An icon is a very important part of Christianity. Translated from Greek, this word means “image.” Usually the icons depict different saints, mother of God, Jesus Christ or actions that occurred in ancient times and are described in the Holy Scriptures.
The face depicted on the icon is not the Lord God. It is believed that it is intended only to remind the praying person of the Divine. That’s why they write on the icon not the face, but the face. Very important in him are the eyes, which reflect the depth of the soul. No less significant are the hands, whose gestures carry a certain meaning.
The rest of the figure is very airy, as it is designed to show inner strength. This is exactly what the emphasis is on.
At a certain period of time, a religious theme became popular among artists. And it seems that there is a painting and an icon on the same topic; the same saint is depicted on it, for example. But on the first canvas there is spirituality, but on the second there is none. Therefore, when painting icons, they demand that canons that were written long ago be observed, which exclude random details. Each fragment carries a certain semantic and spiritual meaning.
The appearance of icons dates back to the 1st century AD. It is believed that the first of them was created by Luke, who wrote one of the parts of the Gospel. According to the second version, the oldest image is the imprint of the face of Jesus Christ when he kissed a towel while washing himself.
One way or another, the oldest images found were dated to the 6th century. They were made in Byzantine Empire, which had a great influence on the writing of icons. In it, but much later, canons for painting images were written.
The history of icons has different periods. There were persecutions, flourishing, and changes in writing style. Each of the images reflects its time, each is unique. There are a lot of icons that exuded myrrh, tears, blood, healed the sick in hard times. They are revered as the greatest shrines.
An icon is an important symbol for a believer, so the process of its creation is reflected in long-described canons that are still preserved. Creating an image is not a quick task; it takes at least three months.
Creating an icon has some stages that are strictly followed:
Then the icon must be consecrated.
All the icons in the temple have their own meaning and are in their place. When entering the church, the iconostasis is immediately visible. This wooden wall, which is located in front of the altar of the temple. On it are images of the life of Christ, a description of his suffering.
You should know that each icon hangs in its place for a reason. In the center there is always the so-called Deesis row, in which there are numerous saints and martyrs. In its center is the icon of Christ Pantocrator. At the top are festive images, including scenes from the New Testament.
In the center of the iconostasis are Royal Doors, behind which is the altar. On the sides are images with the faces of Christ and the Mother of God. There is also a lower tier, which is filled with icons of saints, as well as images of holidays, which are more revered here.
Speaking about what icons mean in the church, we can note their importance in various rituals, in reminding believers of the Lord. Some have a special status as healers of ailments and fulfillment of worldly desires. They are also approached with gratitude for their help.
It is therefore believed that icons in the church are intermediaries. Believers know that by making a sincere request to the saints depicted on them, they can expect help.
In Christianity, there are especially revered images that have come to us since ancient times. They are the link between the time when the events described in the Bible took place and ours. These original ancient icons are mainly kept in museums, but they were often copied for other churches.
For example, the Kiev Museum of Western and Eastern Art houses the oldest icon of John the Baptist, which dates back to the 6th century. It was made using the technique of those times - encaustic. It was used for painting ancient icons in Byzantium.
Also one of the oldest surviving images is the painting of the Apostles Peter and Paul. The date of its creation is the 11th century. Now it is kept in the Novgorod Museum. It is not completely preserved: the hands, faces and feet do not retain the original paint. However, during the restoration the contours were updated.
The existing icon of St. George, which is kept in the Assumption Cathedral in Moscow, is believed to date back to the end of the 11th - beginning of XII century. This relic is in good condition.
Ancient icons are an important heritage of Christianity. Each of them has its own special history and writing technique. The study of icons shows what materials were used to create them. Unfortunately, very few of those first images have survived, as there were periods of their mass destruction.
It should also be noted that the author was rarely indicated at that time. This indicated that the image was still important in icon painting.
This is a separate category of images in Christianity. Usually personalized icons acquired at baptism, then they must be kept throughout life. It will be even better if you hang such an image over your child’s crib so that it protects him from harm.
You should know that personalized icons are those that depict the saint in whose honor the person was baptized. Usually this image is chosen based on the child’s name. If there is not one among the saints, then you should take the one that is most suitable. Thus, the child has a heavenly patron.
In ancient times, such icons were ordered specifically for the birth or baptism of a child. They were called measured and were made to fit the height of a baby.
Personalized icons are not the only ones that are used for special occasions. There are also:
Icon painting has a special attitude towards the female image, namely the Mother of God. Her icons are very revered by believers and often have miraculous powers. Each of them has its own meaning. Any such icons (photos are in the article) are very original.
There are also other images of the Mother of God that are prayed to. Each icon is a special protection and help of this female image in Christianity.
Nicholas the Wonderworker is a no less revered saint in Christendom. People turn to him on various issues - from physical illnesses to stopping quarrels and hostilities. He lived in the 3rd-4th centuries and during his lifetime became famous for his great deeds. There are numerous icons of him, photos of which illustrate his spirituality.
The oldest image of the saint dates back to the 11th century and is located on Mount Sinai, in the monastery of St. Catherine.
Today, in many monasteries and temples there are his images that have miraculous properties.
One of the first images of Jesus Christ was his imprint on a towel, which miraculously appeared there. IN modern world it was called the Savior Not Made by Hands.
If we talk about icons of Jesus Christ, there are a lot of them. There are also several forms of writing his images.
The image of the Son of God now has some required elements. This is a halo, a book, outerwear, clav, chiton. An inscription is also required.
His icons and their meaning have a special status in Christianity.
Sergius of Radonezh is one of the most revered saints. During his life he performed many deeds in the name of Christ. His words reconciled and pacified.
On the icon, Sergius of Radonezh is depicted stern, with his right hand raised in blessing. In his left he holds a scroll as a symbol of knowledge. His icons and their meaning are very important for Christians. They pray to this saint for protection from enemies for the country. It also helps in studying, before an exam, or simply during times of difficulty in understanding something.
A myrrh-streaming icon is a miracle that does not happen very often. This is considered to be a warning about something. This phenomenon can also be the result of sincere and long prayer.
It is believed that the liquid released by the icon at this moment is healing. If you anoint a sick person, his illness may go away.
The flow of myrrh is also the appearance of the Lord to people who believe. This is his message to them.
You can buy icons in every church shop. Their prices may vary. The most expensive, of course, are the ancient images that have survived to this day. Many of them are kept in museums or temples. Such icons are usually not sold, only appraised. For example, the images of the Apostles Peter, Paul, John, and Mark date back to the 16th century. They are valued at 150 thousand euros.
Also, the cost of the icon will depend on its design. After all, even images painted in our time, but decorated with expensive materials (gold, silver, precious stones), will not be sold cheaply. Their price range can start from 2500 rubles. The cost will depend on the materials.
If you need inexpensive icons, then there are icons that are completely simple in design. They can be purchased in shops near the church. Similar images can be purchased at prices ranging from 100 rubles and above.
Rare icons can be purchased in an antique shop or during the sale of a private collection. It is difficult to overestimate such icons and their significance, since for a believer they are truly priceless.
Since ancient times, the icon for Russian people has been the personification of spirituality. There are many known cases in which it was the icon that helped the Russian people get rid of troubles. Healing from incurable diseases, ending wars, saving people during fires - everything is possible through miraculous icon paintings.
As you know, the first images of the faces of Jesus Christ, the Mother of God and saints appeared a very long time ago. Some of them have survived to this day.
To date, 30 ancient icons are known. All of them are valuable not only financially, but also in the historical.
List of the most famous icons of Russia:
The icons listed are historically important objects. All of them are saved and available for viewing. Many of them are in state museums and galleries.
One of the most famous ancient icons is the image of the Vladimir Mother of God. There is a legend that says that the author of the icon was the associate of the Apostle Paul, Luke. The date of writing is attributed to the 5th century. Unfortunately, there is no direct evidence that the image was written by the evangelist.
Presumably, the icon was brought to Russia in 1131. It was a gift to the Russian prince from Constantinople from Patriarch Luke. In Rus' Vladimir icon The Mother of God has come a long way and visited different parts of the country.
At first she received the name of the Vyshgorod Mother of God. This is due to its original location. The icon was kept in the Bogorodnichesky Monastery, which is located in Vyshgorod near Kyiv, for more than twenty years. In 1155, Prince Andrei Bogolyubsky transferred the antique icon to Vladimir. In this regard, the image began to bear the name of the Vladimir Mother of God. Various civil strife and wars did not bypass the icon.
The Vladimir Mother of God was transported to Moscow in 1395. After that, it was transported several times, but eventually in 1480 it was returned to the Assumption Cathedral in Moscow. There she remained until 1918. After some time it was in the State Historical Museum. Later in Tretyakov Gallery. Today the Vladimir Icon of the Mother of God can be seen in the Church of St. Nicholas. The temple does not function for its intended purpose. This is museum. It is located at the State Tretyakov Gallery.
The Vladimir Mother of God is one of the most expensive icons in Russia.
In addition to the famous iconographic images, which are in various museums and available for public viewing, there are other ancient icons. They are exhibited at auctions and have enough high cost. Today you can purchase the following iconographic images:
In fact, this list is quite large. Only some of the most expensive icons are considered here. All of them are for sale. The purchase of such images is carried out by real connoisseurs of icon painting - collectors.
It is difficult to say which icon is the most expensive in the world and how much it costs today. So, one of the most valuable Orthodox icons is the image "St. George with the Life". It is kept in the Ukrainian National Art Museum, which is located in the city of Kyiv. The approximate cost of this work of art is $2 million. Of course, “St. George with the Life” is one of the most expensive icons in the world. But perhaps there are more valuable iconographic images.
Antiques are antique, which has a high market value. An entire team of specialists with extensive experience in this field often works to evaluate antique icons. If a person is the owner of an ancient icon painting, he simply needs to know the market value of this item. Otherwise, when selling the icon, the owner will receive a relatively smaller amount. How to determine the age of an icon? This question interests many collectors. After all, this aspect plays a decisive role in determining the cost.
Market value depends on several important factors:
Settings were often used for icons. More valuable are the icons in a gold frame. Less often you can find images with precious stones. Icons in a silver frame also have a fairly high cost. There are cases when a precious frame is worth more than the iconographic image itself.
In addition to all the criteria described above, the cost is influenced by the plot of the image and miraculous properties.
Do not confuse the concepts of “artistic value” and “market value”. Some people, when trying to find out the price of an icon, turn to online forums and send photographs. The fact is that no specialist can determine the authenticity and value of an image without looking at it with his own eyes. Many people turn to churches and museums for help. Employees of these organizations will also not be able to help with the assessment issue. They will talk about the possible author, the subject of the image, technique and writing style. The artistic value of an icon lies in its perception as an object of art, and not an antique object. A museum employee will determine the value of such an image as a painting. Of course, these parameters can affect the price, but only if they are of interest to the buyer.
Before assessing the value of an icon, it is necessary to determine its authenticity. Any specialist can recognize an ordinary fake. But to determine a high-quality copy, an examination will be required. People have long learned to paint antique images using certain techniques. The most difficult thing is to determine the authenticity when an ancient icon is completed by the hand of a younger master. IN in this case carry out the examination in the laboratory using special equipment. They study the base of the icon, the soil, and possible interventions.
An important factor is the study of paints. Antique icons of the 6th century, which have survived to this day, are painted with beeswax-based paints. In Rus', masters used tempera. This is an egg yolk based paint. Such iconography can be distinguished with the naked eye. Unlike oil paintings, tempera is more strict and schematic.
The best material Wood has long been considered for iconographic images. IN Ancient Rus' the craftsmen used linden. The boards of this tree were considered better basis. Much less often you can find bases made of alder, spruce or cypress. Boards intended for icon painting were carefully dried and fastened with glue. Knots and irregularities were removed to avoid drying out. The most expensive icons have a base processed with an axe. Their surface is uneven. Icons painted on wood are valued much higher than on any other basis.
Beginning in the 19th century, iconographic images began to be produced en masse. Factories and factories appeared. Began to use more cheap material for icon painting - thin tin sheets. Such icons had a factory mark on the back. Almost every Russian family has preserved such images. Therefore, they have a lower antique value.
In ancient times, masters in the field of iconography were called isographers. It was believed that these people received their gift from God. They are chosen and worthy of their title. Until the beginning of the 18th century, isographers did not leave their signatures on iconographic images. It was believed that they were the Lord's mediators on earth. And it is the Lord who creates unique images with their hands.
Despite this circumstance, the names of several outstanding icon painters have become known to modern humanity. These are Andrei Rublev, Theophanes the Greek, Gregory, Dionysius, Alypius, etc. The most expensive icons belong to the brushes of these icon painters. The images of these isographs are unique and inimitable. They are kept in state museums and galleries. Anyone can see them. Moreover, according to surviving chronicles, the Byzantine artist Theophanes the Greek was engaged in painting several Russian churches. There are many icons of other, unknown authors. They are no less valuable.
The creators of the most expensive icons in the world have long been known to mankind. The cost of an antique image directly depends on the fame of the icon painter.
Today, factory-made icon paintings can be bought at almost every turn: church shops, specialty stores, various exhibitions. Moreover, in many cities you can order custom production icons. The craftsmen will take into account all the requirements: size, plot, writing technique, style, etc. But still, it is important for a believer to say a prayer in front of the ancient icon.
The Christian Church says that the icon is a conductor of human prayers. An ancient icon that has existed for many centuries is an object of prayer. Many generations of people offered their prayers to her. Many ancient icons are taken to various parts of Russia so that people can venerate them and pray for their most sacred things.
The miraculous properties of antique icons are also an important factor. Mostly such images are found in temples or museums. But there are many icons that have miraculous properties that are not known to the whole world.
These facts speak about the spiritual side of the iconographic image. But there is another side - this is artistic value. Many people seek to purchase an antique icon precisely for this reason. After all, each such image is unique. It is written in a single copy. The soul is invested in it.
If necessary, sell any Christian believer ancient icon Doubts begin to plague me. It will help in this matter Orthodox priest. The Church does not ban the sale of iconographic images. This action is not a sin.
If a person is deeply unbelieving, then the only question is whether there is a buyer. For a profitable sale, it is better to contact trusted ones. It is unlikely that you will be able to find a buyer on your own. Not every collector will want to deal with an unverified seller.
From all of the above we can conclude that an antique icon is a special thing. It not only carries a deep spiritual meaning, but also has a high market value. A person who owns such a work of art must decide for himself: to sell the icon or leave it at home and pass it on from generation to generation as a family heirloom.
Fortunately, in Russian Federation there are more than 30 of the most expensive icons known today.
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The earliest prayer icons that have survived to this day date back to the period no earlier than the 6th century. They were made using the encaustic technique (Greek ἐγκαυστική - burning), when paint was mixed on heated wax. It should be noted that all paints consist of paint powder (pigment) and a binding material - oil, egg emulsion or, as in this case, wax.
Encaustic was the most common painting technique ancient world. It was from the ancient Hellenistic culture that this painting came to Christianity.
Encaustic icons are characterized by a certain “realism” in the interpretation of the image. The desire to document reality. This is not just a cult object, it is a kind of “photography” - living evidence of the real existence of Christ, the Virgin Mary, saints and angels. After all, the holy fathers considered the very fact of the true incarnation of Christ to be the justification and meaning of the icon. The invisible God, who has no image, cannot be depicted.
But if Christ was truly incarnate, if His flesh was real, then it was depictable. As Rev. later wrote. John of Damascus: “In ancient times, God, incorporeal and without form, was never depicted. Now that God has appeared in the flesh and lived among men, we portray the visible God.” It is this evidence, a kind of “documentary”, that permeates the first icons. If the Gospel, in the literal sense, good news, is a kind of report about the incarnate Lord, crucified for our sins, then the icon is an illustration of this report. There is nothing surprising here, because the word icon itself - εἰκών - means “image, image, portrait.”
But the icon conveys not only and not so much the physical appearance of the person depicted. As the same reverend writes. John: “Every image is a revelation and demonstration of what is hidden.” And in the first icons, despite the “realism”, the illusory transmission of light and volume, we also see signs of the invisible world. First of all, this is a halo - a disk of light surrounding the head, symbolizing the grace and radiance of the Divine (St. Simeon of Thessaloniki). In the same way, symbolic images of disembodied spirits - angels - are depicted on the icons.
The most famous encaustic icon now can probably be called the image of Christ Pantocrator, kept in the monastery of St. Catherine in Sinai (it is worth noting that the collection of icons of the Sinai monastery is completely unique, the oldest icons have been preserved there, since the monastery, having been outside the Byzantine Empire since the 7th century, suffered from iconoclasm).
The Sinai Christ is painted in the free pictorial manner inherent in Hellenistic portraiture. Hellenism is also characterized by a certain asymmetry of the face, which has already caused a lot of controversy in our time and prompted some to search for hidden meanings. This icon was most likely painted in one of the workshops of Constantinople, as evidenced by high level its execution.
Christ Pantocrator. VI century. Monastery of St. Catherine. Sinai
Most likely, the same circle also includes icons of the Apostle Peter and the Mother of God on the throne, accompanied by saints and angels.
Apostle Peter. VI century. Monastery of St. Catherine. Sinai
Theotokos with the upcoming saints Theodore and George. VI century. Monastery of St. Catherine. Sinai
The Virgin Mary is depicted as the Queen of Heaven, seated on a throne, accompanied by saints dressed in court robes and angels. The simultaneous royalty and humility of Mary are interestingly demonstrated: at first glance, she is dressed in a simple dark tunic and maforium, but its dark purple color tells us that this is purple, and purple robes in the Byzantine tradition could only be worn by the Emperor and Empress.
A similar image, but painted later in Rome, represents the Mother of God - without any hints - in full imperial vestments and crown.
Our Lady - Queen of Heaven. Early 8th century. Rome. Basilica of Santa Maria in Trastavere
The icon has a ceremonial character. It follows the style of ceremonial imperial images. At the same time, the faces of the depicted characters are filled with softness and lyricism.
Our Lady - Queen of Heaven. Angel. Fragment
The image of saints in court clothes was supposed to symbolize their glory in the Kingdom of Heaven, and to convey this height, Byzantine masters resorted to forms that were familiar to them and understandable for their time. The image of Saints Sergius and Bacchus, now kept in Kyiv in the Bogdan and Varvara Khanenko Museum of Art, was executed in the same style.
St. Sergius and Bacchus. VI century. Kyiv. Museum of Art. Bogdan and Varvara Khanenko
But, in addition to the refined art of the cultural centers of the Empire, early icon painting is represented by more ascetic style, which is distinguished by greater sharpness, a violation of the proportions of the depicted characters, and an emphasized size of heads, eyes, and hands.
Christ and St. Mina. VI century. Paris. Louvre
Such icons are typical for the monastic environment of the East of the Empire - Egypt, Palestine and Syria. The harsh, sharp expressiveness of these images is explained not only by the level of provincial masters, which is undoubtedly different from the capital, but also by local ethnic traditions and the general ascetic orientation of this style.
Bishop Abraham. VI century. State Museums of Dahlem. Berlin.
Without any doubt, one can be convinced that long before the iconoclastic era and the 7th Ecumenical Council, which condemned iconoclasm, there was a rich and varied tradition of icon painting. And the encaustic icon is only part of this tradition.
Today, the oldest icon depicting Christ (in the iconography of Pantocrator) is the icon discovered in the Sinai monastery in the 19th century.
The icon was created in Constantinople in the middle of the 6th century and sent by Emperor Justinian as a gift to the Sinai monastery, for which he was building a basilica and fortified walls at that time.
It was established that presumably in the 13th century the icon was renewed (drawn) with tempera painting. The original wax surface was cleaned during the restoration of the icon in 1962.
The restoration in 1962 revealed the original appearance of the ancient icon, which has been preserved almost completely with the exception of a small loss in the part of the halo on our right. Late Byzantine records covered the most unusual detail of early iconography - an ancient background with a spatial niche and golden stars. The initially missing inscription “Jesus Christ the Lover of Mankind” was also introduced, reflecting the late medieval perception of this image of Christ, in which they saw mercy and hope for salvation.
It is believed that the source of the chosen type of Christ, shown as a handsome and majestic man in his prime, with a short, thick beard and hair flowing over his shoulders, could have been the image of Olympian Zeus, widely known throughout the Greco-Roman world from the repeatedly copied sculpture by Phidias. Fame, rare similarities, and the testimony of contemporaries do not allow us to doubt that the conversion was conscious and, apparently, the image of Christ Pantocrator (“Almighty”) was supposed to supplant the image of the king of the gods in the ideas of recent pagans. At the same time, it is possible that the “authenticity” of the image could be confirmed in the images of the oldest miraculous icons, which, according to the Byzantines, were created not by the will of man, but by the providence of God and, accordingly, had a special authenticity. In 574, such a miraculous image of Christ from Camuliana was solemnly transferred to Constantinople, where it became the palladium of the empire. At the end of the 7th century, the image of Christ, dating back to one of these miraculous icons, first appeared on the gold coins of Justinian P. It is noteworthy that this main image empire that acquired the status state symbol, belonged to the same iconographic type as Christ Pantocrator on the Sinai icon.
In the image of Christ, the ideas of kingdom and priesthood are iconographically emphasized. He is shown wearing a dark lilac (purple) chiton and himation, the color of which in Byzantium was clearly associated with imperial power. The half-figure of Christ is shown against the background of the sky with golden stars - a transparent symbol of eternity and space. The lower part of the background shows an ornate architectural niche with windows. In our opinion, this unusual structure, reminiscent of a palace, a portal and a church apse at the same time, created the image of the Heavenly Jerusalem - heavenly kingdom, in which the depicted Christ Pantocrator reigns. In his left hand he holds a huge book in a precious frame, decorated with the image of a large cross. The book embodies the image of the Teaching, the Holy Scriptures, the “Word of God”, and through the cross it recalls the Redemptive sacrifice. In addition, it represents not just a codex, but a liturgical gospel, brought into the temple at the Small Entrance and installed on the altar. It is significant that early Byzantine authors already interpreted this gospel carried in procession as an image of Christ appearing into the world in the majesty of heavenly glory.
Christ with the liturgical gospel pressed front side to the chest, was associated with the high priest - the bishop who blesses the believers during the service. The gesture of two-fingered blessing is also expressive. In an era when there were the most different shapes and there were images of blessing even with one index finger, the gesture of the Sinai Pantocrator is perceived as a formula acquired for centuries, with deep dogmatic content. As we know from medieval interpretations, three connected fingers symbolized the Holy Trinity; two raised and intertwined fingers, located one below the other, spoke of the mystical union of the divine and human natures in Christ. The gestures of Christ's hands embodied the most important ideas of the teaching about the God-man, the Second Person of the Holy Trinity incarnate on earth. A Herculean Challenge the creation of an image that is both earthly and heavenly was solved in the Sinai icon using a number of artistic techniques. One of them is a combination of multidirectional movements, the so-called contrapposto, well developed in ancient Greek sculpture: the body is slightly turned in one direction, and the head in the other. Internal dynamics arise, removing the impression of hieratic rigidity of the frontal pose and giving the entire plasticity of the figure activity and vital conviction.
Another technique is a deliberately asymmetrical interpretation of the face of Christ, which consists of two different halves. The left one is calm, strict, detached, with a natural outline of a wide-open eye and an even arch of eyebrows. The picture completely changes on the right side of the face - the eyebrow is raised and dramatically arched, it is echoed by a much more expressive drawing of the eye, as if peering intensely. The icon painter strives to create an image of the God-man, in which the thoughts of an omnipotent cosmocrator, a strict judge and a humane-loving, compassionate Savior would simultaneously and consistently coexist. It is interesting that such an asymmetrical interpretation of the face will become distinctive feature images of Pantocrator in the domes of Byzantine churches.
Scientists find in this icon the influence of a Fayum portrait
