Ever since Prince Vladimir converted his people to Orthodoxy in the 10th century, icons have played a role in Russian history. Through them, artists developed a style different from that of Greek icon painters. They maintained important places in Russian churches and in Russian homes. The enduring significance of icons to Russian religion and culture is indicated by Soviet efforts to destroy them during its war on the Orthodox religion in the 20th century.
The Beginning of Russian Icon Painting
The famous legend about Prince Vladimir's emissaries' overwhelming impression about the beauty and majesty of Constantinople's Hagia Sophia is also the beginning of Russian icon painting. Byzantium's artistic traditions were imported along with its religion, and the first Russian icon painters were Greek. Later, Russians themselves took to the task of icon painting, making this form of artwork their own.
The Vladimir Virgin, also known as the Vladimir Mother of God is one icon that has come to represent the importance of Russian icons to art, history, and culture. This icon, which was brought to Kiev from Constantinople, shows a maternal Mary cradling a baby Jesus. Russians are often credited with humanizing the tradition of icon painting and focusing on Mary's maternity, rather than her virginity. This focus may arise from the Russian concept of “mother earth” or “mother Russia” - the mother figure protects and nurtures, as the Mary figure in Vladimir Mother of God is seen to do in this 12th century icon.
Andrei Rublev was a 15th century Russian icon painter who brought a new style to Russian icon painting. His icon Spas, or The Savior, is one such painting. Rublev was one of many monks who took up residences in monastic communities outside of cities. The tradition of icon painting that arose out of these communities of monks is marked by the use of color and the attitude of serenity and humanity portrayed in the faces of the figures depicted.
Importance of Russian Icons
Russian icons were given places of importance in churches and in homes. Peasants had a special place in their homes, called the “red” corner or “beautiful” corner, in which an icon was displayed. In churches, icons were sometimes placed in an iconostasis. An iconostasis is a screen that is made up of different icons that are arranged according to importance. Examples of iconostases can be seen in Orthodox churches in Russia, including those located within the walls of the Moscow Kremlin. Smaller churches may have a single icon that is preserved as especially important to its history or its members.
Destruction of Icons in the 20th Century
When the Soviets waged war on religion in the 20th century, many icons were slated for destruction. Some icons were saved or spared, like Rublev's Spas. Others were lost forever. During this period, Lenin's face replaced the icon as Russia's important image. When Russian government relaxed its stance on religion, icons that had been hidden in order to protect them from destruction were again revealed for public viewing.
References
Billington, James H. The Face of Russia: Anguish, Aspiration, and Achievement in Russian Culture. New York: T.V. Books, 1998. 31-45.
Massie, Suzanne. Land of the Firebird: The Beauty of Old Russia. Blue Hill: Heart Tree Press, 1980. 26-27, 42, 53.
Talbot Rice, Tamara. A Concise History of Russian Art. New York: Frederick A. Praeger, 1963. 7-9, 35-39.
Kerry Kubilius - A graduate of Ohio State University, Kerry has a BA in Russian and a BA in History of Art with a focus on Eastern European art. She also ...
