Icons of Kostroma in the 17th century: a source review
No. 1 (32) (2024), Eurasian Heritage
No. 1 (32) (2024)

Icons of Kostroma in the 17th century: a source review

Eurasian Heritage
DOI: https://doi.org/10.46748/ARTEURAS.2024.01.005
Published 2024-03-30
Ivan N. Suloev
Kostroma State Historical, Architectural and Art Museum-Reserve, Kostroma, Russian Federation

eLibrary ID iwdoroga@mail.ru

Abstract

The article provides a source-based review of Kostroma icons from the 17th century in order to test the hypothesis of the attribution of these monuments to the so-called Kostroma school of icon painting. To achieve this goal, the author studied catalogues and systematised information about 115 icons. Statistical methods were used to work with quantitative data. The development of icon painting during the 17th century was studied using the method of modelling. The geography of distribution of icons of the Kostroma school of icon painting was determined with the help of iconographic and comparative-stylistic methods. The quantitative distribution of icons at different stages throughout the 17th century was analysed using the comparative-historical method. During the research, preliminary signs were found that the icon belongs to the Kostroma school of icon painting. A list of 18 catalogues and publications containing information about Kostroma icons was compiled. Currently, museums in Central Russia have access to monuments of the Kostroma school of icon painting, and recently icons from private collections have been published. Some of the icons are located in active churches and monasteries, with limited access to them. The chronological model indicates that there are only a few monuments of the Kostroma school of icon painting dating back to the first half of the 17th century. However, the second half of the century is characterized by a significant number of works. The study of the monuments shows that following research should pay attention to the search for additional sources about the first half of the 17th century. Additionally, the chronological framework of the development of the Kostroma school of icon painting should be extended to at least the middle of the 18th century. The masters painted both images for personal prayer and entire iconostases, as revealed by iconographic analysis. It would also be advisable to conduct a comparative analysis of works on the same plots created at different times — this will provide additional information about the development of the iconographic school.

https://doi.org/10.46748/ARTEURAS.2024.01.005

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