The Italian city where the famous shroud is located. Shroud of Turin

When you enter any Orthodox church, in the foreground you can immediately see the holy of holies - the altar, which is an image of the Kingdom of Heaven. The altar has its main shrine - a consecrated table called the See, on which the priest performs his greatest sacrament when the transformation of bread into Flesh and wine into the Blood of Christ takes place.

What is an iconostasis?

The altar is separated from the rest of the temple by an iconostasis. Dealing with the question of what an iconostasis is, it should be noted that it is a special dividing partition, with icons with the faces of saints placed on it. The iconostasis, as it were, connects the heavenly world with the earthly world. If the altar is the heavenly world, then the iconostasis is the earthly world.

The Russian Orthodox iconostasis contains five high rows. The very first row is called the forefather, it is the uppermost, it depicts the forefathers of the Holy Church from the first man, Adam, to the Old Testament prophet Moses. In the center of the row, the image of the "Old Testament Trinity" is always installed.

And the second row is called prophetic, therefore, the prophets are depicted here who announced the Mother of God and the birth of Jesus Christ. In the center is the "Sign" icon.

The third row of the iconostasis is called Deesis and denotes the prayer of the whole Church to Christ. In the very center of it is the icon "The Savior in Strength", which depicts Christ, seated as a formidable Judge of the entire world created by him. To the left of it is the Most Holy Theotokos, and to the right is John the Baptist.

In the fourth festive row, the events of the New Testament are told, originating from the birth of the Mother of God Herself.

And the lowest, fifth, row of the iconostasis is called the "local row", in the center of it are the Royal Doors, above which the "Last Supper" icon is necessarily placed, and on the gates themselves - the "Annunciation" icon (where it communicates the good news to the Holy Virgin), and on both sides of the gate - and the Virgin.

You also need to pay attention to the fact that on both sides there are single-leaf small doors, they are called deacons. If the temple is small, then this door can only be made on one side.

Assumption Cathedral in Vladimir: photo and description

In general, the style, shape and height of the iconostasis depend on the study of the architecture and history of the temple in which it will be erected. And it must be scaled in accordance with the proportions of the temple itself, which were designed by architects in ancient times. The design of the iconostases and the composition of the icons in it have changed many times.

The Assumption Cathedral in Vladimir (photo of which is presented above) has the first iconostasis with fragments that have survived to this day. It dates back to 1408, this is the work of Andrei Rublev and his contemporary monk. Once upon a time, it consisted of four high tiers, among which it was made larger and advanced from the general plan, this showed its special role. The iconostasis in the temple did not cover the dome pillars, thanks to which it was divided into parts. Later, the Vladimir iconostasis became a model for the iconostases of the Moscow Kremlin Assumption Cathedral (1481) and the Assumption Cathedral in the Kirillo-Belozersky Monastery (1497).

Cathedral history

This cathedral was built during the reign of Prince Andrei Bogolyubsky in the middle of the 12th century, and the most skilled craftsmen from all over the Russian land and the Romanesque West were invited to Vladimir to accomplish this task. It was built to store the icon of the Vladimir Mother of God - the patroness of Russia. It is assumed that it was written during the life of the Mother of God herself by the evangelist Luke. Then, in 450, she came to Constantinople and stayed there until the XII century, and then was donated to Yuri Dolgoruky, the father of Andrei Bogolyubsky. Then she saved Russian princely cities many times from ruin and wars.

Iconostasis

The question of what an iconostasis is can be continued with an interesting fact about the very first information about the separation of the altar from the rest of the space in the temple by a curtain or barrier, which dates back to the 4th century. Then, even in Byzantine churches, these altar barriers were quite low and were made of a parapet, a stone beam (templon) and columns. A cross was placed in the center, and icons of Christ and the Mother of God were on the sides of the altar. After a while, icons began to be placed on the template, or relief images were carved on it instead. The cross was replaced with an icon of Christ, and then - with Deisis (in other words, Deisus, prayer) - a composition of three icons: in the center - Christ the Almighty, and the Mother of God is turned to him with prayer on the left side, and on the right - John the Baptist. Sometimes festive icons or individual icons of saints were added on both sides of the Deisis.

Conclusion

The first ancient Russian temples completely repeated the Byzantine models. But this was not always possible, because most of the churches were wooden, and no wall painting was done on them, but the number of icons in the iconostasis increased and the altar barrier grew.

The answer to the question of what an iconostasis is must be supplemented by the fact that the high five-tiered iconostasis became widespread in Russia already in the middle of the 17th century, when the local row of holidays, deisis, prophetic and forefather rows appeared.

In the chapter on the iconostasis, textbooks on the Law of God or the OPK usually tell about the high Russian five-tiered iconostasis. But if we go into the temple, we will not always see five rows of icons in front of us, corresponding to the diagram from the book. Why the five-tiered appearance is chosen for the story about the iconostasis, say Archpriest Sergiy PRAVDOLYUBOV, rector of the Church of the Life-Giving Trinity in Golenishchev (Moscow), and Larisa GACHEVA, icon painter, teacher at PSTGU.

How the iconostasis grew

The choice for those who create the iconostasis is huge. The designs of the iconostases and the composition of the icons in it have changed many times.

The first information about the separation of the altar from the rest of the temple space by a barrier or curtain dates back to the 4th century. In Byzantine temples, the altar barriers were low, they consisted of a parapet, columns and a stone beam called a templon. A cross was placed in the center. On the sides of the altar, icons of Christ and the Mother of God were usually placed. Over time, icons began to be placed on the template or relief images were carved on it. The cross began to be replaced by the icon of Christ, and it, in turn, by the deisis (from the Greek "petition, prayer" - a composition of three icons: in the center is Christ the Almighty and addressed to him in prayer: the Mother of God on the left, John the Baptist on the right. - Ed.). Sometimes, on either side of the deisis, a number of festive icons were placed (for example, in the monastery of St. Catherine on Sinai), sometimes individual icons of saints were added to the deisis order.

The decoration of ancient Russian temples originally repeated the Byzantine models. But this was not always possible, for example, in wooden churches, which were the majority, wall painting was not done, instead the number of icons in the iconostasis increased, the altar barrier grew.

The five-tiered iconostasis became widespread in Russia in the first half - mid-17th century. It consists of the local order, deisis, holidays, prophetic and forefathers. The most famous example is the iconostasis of the Annunciation Cathedral in the Moscow Kremlin. Iconostases of the 15th-17th centuries are called tyablovy. Tyablo is a distorted Greek word for templon. Ornamented beams-tyabla divided horizontally the rows of icons that were attached to them. Later, vertical columns appeared between the icons.

Since the five-tiered iconostases completely covered the entire eastern wall, in the churches of Rostov the Great, the altar began to be separated by a solid stone wall cut through the openings of the gates, the iconostases were painted with frescoes right along the eastern wall of the temple, the gates were distinguished by magnificent portals.

The Naryshkin Baroque style adorned the iconostases with volumetric carvings. The columns, entwined with vines, have replaced the posts and the tyabla. The sequence of the vertical and horizontal lines of the order system was deliberately violated, the icons were made round, oval or other more intricate shape. In baroque churches, the iconostasis turned into a magnificent gilded frame with colorful splashes of icons. Such an iconostasis resembles a wonderful Garden of Eden where saints stay (such, for example, can be seen in the Smolensk Cathedral of the Novodevichy Convent in Moscow, in the Trinity Cathedral of the Ipatiev Monastery in Kostroma, in many churches in Yaroslavl).

For classicist temples of the 18th-19th centuries, a high iconostasis is characteristic, an open space of the upper altar zone, the iconostasis itself turns into an architectural work, it is built in the form of porticoes, triumphal arches or a temple in a temple, while the iconographic content of such iconostases is minimal (this was especially pronounced in Petersburg churches).

Which to choose?

What icons cannot the iconostasis do without? Larisa Gacheva: “Today the iconostasis cannot be imagined without the icons of the Savior and the Mother of God, without the temple icon, which is to the right of the icon of the Savior. If the temple is dedicated to the icon of the Mother of God, then this particular icon is written in the iconostasis, if the temple is dedicated to the Lord's feast, then the icon of the Savior is replaced with a festive icon. The iconostasis is impossible without the royal doors, where the Annunciation is depicted, there can also be evangelists, St. John Chrysostom and Basil the Great - compilers of liturgies, prophets. The deacon's gate may just be a curtain. Now there are temples where the royal doors are made in the form of a curtain. If the iconostasis is tiered, then, depending on the proportions of the altar arch, the architect and the artist decide what tiers there will be. There is always a local row. A festive row or deisis can be added to it, a deisis can be included in a festive row, sometimes an icon of the Trinity, which came from the prophetic row, is included in it. "

What to send into space?

It is not enough just to see the Throne and the forthcoming one, as is now customary among Catholics, the priest facing the people. The iconostasis is much closer to the common man, who must understand what exactly we are doing at the liturgy, and the iconostasis helps him.

On the icon "In Thee rejoices" the forthcoming people are depicted without halos (with halos only John the Baptist and John Damascene), there are even small children there. In this icon, the Mother of God is usually surrounded not by a complete circle (a symbol of eternity), but by a broken one. The sphere goes from above, and below, where people stand, it is torn apart. And eternity descends to us, ordinary people. If this icon is depicted on the western wall (this is rare, but it happens), then the face of the saints flows into the standing parishioners, and the eastern wall is the iconostasis, again the face of the saints. Here you can clearly see that the Church is one, these are people who pray here, both saints and called to holiness.

In the Ferapontov Monastery, on the northern wall, there is a fresco "Rejoices in Thee", and an icon with the same plot stands in the iconostasis next to the Royal Doors. At the entrance to the temple, two songwriters are placed. It turns out that the image "Rejoices in You", this "module of space", is repeated many times. We see this image both from the side and right in front of us, next to the Royal Doors. We look at him, and he is an image of ourselves. We stand below, and before us is the altar, the Throne of God. This icon is a wonderful symbolic depiction of all mankind. It can be sent into space for other civilizations. The iconostasis is also the image of our entire history. "

The patristic and prophetic ranks speak of the past. In the forefather's row are the icons of the Old Testament saints, mainly the ancestors of Christ, including the first people - Adam, Eve, Abel. The prophetic row contains icons of Old Testament prophets holding scrolls with quotes from their prophecies. It depicts not only the authors of prophetic books, but also kings David, Solomon and other people associated with the foreshadowing of the birth of Christ. The Gospel Events shows a festive series. The local row is real, it is close to us, it contains a temple icon. The iconostasis also speaks of the future: the deisis, when the Church prays for Christ the Judge for humanity, shows the moment of the second coming of Christ and the Last Judgment.

Every time we enter the church, we stop in front of the iconostasis. We may not pay attention to the painting of the dome or the frescoes on the columns, but it is impossible not to see the iconostasis. At the same time, if there is a lot of art criticism research about it, then the only work that reveals its meaning remains the book of Father Pavel Florensky "Iconostasis", written almost a hundred years ago.

Irina REDKO

The home of an Orthodox believer is a kind of small Church, in this place a prayer song must be sung. Praises and petitions are performed in front of the images of icons, because they are a means of communication of a person with the Almighty Lord or His faithful and eternal servants. However, Orthodox believers must remember: the appeal refers to the person, and not to the canvas on which she is depicted.

The device of the iconostasis in the house

The arrangement of icons in the home iconostasis can be arbitrary, but in the Christian tradition there are some rules.

In the past, a shelf was built in every family, where holy images were exhibited. These divine paintings were in the brightest and most attention-grabbing place. A shelf for icons was installed in the far corner of the house, in the East. This place was the most illuminated, since the two walls that formed it were with windows, where a lot of sunlight passed.

Home iconostasis

The icon is a sacred image, which is separated from everyday realities and never mixed with everyday life, but is intended exclusively for dialogue with the Lord. She is a window from the endless world, as well as divine revelations in the tones and lines of the icon painter's brush.

It is naive to assume that a large number of holy images makes the life of an Orthodox believer more pious than it really is.

About icons:

An unsystematic collection of icons, various reproductions, church calendars looks like everyday collecting, where prayer completely disappears as an end in itself. Here there is a complete distortion of the term "home", which is a continuation of the monastery.

The modern arrangement of the iconostasis

For the family, this relic is a unifying prayer factor that arises after the forgiveness of all everyday grievances and the achievement of mutual understanding.

• Today's realities of life assert that the church allows to arrange a home iconostasis in an empty space. However, orthodox rules recommend placing it on the east side. The concept of "east" has an important feature for Orthodoxy. It is written about him in the Book of Genesis, by Bartholomew and Matthew.
• If there are doors in the east of the apartment, it is allowed to use other cardinal directions.
• When choosing a place for a family altar, one should avoid the proximity of holy images to any household appliances, which are considered a vain product of modernization and do not contribute to spiritualization. It is necessary to avoid the dense neighborhood of icons and decorative decoration, as well as with books of a non-religious nature.
• For an Orthodox family, the presence of images in the home iconostasis is mandatory Savior Christ and Virgin mary... The image of the Messiah should always remain central, and all others will be smaller in size. The main icons ( Trinity, Christ and the Mother of God) are located above the rest, but it is allowed to place the Crucifix over them.

How to properly arrange icons in an apartment

• The decoration for the family iconostasis is fresh flowers. Large icons placed side by side should be framed with towels according to the ancient Christian tradition. It is forbidden to place non-canonical paintings or their reproductions nearby.
• The home iconostasis should be crowned with a cross, and a lamp should be lit during prayer praises. On holidays, according to the church calendar, the flame of candles can burn for a whole day.

Holy images for the goddess

There must be two holy images in the home iconostasis.

The image of the Son of God, testifying to the incarnation of God and the salvation of the human race. For prayer, a belt cloth is often chosen, on which the Almighty blesses the world with his right hand, and holds the Divine Scripture in his left hand. The Lord appears in these images as the Actor of every destiny, a merciful Father who gives Truth, to which the eyes of Orthodox followers are directed. In this regard, the icons of the Son of God always occupy the main place on the shelves of the home iconostasis.

The face of the Mother of God, who is a perfect man and is revered above the Seraphim and Cherubim. More often used images called "Affection" or "Hodegetria".

• The apostle Luke is traditionally considered the author of the first type, the lists of which are extremely common in the Orthodox world. In "Affection" there is a magnificent contact between Christ in infancy and the Mother of God, which symbolizes the union of the earthly and the heavenly, the Creator and the best of His creations. The image expresses the Creator's endless love for the human race, when God gave the Son to atone for sinfulness. The most common and famous icons of the "Affection" type include: Vladimirskaya , "It is worthy to eat" , "Recovery of the dead" etc.
• "Hodegetria" ("Guide") is the second widespread type of the face of the Virgin Mary. The image demonstrates the true path to God. On the icon, this is evidenced by a specific gesture of the right hand of the Mother of God, pointing to the Infant Christ. The most famous faces of "Odigitria" are: Blakhernskaya, Iverskaya, Tikhvin, Kazan, etc.

Read about the icons of the Theotokos for the iconostasis:

Extremely popular in the Orthodox tradition the image of Nicholas the Pleasure... He always occupied an important place on the shelves of the iconostasis of every Christian. The Monk Nicholas is revered as an eternal servant of God, endowed with special grace.

An Orthodox Christian can place in the shrine the images of the famous prophet Elijah, the great martyr George the Victorious, Panteleimon, the holy evangelist John the Baptist.

Advice! The choice is always individual, and the priest is the best assistant in the matter. For advice, turn to him or another monk.

Iconostasis in the house

Special instructions for placement

At home, it is allowed to follow only the basic rules of placement.

• It is necessary to observe symmetry and systematics, to think over the compositional structure, which will help to avoid feelings of internal dissatisfaction, the desire to change something. The wrong arrangement distracts from the prayer service, the essence of which is concentration on petition and praise.
• An Orthodox person must remember the principle of the church hierarchy: locally revered icons cannot be placed above the main ones (Christ the Savior, the Virgin Mary and the Holy Trinity).
• The image of the Messiah must be placed on the right side of the upcoming believer, and the canvas with the face of the Virgin Mary - on the left. When choosing an iconostasis, one should be guided by the homogeneity of the artistic performance of the shrines. The Church does not recommend allowing diversity in styles.
• Orthodox people should take holiness very seriously, as it is one of the properties of God himself. This quality is reflected in heavenly saints and material objects. It follows from this that the veneration of the holy governors and iconographies belongs to the same religious order.
• The degree of churching of a family is judged by the respect that members show to the faces of Christ and the Mother of God. Family icons have always been tremendously revered. The newly baptized baby was brought to the shrine, and the priest read prayers praising God. In ancient times, through the icon, parents blessed their children for successful studies, travel to distant lands, and service to society. Before the wedding or after the death of a person, believers also turned to the faces of the saints for help.
• If an iconostasis is placed in the house, quarrels, disgusting behavior, scandals on various topics are unacceptable. However, excessive reverence for shrines should not be transformed into idolatry. We must remember: icons are a divine image, but not the very personality of the Lord or His deputies.
• The canvas, which has come into a state of complete disrepair and unrecoverable, cannot be thrown away; it is necessary to show proper attitude and respect to it as to an ancient tablet. Earlier, if the paint on the icon was erased, it was sent down the river. Today, such a rarity is taken to the church, where it is burned in a temple oven.
• If the face was damaged due to careless storage, should confess, since the Church considers such irresponsibility to be a sin.

DIY iconostasis

The arrangement of icons in the home iconostasis today is done as the believer wants.

However, there are certain rules that are best to adhere to in order to improve the quality of communication with the Lord and His deputies.

Before equipping, you should study the planned recommendations for installation in an apartment, and then choose the desired angle. Today furniture stores offer a large number of iconostases in their assortment. It is possible to make it to order, which will take into account all the features and preferences.

1. Any materials are suitable for self-production.
2. The first step is to make the blueprints for the locker.
3. It should be remembered about the distance between the shelves of the iconostasis, because they can ignite from burning candles.
4. Images of the saints are placed at eye level to facilitate communication.
5. It is allowed to put a table under the shelves where lamps and candles, holy water and Scriptures will be located.

Video on how to place the iconostasis in the house

Iconostasis in the temple

"Savior in Strength", an icon from the iconostasis of the Assumption Cathedral in Vladimir, Rublyov workshop, 1408, Tretyakov Gallery

The iconostasis, which in Greek means "the place where the icons stand", is a characteristic achievement of Orthodox culture and is an integral element of temple construction. It consists of several rows of orderly placed icons, and, which is typical for religious culture in general, has many functions and meanings. Separating the altar from the naos, where the parishioners gather, it symbolizes the border that separates the divine "upper" and "lower" worlds, expresses the idea of ​​the sacrament and emphasizes the importance of the altar in relation to the rest of the temple. The iconostasis is also the epicenter of the interior decoration of the temple, where all the main icons are concentrated. In addition, it is a kind of illustration of worship, telling parishioners about the goals, history and structure of the Christian church.

The tradition of erecting an altar barrier dates back to the days of the birth of Christianity, but the composition and structure of the "high" Orthodox iconostasis developed in the process of the development of Russian temple construction at the turn of the 14th - 15th centuries. Unlike the Byzantine prototypes, created in the manner of a colonnade, the Russian iconostasis is filled with rows of icons and represents a continuous barrier across the entire width of the temple.

Each iconostasis is unique and differs from the others both in the number and size of icons, and in style and technique of execution. At the same time, the mutual arrangement of the main elements is strictly natural and regulated by the canon. In the classic "high" iconostasis, the structure of which was formed during the 15th - 16th centuries, the icons were located in four main rows. This is the solution to the iconostasis, which was erected in the Assumption Cathedral of Vladimir around 1408 with the participation of the workshop of the famous icon painters Daniel Cherny and Andrei Rublev. The iconostasis filled three openings of the altar apses and consisted, it is believed, of fifty or more icons, including a huge Deesis row for those times. Below were the icons of the local order, which have not survived to this day, above - icons with images of holidays and prophets.

The composition, realized in the Vladimir Cathedral, is found in many churches and is considered canonical. In subsequent centuries, the appearance of the iconostasis changed, it became more complex, and the number of rows increased to seven. Nevertheless, it was this four-part performance that became the basis of the tradition of the Russian iconostasis, which continues to this day.

Iconostasis in the temple of Seraphim of Sarov, Naberezhnye chelny

The iconography, located on the first tier, is built around the painting of the "royal" gates, on the doors of which the Annunciation and the figures of evangelists or saints are traditionally depicted. On the sides of the passage there are paired images of the Mother of God and the Savior, which are occasionally replaced by icons of the Lord's and theotokos' feasts. To the right of the face of Christ is a temple icon, which represents an event or a saint in whose honor the temple is consecrated. The doors of the deacon's gates are decorated with images of archangels, archdeacons, high priests or Old Testament prophets. With the exception of the icons of the Mother of God and Christ, the presence of which is mandatory, the composition of the local row differs both in plot and in size. As a rule, it is formed by icons of locally revered saints. Less common are allegorical compositions, images of holidays or scenes from biblical life. The number of icons is limited by the width of the altar and ranges from three to twenty or more units.

The next tier of the iconostasis is occupied by the icons of Christ, the Mother of God, John the Baptist, as well as the apostles and saints that make up the Deesis row. The first three represent a three-part composition - which is located in the center and acts as a symbolic dominant of the iconostasis as a whole. The iconography of the Deesis is defined by a strict canon. The Savior is portrayed in the image of the Almighty or Savior in powers. On the left are the image of the Mother of God, which is painted facing the figure of Christ, as well as the icons of the Archangel Michael and the Apostle Paul, which, although not part of the Deesis, are invariable elements of this order. The images of John the Baptist, the Apostle Peter and the Archangel Gabriel are on the right, respectively. The iconography and the relative position of the remaining images, including the icons of the remaining ten apostles, which make up a special "apostolic deesis", allows for various variations.

The festive rite, located in the third tier, presents icons of the feasts of the Lord and theotokos, as well as other events from the Gospel history, including such subjects as the resurrection of Lazarus, the Last Supper and the erection of the Cross.

Above is the prophetic row, which includes icons of the Old Testament prophets: Elijah, Gideon, Zechariah, Solomon, David and many others. According to the canons of Orthodox iconography, prophets are depicted with scrolls of sayings and symbols of prophecies.

Iconostasis of the Cathedral of Christ the Savior, XIX century, Moscow

In the combination of the main rows, the Orthodox iconostasis expresses almost all the main stages in the history and hierarchy of the Orthodox Church. The Deesis represents Christ in Glory and echoes the iconography of the Last Judgment. The prophetic series refers to the Old Testament history. The festive rite testifies to the main events in the life of Jesus Christ. The symbolism of the local row, which plays a special role in the process of worship, can be viewed in the context of the idea of ​​reuniting the divine and the earthly, movement towards salvation through prayer and the church.

The fifth, forefathers, row, which entered the composition of Orthodox iconostases from the beginning of the 16th century, contains images of the forefathers and represents the oldest, highest hierarchy of the Christian divine essence. Here are the images of the Old Testament prophets and the first people, including the icons of Adam, Eve, Abel, Abraham. In the center, above the royal doors and the image of Christ, there is traditionally an icon associated with the image of God the Father - "Trinity" or "Fatherland".

The highest point in the development of the Russian iconostasis falls on the period of the 16th - 17th centuries. Outstanding works of temple art belong to this time, including the iconostases of the Assumption and Archangel Cathedrals in Moscow. With the increase in the number and size of icons, the structure of the iconostasis changed. The festive row, formed by a group of icons with a smaller and more complex image, began to be placed closer to the viewer, immediately above the local one. In addition, several new rows have appeared. These are passionate rites that tell the story of the death of Christ and the torment of the apostles, as well as a special "pyadnich rite" made up of small house icons left at the altar by parishioners.

In the following centuries, the iconostasis has undergone significant changes. The Synodal period was marked by the desire for the aesthetic organization of the church space, which, in a number of cases, ran counter to both tradition and the canon, but did not interfere with the creation of outstanding works that marked the next page in the history of the Orthodox iconostasis.