky... If, ... long lived on earth, you become corrupt, and make a statue depicting something, and do this evil in the eyes of the Lord your God, and provoke Him: then I testify to you today by heaven and earth that you will soon lose the earth, for an inheritance which you cross the Jordan; you will not spend much time on it, but you will perish. And the Lord will scatter you among all nations, and you will remain in small numbers among the nations to which the Lord will lead you. ”

Here you can see what a detailed enumeration - nothing is forgotten. It's even scary to read all these enumerations - nothing can be portrayed, in any form. It turns out that the Lord created His icon - created man as a creator, but did not allow anyone else to create icons. And it turns out that this first argument of ours, which we so victoriously stated - it fell, it was, as it were, rejected by the direct prohibitions of the Lord.

This would be the case if we did not read the Bible further.

Returning to the Book of Exodus, chapter 35, verses 30-35: “The Lord appointed ... Bezaleel, the son of Uriah, the son of Hur, from the tribe of Judah, and filled him with the spirit of God, wisdom, understanding, knowledge and every art, to make skillful fabrics, work with gold, silver, and copper, and cut stones for setting, and cut wood, and do all kinds of artistic work; and he put the ability to teach others in his heart, him and Agoliab, the son of Ahisamach, from the tribe of Dan. He filled their hearts with wisdom to do all the work of a carver and a skilled weaver and an embroiderer on blue, purple, scarlet and linen cloth, and weavers doing all kinds of work and making fine fabrics.

But here, as you understand, nothing is said about the image of living beings. All this was done and only ornaments were depicted - stripes, some kind of waves. Later in the same book, it is said that Bezaleel made "a laver of brass, and its base of brass, with fine images adorning the entrance of the tabernacle of meeting." It is not entirely clear what kind of elegant images - maybe they also did not have any image of a living being? Perhaps not, nothing is said about it. We read in chapter 37: Bezaleel made an ark of wood... and overlaid it with pure gold inside and out, and made around it a crown of gold. ... And he made two cherubim of gold, ... protruding from the cover, he made cherubim on both ends of it. And there were cherubim with outstretched wings, and covered the lid with their wings, and their faces were turned towards one another; to the lid were the faces of cherubim.”

So, Bezleil made all the same humanoid winged images.

We read Exodus, and in Deuteronomy, ch. 27, there is another verse (15): “Cursed is he who makes a carved or molded idol, an abomination before the Lord, the work of an artist, and puts it in a secret place!” Again curse on the image. What are these contradictions - one thing, then another?

The idol is the image, and Bezleel made the image - moreover, gold, and placed it in a secret place. Because the Holy of Holies, you see, was the most secret place: no one, except for the high priest, and then once a year, could enter the Holy of Holies. The most holy there was the ark of the covenant, a box made of shittim wood overlaid with gold, about 1 m 40 cm long. And on its roof stood statues of golden cherubs. So he is cursed, the one who placed the statues in a secret place? Maybe the Bible is just inconsistent?

We read the Bible further and come to the 1st Book of Kings, chapter 6, verses 23-28. Here we already read about the era of Solomon. Solomon made the temple in the likeness of the tabernacle, only it was much richer and much larger. “And he made in the davir two cherubim of olive wood, ten cubits high. One wing of the cherub was five cubits and the other wing of the cherub was five cubits; ten cubits were from one end of his wings to the other end of his wings. Another cherub was ten cubits long. Both cherubim were of the same measure and the same appearance. ... And he placed cherubim in the midst of the interior of the temple. The wings of the cherubim were outstretched, and the wing of one touched one wall, and the wing of the other cherub touched the other wall; their other wings converged wing to wing in the midst of the temple. And he overlaid the cherubim with gold.”

So ten cubits high. A cubit is a cubit, and based on this there are different measures of a cubit. But in general it is about 45 cm, a little less than half a meter. So 10 cubits is 4.5 m. And the wingspan is 4.5 m. This is a very tall statue. And next to it is the same statue. Again - in a secret place, I emphasize.

But this was not enough for Solomon, and “on the two halves of the doors of olive wood he made carved cherubs and palm trees and blooming flowers, and overlaid with gold; covered with gold both cherubim and palm trees. And at the entrance to the temple he made four-sided jambs of olive wood, and two doors of cypress wood ... And he carved cherubim and palm trees and blooming flowers on them, and overlaid with gold on the carving. Well, nothing can be said about palm trees and flowers, they are not prohibited anywhere, but cherubs are still living animated beings.

But not only cherubim were depicted on the orders of Solomon. By his order, the copper sea was executed. “It stood on twelve oxen; three looked north, three looked west, three looked south, and three looked east; the sea lay upon them, and their behinds were turned inward under it.” These were already real images of animals - only 12 figures. But even this was not enough for Solomon: "And he made ten copper bases... And on the walls... lions, oxen and cherubim were depicted." And in smaller places, these images are repeated all the time: cherubs, oxen and lions, these three types of images of living beings.

The description is very thorough and detailed, in essence it is a kind of museum inventory. It is clear that the author of these lines did not doubt for a single second that all this was correct, lawful, and in accordance with the decrees of God, the will of God, and that all this corresponded to the law of Moses.

The question is how to reconcile all this. Before us are clearly contradictory texts. It must be said that every single Protestant (no matter how much I looked through various Protestant books) very easily get out of this situation: they simply mention some texts, others do not. What we like, we accept; what we don't like, we put aside. But I think that this is not very decent, and we will go the other way.

In addition to these images, there were others mentioned in the Old Testament. First of all, it is an image of a copper serpent. This is the Book of Numbers. Well, you know, the Jews worshiped him: whoever looked at this serpent was delivered from the bite of the snakes that were swarming there. And in the Gospel of John, ch. 3, the Savior says significant words for our topic: “As Moses lifted up the serpent in the wilderness, so must the Son of man be lifted up, so that everyone who believes in Him should not perish, but have eternal life.” The Lord, speaking of His future suffering on the Cross, as a prototype recalls the statue - the statue of a certain reptile, which was depicted by the same Moses, to whom the commandments were prescribed forbidding any image. And now Moses makes this very snake, and our Savior Jesus Christ refers to this image.

Well, how do you reconcile all this? Here already we are simply forced to agree: after all, since the Lord Himself mentions the statue, then there is some meaning here. The Holy Fathers give interpretations of this text in the Book of Numbers, but none of them says that the image of the serpent contradicts the commandment of Moses. For the ancient teachers of the Church, this was not a question; none of them saw a contradiction here. And Protestants do not talk about this contradiction at all. But we see it with you, for us it still exists.

Blessed Theodoret says that this represented the suffering of the Savior. Sin is hidden in [...] the serpent, why the serpent [given all curses from God], the serpent itself is the image of sin and oath, and since the Savior came in the likeness and flesh of sin, ... then “saving sufferings are represented by a bronze serpent, for just as the copper serpent did not have snake venom, so the Only Begotten Son had a human body, but did not have sinful filth. And just as those bitten by snakes, looking at the bronze serpent, received salvation, so those wounded by sin, undoubtedly believing in the sufferings of our Savior, turned out to be conquerors of death...” check the quote!

In general, this means that the image of the copper serpent is a kind of icon, a symbolic icon of Christ - His image. When the Lord says that “just as Moses lifted up the serpent in the wilderness, so must the Son of man be lifted up” - this is an image! And blj. Theodoret, too, revealing this topic, says that this is an image: just as Christ came in the likeness and flesh, but without sin, so the image of the bronze serpent was material, the likeness of flesh, but without the deadly sting. It was an image, a mysterious image, looking at which the ancient Jews were saved by the power of Christ, by the power of the second Hypostasis of God - the Son of God. Such an amazingly mysterious and, I would say, powerful image.

There is another passage in the Bible that speaks of a statue. The Book of Judges (17:1-4) speaks of an image that Micah made on Mount Ephraim. The book of Judges is a historical book. Micha from Mount Ephraim is a simple Jew. When Solomon makes a temple, this is one thing, but when Micah makes an idol for himself, this is another. And what do we read here: “And his mother said: I consecrated this silver of myself to the Lord for my son, to make of it an image and a molded idol; so I give it to you. ... [She] took two hundred shekels of silver and gave them to the smelter. He made of them an idol and a cast idol, which was in Micah's house. And Micah got himself a Levite, and his Levite performed divine services in front of this same idol. But then other Jews took this image from him and carried it away with them, and the Levite was also taken away. So Micah was punished in some way, and perhaps because it was already a violation of the commandment. Although the Book of Judges does not say anything about the fact that the Lord condemned Micah. There is no condemnation, they just tell about this Micah, how he did it, and that's it. Micha was a very pious person, and his mother was very pious, but they dedicated it all to the Lord, and the Lord did not punish them. Well, they stole all this from them, but nothing more.

But we know from the Bible that the Jews were constantly cheating on the Lord, they placed the Baals on the heights, they built temples, in these temples they put real Baals and prayed there. And this is indeed condemned in Holy Scripture. The prophets throw thunder and lightning because the Jews do this, pious kings destroy these temples, and if they forget to destroy, then Scripture condemns this: they say, such and such a king of such and such a dynasty was pious, but did not destroy the heights. See what a varied picture. But, although it is diverse, it must be reduced to a certain uniformity. Micah is a direct violator of the law, but at the same time a testament to the mercy of God: the Lord, who said that everyone who made an image would be cursed, in fact, out of His love, spares a person. But then what, maybe He just spares us when we violate such an important commandment? Maybe He just forgave Solomon when he made images in the Temple (after all, we know that Solomon had other sins, and the Lord forgave him them)? Then, perhaps, He forgave Beseliel too? But then why did the Lord command to make a serpent in the desert, why is this image mentioned?

In general, I think like this: images .... record break, end of tape.

..... [Israel?] surrounded by powerful states, could dissolve among these peoples, completely adopting their customs and religious rites. But this is a pedagogical measure. In fact, images are not prohibited. They are blessed by God when they are dedicated to Him. That is why they are in the tabernacle. But only in the tabernacle, nowhere else - only as an exception, to show that the image is also “very good”, made for the glory of God. However, due to the rudeness of the hearts of the Jews, due to the inability of the Old Testament people to keep the faith, the Lord, protecting this people, forbade them to make images. And yet he forbade it not absolutely, but relatively - until the Savior comes, until the kingdom of the Messiah comes (this is not said, but this can be deduced). Until then, this ban on home use of images is in effect. Remember that the Jews had only one Temple. As for the case with Micah, here it seems to me that God’s condescension is simply visible, because in the era of the Judges there was no law, there was no single government, everyone lived in his own way, and no one knew how to live correctly. Aaron made a golden calf, but it was a clear sin, forgiven after repentance. This was a clear sin, since the golden calf was made for public worship.

And it is very important to learn, dear brothers and sisters, that the Lord blesses images for His glory.

Why is it forbidden to put them in a secret place? So that the Jews do not create secret sanctuaries for themselves, do not arrange personal idols for themselves, so that they do not secretly corrupt, so that there are no obvious or secret idols anywhere. As for the Holy of Holies, although this is a secret place, it is the mystery of God, this is the place of God's glory, and there they just turn out to be appropriate, these images.

And here is the copper serpent, which is a completely mysterious type of Christ, about which Christ Himself speaks.

Mentioning the copper serpent, we are moving on to the New Testament. And it turns out that if you and I approach scientifically and systematically (science implies a systematic approach), then we should pay attention to whether there are any other references to images in the New Testament. It turns out there is. And so we must combine them, bring them under a certain general rule and try to derive a pattern.

It turns out that images are mentioned twice in the Four Gospels. The first time the Lord Jesus Christ Himself recalls the Old Testament image of the serpent and likens it to Himself, the second time - when it comes to a denarius with the image of Caesar. Of course, you can say: what does the denarius have to do with it? In the same place, a completely different question is considered, which has nothing to do with icon veneration. But you and I approach everything scientifically, and scientifically means systematically, and systematically means singling out a number of objects according to homogeneous characteristics. I highlight images - in the Four Gospels images are mentioned twice.

Let's read the text, which refers to the denarius of Caesar. When the Pharisees asked the cunning question: is it permissible to give taxes to Caesar or not, they did not expect the answer that Christ gave them. It was a provocation, the most common provocation. They wanted to drag Him into a political discussion (let's not forget that Judea was under the rule of Rome) and inform the authorities. He will answer them, for example, that it is impossible to give tribute to Caesar, which means that He is a political enemy of the Romans. And the Lord answers them: why are you tempting me? Show me a coin. Whose image and inscription is this? - Caesareans. Then he said to them: Therefore, render to Caesar what is Caesar's, and what is God's to God. Everything is very simple in Holy Scripture - and inexhaustibly deep. If this is translated into the category of our ordinary human concepts, then the Lord here uses, if you like, a wonderful and very subtle polemical device: He takes the discussion to another level. He did not let Himself be drawn into a provocative conversation, but simply took it to another level. The fact is that in the answer of Jesus Christ, the image and the inscription are mentioned as a symbol - as a symbol of the power of Caesar. The image and inscription of Caesar's on money - all this together is a symbol of his political power and power, a symbol of his state power, which is why he must be paid taxes. And in our time on any coin - the coat of arms or the image of the sovereign - precisely as a symbol of this state. It's a symbol, not just an image. This, I think, is very important, because the Lord here speaks not just about an image as such, not about an idol. He speaks here, not about a portrait, but about a symbol - about the symbolic meaning of the image, and by the way, along with the inscription. Therefore, symbolic images are possible, testifying to the strength and power of a certain kingdom. Why can’t we make similar images with inscriptions (by the way, according to the canons, icons are always inscribed), which would be, relatively speaking, “coins” of the Kingdom of Christ, which is not of this world? And if we remember that the Lord also mentions the image of the copper serpent as a kind of allegorical icon of Himself, then it seems to me that these two testimonies are already quite enough. We are talking, of course, about the possibility of symbolic images of the Kingdom of Heaven. So that you do not think that I just invented it, I will refer to Tertullian, the author of the 2nd - early 3rd century. Tertullian was opposed to the veneration of icons. How can he help us in proving the veneration of icons? And it's very simple. The fact is that in one of his works Tertullian gives very interesting information about the disputes of his time (i.e. e. at the end of the 2nd century) about icon veneration. It is interesting that there were opponents of icon veneration, and Tertullian belonged to them, but there were also supporters.

“Some also object to the prohibition to create images, referring to the fact that Moses in the desert created the image of a snake from bronze.” Tertullian polemicizes with these “some”: “But this is a completely different matter. Images that are erected to interpret something hidden [serve?] not to abolish the law, but to protect their cause. It is not obvious to anyone that this statue was supposed to symbolize the appearance of the Lord's Cross, which is to free us from the serpent, that is, from the angels of the devil. If later on you are commanded to make an image, act like Moses, and do not make any image, unless God instructs you to do so. He is arguing with some artists, of course, and maybe with iconologists of that time, if there were any then. And ironically he says: act like Moses, Moses had a revelation of God, but what revelation to you? where are you going with your images?

But the fact is that Tertullian himself admits the possibility of a symbolic image of God - if the Lord opens it. But for us the indisputable authority of the Church is certainly greater than the authority of Moses. Moses is one of the Old Testament saints, and we have the conciliar authority of the Church, which just answers Tertullian: yes, the will of the Holy Spirit is also for us, and we write images that are symbolic. (Images of God, of course, should not be of a crude, naturalistic nature, as was the case at the end of the 19th century.). And, as you can see, the Church rejected the opinion of Tertullian, and the Church accepted the opinion of his unknown opponents, his opponents, although they themselves remained unknown to us. So, at the end of the II century. sacred images already existed.

Indeed, we know of one fresco that dates back to the end of the 2nd - beginning of the 3rd century, this is the image of the Mother of God with the Child, the oldest composition, but there were other sacred images, they simply did not reach us, but Tertullian preserved a precious testimony about this.

I said that the dispute about the coin (in the text about the denarius) can be interpreted in favor of considering the icon as such a coin - the same symbol of the Kingdom of God. And I'm not the first to think of it. This image has already been used by St. Ignatius of Antioch - disciple of St. Apostles. He says this: there are, as it were, two coins, one of God, the other of the world, and each has his own image for himself. Unbelievers are the image of this world, and believers of love are the image of God the Father through Jesus Christ. I think that Ignatius of Antioch had in mind not a pictorial image, but a verbal one. But just in those days there was no border between the verbal and the pictorial image. As in the Old Russian language, the word “piss” means both to write words and to paint a picture, in the same way in Greek the word grapho means both to paint a picture and write a text. At an early stage, language brings word and image closer together. And the VII Ecumenical Council will just say that it is necessary to venerate the image along with the Holy Scriptures.

Now we turn to the second part of the New Testament - to the Acts and Epistles of the Apostles. Here we have a range of materials. First, I want to remind you that the shadow of the Apostle Peter healed the sick. This must be taken very seriously. After all, a shadow is also an image, although not artificial, but natural, natural, but it is still an image. And speaking of this, it is impossible not to remember that the ancient legends of Greece and India tell us the same way that art was born from the reproduction of the shadow. People speculated about where art came from and believed that it arose from the redrawing of a shadow. The shadow of a person, the shadow of an object - this is an image. Of course, in this case, in the case of an. Peter, we are not talking about a created image, not about man-made, but nevertheless a miracle is performed not by the hands of the apostle, but in a special way - by a shadow.

The apostle Paul also performed amazing miracles. Do you remember that bungling up. Paul (handkerchiefs, bedspreads) were imposed on the sick, and the sick were also healed - with objects. This, at first glance, is not directly related to icon veneration, but is related to the veneration of relics. And the veneration of icons and the veneration of relics are closely related. And such a veneration of relics, miracles from relics, we see in the Acts of the Apostles.

Finally, there is a direct text in the Epistles of the Apostles, which indisputably and unconditionally speaks of images. No one ever paid attention to this text, because there was no need for it. The task of apology of the image has never been set, it is set by us for the first time because we began to be surrounded by various iconoclasts, who have not been since the time of the 7th Ecumenical Council. At the time of the 7th Ecumenical Council, John of Damascus and Theodore the Studite, as well as other apologists for icon veneration, did a good job, they just talked a lot about the meaning of the image in the Old Testament, and they paved the way for us, but we also have the right to find and add some new arguments.

FACULTY OF CHURCH ARTS

APPROVE

_______________________

Work program of the discipline

Direction of training

art history

Bachelor

Form of study

1. The goals of mastering the discipline

3. Knowledge, skills and abilities,

3.1. The student must know:

3.2. The student must be able to:

The structure of the discipline.

Topic name
Total	including
Lectures		(by semesters)


	christmas.		Test
	visions.
	teachers		Test
	meetings
	meals.		Essay, discussion
	doom, death.
	baptism.		Advice for offset
			Oral survey, discussions

	Total

Electronic edition of the Orthodox Encyclopedia:

http://www.pravenc.ru/

Database of the PSTGU electronic library on icons of the VI-XIX centuries: http://lib.pstgu.ru/cgi-bin/DataStoreCGI.exe/data/base?style=start

http://all-photo.ru/icon/index.ru.html?begin=on

http://www.icon-art.info/gallery.php?lng=ru

http://www.bogoslov.ru/topics/28969/index.html

http://www.pravoslavie.ru/jurnal/457.htm

http://palomnic.org/art/

http://www.sedmitza.ru/text/1066485.html

http://nesusvet.narod.ru/ico/icons/cont.htm

http://www.pravoslavieto.com/ikonopis/

http://pravicon.com/

6. Final control of students' knowledge.

6.1. Form of control__ credit (5 semester), exam (6 semester).

6.2. An approximate list of questions for the exam (test):

1. Iconography as a boundary discipline between theology and art history. iconographic school. Methods F.I. Buslaeva, N.P. Kondakov.

2. Linguistic-iconographic method of A. Grabar. The concepts of "iconographic formula" and "iconographic vocable", "language of iconography".

3. Art of late antiquity and early Christian art: parallelism of iconographic programs and stylistic analogies. Influence of ancient typological cycles on Christian iconography.

4. Images of the emperor and the triumphal cycle in official Roman art and their reflections in Christian art.

5. Symbolic and allegorical images of the Savior in early Christian art (Christ the Good Shepherd, Christ the Teacher, Christ the Wonderworker). Antique origins of their iconography.

6. The evolution of the image of the Savior in Christian art.

7. "The Savior is in strength" and its parallel in the iconography of Western Europe - the composition "Maiestas Domini".

8. Features of the iconography of the Mother of God in Christian art of the pre-iconoclastic period.

9. "Signs of Ever-Virginity" of Our Lady: Evolution of Form and Meaning in Byzantine and Ancient Russian Art of the 6th-18th Centuries.

10. Addition of the original iconographic scheme of the Nativity of Christ in early Christian art. Canonical and apocryphal sources of iconography

11. Transformation of the early Christian iconography of the Nativity of Christ in the Justinian era. Reflection of the late antique formula christmas in the "classical" iconography of the Nativity of Christ.

12. Iconography of the Nativity of Christ in Western European art and its replicas in Russian church art of the late Middle Ages and modern times.

13. Iconography of the Nativity of the Virgin (East and West).

14. Compositions created according to the iconographic formula christmas: Nativity of John the Baptist, St. Nicholas and others.

15. Iconography of the Transfiguration of the Lord in the Orthodox East

16. Feast of the Transfiguration and its iconography in the art of Western Europe

17. Iconography of the Feast of the Ascension of the Lord (East and West).

18. Russian feast of the Intercession of the Mother of God and Mother of God shrines of the temple in Blachernae. The first monuments depicting the Protection of the XII-XIII centuries.

19. Two iconographic renderings of the Intercession in ancient Russian art of the XIV-XV centuries.

20. The addition of the "all-Russian" version of the Intercession in the XV-XVI centuries.

21. Modifications of the iconography of the Intercession in the art of the 17th - early 20th centuries.

22. The theme of the Protection of the Mother of God in the art of Western Europe.

23. The composition of the triumphal composition "Anastasis" in early Byzantine art, the late antique origins of its iconography. Symbolism of the gesture "grab the wrist"

24. Interpretation of the theme of the Resurrection in Catholic medieval art: the composition of the compositions "The Descent of Christ into Hell" and "The Rise of Christ from the Sepulcher".

25. The evolution of the Anastasis iconography under the influence of Western prototypes in the late Byzantine period. Apocryphal sources about the Descent of Christ into hell.

26. Detailed images of the "Resurrection - Descent into Hell" in Russian art of the 16th-17th centuries.

27. The Liturgical Tradition of the Celebration of Pentecost and Features of the Early Iconography of the Feast. The initial compositions of the Ascension-Pentecost and their later replicas in the art of Western Europe and Armenia.

28. The "classical" iconography of Pentecost: the creation of an independent composition based on the ancient formula teachers. Evolution of imago clipeata with outgoing rays

29. The "addressees" of the apostolic sermon in the composition of Pentecost, the evolution of their image.

30. Modifications of the iconography of Pentecost in Russian art of the 17th century

31. Features of the iconography of Pentecost in the art of Western Europe

32. Holidays with a common iconographic formula "meetings" - a brief overview of the plots and their characteristics

33. Iconography of the Presentation in Eastern Christian Art

34. "Cleansing of the Blessed Mary" and "Presentation of the Lord in the Temple" as a parallel to the composition of "The Presentation" in the art of Western Europe

35. Iconography of the Annunciation in Early Christian Art

36. Iconography of the Annunciation in the Orthodox East in the IX-XVI centuries.

37. "The Annunciation of Ustyug" - features of the edition

38. Iconography of the Annunciation in the West

39. Iconography of the feast Introduction to the Temple in the East and in the West

40. Features of the iconography of the Resurrection of Lazarus in early Christian art

41. "The Resurrection of Lazarus" in the art of Byzantium and Ancient Russia

42. "The Resurrection of Lazarus" in the art of Western Europe

43. Iconography of the Feast of the Entry of the Lord into Jerusalem in the Art of the Orthodox East

44. "The Entry of the Lord into Jerusalem" in the art of Western Europe

45. Iconography of the composition "Myrrh-bearing women at the Holy Sepulcher"

46. Iconography of the Last Supper in the East

47. Iconography of the Last Supper in the West

48. Iconography of the Eucharist - "Communion of the Apostles"

49. Iconography of the theophany at the Oak of Mamre: from the "Hospitality of Abraham" to the "Old Testament Trinity"

50. Variations of the theme of the Holy Trinity in the art of East and West. "New Testament Trinity": Crucifixion in the bosom of the Father, the Fatherland, the Common Throne.

51. Iconography of the composition "The Entombment" in Eastern Christian art

52. The theme of the Entombment in the art of Western Europe

53. Iconography of the Feast of the Assumption of the Blessed Virgin Mary in Eastern Christian Art.

54. "Assumption of the Mother of God" in the West. Ascension of Our Lady - "Santa Maria Assunta"

55. Iconography of the feast of the Epiphany - Epiphany in the East

56. Iconography of Baptism in the art of Western Europe

57. Features of the iconography of the Crucifixion before iconoclasm

58. Evolution of the iconography of the Crucifixion in the post-iconoclastic period

59. Western European iconography of the Crucifixion

60. Iconography of the Exaltation of the Cross

61. The theme of the Last Judgment in early Christian art

62. Addition of the Byzantine version of the Last Judgment

63. Iconography of the Last Judgment in ancient Russian art of the XV-XVII centuries.

64. "Last Judgment" in Romanesque and Gothic art

65. Variations of the theme of the Last Judgment in the Renaissance

7. Logistics support of discipline (module).

An audience equipped for slide shows (dark curtains or blinds on the windows).

Notebooks: Toshiba Satellite L 100, Toshiba Satellite L 500

Multimedia overhead projectors: MP 626 (2 pcs.)

The program was drawn up in accordance with the requirements of the Federal State Educational Standard of the Higher Professional Education, taking into account the recommendations and the ProOP of the Higher Professional Education in the direction of preparation __ 035400 Art History .

Reviewer(s) ____ Art. teacher Suslenkov V.E. ___

The program was approved at the meeting ______ Department of ITCI

from __ 30.08.2012 year, protocol No. _ 1-2012/2013 .

ORTHODOX ST. TIKHONOV HUMANITARIAN UNIVERSITY

FACULTY OF CHURCH ARTS

APPROVE

_______________________

"_____" __________________ 20__

Work program of the discipline

"Iconography of Christian Art"

Direction of training

art history

Qualification (degree) of the graduate

Bachelor

Form of study

1. The goals of mastering the discipline

The objectives of mastering the discipline are the development of a high level of spiritual and moral culture of students and the formation of their general cultural and professional competencies in accordance with the requirements of the Federal State Educational Standard of Higher Professional Education in this area of training.

Specific goals of studying the discipline:

acquisition of knowledge on the iconography of a significant number of subjects of the Christian East and West;
clarification of the close connection between the iconography of Christian art and the art of Greco-Roman antiquity;
comparative comparison of the iconography of similar subjects in the art of the Eastern Christian Orthodox world, on the one hand, and Catholic and Protestant Europe, on the other, their differences and mutual influences;
understanding the conditionality of iconographic differences by dogmatic and liturgical-ritual differences between the Eastern and Western Churches;
strengthening the skills of correct perception of the conditional symbolic artistic language of medieval Christian art and the ability to comprehend the content of works and systematize them through knowledge of the main components of the language of iconography - iconographic "vocables" and "formulas"
mastering the techniques of the linguistic-iconographic method of analyzing works of art (method of A.N. Grabar).

1.1. The tasks of studying the discipline:

To acquaint listeners with the features and specifics of the language of Christian iconography;
to instill a deep understanding of the principles of its formation, based on the commonality of the iconographic vocabulary of the art of the Christian East and Greco-Roman art of the late antiquity;
streamline and deepen knowledge on the iconography of most Christian images, on the chronological stages in the development of the iconography of each individual plot in the art of the Christian East and West;
introduce students to the circle of problems related to the study of the iconography of the monuments of the Christian Middle Ages;
to study the main trends and ways of developing the iconography of Christian art of the East and West;
to deepen the basic conceptual apparatus for carrying out an iconographic analysis of works;
to master the methodology of iconographic analysis according to the linguistic-iconographic method of A.N. Grabar.

1.2. Place of discipline in the educational process:

The discipline "Iconography of Christian Art" is included in the basic part of the professional cycle of the Federal State Educational Standard in the direction "History of Art" (Bachelor). For the successful mastering of the discipline, a good preparation of the student in the subjects taught during the 1st and 2nd courses is necessary: the description and analysis of monuments, an introduction to the history of art, the history of ancient and Byzantine art, the history of the Ancient World and the Middle Ages, the history of the Church, an introduction to the dogma, biblical studies ; knowledge and free orientation in the range of questions submitted for examinations in the specialty; possession of a natural and developed ability in the field of scientific analysis, inquisitiveness, and an active interest in expanding knowledge. The study of the discipline should be based on the possession of a culture of thinking and analysis, the ability to perceive information and generalize the knowledge gained, the awareness of goals and the choice of ways to achieve them; on the ability to competently, logically argued, clearly build oral speech. The assimilation of the course "Iconography of Christian Art" continues the subject "Basic Principles of Christian Iconography", and also deepens and summarizes the knowledge of students in the disciplines "Early Christian and Byzantine Art", "Western European Art of the Middle Ages" and "Old Russian Art", included in the general training program graduate in the specialty 035400 "History of Art".

2. Competences of the student, formed as a result of mastering the discipline.

OK-1, possession of a culture of thinking and discussions, the ability to generalize, analyze, perceive information, set a goal and choose its ways to achieve it

OK-6, the ability to carry out intellectual, cultural, moral and professional self-development and self-improvement, improve one's qualifications and skills

OK-9, the ability to understand and analyze worldview, socially and personally significant philosophical problems, knowledge of the main provisions and methods of the humanities, social and economic sciences, the ability to use them in solving social and professional problems, the ability to analyze socially significant and artistic problems and processes

OK-18, willingness to respect and care for the historical heritage, the heritage of art history and cultural traditions, tolerantly perceive social, ethno-national, religious and cultural differences

PC-1, the ability to use in research on the history of art basic knowledge in the field of general history of art and the history of domestic art

PC-8, the ability to use special knowledge acquired within the framework of profiling or an individual educational trajectory

PC-11, the ability to apply the acquired knowledge in pedagogical activities in teaching courses of world art culture, general history of art, history of national art in educational institutions

3. Knowledge, skills and abilities,
received after mastering the discipline

3.1. The student must know:

literary sources of the iconography of each of the studied subjects, its artistic origins and examples in the art of previous eras (if any);
the chronological framework for the emergence and development of the iconography of the plot, the stages of its evolution;
ideological and theological-philosophical context in which the formation of the iconography of the plot took place;
the reasons that influenced the changes in iconography;
common features and differences in the iconography of the plot in the art of the Christian East and West;
the most significant monuments of fine art of the Christian East and West, the historical and cultural context of their creation, their semantic and figurative structure;
the basics of the methodology for conducting an independent iconographic analysis of works according to the linguistic-iconographic method of A.N. Grabar.

3.2. The student must be able to:

· to use basic knowledge in the field of art history, description and analysis of monuments, as well as dogmatic and comparative theology in research on iconography;

· to perceive and analyze the monuments of Christian art in the context of their contemporary art and the general cultural and historical situation;

· analyze ideological, philosophical, theological, socio-cultural and artistic problems of Christian art;

· competently and qualifiedly, orally and in writing, express in Russian their knowledge of the iconography of monuments of Christian art;

understand, critically analyze and use basic information on the history of art and iconography, apply the accumulated experience to solve research problems;

· critically perceive the scientific concepts and methods used in the study of Christian iconography;

· use the knowledge gained within the discipline "Christian iconography" for possible work in museums, galleries, art funds, libraries; for compiling reviews, annotations, abstracts and bibliography on the subject of ongoing research; for pedagogical activity; to develop information support for historical and cultural, historical and local history, art history aspects; to ensure the activities of think tanks, public and government organizations, incl. for the preservation of monuments of architecture and art, artistic heritage.

understand the specifics of the artistic and figurative structure of Christian art;

distinguish and interpret monuments in terms of time and place of their origin;

· navigate and work with the main works on iconography and medieval Christian art.

3.3. The student must have the skills:

freely navigate the subjects of Christian art;
unmistakably recognize and interpret a work of art in terms of its content;
to make an independent iconographic analysis of a work of art;
to attribute the monument based on the analysis of its iconographic features.

The structure of the discipline.

The total labor intensity of the discipline is 8 credits, 288 hours.

The amount of working time for the study of discipline

Topic name	Types of educational work, including independent work of students and labor intensity (in hours)
Total	including
Lectures	Practical and seminar classes	Independent work (indicating the type) Reading the recommended literature preparation for the control. work, preparation for the test	Forms of current progress control (by week of the semester) Form of intermediate certification (by semesters)
	Topic I. Introduction. Subject and method of iconography. Mechanisms of formation of Christian iconography
	Theme II. Iconography of the Savior and the Mother of God
	Topic III. Iconography of Christian holidays with a common iconographic formula christmas.			Test
	Topic IV. Iconography of Christian holidays with a common iconographic formula visions.			Oral survey, written work, discussion
	Topic V. Iconography of Christian holidays with a common iconographic formula teachers			Test
	Theme VI. Iconography of holidays with a common iconographic formula meetings			Oral survey, discussion of current exhibitions
	Theme VII. Iconography of compositions with a common iconographic formula meals.			Essay, discussion
	Theme VIII. Iconography of compositions with a common iconographic formula doom, death.			Discussion of books read on the subject
	Topic IX. Iconography of compositions with a common iconographic formula baptism.			Advice for offset
	Topic X. Iconography of holidays with independent iconographic formulas.			Oral survey, discussions
	Topic XI. Iconography of multipart compositions and plot cycles.
	Total

Topic I. Introduction.

Lecture 1. Subject and method of iconography.

1. Iconography as a boundary discipline between theology and art history. Iconographic school in art criticism. Methods F.I. Buslaeva, N.P. Kondakova, L.A. Uspensky. N.V. Pokrovsky, A.I. Kirpichnikov and their works on Christian iconography. The fate of the iconographic method in Soviet art history.

2. Linguistic-iconographic method of A.N. Grabar in the study of the process of creating Christian stories in the era of late antiquity. The concepts of "iconography", "iconographic vocable", "iconographic formula", "language of iconography". Examples of iconographic vocabularies: “oranta”, “mystery”, “miracle worker”, “author”, “speaking”, “sleeping”, “clypeus”, etc., iconographic formulas: “Christmas”, “vision”, “meeting” and others

Lecture 2. Mechanisms of the formation of Christian iconography in art before the Edict of Milan (II - early IV centuries).

1. Early Christian art is the period of the beginning of the formation of Christian iconography. The formation of the language of early Christian art is the process of "baptism of Hellenism", in which the perception of the artistic language of the Roman Empire of the late antiquity by Christian culture and its transformation took place. Painting of Christian catacombs and sculpture of sarcophagi: parallelism of iconographic programs and stylistic analogies in the painting of pagan hypogees.

2. "The Story of Jonah", "The Good Shepherd", "Our Lady Galaktotrofussa" and other favorite plots of early Christian art, the ancient origins of their iconography. Correlation between the role of the text and the ancient artistic model in the process of creating the iconography of Christian subjects.

Since its founding, the Museum Andrei Rublev conducts educational activities and introduces visitors to church art: various techniques, plots, artistic features of icon painting from different eras and regions. Leading employees of the Museum have been giving lectures on iconography, ancient Russian literature, and talking about the cultural ties between Ancient Russia and Byzantium for many years.

However, a detailed series of lectures dedicated exclusively to the culture of the Old Believers is organized for the first time.

During the upcoming academic year, we will be glad to see high school students, students and all those interested in the culture of the Old Believers at the lectures of the cycle “Old Believer Iconography. Artistic features and centers of icon painting.

The focus of the classes will be on icon painting, which is quite logical, given the specifics of our Museum. Nevertheless, the program includes lectures on arts and crafts, books, modern ethnography and cinema.

Lectures will be delivered by leading members of the Center for Contemporary Arts, custodians of funds, recognized experts in these areas: Tatyana Nikitichna Nechaeva, head of the scientific and fund department, art critic, author of a number of publications on the Guslitskaya icon; Elena Yakovlevna Zotova, Candidate of Historical Sciences, senior researcher, curator of the copper casting fund; Larisa Ivanovna Alyokhina, Candidate of Philology, Head of the Sector of Rare and Early Printed Books.

We are especially pleased that our initiative was supported by invited experts. Daria Evgenievna Maltseva, art critic, artist-restorer, employee of the Peccoli Museum (Italy), will talk about the little-studied Vetka icon.

The real pride of the lecture hall will be the participation in our project of the Center for Visual Anthropology of Moscow State University, under which the Video Fund of the Culture of the Old Believers of Russia was created. The head of the Public Center for Visual Anthropology of Moscow State University, Candidate of Art History, Evgeny Vasilievich Alexandrov and Elena Sergeevna Danilko, Doctor of Historical Sciences, Leading Researcher at the Institute of Ethnology and Anthropology of the Russian Academy of Sciences, will present two films about the life of modern Russian Old Believers as part of the lecture hall.

It should also be noted that this academic year, the CVA MSU organized its own film lecture hall on the basis of our Museum. The film lecture hall will be held on Saturdays, 6 documentaries were selected for viewing. The exact dates of the screenings and information about the films will be posted on the website at a later date.

The series of lectures will end with a conversation with the editor of the Information and Publishing Department of the Russian Orthodox Old Believer Church, historian, member of the Union of Journalists of Russia, Gleb Stanislavovich Chistyakov, one of the scientific consultants of the series "Split". Together with the guest of the lecture hall, we will not only discuss the artistic features of the series, but also try to answer the question: can this interpretation of the image of the Old Believers in modern cinema mean the end of the era “without a hero” and whether this indicates positive changes in Russian self-consciousness.

After the anathematization of the Old Believers (1666-67), extraordinary courage was required not only from spiritual teachers, but also from the “creative intelligentsia”: icon painters, masters of copper casting and book miniatures. The official condemnation of the old rites meant a ban on a number of images that were the only acceptable ones for the Old Believers.

Thus, among other things, the widest range of anti-Old Believer measures included prohibitions on the production of cult objects, primarily copper and tempera icons and crosses, liturgical books. Legislative measures directed against the iconographers-Old Believers were quite broad. Already in 1668, a rule was introduced according to which it was forbidden to paint icons without special permission.

Official authorities periodically issued laws restricting the freedom of Old Believer masters. Peter I issued a number of decrees prohibiting the production of copper-cast icons: in 1722 - the Decree "On the prohibition of the use of carved and cast icons in churches and private houses"; in 1733 - a ban on cast icons and crosses, except for pectoral crosses. Cast icons were instructed "having robbed, used for church needs, and (...) these icons from now on will no longer be poured, and the sale of these icons by the merchant people in the ranks is prohibited."

Under Peter I, icon painters were for the first time obliged to put a signature on the icon. Another decree of Peter Alekseevich dealt directly with iconography. After his order on the Office of the Orthodox Confession of June 15, 1724, St. Prince Alexander Nevsky was forbidden to write in the schema: "in a monastic person, do not write to anyone at all (...) But write that holy image in the clothes of the grand dukes."

Under Nicholas I, by the Highest Decree of January 5, 1845, and also in accordance with the decision of the Holy Synod, the Old Believers were forbidden to enter the workshops of icon painters.

Masters who painted icons according to old models, and merchants who distributed them, were persecuted and subjected to various punishments, and "untrue" icons, "against the teachings of the Orthodox Church", were confiscated and rewritten or destroyed. At the same time, the conclusions of the so-called "experts" from the dominant church were extremely biased and often amateurish.

There is a saying: happy is he who has the courage to defend his convictions. Despite searches with confiscation of property, prohibitions to engage in a profession and expulsions from their places of residence, painters and casters continued to create works based on ancient models. We will talk about these courageous, and therefore happy people in our lectures.

Lecture series 2013-2014 Old Believer iconography. Artistic features and centers of icon painting

(for adults, students and high school students)

Lectures are given on Sundays, twice a month. Start at 12.30
The duration of the lecture is 1 hour 20 minutes.
Classes are held in the lecture and concert hall of the TsMIAR (4th floor of the permanent exhibition)

Introductory speech: Ignatova T.V. Spaso-Andronikov Monastery surrounded by memorable places of the Old Believers. Aleksandrov E. V., Danilko E. S. Twenty years of the Video Fund of the Culture of the Old Believers in Russia (1993-2013).

Screening of the documentary film "Andrey from Mikhalkino" (2011, 30 min.). The authors of the film: E.V. Alexandrov, E.S. Danilko.

Performance by the Youth Choir of the Theological School of the Rogozhsky Cemetery.

Entrance ticket price: for adults - 300 rubles, for schoolchildren, students, pensioners - 200 rubles

Artistic features of the Old Believer icon painting. Attribution issues. Art critic, researcher, reads Ignatova T.V.

Entrance ticket price

Old Believer Books. Reads Ph.D., head. sector of rare and early printed books Alyokhina L.I.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

Old Believer icon painting of Pomorye. Art critic, researcher, reads Ignatova T.V.

Entrance ticket price- 100 rubles

“The most perfect casting…” Copper sculpture of Pomorye. Ph.D., senior researcher, curator of the copper casting fund Zotova E.Ya. reads.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

Romanov-Borisoglebsk as one of the largest centers of the old faith on the Volga. Dynasty of icon painters Arkhipovsky. Art critic, researcher, reads Ignatova T.V.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

Guslitskaya Old Believer icon painting. Reads head. scientific fund department Nechaeva T.N.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

"Copper images are quite cheap prices ...". Old Believer plastic of the Moscow province. Ph.D., senior researcher, curator of the copper casting fund Zotova E.Ya. reads.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners — 100 rubles

Old Believer iconography of the Urals. Art critic, researcher, reads Ignatova T.V.

The lecture is accompanied by a screening of a documentary film about the life of modern Ural Old Believers "In the hands of summer" (TsVA MSU, 2006, 46 min.). The authors of the film: E.V. Aleksandrov, E.S. Danilko. The film is presented by Doctor of Historical Sciences, Leading Researcher of the Institute of Ethnology and Anthropology of the Russian Academy of Sciences Danilko E.S.

Entrance ticket price: for adults — 300 rubles, for schoolchildren, students, pensioners - 200 rubles

Old Believer icon painting of Vetka and Starodubye. The artist-restorer, art historian, Maltseva D.E. reads.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

Moscow Centers for Bespopov's Accords. Icon-painting workshops at the Transfiguration Cemetery, Monino Prayer House, Bratsk Yard. Art critic, researcher, reads Ignatova T.V.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

Excursion to the Rogozhskoye cemetery "The history of the Rogozhskoye cemetery, the icon collection of the Intercession Cathedral and the Church of the Nativity of Christ" *.

The exact date and time of the excursion will be determined in the lecture hall.

“If not Vyg, then Moscow…” The history of copper establishments on the street. Ninth Company. Ph.D., senior researcher, curator of the copper casting fund Zotova E.Ya. reads.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

The image of the Old Believers in contemporary art. Series N. Dostal "Split". Reads by the editor of the Information and Publishing Department of the Russian Orthodox Church, historian, member of the Union of Journalists of Russia Chistyakov G.S.

Entrance ticket price: for adults - 150 rubles, for schoolchildren, students, pensioners - 100 rubles

For those who wish, a lesson will be held: "Monuments of the history of the Old Believers in the permanent exhibition of the Central Museum of Archeology". The lesson is conducted by Ignatova T.V. Convenient time and the composition of the groups will be determined in the classroom in the lecture hall *.