Painting of premongolian Russia

Studying and disclosing of the most ancient icons has begun in Russia after revolution. In 1918 the special “Commission on disclosing monuments of old Russian painting” has been organized in the All-Russian restoration commission. Already in the first years the most significant Russian icons were taken on the account and cleared away from the latest painting. The first of the icons to be opened  was « the Vladimir Mother of God », then icons from cathedrals of the Moscow Kremlin, Vladimir, Yaroslavl, Novgorod and other ancient cities and monasteries. The first disclosings of the most ancient icons have been presented at the Second restoration exhibition in 1920.  In 1926 two exhibitions opened, where cleared icons of XII-XIII centuries were exhibited: a constant « Exhibition of monuments of old Russian painting » in the Historical museum in Moscow and an anniversary exhibition in Yaroslavl. The following year the Third restoration exhibition was arranged in Moscow, which summed restoration works of monuments of old Russian art for the first ten years after revolution. In the thirtieth years, in connection with new receipts in Tretiakov’s gallery and Russian museum, new disclosings were made. Restoration works continued only after war. In the State Central art-restoration workshop V.O.Kirikov made one of the most significant discoveries in history of restoration of old Russian painting - disclosing of an icon «Apostles Peter and Paul » of the Sofia cathedral in Novgorod. Among restoration works of the last years it is necessary to notice a small icon « the Birth-Giver of God Tenderness » of XII - the beginning of XIII century from the Dormition cathedral (Uspensky Sobor) of the Moscow Kremlin, cleared in 1961-1965 by G.S.Bathel. Opening of works of premongolian painting, possibly, expect us in the future as well.

The term «premongolian» in relation to history of Russian art has the chronological borders. The Tatar-Mongolian invasion has not rendered direct influence on development of art of Ancient Russia. Evolution of painting of XIII century was determined by the same laws on which the style of art of XI-XII centuries based, and the works created in the middle of XIII century, cannot be stylistically torn off from the art of premongolian period. Now we know less than thirty icons of this time. Unfortunately, some the most significant, for example an icon « Apostles Peter and Paul » of XI century from Novgorod, cannot be presented at any exhibition because of bad safety.

Painting of Ancient Russia of premongolian period is one of the most remarkable and at the same time complex pages in history of the world art.
All the opened icons of this period are well-known, published, special works are devoted to many of them, but still there is no common opinion  concerning dating, estimation of style and their reference to this or that art center. It would not be an exaggeration to say, that each monument of this time merits monographic research. One of the most complicated questions in studying of art of XI-XIII centuries is a problem of the byzantian tradition and occurrence of national features in Russian painting.

XI-XII centuries is the classical period of the byzantian painting. The most perfect form has been found in art for expression of the spiritual contents of the byzantian culture. This classical style has received, certainly, the highest development in Constantinople, which in XI-XII centuries determined life of many art centers connected with it. Despite of new openings and publications, there are few monuments of icon painting, connected with Constantinople. Therefore the icons of this time had special value and belonged to other centers, that for some time depended from Byzantium and had cultural connections with it. The exclusive place among them belongs to the most ancient Russian icons.

Ancient Russia has quickly conceived perfection and beauty of the byzantian painting which has integrally joined Russian culture together with the religion which has come from Byzantium. The byzantian art had great spiritual and art traditions, possessed unusual, conquering force of influence. On the other hand, Ancient Russia at that moment appeared capable to conceive this high overseas culture so, that it has become national property. The icons brought from Greece were widely honored, and the works created in Russia imitated the Greek samples. The byzantian art culture became a part of Russian life.

We meet first mentions of icons in Russia in X-XI centuries. The Annals tell, that prince Vladimir, after being baptized in Korsun, has brought icons and has given them to ornament Desjatinnaja church constructed in Kiev by the prince himself. Unfortunately, these monuments haven’t been kept up to now. Constant mentions in written sources testify to connection of an art life of Ancient Russia with Korsun, because the works of premongolian art are often referred to Korsun. The epithet «Korsun’s» nowadays has no exact contents in history of Russian art,  though, probably, the question concerning connection of the old Russian art centers with Korsun could be put in relation to some preserved icons.
Monuments of Russian art of XII century speak about influence of samples of Balkan and Eastern Christian arts. We know about constant communications of Kiev with Bulgaria. Since the second half of XI century strong mutual relations of Kiev (especially ofKievo-Pechersky Monastery) with Athos and Solun had been established. The first well-known Russian icon-painter Alimpy was from Kievo-Pechersky Monastery. Unfortunately, among the works, that reached our time there are no works which could be connected with full reliability with Alimpy or even with Kiev.

Alongside with icons, the mosaic of "Dmitry Solunsky (1111) from church of the Archangel Michael of Mishalovskij Zlatoverhijmonastery (Goldroof monastery) in Kiev is presented  at an exhibition. " Mihailovskije mosaics, as well as many products of monumental painting of XII century, should be considered simultaneously as works of the byzantian and Russian art, as in their creation, local masters participated alongside with masters of mosaic from Constantinople.

At the same time it is difficult to speak about national Russian style of icon painting in relation to XII century. In many cases we can’t distinguish, whether this or that icon is made by foreign master or his Russian pupil. As it often happens in history of art, the overseas masters worked in Russia and created masterpieces which belong to the history of Russian culture.

One of the most perfect monuments of Byzantian icon paiting of Komnine epoch is the well-known «Vladimir Mother of God » that at the same time can be considered the most ancient monument of Russian easel painting. The destiny of this icon is connected with history of Russia. It was brought to Vishgorod from Tsargrad and than in 1155 has been carried by Andrey Bogolyubsky to Vladimir. There it has been decorated with expensive attire and placed in the church, specially constructed for it. Prince constantly took it with him in campaigns as patronizing icon. In 1395 the icon has been brought to Moscow when the city was threatened with danger, and this very day, according to the annals, awesome Таmerlan has turned with the army from Moscow. Subsequently written sources mark participation of “Vladimir Mother of God” in the important events of Russian history. Creation of the second glorified vladimirskaya icon is connected with a name of prince Andrey Bogolyubsky - « the Bogolyubsky Virgin ». Unfortunately, it has strongly suffered from time. But even so badly preserved it is considered to be one of the finest icons that have ever been created in Russia. According to other iconography it is the nearest analogy of " Vladimir Mother of God ». We do not know, who has written this icon - the Greek or his pupil from Vladimir. Bogolyubov's annals of the monastery, made in XVIII century, tell only, that in 1158 Andrey Bogolyubsky called the most skilled painters and ordered to paint an image of Sacred Lady, as She had appeared to him.
The choice of these two icons by Andrey Bogolyubsky characterizes tastes of the vladimirskiy princely court. Vladimir in XII century as it is possible to judge according to the kept monuments of icon painting and monumental painting, has most naturally conceived the raised ideal of metropolitan art from Byzantium. Often icons characteristic of this classical style, are referred to painting of the Vladimiro-Suzdal'skoi Rusi.
The second art center with which many of the preserved ancient icons are connected is the Great Novgorod. The princes from Novgorod are known for the greekophilic orientation. The Greek masters came to Novgorod. Icons from Byzantium and from other centers connected with it, in particular, from Kiev could be brought to Novgorod. Therefore the question on authorship and an origin of the Novgorod icons is very complicated.

Among the Novgorod monuments one of the most ancient icons, usually dated by XI century - « Peter and Paul » from the Novgorod Sofia has kept up to now. In annals and inventories of the Sofia cathedral this icon is named «Korsun’s». Unfortunately, only the clothes of apostles were kept from the XI century. Faces, hands and feet have been copied in XV century. But despite of fragmentary safety, the icon amazes with classical beauty of images. Correctness of proportions and figure and precious painting put the icon on the same level with the best monuments of the Byzantian art. In comparison with the Greek icons its big sizes (236X147) are unusual. In the Saint George Cathedral in Yuriev Monastery in Novgorod there are two big icons close in sizes to an icon  “Peter and Paul”: George » (State Tretiakov’s Gallery) and «Ustug Annunciation» (State Tretiakov’s Gallery). Similarly to an icon « Peter and Paul "," the Annunciation » in XVI century was considered to be of   korsun’s painting. The use of the term « korsun’s » in relation to these icons specifies that in consciousness of Russian people they were associated with art of the Greek masters.

« Ustug Annunciation» is often considered to belong to the same group as two others icons-« Angel with the Golden hair » (the State Russian Museum) and « Savior Not Made By Hand.» with the image « Adorations of a cross » on the back  (State Tretiakov’s Gallery).
« Angel with the Golden Hair » by character of an image and manner of painting is one of the most “Greek” among Russian icons of XII century. The back of an icon “Savior Not-made-by-hand”-  “Adoration of a cross” is usually referred  stylistically to monuments of the Novgorod fresco art of XII century. Iconography and style of the painting reminds the byzantian and Siro-Palestinian samples. The Novgorod art of this time conceived various tendencies coming from the East, the Western Europe and Byzantium. Thus already in XII-XIII centuries in Novgorod art sometimes appeared local features. The example of the original Novgorod art is usually considered to be  the well-known icon " the Mother of God "Of the Sign" (Bogomater Znamenie)  with Peter and Natalia's image on the back  which, according to the annals, during the Battle of the Novogorodians with the Suzdalians in 1169 has been taken out by inhabitants of Novgorod and displayed from the wall of the city. The relation of many icons of XII-XIII centuries to this or that art center is often disputable, because there is no exact data about a place and time of their creation. So, unfortunately, with rare exception, almost nothing is known about an origin of the icons of  the Dormition cathedral of the Moscow Kremlin.

Fortunately, many ancient icons have been taken to museums from those churches where, most likely, they were kept in an antiquity. Among them there are, for example: « the Assumption of the Birth-Giver of God » from Desjatinnij monastery (State Tretiakov’s Gallery) and «Nicola» from Dukhov Monastery(the State Russian Museum), “the Birth-Giver of God Tenderness” and “ Peter and Paul” from Belozersk (ГРМ), "Dmitry Solunsky" from Dmitrov (ГТГ), "Savior" from the Dormition cathedral in Yaroslavl (the Yaroslavl art museum). These monuments allow to reveal local peculiarities of painting of certain separate art centers. However data on an initial location of icons is not always a defining factor in referring them this or that cycle of monuments, because the works were often transported, and their creators, easily moved from one place to another. Exploring this mater seems complicated because of stability of art tradition in medieval art which complicates dating of monuments of premongolian period. In Russian painting the works of XII century and first half of XIII century are almost impossible to differentiate. The features of byzantian komnin’s style are still alive in these monuments. The choice of samples, for imitation, preservation of separate features of komnin’s art and strengthening the other, reflected the national taste of artists and customers. That’s how originality of Russian painting was born.
The end of XII - the beginning of XIII century is a time when the features of all-Russian and sometimes local originality has clearly revealed.
At this time development of Russian art culture has been suspended by the Tatar-Mongolian invasion. Comparison of the most ancient icons can help in many respects to solve disputable questions, arising in connection with studying of monuments of painting of XII-XIII centuries, and to reveal new aspects in research of these works.