/
Search results


Глазунова О. Н., Денисов С. А. Меднолитые иконы с изображением Св. Николая Можайского из Ново-Иерусалимского монастыря // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 4 (24). С. 111-119. DOI: 10.15382/sturV201624.111-119
The article is devoted to the attribution of two copper icons with image of St. Nicolas Mozhajsky, which were found during the archeological researches in Novo-Ierusalimsky monastery in 2011 and 2014. The first of them is a small copper three-part fold “Nicholas Mozhajsky. Selected saints”, which was found during the excavation of monastery's cellar in 2011. This fold dates back the second half of the 18th century and produced in central region of Russia, perhaps in Guslitsy. It consists of one central part with image of Nicholas Mozhajsky and two lateral shutters, with images of saints. By analyzing the features of these images it could be possible to conclude that the fold was produced by the combination of diff erent fi nished details. The second is a pocket icon with single image of St. Nicholas Mozhajsky which was found during the excavation near the Gefsiman tour in 2014. This icon also dates back to the second half of the 18th century and perhaps was produced in the central region of Russia. The icon diff ers from the fold in image and technical details. In general, these finds supplement the area of distribution of copper icons with image of St. Nicholas Mozhajsky and marks cultural ties of Novo-Ierusalimsky monastery with central regions of Russian Empire.
Novo-Ierusalimsky monastery, archeological studies, copper fold, diptych, iconography, St. Nicolas Mozhajsky, pocket icon

1. Beliaev L. A. Voskresenskii Novo-Ierusalimskii monastyr' kak pamiatnik arkheologii nachala Novogo vremeni // RA. 2013. № 1. P. 30–41.
2. Beliaev L. A. Keramicheskie ikony Khrista v Novo-Ierusalimskom monastyre // V sozvezdii L'va: sb. st. po drevnerusskomu iskusstvu v chest' L'va Isaakovicha Lifshitsa / [Otv. red. M. A. Orlova]. Moscow, 2014. P. 48–61.
3. Beliaev L. A. Fliaga patriarkha Nikona i ee evropeiskie analogi // Zhivaia starina. 2014. № 4. P. 2–5.
4. Beliaev L. A. Novyi Ierusalim i drugie etalonnye pamiatniki Novogo vremeni v Rossii // Ot Smuty k Imperii. Novye otkrytiia v oblasti arkheologii i istorii Rossii XVI–XVIII vv. Moscow, 2016 (v pechati).
5. Beliaev L. A., Glazunova O. N. Markery Zapada: novye elementy evropeiskoi khudozhestvennoi i tekhnologicheskoi traditsii v arkheologicheskikh materialakh NovoIerusalimskogo monastyria // Traditsii i innovatsii v istorii i kul'ture. Moscow, 2015. P. 147–154.
6. Berestetskaia T. V. O nekotorykh problemakh izucheniia vygovskogo lit'ia // Vygovskaia pomorskaia pustyn' i ee znachenie v istorii Rossii: Cb. nauch. st. i mat-lov / Otv. red. i sost. A. L. Pashkov. Saint-Petersburg, 2003. P. 231–237.
7. Burganova M. A. Russkaia sakral'naia skul'ptura. Moscow, 2003.
8. Velichkov A. N. Gorod Mozhaisk, ego sviatynia i okrestnosti. Moscow, 1880.
9. Vinokurova E. P. Pomorskie datirovannye skladni // Pamiatniki kul'tury. Novye otkrytiia: Pis'mennost', iskusstvo, arkheologiia. 1988. Moscow, 1989. P. 338–345.
10. Vinokurova E. P. Litaia mednaia plastika kontsa XVII — nachala XX vv.: Vvedenie v tipologiiu // Drevnerusskaia skul'ptura: Problemy i atributsiia: sb. st. / Red-sost. A. V. Ryndina. Moscow, 1993. Vol. 2. Ch. 1. P. 188–216.
11. Vinokurova E. P. O tipologii mednoi khudozhestvennoi plastiki kontsa XVII–XIX vv.: Printsipy formirovaniia nauchnogo kataloga // Russkoe mednoe lit'e / Sost. S. V. Gnutova. M., 1993. T. 1. P. 34–42.
12. Gnutova S. V., Zotova E. Ia. Kresty, ikony, skladni: Mednoe khudozhestvennoe lit'e XII–XX vekov iz sobraniia Tsentral'nogo muzeia drevnerusskoi kul'tury i iskusstva im. Andreia Rubleva. Moscow, 2000.
13. Zotova E. Ia. Mastera-liteishchiki Preobrazhenskoi obshchiny v Moskve — prodolzhateli traditsii Vygovskoi pustyni // Vygovskaia pomorskaia pustyn' i ee znachenie v istorii Rossii: sb. nauch. st. i mat-lov / Otv. red. i sost. A. L. Pashkov. Saint-Petersburg, 2003. P. 238–243.
14. Zotova E. Ia. Guslitskoe i zagarskoe mednoe lit'e: Problema klassifikatsii // Guslitsa staraia i novaia: Mat-ly konferentsii / Red.-sost. S. S. Mikhailov. M., 2004. S. 50–57.
15. Kalisheva G. P. Kollektsiia mednogo lit'ia Kemerovskogo kraevedcheskogo muzeia // Razyskaniia: istoriko-kraevedcheskii al'manakh / Sost. L. F. Kuznetsova. Kemerovo, 1999. Vol. 5. P. 114–121.
16. Karpenko E. V. ≪Obraz litoi, starinnyi…≫ Mednoe khudozhestvennoe lit'e XII–XX vekov iz sobraniia Natsional'nogo muzeia respubliki Belarus'. Minsk, 2002.
17. Nikolaeva T. V. Proizvedeniia melkoi plastiki XIII–XVII vv. v sobranii Zagorskogo muzeia: Katalog. Zagorsk, 1966.
18. Printseva M. N. Kollektsiia mednogo lit'ia F. A. Kalinkina v sobranii Otdela istorii russkoi kul'tury Ermitazha // Pamiatniki kul'tury. Novye otkrytiia: Pis'mennost', istoriia, arkheologiia. 1984. Moscow, 1986. P. 396–408.
19. Ryndina A. V. Osnovy tipologii russkoi dereviannoi skul'ptury ≪Nikola Mozhaiskii≫. Ikona i sviatye moshchi // Iskusstvo khristianskogo mira. Moscow, 2002. Vol. 6. P. 99–115.
20. Ryndina A. V. Simvolicheskie i ikonograficheskie aspekty drevnei statui ≪Nikoly Mozhaiskogo≫ // Iskusstvo khristianskogo mira: Cb. st. / Gl. red. protoierei A. Saltykov. Moscow, 2005. Vol. 9. P. 133–50.
21. Savina L. N. K istorii proizvodstva i bytovaniia mednogo khudozhestvennogo lit'ia v XIX — nachale XX vv. // Russkoe mednoe lit'e / Sost. S. V. Gnutova. Moscow, 1993. T. 1. P. 48–55.
22. Sobranie postanovlenii po chasti raskola. T. 1. Saint-Petersburg, 1860.
23. Shevchenko E. V. Vasilii Pariiskii. Ikonografiia // Pravoslavnaia entsiklopediia. T. 7. Moscow, 2004. P. 88.
Glazunova Ol'ga
Denisov Sergei
Денисов Д. Н. Новые факты к биографии преподобномученика Палладия (Хроненко): о жизни святого в Оренбургском крае // Вестник ПСТГУ. Серия II: История. История Русской Православной Церкви. 2017. Вып. 75. С. 55-59. DOI: 10.15382/sturII201775.55-59
Based on recently discovered archival documents, the paper introduces new facts on the biography of Monk-Martyr Palladius (Khronenko, 1867–1937). These facts are related to his previously unknown service in Orenburg region. The paper shows that it is in the Southern Urals that the saint prepared for monasticism and made his fi rst steps in monastic life. He became a novice in 1905, and was tonsured in 1907. He was ordained in 1907 and 1909. He actively took part in the initial formation of the three local monasteries: St. Macarius of the Assumption, St. Nicholas, and St. George. The paper disproves the report of Martyr’s Vita about his rectorship at Orsha Ascension monastery of Tver’ diocese. On the whole, these new details significantly specify and complement the biography of Monk-Martyr Palladius (Khronenko), giving it a coherent, consistent and non-contradictory character. The discovered facts can promote the veneration of the saint in Orenburg region, where his connections with this area are still unknown.
Orthodoxy, Church, monasticism, Orenburg diocese, repressions, Synaxis of the New Martyrs of Cherkasy, Monk-Martyr Palladius (Khronenko)

Voznesenskiy Orshin monastyr’: stranitcy istorii, Tver, 2012.
Diven Bog vo Svyatykh Svoikh. Mucheniki, ispovedniki i podvizhniki blagochestiya v Orenburgskoy eparkhii, Orenburg, 2011, 4.
Mikhailov A., Kuzmin A., “Neurochnaya obitel”, in: Kurgan i kurgantsy, 2012, 33, 7.
Stremskiy N. E., ed., Mucheniki, ispovedniki i khramy Orenburgskoy eparkhii XX veka, Saraktash, 1999, 2.
Bannikova E., ed., Mucheniki i ispovedniki Orenburgskoy eparkhii, Saraktash, 2014, 5.
Stremskiy N. E., ed., Mucheniki i ispovedniki Orenburgskoy eparkhii XX veka, Orenburg, 2000, 3.
“Novomucheniki Cherkas’ki: zhittya, podvighi, strazhdannya”, in: Vidannya Cherkas’koy eparkhii Ukrains’koy Pravoslavnoy Tserkvi, Cherkasy, 2009.
Svedenya po eparkhii. Orenburgskie eparkhial’nye vedomosti. Chast’ neofit., 1909, 9, 84.
Stremskiy N., Mucheniki i ispovedniki Orenburgskoy eparkhii XX veka, Saraktash, 1998, 1.
Денисов Д. В. К вопросу о происхождении иконографии «Великий вход» в русской монументальной живописи храмов XVI – 1-й пол. XVII в. // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2019. Вып. 33. С. 62-76. DOI: 10.15382/sturV201933.62-76
In Old Russian sacred art, the composition of the Great Entrance has been known since the 16th century. It illustrates the transfer of the holy gifts from the table of oblation to the altar, which is an important moment in Orthodox liturgy. Sometimes it is argued that the Great Entrance is similar to the composition of the Celestial Liturgy. But if compared in detail, it becomes clear that there are signifi cant diff erences between the two scenes. Some researchers have written about the depiction of the Great Entrance in the context of the iconographic innovations introduced by metropolitan Macarius of Moscow in the second half of the 16th century. In the same way, this composition was regarded in the context of paintings of the second half of the 17th century. However, the origin of the iconography of the Great Entrance has not been scientifi cally treated yet. Among all known monuments, it is only in the frescos of the Dormition Cathedral in Moscow Kremlin that this theme fi nds its logical “context”, because it is depicted as a continuation of the Passion Cycle. From the liturgical interpretation proposed by the Byzantine theologian Nicholas Cabasilas, it is seen that in the Great Entrance we imitate the righteous Nicodemus and Joseph of Arimathea who are burying Christ. The same is refl ected in the scenes located in the altar zone of the Dormition Cathedral, i.e. the Great Entrance, Crucifi xion, and Lamentation. These confi rm this interpretation as they testify the image of the church, earthly and celestial, that is burying the Saviour during the Divine Liturgy. It is not yet known, how strictly the painters that restored the Dormition Cathedral in 1642‒1643 followed the programme of the early 16th century, which is mentioned by the chronicler. In particlular, the article shows that it is in the Dormition Cathedral of Moscow Kremlin that this fresco composition could appear for the first time; but the reasons for its creation in Russia in the early 16th century still remain unclear.
Great Entrance, Dormition Cathedral, Moscow Kremlin, St Nicholas Church in Yaroslavl, Old Russian art, monumental painting, church paintings, Passion Cycle, tomb of Christ, liturgy of Great Saturday, Let all Flesh Remain Silent, interpretation of Divine Liturgy
  1. Belova L., Bykova M., Vakhtanov S. (eds.) (2014). Sobor Rozhdestva Bogoroditsy v Suzdale [Cathedral of Nativity of Virgin Mary in Suzdal]. Vladimir (in Russian).
  2. Bozhestvennaia liturgiia izhe vo sviatykh ottsa nashego Ioanna Zatoustago [Divine Liturgy of St. John Chrysostom]. Moscow (in Russian).
  3. Danilova O. (1999). “Kontseptsiia «Moskva — osushchestvlennyi Ierusalim» v programme monumental'noi zhivopisi Uspenskogo sobora Moskovskogo Kremlia” [The Concept of Moscow as Materialised Jerusalem in the Programme of Monumental Painting of the Dormition Cathedral of Moscow Kremlin]. Iskusstvo khristianskogo mira. № 3. Moscow. Pp. 58‒68 (in Russian).
  4. Karger M. (1930). “Les portraits des fondateurs dans les peintures murales du monastere de Svij azk”. L'art byzantin chez les Slaves. Recueil Uspenskij . Paris. Vol. 2.
  5. Kochetkov I. (2009). Slovar' russkikh ikonopistsev XI–XVII vekov [Dictionary of Russian Icon Painters of the 11th — 17th Centuries]. Moscow (in Russian).
  6. Nikitina T. (2010). “Ikonografi ia Velikogo vkhoda v russkoi monumental'noi zhivopisi XVII veka” [Iconography of the Great Entrance in Russian Monumental Painting of the 17th Century], in XIV nauchnye chteniia pamiati Iriny Petrovny Bolottsevoi: sbornik statei [16th Scientifi c Workhop in the Memory of Irina Petrovna Bolotseva: A Collection of Papers]. Iaroslavl. Pp. 43‒53 (in Russian).
  7. Nikitina T. (2015). Russkie tserkovnye rospisi 1670‒1680 godov [Russian Church Murals of the 1670‒1680s]. Moscow (in Russian).
  8. Preobrazhenskii A. (2009). “K voprosu o datirovke rospisei sobora Uspenskogo monastyria v Sviiazhske” [On Dating of the Murals of the Dormition Cathedral in Sviyazhsk]. Sviiazhskie chteniia. Vol. 1. Sviiazhsk. Pp. 30–42 (in Russian).
  9. Preobrazhenskii A. (2009). “O stile i vremeni sozdaniia rospisi sobora Uspenskogo monastyria v Sviiazhske” [On the Style and Dating of the Mural of the Dormition Monastery in Sviyazhsk], in Lazarevskie chteniia. Iskusstvo Vizantii, Drevnei Rusi, Zapadnoi Evropy. Materialy nauchnoi konferentsii 2009 [Art of Byzantioum, Ancient Rus’, Western Europe. Conference Proceedings]. Moscow. Pp. 268–308 (in Russian).
  10. Saenkova E. (2004). “O nekotorykh osobennostiakh ikonografi i velikogo vkhoda v drevnerusskom monumental'nom iskusstve” [On Some Features of Iconography of the Great Entrance in Old Russian Monumental Art]. Iskusstvo khristianskogo mira. № 8. Moscow. Pp. 144‒145 (in Russian).
  11. Sarab'ianov V. (1999). “Simvoliko-allegoricheskie ikony Blagoveshchenskogo sobora i ikh vliianie na iskusstvo XVI veka” [Symbolic and Allegorical Icons of the Annunciation Cathedral and their Influence on Art of the 16th Century], in Blagoveshchenskii sobor Moskovskogo Kremlia: Materialy i issledovaniia [Annunciation Cathedral of Moscow Kremlin: Materials and Studies]. Moscow. Pp. 164‒217 (in Russian).
  12. Tikhomirov M. (1945). “Iz «Vladimirskogo letopistsa»” [From “Vladimir Chronicler”]. Istoricheskie zapiski. Vol. 15. Moscow. Pp. 278—300 (in Russian).
  13. Tolstaia T. (2011). Istoriia ikonostasov Uspenskogo sobora Moskovskogo Kremlia. Uspenskii sobor Moskovskogo Kremlia. Ikonostasy. Katalog [History of Iconostases of the Dormition Cathedral of Moscow Kremlin. Dormition Cathedral of Moscow Kremlin. Iconostases. Catalogue]. Moscow (in Russian).
  14. Zonova O. (1964). “Stenopis' Uspenskogo sobora Moskovskogo Kremlia” [Mural Painting of the Dormition Cathedral of Moscow Kremlin], in Drevnerusskoe iskusstvo. XVII vek [Old Russian Art. 17th Century]. Moscow. Pp. 128‒137 (in Russian).
  15. Zverev A. (1999). “Tema Strastei Khristovykh i Liturgiia v rospisi tserkvi Perivlepty v Mistre” [The Theme of Christ’s Passions and Liturgy in the Murals of the Church of Perivlepta in Mistra]. Iskusstvo khristianskogo mira. № 3. Moscow. Pp. 52‒57 (in Russian).
Denisov Denis
Place of work: Central Andrey Rublev Museum of Ancient Russian Culture and Art; 10 Andron'evskaia sq., Moscow 105120, Russian Federation; State Research institute of Restorarion; 44 Gastello st., Moscow 107014, Russian Federation;
ORCID: 0000-0003-0158-9964;
Email: denisov_dionisii@mail.ru.