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Ustinova Yuliya

Five seals of the life of st. Andrew from a private collection as an original monument of Novgorod icon painting of the first third of the 18th century


Ustinova Yuliya (2020) "Five seals of the life of st. Andrew from a private collection as an original monument of Novgorod icon painting of the first third of the 18th century ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2020, vol. 37, pp. 100-122 (in Russian).

DOI of the paper: 10.15382/sturV202037.100-122

Abstract

This article studies the iconography and stylistics of the newly discovered monument from a private collection in Moscow. These are fi ve seals of the life of Apostle Andrew dated from the fi rst third of the 18th century. They are fragments of an unknown hagiographic icon of the Saint. The monument was created in the North- Western Russian lands, probably in Novgorod, by a master familiar with the style of Moscow Armory but preserving local artistic techniques in his work. The pictorial life cycle of Apostle Andrew has a fairly late origin. It began to be created in Russian Church art only from the middle of the 17th century and gained popularity in modern times, when Apostle Andrew was proclaimed patron of Russia and its fl eet. But even from this time, individual hagiographic icons of the Saint were preserved. This makes each of them a very valuable artefact, contributing to the knowledge of the trends in the development of the life of the Saint. The article pays special attention to the “Russian journey” of the Apostle. The legend of the journey of Apostle Andrew to Russia (to Kiev and even to Novgorod) arose in the early middle ages, but became especially topical in Peter’s era, in connection with the enormous political and cultural transformations. However, the “Crucifi xion of Apostle Andrew” was represented in the pre-Peter version of iconography on a straight cross, in contrast to the version of the execution of the Apostle on a diagonal cross which was actively borrowed at this time from Western European art. Despite incomplete preservation, the monument is distinguished by the originality of the iconographic design and considerable skill of artistic performance.

Keywords

Apostle Andrew, iconography, Life of St. Andrew, hagiographic cycles of St. Andrew in icons, scenes of life, Russian icon painting of Synodal period, Novgorod icon painting of first third of 18th century

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Information about the author

Ustinova Yuliya


Place of work: Central Andrey Rublev Museum of Ancient Russian Culture and Art; 10 Andronyevskaya Sq., 105120, Moscow, Russian Federation; St. Tikhon’s Orthodox University for Humanities, 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Head of the Easel and Monumental Painting Sector Scientifi c and Stock Department of Storage; Senior Lecturer, Department of History and Th eory of Christian Art;
ORCID: 0000-0002-0902-1110;
Email: brodovaya@mail.ru.