Creative work of Kostroma icon painters in the second third of the 17th century
No. 3 (34) (2024), Eurasian Heritage
No. 3 (34) (2024)

Creative work of Kostroma icon painters in the second third of the 17th century

Eurasian Heritage
DOI: https://doi.org/10.46748/ARTEURAS.2024.03.001
Published 2024-09-29
Ivan N. Suloev
Kostroma State Historical, Architectural and Art Museum-Reserve, Kostroma, Russian Federation

eLibrary ID iwdoroga@mail.ru

Abstract

The article studies the activity of Kostroma icon painters in the second third of the 17th century, which is a logical continuation of the author's previously published research. A number of masters of this period are identified and a chronicle of their creative activity is compiled. The stable features of the “Kostroma school” of icon painting on the icons of the second third of the 17th century are defined. To solve the tasks the author applied a number of methods: comparative-historical method — to compare sources about the work of Kostromites in temples and monasteries; historical-genetic — to study the changes in the composition of the artels; systematic method — to study the structure of the artels; historical-statistical — when considering the number of temples and monasteries, the number of purchased icons. As a result of the research it was established that in the second third of the 17th century Kostroma icon painters took part in the painting of seven temples, of which six have preserved frescoes. The walls of the Assumption Cathedral of the Kirillo-Belozersky Monastery were painted in 1641 by an artel led by Lyubim Ageyev. Since Joachim Ageyev is the founder of the “Kostroma school of mural painting”, the painting of the Assumption Cathedral of the Kirillo-Belozersky Monastery is the starting point for the study of the development of mural painting and the works of the masters who belonged to the Kostroma school of icon painting. The frescoes of the Assumption Cathedral are characterised by the following features: the use of various shades of red and blue; a combination of red, brown, green colours; antique faces and the peculiarities of the depiction of hair, white flecks and brightening of separate parts of the image by repeated painting with a gradual increase in the amount of whites. These frescoes are also characterised by ornamentation on the margins of the clothes in the form of flowers (stars), circles, triangles, and on the clothes themselves — in the form of flower stems with leaves and buds. At the same time, the ornament does not completely fill the entire space of the garment. These features of the Kostroma school of icon painting are further traced in the following monuments: in the icon “Nativity of the Mother of God, with scenes of the hagiography” painted in 1642; in a five-part deesis dated to the middle of the 17th century: “The Saviour Almighty”, “The Mother of God”, “John the Baptist”, “Archangel Michael”, “Archangel Gabriel” (Holy Trinity Ipatievsky Monastery), parts of icons of the forefather, prophet and deesis rows of the iconostasis of the Trinity Cathedral of the Holy Trinity Ipatievsky Monastery.

https://doi.org/10.46748/ARTEURAS.2024.03.001

References

  1. Bryusova, V.G. (1984) Russian painting of the 17th century. Moscow: Iskusstvo. (In Russ.)
  2. Bryusova, V.G. (1982) Gury Nikitin. Moscow: Izobrazitelnoye iskusstvo. (In Russ.)
  3. Komashko, N.I. and Katkova, S.S. (eds.) (2004) The Kostroma icon of the 13th–19th centuries. Vault of Russian Iconography. Moscow: Grand-Holding Publ. (In Russ.)
  4. Suloev, I.N. (2023) ‘The history of icon painting in the Kostroma Region in the second half of the 16th – first third of the 17th century’, Iskusstvo Evrazii = The Art of Eurasia, (2), pp. 26–31. doi:10.46748/ARTEURAS.2023.02.002. (In Russ.)
  5. Buseva-Davydova, I.L. (2005) Russia of the 17th century: culture and art in the epoch of changes. Dr. Art Sci. thesis. Moscow. (In Russ.)
  6. Kochetkov, I.A. (ed.) (2009) Dictionary of Russian icon painters of the 11th–17th centuries. Moscow: Indrik. (In Russ.)
  7. Frantsuzova, E.B. (1989) ‘Icon-making in Vologda in the first half of the 17th century’, in Culture of the European North of Russia: pre-October period. Vologda: Vologda State Pedagogical Institute, pp. 30–46. (In Russ.)
  8. Skopin, V.V. (1989) ‘Icon painters on Solovki in the 16th – middle of the 18th century’, in Popov, G.V. (ed.) Old Russian art. Artistic monuments of the Russian North. Moscow: Nauka, pp. 285–309. (In Russ.)
  9. Vinogradova, E.A. et al. (eds.) (2017) Icons of Vologda at the end of the 16th–17th centuries. Vologda: Antiquities of the North; Moscow: Severny Pilgrim. (In Russ.)
  10. Fedorycheva, E.A. (2003) Church of Nikola Nadein in Yaroslavl. Moscow: Severnyy palomnik. (In Russ.)
  11. Kazakevich, T.E. (2006) ‘Wall painting of the Assumption Cathedral of the Kirillo-Belozersky Monastery’, in Ferapontovsky Collection, issue 7. Moscow: Sovetskiy khudozhnik, pp. 79–115. (In Russ.)
  12. Kochetkov, I.A., Lelekova, O.V. and Podyapolsky, S.S. (1979) Kirillo-Belozersky Monastery. Leningrad: Khudozhnik RSFSR. (In Russ.)
  13. Kazakevich, T.E. (2002) ‘Temple icon Nativity of the Mother of God from the cathedral of the Ferapontov Monastery’, in Vinogradov, G.I. (ed.) Ferapontovsky Collection, isssue 6. Moscow: Sovetskiy khudozhnik, pp. 223–234. (In Russ.)
  14. Zonova, O.V. (1964) ‘Mural painting of the Assumption Cathedral of the Moscow Kremlin’, in Lazarev, V.N., Podobedova, O.I. and Kostochkin, V.V. (eds.) Old Russian art. 17th century. Moscow: Nauka, pp. 110–137. (In Russ.)
  15. Ouspensky, A.I. (1902) History of the wall painting of the Assumption Cathedral in Moscow. Moscow: A.I. Mamontov Publ. (In Russ.)
  16. Zabelin, I.E. (1850) ‘Materials for the history of Russian icon-painting’, in Provisional of the Imperial Moscow Society of Russian History and Antiquities. Moscow: s.n., pp. 1–128. (In Russ.)
  17. Gribkova, A.I. (2022) ‘Paired compositions Birth of Christ and Death of Theotokos on monumental painting of the Cathedral of Nativity of Theotokos in Savvino-Storozhevsky Monastery (1649–1650): the role in the programme and features of iconography’, Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva = Bulletin of the Orthodox Svyato-Tikhonovsky Humanitarian University. Series 5: Issues of History and Theory of Christian Art, (45), pp. 45–63. doi:10.15382/sturV202245.45-63. (In Russ.)
  18. Kazakevich, T.E. (1980) ‘The iconostasis of the Church of Elijah the Prophet in Yaroslavl and its masters’, in Vygolov, V.P. (ed.) Monuments of Russian architecture and monumental art. Materials and Research. Moscow: Nauka. (In Russ.)
  19. Gorshkova, V.V. (comp.) (2021) Icons of Yaroslavl, in 3 vol. Vol. 2. Moscow: Severnyy palomnik. (In Russ.)
  20. Gorshkova, V.V. and Fedorchuk, A.V. (comps.) (2018) Rediscovery. Icons rescued in the attic of the museum [Exhibition catalogue]. Yaroslavl: The Yaroslavl Art Museum. (In Russ.)
  21. Katkova, S.S. (ed.) (2014) Kostroma. Iconostasis of the Trinity Cathedral of the Ipatiev Monastery. S.l.: Verkhov S.I. Publ. (In Russ.)
  22. Kukolevskaya, O.S. (2008) Stenopiskaia Trinity Cathedral of the Ipatiev Monastery, in 2 vol. Moscow: Severnyy palomnik. (In Russ.)
  23. Nikitina, T.L. (2022) ‘Images of the “Last Judgement” on the walls of church galleries of the 17th–18th centuries’, in Voronova, E.A. (ed.) 26th Scientific Readings in Memory of Irina Petrovna Bolotseva (1944–1995) [Collection of articles]. Yaroslavl: Tsifrovaya tipografiya, pp. 223–235. (In Russ.)
  24. Ouspensky, A.I. (1909) ‘Tsar icon painters’, in Bulletin of Archaeology and History published by the Imperial Archaeological Institute, issue 18. Saint Petersburg: Imperial Archaeological Institute, pp. 120–121. (In Russ.)
  25. Ouspensky, A.I. (1910) Tsar icon painters and painters of the 17th century. Moscow: s.n. (In Russ.)
  26. Kildyshev, A.V. (1996) Frescoes of the Church of the Resurrection on the Debra: “History of the Universe” and “Apocalypse” in the paintings of the galleries of the Church of the Resurrection on the Debra in Kostroma (1650–1652). Kostroma: EXMI Publ. (In Russ.)
  27. Pokrovsky, N.V. (ed.) (1899) Synodicon of the Kolyasnikov church, issue 2. Saint Petersburg: Synodal Printing House. (In Russ.)

Similar Articles

You may also start an advanced similarity search for this article.