Simon (Pimen) Fedorovich Ushakov is a talented artist and graphic artist, the last great icon painter of pre-Petrine Rus', who firmly connected the ancient Russian artistic tradition with the new realistic direction. The artist’s biography has many gaps, which were partly restored using the author’s inscriptions on the icons. He was born in Moscow in 1626, most likely in a family of townspeople. At a young age, he perfectly mastered the complex craft of “sign” (drawing) and in 1648 he entered the royal service in the Silver Order under Armory Chamber. He painted icons and miniatures, made drawings for banners, coins and weapon decorations, drew maps and plans, updated ancient paintings in temples, supervised various artwork and soon began to be called nothing more than “gold and silver flag maker and icon painter.” Performing diligently similar works, he gained great authority at the court of Alexei Mikhailovich, by whom he was elevated to the rank of nobility for outstanding services. In 1657, he was entrusted with renewing the paintings of one of the rooms of the Kremlin palace, and since then, not a single major order in Moscow has been completed without Ushakov. In the mid-60s, he reached the pinnacle of fame and became known as the best Moscow icon painter. In 1664, by special decree, he was transferred to the Armory Chamber, where he organized his own school of icon painters and became a “competent royal isographer,” and in fact, the main expert not only in the field of painting, but also on all issues related to art. His authorship is attributed to frescoes in the Archangel and Assumption Cathedrals (1660), as well as in the Tsarskaya (1657) and Faceted (1668) chambers of the Kremlin, icons for the Trinity Church in Nikitniki (1656-1657). The early works of Simon Ushakov have not reached us. The first icon that undoubtedly belonged to his brush is “Our Lady of Vladimir” (1652), the author’s copy of the famous icon that was once delivered to Rus' from Byzantium. Currently, more than 50 icons of the master are reliably known, although many of them are distorted by later records and restorations. Among the relatively preserved signed works by Ushakov are “The Trinity” (1671, Russian Museum), images of the Savior Not Made by Hands (1658, 1673, 1677 and 1678, Russian Museum and Tretyakov Gallery), “Assumption” (1663), “Our Lady of Vladimir” (“Tree State of Moscow", 1668), two images of St. Sergius of Radonezh (1669-1670), "Annunciation" (1673). The last five are in the Tretyakov Gallery. In his work, the master actively uses the techniques of the “Fryazhsky” (Western) style, looking for new forms, imparting character and movement to the figures. With the help of multi-layered “floats”, tiny strokes that provide a soft transition from one tone to another, he ensures that the faces in the images acquire a light-and-shadow modeling and the eyes already seem “alive”. His interiors and landscapes incorporate elements of linear perspective. Sometimes individual fragments or even the entire composition (“The Seven Deadly Sins”, 1665) are borrowed from Western engravings. Ushakov formulated his own view on the tasks of icon painting in the theoretical work “A Word to Careful Icon Painting” (c. 1666), in which he defends the principles of artistic verisimilitude, comparing painting with a mirror, and talks about the artist’s personal responsibility for his work.
Simon Fedorovich Ushakov died in Moscow on July 25, 1686. This remarkable artist, famous during his lifetime as an isographer, who was often called the Russian Raphael, had a noticeable influence on Russian church art, anticipating its new course in the era of Peter’s reforms, and completed the series of our great icon painters : Theophanes the Greek - Andrei Rublev - Dionysius - Simon Ushakov.
26.Russian painting of the XV-XVII centuries. Creativity of Dionisy and Simon Ushakov.
The development of Russian painting of the late XV-XVI centuries, as well as the development of architecture of this time, was primarily determined by such a major historical event as the formation of the Russian centralized state, accompanied by significant social changes.
More and more motifs, more and more lively, entertaining scenes penetrate into the art of the 16th century. At the same time, as an expression of opposing tendencies, strict regulation of subjects, iconographic translations and samples fetters the creative development of art, often giving it a cold, official character. Gradually, dogmatic works appear, which are supposed to explain and prove the main provisions of the official religion.
Dionysius
The largest representative of the Moscow school of painting at the end of the 15th century was Dionysius.
Dionysius was one of the few who managed to find a finely balanced harmony between a smooth flowing line and exquisite color combinations. In the faces of saints, he almost eliminates the possibility of three-dimensional modeling. The eyes, nose, and lips, barely outlined by graphic lines, are devoid of individual features. Dionysius masterfully masters the rhythmic construction of the composition. The saints in his works are presented outside of dynamic development. Against a golden background, they seem to be outside of time and space.
The art of Dionysius embodies a completely new stage of Russian art, which has nothing in common with the pictorial illusionism and internal saturation of the art of the era of Andrei Rublev. For the first time, the icon began to turn from an object of worship into an object of admiration and collecting.
The creative life of Dionysius is clearly divided into three periods.
The first period is the work in the monastery of Paphnutius Borovsky and the time preceding it, the time of the creation of the hagiographic icons of Metropolitans Peter and Alexei, painted, it is believed, between 1462 and 1472. The second period is the work of the Assumption Cathedral of the Moscow Kremlin, the time of the creation of “Hodegetria”, “Apocalypse”. This is the eighties of the 15th century. The third period is work in the Ferapontov Monastery, years 1500 - 1502.
Between the second and third periods there was also painting of the temple in the monastery of Joseph of Volotsky. But it is difficult to talk about this time in the artist’s work, since no icons of Dionysius have survived from that time.
In the era of Dionysius, Moscow painting won first place among those numerous local schools, among which it occupied an equal position for a long time.
The idealization of the image reaches a degree of extreme detachment, striving for the greatest possible dematerialization. Space is interpreted conditionally, with only the slightest hint. The drawing becomes sparse, but reaches the utmost precision and lightness, great importance is given rhythm. The impression of sublime detachment of the images is enhanced by the special interpretation of color and light. The color scheme is greatly lightened, large spots of color play the main role, and the role of the silhouette increases. A special feature of Dionysius’s work is the luminosity of the images, which is partly due to the abundant use of white, which seems to brighten nearby colors. Dionysius avoids sharp contrasts, preferring a muted range; the color seems to be taken not at full strength. The effect of luminosity is enhanced by the light, without disturbing the ideal form of highlighting. This painting is completely devoid of drama.
Dionysius received his first serious commission between 1467 and 1477, when he was offered to participate in the painting of the Church of the Nativity of the Blessed Virgin Mary in the Paf-Nutevo-Borovsky Monastery. Here he worked not yet completely independently, but under the supervision of master Mitrofan, who is called his teacher. However, even then the individual style and bright talent of the young icon painter appeared, since documents mention both painters as “notorious<...>more than anyone else in this matter."
In 1481, Dionysius received a new honorary order: together with three other masters, he was to create icons for iconostasis of the Assumption Cathedral of the Moscow Kremlin, for the Deesis, festive and prophetic rank (rows of the iconostasis). How highly the young icon painter was valued is evidenced by a rare fact at that time: the customer, Bishop Vassian, paid the artists a deposit of 100 rubles even before the work began. It was a significant amount back then. Researchers believe that the brush of Dionysius belonged mainly to the Deesis rank, that is, the most important part of the work.
This Deesis was “greatly wonderful” and glorified the name of Dionysius even more. Since then, he has earned a reputation as a “precious master” and personified the Moscow school of icon painting. A favorite of Ivan III and the famous persecutor of heretics Joseph of Volotsky, on whose order he painted more than 80 icons, Dionysius was the bearer of the official grand ducal tradition in art. The compositions of his works were distinguished by strict solemnity, the colors were light, the proportions of the figures were gracefully elongated, the heads, arms and legs of the saints were miniature, and their faces were invariably beautiful. However, one should not look for the passion of Theophanes the Greek or the depth of Andrei Rublev’s images in them. The bright festivity and pomp of his works, the sophistication of their coloring met the requirements of the time: Moscow Rus' was experiencing its heyday.
In 1482, Dionysius painted an icon for the Ascension Monastery of the Moscow Kremlin "Our Lady Hodegetria". The master’s favorite light golden background, the purple maforium (robe) of the Mother of God, her solemn pose and the glorifying angels created the overall majestic structure of the image.
Dionysius performed many works for the Joseph-Volokolamsk and Pavlo-Obnorsky monasteries. In particular, for the latter he wrote “The Crucifixion,” which was placed in the iconostasis of the cathedral. The center of the icon board, emphasizing its verticality, was occupied by the image of the cross on which the Savior was crucified. Hanging head like a corolla withered flower, arms outstretched like stems and a plastically curved body create a solemn and sad mood.
The silently frozen figures of those ahead - Mary, John and the women and warrior who came with them - form mournful groups symmetrically located on the sides of the cross. They are echoed by the figures of angels in the upper register and placed even higher, above the crossbar, by images of the Sun and Moon, symbolizing the cosmic significance of the event. Angels watching the running of the heavenly bodies lead them away from the sky.
The most significant work of Dionysius was the monumental paintings - frescoes of the Cathedral of the Nativity of the Virgin Mary at Ferapontov Monastery(1495-96). Here the artist worked not alone, but with his sons and apprentices. The small-sized Church of the Nativity of the Virgin Mary is painted with scenes from the earthly life of the Virgin Mary. Upon entering, worshipers are greeted by a portal fresco that seems to protrude from inside the church onto the walls of the facade. Its composition is divided into three registers: the lower row serves as the basis of the upper ones and consists of “towels” - a kind of ornament imitating fabric. Above, on the sides of the entrance, there are two figures of archangels, Michael and Gabriel, the third register is occupied by scenes from the childhood of the Virgin Mary, and the Deesis completes the composition. In the interior of the cathedral, a significant place is devoted to scenes from the Akathist to the Mother of God, created by the Byzantine poet of the 6th century. Roman Sladkopevets. 25 hymns, the scenes of which, starting with the Annunciation, unfold on the eastern, then on the western pillars and the western wall of the church, constitute a genuine Suite of the Mother of God. A bright, joyful mood unites all the frescoes glorifying the Virgin Mary and her intercession for people before the Lord ("Protection", "Cathedral of the Virgin Mary", "Rejoices in You", "Last Judgment", etc.).
Pure and delicate colors with a predominance of greenish, golden and, most importantly, white, which for the first time in ancient Russian art received an independent sound here, are in excellent harmony with the emotional structure of the images. The Ferapontov Monastery, located far in the north and rarely visited by pilgrims, was not rich, and therefore did not have the funds to renew the painting. We owe this circumstance that the frescoes of Dionysius avoided later recordings, retained a color close to the original and allowed us to get a true idea of the master’s writing style.
Dionysius also painted hagiographical icons of Saints Cyril of Belozersk, Demetrius of Prilutsky and others. A type of hagiographical icons, when in the center of the board, in the middle, the figure of a chosen saint was placed, and on the sides it was surrounded by stamps: small, framed compositions on subjects from The life and miraculous deeds of the righteous man were widespread in ancient Russian painting.
Particularly famous are two paired hagiographic icons of Dionysius, depicting Metropolitans Peter and Alexy, made for the Assumption Cathedral in the Moscow Kremlin. The metropolitans are presented in full-length ceremonial vestments, the positions of their figures and gestures are almost symmetrical (perhaps the icons hung opposite each other in the cathedral and therefore overlapped compositionally), the figure of Metropolitan Peter is only slightly shifted to the left, and Metropolitan Alexy to the right. Majestic posture, colorful clothes, with a predominant white color, enhance the solemnity and monumentality of the images.
Simon Ushakov. (1626-1686).
In the history of ancient Russian icon painting, it is customary to associate the name of S. F. Ushakov with the idea of the last period of the art of Moscow Rus'. Both his work and his personality are typical of the era of fundamental changes that took place in the second half of the 17th century. The clearly defined breakdown of the medieval worldview leads to serious changes in the understanding and interpretation of the iconographic image.
These innovations were especially clearly expressed in the activities of the craftsmen of the Armory Chamber of the Moscow Kremlin. A huge amount of work is carried out here, from painting churches and residential premises of the Kremlin to decorating banners, carriages, and various household items. Simon Ushakov worked at the Armory for more than twenty years.
His work ethic and energy are amazing. He paints the walls of temples, paints icons and miniatures, draws maps, makes designs for banners, coins, decorations on guns, engravings, and engraves himself. He writes a lot on orders for churches in Moscow, Novgorod, Tver, Rostov, and for the Trinity-Sergius Monastery. Ushakov heads the icon-painting workshop and leaves many students and followers, among whom Tikhon Filatyev and Kirill Ulanov became especially famous. Following the teacher, they try to find new forms to create an iconographic image.
Ushakov formulated his new view on the tasks of icon painting in his “Word to the Careful Painting of Icons,” written no later than 1667, where he admires the properties of a mirror capable of accurately reproducing the world, and wants to liken it to a picturesque image. Following this desire, he tries, with the help of multi-layered strokes (small, barely noticeable strokes that give a smooth transition from one tone to another), to apply light and shadow modeling in the interpretation of faces.
He often paints images of the Savior and the Mother of God, demonstrating his ability to softly model the face and neck, emphasize the roundness of the chin, and the swelling of the lips. In the icon “Our Lady of Vladimir (Tree of the Moscow State),” painted in 1668, he depicts Tsar Alexei Mikhailovich, trying to convey his portrait features. It is known that Ushakov wrote parsuns. In depicting interiors or landscapes on icons, he sometimes uses the principles of linear perspective.
The artist sometimes uses Western European engravings as a model for backgrounds of icons. Thus, in the architectural landscape of the Trinity icon (1671), he repeated the image from an engraving based on a painting by an Italian painter of the 16th century. Paolo Veronese "The Feast of Simon the Pharisee." As for understanding the iconographic image as a whole, the master remains within the framework of medieval ideas. (The dual character inherent in his art finds analogies in the work of late Greek icon painters, such as Emmanuel Tzanes.)
Icon "Planting the tree of the Russian state"was written in 1668 during the reign of Tsar Alexei Mikhailovich. The idea of the image is to establish the succession of rulers on the Russian throne from Ivan Kalita and Metropolitan Peter. In the center of the icon is the image of the Vladimir Mother of God - the shrine of the Russian princes. The icon is entwined with a vine, in the branches of which is Ushakov posted images of Russian saints who helped with prayer and personal participation in the peaceful unification of Russian lands.
This was perhaps the first experience in Rus' of depicting ordinary lay people on an icon - the tsar and his family, although in Europe there was already a tradition of portraits of customers in church painting.
In his works, Ushakov strove to convey the volume of objects; he painted faces that were “puffy and round,” “as happens in life.” This style of writing, new at that time, caused criticism from contemporaries, especially the Old Believers led by Archpriest Avvakum.
Unlike icon painters of the past, Ushakov often signs his works, indicating the date the image was painted and his name. From surviving documents it is known that from 1648 to 1664 he worked as a banner bearer in the Silver Chamber, and from 1664 to 1686 as a paid isographer in the Armory Chamber. Information about the “family of icon painter Simon Fedorov, son of Ushakov” is contained in the handwritten synodikon of the Moscow Church of the Georgian Mother of God.
His copper engravings are also known - “Fatherland”, “The Seven Deadly Sins”; engravings for the "Life of Barlaam and Joasaph", for the "Psalter of Simeon of Polotsk".
Worked in the Silver and Golden Chambers (1648-1664). He made drawings for banners, metal and wooden products. Since 1664, he was a licensed icon painter at the Armory Chamber, and the head of an icon painting workshop. He supervised prestigious paintings in the Archangel and Assumption Cathedrals (1660), and the Faceted Chamber (1668) of the Moscow Kremlin.
S. Ushakov was a supporter of a new icon-painting direction for Ancient Rus' - the so-called “life-like” writing. This direction, which developed under the influence of Western European art, defended pseudo-realistic tendencies in icon painting, the desire for simplification, for an earthly vision of the holy image. Using traditional iconographic schemes, S. Ushakov used light and shadow modeling of the form, the volume of the depicted faces, achieving the impression of “living resemblance”.
S. Ushakov formulated his new view on the tasks of icon painting in the treatise “A Word for Careful Icon Painting,” where he resolutely defended realistic tendencies. He admired the properties of a mirror, capable of accurately reproducing the world around him, and wanted to liken it to an iconic image. While affirming the educational significance of icon painting, the author showed quite clear aspirations for natural authenticity, although he allowed fewer innovations in his works than in his statements.
The central theme of S. Ushakov’s work was the image human face, which attracted the icon painter with great interest, and he left the rest (“preliminary”) to be completed by others. In 1658, the artist, in a new manner, painted the head of Christ in the bishop’s headdress for the Moscow Trinity Church in Nikitniki - “Savior the Great Bishop” (State Historical Museum).
S. Ushakov created many icons of the “Savior Not Made by Hands” during his life. This is apparently explained by the fact that this version differs from others in that the entire icon board is occupied by the face of the Savior. Ushakov loved this theme, it is not for nothing that only the Tretyakov Gallery contains “Spas” of 1657 from the Trinity Church in Nikitniki, “Spas” of 1668 from Smolensk, “Spas” of 1673 from the Trinity-Sergius Monastery. A deeply religious man, coming from a family where many in the family were church ministers, Simon Ushakov in his icons sought to exalt the Savior, to convey his divine principle, combined with the human.
Of the Mother of God icons, the most famous works by S. Ushakov are "Our Lady of Kykkos"(1668. Tretyakov Gallery) and “Our Lady of Vladimir, Tree of the Moscow State” (1668. Tretyakov Gallery). In the last creation, the artist depicted Tsar Alexei Mikhailovich and his family, conveying the portrait features of the royal persons.
In 1671, the artist created an icon on the traditional subject of the “Trinity” (1671. Russian Museum), in which he sought to convey not divine beauty, as in ancient icons, but earthly, material beauty, depicting angels blooming, full of physical health. Unlike icon painters of the past, Ushakov often signs his works, indicating the date the image was painted and his name.
It is known that S. Ushakov wrote parsuns. In depicting interiors or landscapes on icons, he sometimes uses the principles of direct linear perspective.
From the Ushakov heritage that has survived to this day, engravings are known for “The Life of Barlaam and Joasaph,” for “The Psalter of Simeon of Polotsk,” “Fatherland,” and “The Seven Deadly Sins.”
The pictorial style of S. Ushakov is characterized by the solemn pathos of the image, meticulous execution, restrained colors, abundance of gold, and graphic precision of details. His style of writing was adopted by many masters. First of all, students: Ivan and Mikhail Malyutin, Georgy Zinoviev, Tikhon Filatyev and Korniliy Ulanov. The influence of the “Ushakov school” in Russian icon painting was felt until the middle of the 18th century.
The work of Simon Ushakov, in its desire to convey in iconic images “lifelikeness,” the materiality of the body, the authenticity of the earthly, essentially affirmed the principles of secular art. It was an attempt to combine the icon-painting tradition with the Western realistic style using new, pictorial means. As for the understanding of icon painting in general, the master remained within the limits of medieval ideas.
Venerable, favored by the court of Tsar Alexei Mikhailovich, possessing a multifaceted talent - in addition to icons, he painted frescoes, miniatures, and made woodcuts - such was Simon Ushakov, whose biography suffers only from the lack of an exact date and month of birth and the unknown origin. But this is already progress, since for his great predecessors Andrei Rublev and Feofan the Greek neither the date, nor the month, nor even the year of birth are known, and for the latter, the date of death is indicated with the prefix “about”.
Not an anonymous author at all
Much is known about Ushakov, even that Simon is his nickname, and he was named Pimen. This became known because the icon painter Simon Ushakov was the first to make his works his own. And so, on one of the icons, completed in 1677, he indicates that it was painted by Pimen Fedorov, nicknamed Simon Ushakov. It was a tradition in those days to have two names - one “secret” one, received at baptism, was dedicated to God. It could not be said in vain. The other, “calling”, everyday, was intended for life. Information about the artist can be gleaned from the signatures on other icons - one of them is kept in the Georgian Church in Kitai-Gorod. In fact, most of his works are signed.
New trends
Ushakov Simon Fedorovich, the famous Moscow icon painter of the 17th century is considered a prominent representative the last period of art of Muscovite Rus', which began with the construction of the Kremlin, which became a symbol of the united country. New stage in the history of Russian culture is characterized by new techniques and approaches to the depicted subject. Painting and architecture ancient Rus' absorbed the skills of representatives of various schools, including Italian. All of them worked on the construction and painting of the Kremlin chambers. New trends made architecture, icon painting and other types of creativity more decorative, the colors became brighter, the images more plastic.
Russian Renaissance
In general, this transitional period from old to new art was bright and full of masterpieces of talented people (the icon painter Simon is its main representative). And therefore, in history, the second half of the 17th century is often compared with the Western Renaissance or the Baroque era. Indeed, all types of art and construction were booming. Architecture flourished - very much was built a large number of temples.
Secrets of origin
Simon Ushakov is a talented painter and graphic artist, apparently from an early age he studied the craft of an artist, since rarely anyone before or after him was accepted into the Silver Chamber for the official position of flag bearer in such a at a young age- at 22 years old. The exact date of birth is unknown, as is the origin. There is only the year of birth - 1626, and the assumption that Simon Ushakov was born from the townspeople, that is, he came from the medieval class of formally free people. Although one of the icons signed by him (as noted above, he was the first to designate his works) contradicts this - the icon painter calls himself there a “Moscow nobleman.” Most likely, he did not lie, and received the title later as a sign of special distinction on the part of those in power. Another researcher of Ushakov’s work, Boris Shevatov, writes that Simon was even a hereditary nobleman and that is why he had the opportunity to master the skill and then receive a government position with a salary.
Diversity of talent
At the place of his first service, his duties included creating sketches of various kinds: for gold, silver, enamel church utensils. Painting banners was also part of his duties, as was the development of designs and motifs for embroidery. The number of tasks required to complete was large, but Simon Ushakov managed to paint images all the time, both for the church and for people, gradually becoming the most famous icon painter. Making skillful cards, painting church walls, beautiful notches on guns - this talented man became famous for all this and many others.
Fanatical hard work
His skill, diligence, and amazing ability to work attracted the attention of his superiors, and in 1664 he was transferred to the Armory, where he was assigned to the well-paid position of “compensated isographer.” Talent is honed, fame spreads, and now Simon Ushakov becomes the head of all icon painters in Moscow. The biography of his later life suggests that he was not familiar with the poverty and lack of recognition that usually accompany many artists. The last of the brilliant icon painters of the pre-Petrine era died in Moscow in 1686, surrounded by fame, prosperity and recognition.
Shadow moments of the biography
Although there were also unpleasant moments - in 1665 the artist fell into disgrace. He was even exiled to a monastery, apparently in Ugreshsky. But the exact address is unknown, as is the reason that irritated the tsar - either a nude in one of the paintings, or sympathetic statements addressed to the Old Believers. However, in 1666 the artist was again mentioned as a royal employee.
The first icons
First famous work the master is considered to be the image of Vladimir Mother of God, dated 1652. It is notable only for the fact that five years after it the first Savior Not Made by Hands, Simon Ushakova, saw the light of day. People argue about it, you may like it or not, but the image has become known for violating the canons of writing. Realistic features appear in it, it is carefully and voluminously written out. Jesus has eyelashes, his eyes shine as if from a tear. And, despite this, the church accepted the icon. Of course, this was not a revolutionary word in icon painting, but it certainly became something new.
Software image
In total, several of these images were painted - some experts believe that in the artist’s work he became programmatic. Trying to get as close as possible to the lining on which, having wet his face, Christ himself left his miraculous image, Ushakov constantly improves his icons - changes some features, adds or removes inscriptions. It is believed that the artist himself and the students of the workshop created under his leadership were the first to emulate Western masters. They began to introduce human features into the faces of the saints they depicted, which was not the case in old Russian icon painting. Representatives of Ushakov’s school, in his own words, tried to “write as if it were alive,” that is, approaching reality in their work, for which they were subjected to severe criticism from the Old Believers (Avvakum generally said that Ushakov, by painting Christ, was blaspheming). The Savior Not Made by Hands by Simon Ushakov, dated 1670, was painted for the Trinity Cathedral of Alexander Sloboda. It is now kept in the Armory Chamber.
Images become more human
The faces on Ushakov’s icons were strikingly different from the images of the Old Believers, whose name explains this. Old rituals, strictly preserved for centuries, dictated a manner of painting icons that was very far from the surrounding reality. Darkened by time, they were strikingly different from the light ones, since “God is light,” the more colorful and calm images of saints from Ushakov’s icons. In his work, for the first time, old and new realistic directions were combined.
Elements of “Frying” or Western art appear for the first time in his works. He borrows their perspective, and sometimes the plot, from The Seven Deadly Sins. There are dozens of Western paintings and prints on this topic.
Artistic credo
Completing the line of great Russian icon painters - Theophan the Greek, Andrei Rublev, Dionysius - Simon Ushakov becomes a bridge to next stage development of Russian painting. The enlightener reflected his views on art, on the responsibility of authors for their works, on the reality of the depicted object in his book “A Word to the Careful Icon Painting,” which was published in 1666, possibly written in exile. The views expressed by the author in it are so progressive that some critics have expressed the idea that he is not so bold in his paintings. In the book, he praises the “mirror principle,” which speaks of the desire for accuracy in the image. In this regard, the artist developed a new painting technique - small, barely visible strokes that make the color transition imperceptible; they were called “melt” and were multi-layered. This made it possible to draw an oval face, the color of which was close to the real one, to make the chin and neck round, to emphasize the swelling of the lips, and to carefully draw out the eyes. Ushakov honed all these techniques on his favorite images - the Savior and the Virgin Mary.
Transition to portrait
Thanks to this, during his lifetime he was called the “Russian Raphael.” And not in vain. Because the first portrait of Simon Ushakov, or rather his brush, or parsun (the word comes from the Latin term persona - personality) is also a new word in art. He painted the gravestone portrait of Skopin-Shuisky and a number of other parsuns of the Moscow nobility. Portrait works include his most famous icon, which is considered the greatest work of the 17th century, artistic and political program era - “Tree of the State of Moscow”, also known as “Praise of Our Lady of Vladimir” or simply ““Our Lady of Vladimir”, there are other names.
The main work of the master
This unusual icon, in addition to the pictures drawn as truthfully as possible and located at the bottom, depicts the Assumption Cathedral. This main shrine of the Russian state is also depicted with photographic accuracy. At its foot two people are planting a tree " Russian state- these are the collectors of Russian lands Ivan Kalita and Moscow Metropolitan Peter, known for moving the symbol of spiritual power, the Metropolitan See, to Moscow from Vladimir, thereby designating
The work is a historical epic
On the branches of the tree, Simon Ushakov placed medallions containing portraits of people - kings (Fyodor Ivanovich, Mikhail Fedorovich, Tsarevich Dmitry) and saints with prayer scrolls in their hands, who did everything to strengthen the Moscow state and its capital Moscow - the political and spiritual center. On the right are Patriarchs Job and Filaret. Alexy, Cyprian, Philip and Photius. On the left are Sergius and Nikon of Radonezh and other pillars of Orthodoxy. The portraits of Alexei Mikhailovich, which he ordered from Ushakov in considerable quantities, have not survived. And the more interesting and significant is the parsun on the icon, since the author tried to give it complete resemblance to the original. The Tsar himself, his wife and two princes, Alexei and Fyodor, are depicted as a group standing on the territory of the Kremlin. In the clouds, angels accept from the hands of the Savior the attributes of power for Alexei Mikhailovich. All this symbolizes the process of crowning the kingdom of an earthly ruler with a heavenly king. In the center of the icon is the Face of Vladimir with the baby Jesus in her arms. The canvas is signed, like the rest of Simon Ushakov's works.
Other works of genius
His works include frescoes on the walls of the Faceted and Royal Chambers of the Kremlin, the walls of the Archangel and Assumption Cathedrals. Considering the versatility and versatility of creativity (coins were minted according to Ushakov’s sketches), there is a lot of work left.
The icons of Simon Ushakov deserve special words. In addition to the above-mentioned Savior Not Made by Hands in various modifications and several icons of the Mother of God of Vladimir, the faces of Christ Emmanuel, the Kazan Mother of God, the Annunciation,
Transitional stage to painting
To date, 50 icons are known that were signed by Simon Ushakov himself. “Trinity” deserves a separate description. It was completed in adulthood - in 1671. The date is indicated both from Adam and from the Nativity of Christ. Extended signatures were often written on front side canvases. The icon has been kept since 1925 in the Russian Museum, where it came from the Gatchina Palace. The composition of the icon was borrowed from Andrei Rublev, whose work, as is commonly believed, is inferior in terms of spirituality and philosophical sound. This is due to the oversaturation of the canvas with carefully painted household items. With these secular details, some icons are more reminiscent of painting. Simon Ushakov has always been interested in her. He was engaged in renovation, that is, restoration of paintings. Actually, the “Trinity” is a step in the transition from icon painting to fine arts V pure form. He was well acquainted with the masters of Western schools and sometimes borrowed for his icons from such major artists as Veronese. Therefore, Ushakov is not only a great icon painter, but also a talented artist and graphic artist.
Students and associates
His many talents include the gift of teaching. Simon Ushakov even worked on teaching aid for his students, the book was called “The Alphabet of Arts.” After his death, which occurred on June 25, 1686, a beautiful art school followers, among whose students were such major painters and iconographers as Tikhon Filatyev, Kirill Ulanov, Georgy Zinoviev, Ivan Maksimov and Mikhail Milyutin.
Icons royal isographer Simona Ushakova
Our Lady of Life-Giving Spring
, with 16 marks of miracles.
1670
53 x 49.
MNDM. Inv. 1309/1456. IN silver frame with enamels and pearls.
On the silver plate, mounted on the back, there is the inscription: “This image of the Most Holy Theotokos was placed in the Novodevichy Convent by the boyar and gunsmith Bogdan Matveevich, called Job Khitrovo, in the year 7178.” Not signed, attributed to Simon Ushakov and Sergei Rozhkov based on the mention in documents that in 1670 these masters painted the image of the Mother of God the Life-Giving Spring.
Icons of the royal isographer Simon Ushakov in the Moscow Novodevichy Convent
From the annotation: “The icons of Simon Fedorovich Ushakov, located in the Moscow Novodevichy Convent, due to their high artistic merit, can be considered among the best works of the glorious royal isographer. In them, despite following the instructions of the iconographic original, so much living, independent and artistically beautiful appeared that they, along with the rest of him the best works, represent the extreme limit to which our ancient Russian art icon painting, and which was then followed by a decline that lasted until recently.” The book is supplemented by an article by V.G. Bryusova "Simon Ushakov and his time."
For reference: Trenev Dmitry Kapitonovich - (1867-?) - writer; He received his education at the Practical Academy of Commercial Sciences in Moscow. He devoted himself to studying monuments of ancient Russian art and icon painting. His main works: “A few words about modern icon painting” (M., 1901); “Icons of the royal isographer Simon Ushakov in the Moscow Novodevichy Convent” (M., 1902); "Russian icon painting and its desired development" (Moscow, 1902); "Iconography of the Mstertsev" (Moscow, 1903); “A few words about ancient and modern Russian icon painting” (M., 1904).
Author: Trenev D.K. / Trenev D.K.
Title: Icons of the royal isographer Simon Ushakov in the Moscow Novodevichy Monastery / Icons of the royal isographer Simon Ushakov in the Moscow Novodevichy Monastery
Publisher: T-vo skoropechtnya A.A. Levinson
Quality: Scanned pages
Number of pages: 93
Genre: Orthodoxy
Language: Russian (pre-reform)
Year: 1901
Format: PDF
Size: 5.41 MB
Download from depositfiles.com
Savior Not Made by Hands.
1670
Ushakov Simon.
Comes from the Moscow Novodevichy Convent.
Ushakov Simon (Pimen) Feodorovich(1626-1686) - famous Russian icon painter and graphic artist. In baptism Pimen, since it was under this name that he was inscribed in the synodik of the Znamensky Monastery in Moscow. The year of birth of the master is traditionally considered to be either 1625 (after September) or 1626 (before September), based on the inscription on the icon that was once in the Trinity Church in Nikitniki and later disappeared, which is mentioned by Tromonin (Tromonin 1845:88): “Summer 7166 year was written by the sovereign icon painter Simon Fedorov, son of Ushakov, 32 years old.” If this information is not a hoax, then, taking into account the name given to Ushakov at baptism, and the fact that in the 17th century. the memory of all the saints who bore this name was celebrated only on August 27; the year of birth of the master can be specified as 1626.
By birth he was a “Moscow nobleman,” that is, he belonged to the nobles who served “on the Moscow list.” The opinion that Ushakov was awarded the title of nobility for his iconographic works has now been refuted (Lavrentiev 1994). According to records in synodics and inscriptions on icons, it is known that the artist’s mother’s name was Maria, his wife’s name was Fevronia. They had two children who reached adulthood - a son, Peter, and a daughter, Euphemia. From the same data it follows that Ushakov had extensive family ties among the clergy.As follows from the documents, Ushakov entered service at the court as an artist on May 4, 1648. Ushakov was appointed standard bearer of the Silver Chamber, where he worked until 1664. As standard bearer of the Silver Chamber, Simon Ushakov was also involved in painting icons, frescoes, banners, and drawing maps, plans, made drawings for banners, coins and decorations on guns, etc. In June 1654, as part of a group of icon painters, he was summoned to Tsar Alexei Mikhailovich, who was on a campaign in Vyazma. In 1655, Ushakov, together with Stepan Rezants, the head of the royal icon-painting workshop, participated in the Smolensk campaign of Tsar Alexei Mikhailovich. On July 11, 1656, Ushakov, together with the icon painters Fyodor Kozlov, Ivan Matveev and Ivan Vladimirov (Bolshoi), was again summoned to the Tsar, who was then in Polotsk. He was not released from Moscow by Patriarch Nikon, as follows from the reply to the royal letter: “And the icon painter Simon Fedorov was left in Moscow by the great sovereign, His Holiness Nikon, Patriarch of Moscow and all Great and Little and White Russia, for his sovereign hierarchical affairs.” In February 1661, Ushakov, together with gunsmiths Grigory Vyatkin and Vasily Titov, was sent from the Armory Prikaz to Kazenny to boyar Ilya Danilovich Miloslavsky “for the coin factory” (perhaps Ushakov made designs for coins).
Out of our own official duties in 1657-1659 Simon Ushakov painted several icons commissioned by the Nikitnikov merchants for the Church of the Georgian Mother of God (Trinity in Nikitniki), in whose parish he lived: “Savior the Great Bishop,” “Savior Not Made by Hands,” as well as the icon “Annunciation, with the marks of Akathist.” They clearly reflected the stylistic turn to “life-like” writing that had occurred by this time in his work, which soon became the main style of the icon-painting workshop of the Armory. Simon Ushakov is the recipient of the “Message of a Certain Izugraph...”, compiled by icon painter Joseph Vladimirov, where the “life-like” style received its theoretical justification. The message has no exact date. Simon Ushakov himself expressed his own views on the tasks of icon painting in the essay “A Word for Careful Icon Painting,” created approximately at the same time as “The Message of Joseph Vladimirov,” i.e. no later than the 1660s, which marked the formation and approval of “life-like” writing in the court icon-painting workshop.
The earliest known icons of the master are “Our Lady of Vladimir” 1652 from c. Michael the Archangel in Ovchinniki in Moscow and “Metropolitan Philip” 1653 from c. Transfiguration of the Savior in Kaluga. In 1659, Simon Ushakov completed a copy of the ancient icon of the Assumption Cathedral “The Savior of Tsar Manuel,” which was located in the Annunciation Cathedral in the city of Kirzhach. The icon depicted Christ sitting on the throne, at whose feet Sergius and Nikon of Radonezh fall. On the frame below there was a silver plate with the inscription: “In the summer of June 7167 (1659), the icon painter Simon Fedorov, son of Ushakov, painted the image of the Sovereign.”
In the autumn of 1660 Ushakov restored in the Annunciation Cathedral, the icon of the Mother of God of the Mammal, in the painting of 1660 called Barlovskaya with the Eternal Child at the breast, as well as the “image of the Mother of God of Metropolitan Peter Pismo” in the Assumption Cathedral of the Moscow Kremlin: http://expertmus.livejournal.com/53393.html
In 1663, from July 10 to September 1, Simon Ushakov led restoration of the icon from the iconostasis of the Annunciation Cathedral according to the royal decree: “in the cathedral church of the Annunciation, the local icons and the Deesis should be completely repaired and re-insulated.” Until September 1, 1663, Ushakov also “repaired the image of the Most Holy Theotokos with the relics”: http://expertmus.livejournal.com/18773.html
In the early 1660s, even before entering the Armory Chamber, Simon Ushakov actively painted icons commissioned by private individuals, both secular and clergy, in particular Metropolitan Hilarion of Ryazan and Murom and Abbot of the Moscow Sretensky Monastery Dionysius. Since 1660, Simon Ushakov painted icons in the Florishcheva hermitage in Gorokhovetsky district, of which he was rector his relative Hieromonk Hilarion, from 1681, Metropolitan of Suzdal (b. November 13, 1631, d. December 14, 1707; before accepting monasticism, he was married to the sister of Bishop Pavel of Kolomna, famous in the history of the Old Believers):
Hilarion was distinguished by his piety and attracted the special attention of Tsar Feodor Alekseevich, who wished to see him for the first time, probably in January 1677, when the latter was in Moscow “for certain monastic needs.” In the “life” of Hilarion it is reported that when the tsar, having learned about Hilarion’s stay in Moscow, ordered to find and invite him to his place, then “messages... came to the venerable... in the house of the royal icon painter Simon Ushakov, there, having arrived to Moscow, he stayed, because he was related to that icon painter of the venerable father.” Those from the brethren of the Florishcheva Hermitage, whom Hilarion sent to Moscow via miscellaneous matters. In the life of Hilarion, by the way, the following incident is reported. One day, three Florishchevo elders, while in Ushakov’s house, at night “kept up the monastic rule commanded to them, sending up their diligent prayers to God with tears, and suddenly from their God-inspired lips a fiery flame began to emanate to the very heavens, while not a single light was lit in the temple.” one candle. And when they saw that fire rising to the skies, the watchmen standing at the Spassky Gate of the Kremlin city were very embarrassed and began to look intently in that direction, believing that it was a fire. Then they were surprised by the extraordinary flame and said among themselves: if something had caught fire, then now there would be more flames and strong smoke would appear; and this flame is without smoke, and as it was at first, so is it now. And after consulting, they went into that flame to find out the truth, and reached the house where Hilarion’s disciples were in prayer. Simon Ushakov led them into the temple to the praying elders, but there was no fire or light there; and when the guards left them, the fire again began to ascend from that temple to heaven. And then those who came and the owner of the house knew that that flame was nothing other than prayers that ascended to God from the lips of those pious elders.” Particularly interesting is the story of Hilarion’s life about the latter’s night vision concerning the question of choosing a temple icon for the new monastery church.
According to the life of Hilarion, Simon Ushakov wrote four icons for the Assumption Cathedral of the Florishchev Monastery: “Assumption”, “Savior on the Throne”, “Our Lady of Cyprus (Kykkos)” and “Our Lady of Vladimir”, which had additional images in the margins: on the top - the Coronation of the Mother of God, Zosima and Savvaty of Solovetsky, on the bottom - the position of the belt of the Mother of God, Ephraim and Sophronius the patriarch, on the sides - the apostles Peter and Paul. Another “Our Lady of Vladimir”, bearing Ushakov’s autograph, was in the altar of the temple.
In December 1663, Ushakov was transferred from the Silver Chamber to the Armory. In July 1665, for an unknown reason, it was decided to send Simon Ushakov “under command” to a monastery. Judging by the fact that two draft letters of sending him to the monastery have been preserved, identical in text, but different in addressees, initially they wanted to send Ushakov to the Pokrovsky Monastery “that behind the Yauza in the poor houses” (this letter does not have the clerk’s signature and is not dated) , and then to Nikolo-Ugreshsky (the letter is dated July 23 and has the signature of a clerk).
In 1666, Simon Ushakov supervised the stern icon painters, who “ were repairing in the embankment mansions the image of St. Nicholas the Wonderworker in miracles.” On Easter 1667, Simon Ushakov presented the sovereign with an icon of the Savior Emmanuel ( see illustration.), for which he was awarded good cloth and three rubles for the butt.
Christ Emmanuel.
1697
Ushakov Simon.
37×32.
Comes from the Moscow Novodevichy Convent.
In 1668, Simon Ushakov painted icons for the local row of the iconostasis c. Gregory of Neocaesarea. Among them is “Our Lady of Kykkos” - the first Russian icon of such iconography . Then for c. Trinity in Nikitniki the icon “Praise of the Mother of God of Vladimir” was painted, and for the Donskoy Monastery exact list of the venerated image of “Our Lady of the Don” from the Annunciation Cathedral
Before June 28, 1670, Simon Ushakov completed the “persona” of the king for the Jerusalem Patriarch Paisius: “On the 28th day of June (1670), to the parsion of the great sovereign, which was described by the icon painter Simon Ushakov to the ecumenical pope and Patriarch Paisius, on the icon case, in What should that person put on a red shirokovo braid - gold and silver, measuring eight arshins, weighing seven spools.” In 1670, Ushakov painted two icons of the Mother of God for Tsar Alexei Mikhailovich - Sobolevskaya and Iverskaya.
In 1672, Simon Ushakov painted the icon “Our Lady of Iveron”, with which Metropolitan Philaret was blessed upon his departure from Moscow to the newly established Nizhny Novgorod diocese. The image was then located in the Transfiguration Cathedral in Nizhny Novgorod in the local row of the iconostasis to the left of the royal doors. On it was a copper tablet with the inscription: “7180 (1671/72) this image was painted in Moscow by the sovereign icon painter Pimin Fedorov, nicknamed Simon Ushakov, in the great Nizhny Novgorod, according to a promise to the cathedral church of the Transfiguration of the Lord under the founder, the great master, the Most Reverend Philaret, Metropolitan of Nizhny Novgorod and Alator, and this image was released with him by the great master, when he first went to accept his holy throne.”
On May 12, 1673, Simon Ushakov was instructed to paint the image of “Our Lady of the Life-Giving Spring” on a cypress board ( see illustration.): “by order of the boyar and armorer Bogdan Matveevich Khitrovo and the steward Ivan Stepanovich Telepnev, Weapon plates to the icon painter Simon Ushakov for a cypress board, six vershoks long, ten vershoks wide, at a price of four rubles, and by order of the great sovereign, in that make a shaped tska on a cypress board, and on it he, Simon, was ordered to write an image Blessed Virgin Mary Life-Giving Source - against the previous old translation to him the great sovereign in the Order of secret affairs.”
On June 22, 1674, Ushakov, together with Nikita Pavlovets, began painting icons for the Tikhvin Church. in the palace village of Alekseevskoe near Moscow: http://expertmus.livejournal.com/64888.html They were ordered to paint “mass icons the image of the Savior Pantocrator standing, Nikon and Andronik in prayer, and the image of the Most Holy Theotokos of Smolensk, and the image of John the Baptist, and the image John the Theologian, the image of Alexei the Man of God, the image of Varlaam of Khutyn.” However, work was suspended. The craftsmen managed to complete only the icons “John the Baptist” and “John the Theologian”.
From October 6, 1674, Simon Ushakov, together with Nikita Pavlovets, restored the revered Greek icon “Our Lady of Blachernae”, brought from Constantinople, which was located in the Moscow Assumption Cathedral. In the summer of 1675, Ushakov, together with other icon painters, renovated the iconostasis of the Assumption Cathedral: “repaired... Deesis, feasts, prophets, forefathers... into the cathedral apostolic church of the Dormition of the Blessed Virgin Mary.”
In 1675, Simon Ushakov also painted a large gravestone icon “Nikon of Radonezh”, enclosed by B.M. Khitrovo in the Trinity-Sergius Monastery, the image of “Our Lady of Iverskaya”, located in the Goritsky Monastery in Pereslavl-Zalessky, for which his family was inscribed in the Synodik of the monastery, as well as the image of the Savior Not Made by Hands with stamps illustrating the morning stichera, for c. Ilya Obydenny: http://expertmus.livejournal.com/87846.html
In 1678, Ushakov was granted to the Moscow list of nobility. In 1681, Simon Ushakov renewed the revered icon of the Mother of God of Kazan in the Vysokopetrovsky Monastery. There was an inscription on it, reproduced in 1774: “7189 was renewed by Simon Fedorof Ushakof under Archimandrite Joseph.”
In June 1683, by order of Tsars John and Peter Alekseevich, Simon Ushakov with ten icon painters was at the painting of icons in the Novodevichy and Donskoy monasteries.
The Savior on the throne, with the falling John the Baptist and the Apostle Peter. 1683-1984 Smolensky Cathedral of the Novodevichy Convent, local row of the iconostasis. 168 x 102.
At the bottom of the icon is the signature: “719- ... written by Simon Fedorov’s son, nicknamed Simon Ushakov, and his comrades.”
See also the article “ Putin returned the Iveron Icon to the Church - a “sacred sacrifice” or atonement for sins?: http://echo.msk.ru/blog/expertmus/886083-echo/
The last known work of Ushakov dates back to 1685 - the icon “ last supper” from the Assumption Cathedral of the Trinity-Sergius Monastery...
last supper.
1685
44 x 61.
Inv. 4226. see
It was placed above the royal doors in the iconostasis of the Assumption Cathedral of the Trinity-Sergius Monastery. On the lower field there is an inscription in white: “7193 was written by Simon Fedorov, son of Ushakov.”
Simon Ushakov died on June 25, 1686. This is stated in the petition certificate of one gesso painter who asked to become an icon painter: “Simon Ushakov. And in the past, in June 194, in December 25, he died” (Uspensky 1910). He was buried in the Moscow Znamensky Monastery, of which the artist’s father and uncles were monks.
In document no. XVIII century referred to as miraculous icon of the Savior Not Made by Hands letters from Simon Ushakov...
Blog of the scientific team of the Andrei Rublev Museum.
Simon Fedorovich Ushakov (1626-1686) - the famous Moscow icon painter came from hereditary nobles. Apparently, at a young age, Simon received serious artistic training and thoroughly mastered the art of “sign” (drawing). Only this can explain the fact that only twenty-two years old he was accepted as a “competent” royal master of the Silver Chamber at the Armory Order in the Kremlin. And soon he was called nothing more than “gold and silver flag maker and icon painter.”
"Savior Not Made by Hands"
Let us return to the sad year of 1665, when draft “memories” appeared in the affairs of the Armory Chamber - office notes, where it was said about two different monasteries, about Nikolo-Ugreshsky and Pokrovsky, which are on the Poor Houses, behind Zemlyanoy Val, at the Pokrovskaya outpost. Both were designated as Ushakov’s place of imprisonment. Since September 1666, information finally appears again about Ushakov’s activities in the royal service, about the awards he received along with other icon painters. The talented master carried out royal orders and the personal wishes of the Quiet One not only in the Kremlin Armory, but also in his home, which over time turned into a workshop and icon-painting school
"Our Lady of Kazan", 1658 
Simon painted images of saints on church vessels, on a chased plaque, or decoration on the vestments and cap of an archimandrite.) But here special knowledge of drawing, taste and independent creativity were required. The master painted temples with frescoes, made sketches for banners, coins and jewelry. The isographer also turned to drawing from life, that is, from life. Simon Ushakov himself was a master of drawing and an excellent icon painter: it is no coincidence that in Moscow he had the fame of the first icon painter. He introduced portrait images and landscapes into his icons. It is with his work that the gradual transition from medieval icon painting to secular realistic painting is associated.
"Our Lady of the Don", 1668 
Ushakov had a multifaceted talent. He made sketches for items of church utensils and palace utensils, composed patterns for handicrafts, drawings for jewelry, drew and painted maps, painted sovereign eagles in the stamps on muskets, and on silver knives - animals, birds and grass, painted on Christmas holidays walls of the royal room. He did everything masterfully, and most importantly, trying to understand the nature and essence of man, to convey the originality of what he depicted. It is no coincidence that the artist compared painting to a mirror, which has the wonderful secret of reflecting the reality of life as it is.
"Our Lady of Novonikitskaya" 
"Icon of St. Nikon of Radonezh" 
"Sergius of Radonezh", 1669 
"Savior Not Made by Hands", 1669 
“Our Lady of Eleusa of Kykkos”, 1668 
“Tree of the Moscow State (Praise to Our Lady of Vladimir)”, 1670 
“Our Lady of Eleusa of Kykkos”, 1675 
"Archangel Michael trampling on the devil", 1676 
"Last Supper" 
"Philip, Metropolitan of Moscow and All Rus'" 
"Trinity", 1677 
"John the Evangelist in Silence", 1673 
"Savior Almighty", 1668 
"Savior Not Made by Hands", 1676 
"Savior Not Made by Hands", 1677 
"Savior Almighty on the throne", 1672 
"Savior Not Made by Hands" 
"Archangel Gabriel" 
"Our Lady of Vladimir with selected saints", 1660 
"Golgotha Cross", 1651 
"Christ Emmanuel" 
"Trinity Life-Giving" 
"Nicholas the Wonderworker" 