Icon "Scary Court": meaning. Icon of a terrible court: description. The restoration (launched for more than six months) and was made by Kyot for the Icons "Terrish Court"

Many icons personify memory not about a specific personality, but about some event that has already happened or has been reflected in the ancient scriptures of the Old or New Testaments.

Icon "Scary Court" is rather an image indicative. It is not necessary for prayers, but in order to remind people that they are waiting at the end of time. There is also a so-called week about the terrible court - the third of the four weeks of preparation for the Great Post.

Meaning icon

About the great court, or about terrible, as it is customary to speak, in the Bible it is written quite detailed. In the first century, our era was the first coming of Jesus Christ, which marked the salvation of all people from the original sin. It was the beginning began. Everything will be completed by the second, when the power in the world will take the devil with his minions. That will be dark times, but humanity will free from this prison forever when the Messiah comes to the second time.

No one knows when it will be. Maybe after a hundred years, maybe in a thousand, but this will happen. To prepare for the terrible court, it is necessary to have every person in life, trying not to leave no sin, perfect or by chance. In almost every temple there is an image of a terrible trial, because this is what is to be afraid of sinners. As Holy Scripture says, every person who ever lived on Earth will be resurrected, and his sins will be appreciated by the Lord. Return to all. In all temples, there is this image that resembles the end of times and the beginning of eternal life in paradise or hell.

History and description icons

Execution options icons There are a great set. The most popular and common one is the Novgorod version dated by the 15th century. On this icon depicts all the great saints, prophets, angels, archangels, God Father, Jesus Christ, Mother's intercession. At the bottom of the image there is an image of hell, fallen angels, as well as the devil himself in the case of a snake. He is defeated and captive by angels.

There are types of icons where the battles between the angels and demons are depicted, where there is Satan, holding people and raging in hell. There are similar to the Novgorod version of the image where the court itself is more clearly shown when people are divided into two halves. On the left hand from Christ - hell, where sinners go, and on the right - paradise, where light and people welcome angels and happy bright souls.

What helps icon

This is more motivational image, rather than a protective or prayer. It helps people remember where the sinful lifestyle can lead and the lack of faith. This image creates a special halo around itself. You do not need to take it as negative, because every person performed in the life of bad actions. Before this icon, you can pray for the rescue of the soul, reading ours. This prayer is how it is impossible to better displays the meaning of the icon. This icon is a reminder that retribution is emergency, irreversibly and expected. No one knows when the Great Court starts, so this icon needs home to understand the seriousness of the situation of mankind.

Prayer in front of the "Scary Court" icon

"Our Merositive Lord, the king of Heaven, at the right hour from heaven descended. Ozari our souls with the light with their own, in order to conceive a spark of love and repentance in us. Help Clean our souls from the bad, which we have a speaker in themselves throughout life. Help us to meet your Great Court with honor and with fearlessness, we will be an individual with an impersonation of cleanliness, because our sins will dissolve in good and peacefulness. Amen".

This icon has no day to be honored, but it acquires a special meaning during the preparation for the Great Post, on the third week about the terrible court. In the post itself, this icon reminds us that it should be our goal, namely, the election of the right path in life.

Of course, this icon can become your own symbol of faith, a symbol of God-fearing. It is almost in any temple in the form of paintings on walls or ordinary icons. It can be called one of the most common, because it is everywhere, and also personifies the meaning of the victim of Jesus Christ and the need for the very coming in general. Read prayers in front of her and inspire yourself to it. Good luck to you and do not forget to press buttons and

26.02.2018 05:46

On the set of icons depicted the Holy Trinity in all mystery and greatness. About the power of shrines argue ...

Publication or update date 08.12.2017

In the central part of the icon - Sudya Christ sitting on the throne; With the prayer petition for the human race, he is coming to the Mother of God and the Forerunner, the preacher of repentance. This element of the icon is included in the Deesus composition. Bully below are the crankshaftic progenitors: Adam near the Majan Virgin, Eve - from the side of John the Baptist. Parties from the central group are depicted sitting apostles - six on each side; In their hands opened books. Behind the backs of the apostles angels.

The register below shows the peoples marching to court: the Saints and Righteous people are located on holiday; On the left side, pagans and innovations are suitable for proud - about their nationality, not only appropriate inscriptions, but also characteristic clothing. The first group (these are Jews) leads Moses, pointing to his wards on Christ.

In the center of this register, the throne is depicted prepared with all the characteristic features; This is the throne, about which the prophetically announced the Psalm People: You produced my court and my litigation; You were silent on the throne, the righteous judgment. You raised the peoples, destroyed the wickedly, the name they were focused on eyelids and eyelids (Ps. 9: 5, 6).

Every other elements of the composition are worked in detail: the Dandy of God, holding the souls of the righteous - they are shown in the image of ripen babies, the souls of righteous in the hand of God, and the torment will not touch them (prem. Sollar. 3: 1). Angels, standing at the throne of prepared, meet the nations going to the court; In their hands, they hold a scroll with the text of the Gospel, read on the liturgy per week meat suite. An angel scroll, meeting the righteous, is victoriously directed upwards, as if he points out the way directly to Gorenia Jerusalem. At the other angel on the scan of evangelical words addressed not to the grace.

The following register is represented by the four spheres, in which the following compositions are placed: Sitting on the throne of Our Lady with the upcoming angels; The vision of the Prophet Daniel -angel points to him on four animals symbolizing the "dead kingdoms". The last sphere is devoted to the plot "Earth and the Sea give the Dead." In the center of the sphere - a woman who personifies the earth, and around - resurrecting from the dead people. At the bottom of the sphere, the allegorical image of the sea - the shape holding the ship on their shoulders. At the right bottom of the icon depicts hell - the fire, in the center of which Satan is sitting. The stamps are placed below, in which sinners are tormented for their sins. The feature of the image of the underworld is that it is depicted as a massive rock, which is raging a hellish flame. In the rock - gloomy caves with sinners.

On the left side of the lower register icon depicts Paradise: Lono Abrahamovo; Behind the prudent robber standing behind. To the locked gates of Paradise (they are guarded by fire cherubs - life. 3:24) The procession of the righteous with the apostle Peter is moving. The first in this long procession is the apostles, and directly behind them - the primordants of Moscow.

On the middle of the XVI century icon. From Kargopoly, which is in the meeting of the State Hermitage, more attention is paid to Naitaria. As in the previous icon, all the main elements of the traditional iconography of a terrible court are presented here. The features of this composition include such details as the image of the "gracious clodnik", tied to the post between hell and paradise (according to legend, it was not allowed to be taken to heaven, because he betrayed for a blud, but I escaped hellish torch, since constantly I worked alms). One more important detail: Satan, sitting on a beast in a hell of a flame, holds in his hands the soul of Judah.

The scenes of the torment of sinners in the hell are presented for ten stamps that occupy the entire lower register icons.

The cargopol icon presents the part, for traditional iconography is not characteristic and known only in late Russian icon painting: this is a snake, rising from the fiery mouth of the hellish beast to the legs of the plaque of Adam: I will put your goal between you and between your wife, and between your seed; It will affect you in the head, and you will be stuffing it on the foot (Gen. 3:15). Twenty rings with allegorical images of solarms are risen on the snake - they passes the human soul, before he falls into the kingdom of heaven.

Another characteristic for the XVI century. Detail - a detailed illustration of the visa of the Prophet Daniel (DAN. 7-8). Daniel and an angel himself, interrupting his visions, are depicted on the right side of the icon in the circle at the right field. They seek the picture of a terrible court.

At the top of the icon on the right depicted the God of Savaof and Jesus Christ, sitting on the throne. In the center of the icon depicts the Savior in Glory sitting on the throne. Right hand He blesses, and left holds the revealed gospel with the text: Do not judge on the face (John 7: 24).

On the Icon of the late XVI century, written by Cretan Master George Klootsas - a huge number of characters. There are so many of them that it is quite difficult to highlight the main, except without shown at the very top of Christ in glory sitting on the throne. Below is the throne taken from which the fiery river follows, descending into a gemina fiery. On the sides of the Ethimathia there are two groups of angels holding disclosed books with gospel texts or Tubes: I saw seven angels who were standing before God; And they are given seven pipes (Rev. 8: 2).

The left part of the composition shows the righteous people going to the court. They occupy three registers, but despite a large number of, It is quite recognizable, since it is equipped with characteristic attributes: Moses were tagged, at the Psalm Peak David Psalter, Noah is depicted with the ark, and the tiny Isaac standing near Abraham holds the knitting of firewood.

At the bottom of the icon on the left depicted to the court from coffins. This part is especially naturalistic, something resembles the paintings of Bosch. In the right part of Archangel, Mikhail with a sword launches in hell of sinners. Their bodies immediately pick up demons and direct on, in the most abyss. Durable sinners are shown very naturally - for the Russian tradition, it was unacceptable.

Against the background of the fiery river, at the very bottom, the prophets of David and Ezekiel are sitting on cloud sedals; They kept talked with texts about hellish torments and the resurrection of the dead.

Icon is perfectly written, it contains a lot of details of a narrative nature, and the impression of it is twofold: it can be considered long and with great interest, but at the same time a clear call to repentance is not felt in it. Icon is kept in the Museum Meeting of the Greek Institute of Byzantine Research in Venice.

Another Cretan icon from the same museum was written in the middle of the XVII century. The composition is much easier, but it has a number of innovations: there is no throne taken, instead - the Calval Cross, who surround angels, holding open books. Just below, Archangel Michael is with a sword and weights.

At the bottom of the composition, an unusual detail: suitable to the paradise abode of the righteous, meets the Savior Holy Door at the hole in the image of the Great Bishop. Other gates are depicted by the Mother of God.

There are still some gates, however, they are on the border with the fire. They depict the customer icons - the nun Eugene from Trapezund.

Icon of a terrible court 2nd half of the XVII century. (The Museum of Icons in Recklinghausen) is a complex composition that includes all the elements of the developed iconography of this plot. The peculiarities of this icon include a large number of inscriptions - not only in the fields, but also throughout the surface of the icon board.

Interesting detail: To the seventeenth century, Russia had enough sustainable trade, and not only trade relations with far abroad. Therefore, the detail of the composition, which are presented to the sinners going to the court and where they have long been placed in various kinds of foreign people, written very expressively. Clothes from foreigners is not only exotic, but also ethnographically fairly accurate. There is information that in many Russian cities - in Moscow, Vologda, Veliky Novgorod - in the XVII century. In a week, the meat suits were arranged with the goddes with a festive icon "So that the reminder of the terrible court to decline the hearts of the rich people" [Felmy]. "The Lord of the Lord of the Commandments, Tako, we will live: Achushchiya by appropriate, thirst for you, Nagia Bakery, we will visit, sore and in the dungeon of land, will visit, and we still have to judge the whole Earth: take the blessed of my father, inherit the kingdom of you" (poemic On lithium, fame :).

In conclusion, another icon of a terrible court written at the turn of the XVIII-XX centuries. In the Vologda Province. According to the visual means, it resembles a lubok, and abundance of inscriptions even more enhances this impression. In this case, the excess of information does not go into a new quality. Even the sinners are doomed to flour, unlike previous expressive images, there are no concerns of conscience here.

Turning to the history of the iconography of a terrible court, you understand that the expressive compositions of the XV-XVI centuries. And today they encourage praying to think about the importance of repentance, and about the urgent need for Christian Mercy, without which the "Spring spiritual" is impossible - Great post. In the rapid flow of time, we simply do not have the right to neglect the unique opportunity that the church provides us here.

His Holiness Patriarch Kirill, describing the features of our time, said: "The difference between this time from all the previous ones - in his certain apocalyptic tension, for never the power of sin did not dominate the human way as it preigns today. And we know that where the sin wins, the devil is there. And we know that if sin wins on the scale of the human race, then the Antichrist is. And therefore the church can not respond to multiplication of evil, no matter how some journalists, journalists, publicists, politicians, as wondering, why the church invades those areas that are allegedly its regions - and this in response to the care of the church about In order not to disintegrate marriages to decrease the number of abortions so that people learned to dress decently so that there was no unfolding domination of the carnal sin in human life! We will also scold us in the future, and we are ready for this, because the church can not be a different word, except that she announces: Open, for the kingdom of God approached (see Mf. 3: 2). And today this word should sound particularly strong. "

Such an effective appeal to repentance, the Church believed their holy icons, including the icons of the terrible court of God.

Archpriest Nikolai Pogrebnyak

Source of material: Magazine "Moscow Diocesan Vedomosti", No. 1-2, 2011

An image of a "terrible court" in monumental painting.

Traditions of Byzantine art.

Theological foundation of the spatial ideas of the era and religious consciousness are reflected in the iconography of the "Terrible Court". It is important and the attitude of the era to the story of the "terrible court" in monumental painting, which, through its visible images, was to convey the most important provisions of Christian creed. The image of a "terrible court" shows the upcoming end of the world - an universal terrible court, which will be carried out by Jesus Christ during his second coming. The composition narrates the paintings of the end of the world, the last trial over all humanity, the resurrection of the dead, the scenes of the hellish torment of the unreasonable sinners and the paradise bliss of righteous. It should be noted an important feature images of the "terrible court": they are created not to intimidate a person, but are called upon to make him think over their sins; Do not despair, do not lose hope, but put the beginning of repentance.

Evangelist John theologian. Rostov. 16th century

The idea of \u200b\u200bthe death of the world and the terrible court never left the human consciousness and always belongs to the number of issues of burning. The book "Apocalypse", or the "Revelation of John the Theologian" and numerous apocryphas with their mysterious symbols and mysterious images, greatly ignited the imagination and thought, gave food to chiliastic (Greek. Χιλιασμός - millennium). Communication of the old writing of art is recorded by scientists of past centuries - F.I. Buslaev, N.V. Pokrovsky. In the developed form, the iconography of the "terrible court" is based on the texts of the Gospel, the Apocalypse, as well as the patristic creations of St. Fathers (Ephraim Sirina, Palladium Mnich, Cyril Alexandria), "Violiya Vasily new" and other works of Byzantine literature, as well as in iconographic details, you can see the texts of folk spiritual poems. One of the most important sources that had an impact on the composition and nature of the compositions of the "Scary Court" was the "Life of Vasily New" (x.), Which contains a story about the vision of Paradise and Hell with a pious fegoro. The soul, ascended by the sky, see the heavenly Jerusalem, as well as the torment of sinners. Vision of the Prophet Daniel (Dan.10-12) - in the scene "Vision of the Prophet Daniel" Angel shows the prophet Daniel of four animals.

Fresco. Assumption Cathedral in Vladimir. 1408

These animals symbolize the "dedicated kingdoms" - Babylonian, Macedonian, Persian and Roman, or Antichristovo. The first is presented in the image of the bear, the second - in the image of the griffin, the third - in the image of the lion, the fourth - in the image of the horned beast. Fiery stream is known for the so-called apocrypha "Revelation of the Most Holy Virgin". In the lists of "Revelations", starting from the XII century, it is indicated that "the river this many husbands and wives; Some are immersed to the belt, others - on the chest, and only the third - on the neck ", depending on the degree of their guilt. The Apocalypse speaks of the future events of the end of the world and about the terrible court of inherently, in the images, but in the patristic interpretations, liturgical texts, and especially in the iconography, the picture of the coming becomes quite visual. The guidance towards the understanding of this Scripture in the East was Andrei Kesarisky (IV century), from the interpretations of which the text was largely depended on the iconography of the "Scary Court".

Mosaic of the Church of San Apollinarian-Nuovo in Ravenna, VI century

The traditions of the image of the "terrible court" are torn to the IV century. - painting Christian catacombs, where the image of the gospel scene "Resurrection of Lazari" served as a prototype. Then in the early Christian art of the V-VI centuries. Separate parts of the narrative image are formed when individual episodes of the Gospel and Revelation of John the Bologodova are included in the mosaic decor of the temples. Initially, the "terrible court" was depicted in two forms: the history of the branch of the sheep from goats and the parable of ten virgins (Church of San Apollinar-Nuovo in Ravenna, VI century).

Ethimathia. Mosaic Baptistery Orthodox in Ravenna. 5 V.

Here we can also meet the composition "Christ in Glory" as the image of the second coming predicted in the "Revelation" (Church of San Vitaly in Ravenna, VI century), the image of the "throne prepared", or "Ethimathia" (Greek. Ἑτοιμασία - Readiness), To which Christ will send in order to be published by the last Court (Orthodox Baptistery in Ravenna, the third quarter of the V century).

The meaning of the iconographic image as an object of prayer worship is revealed in the dogmatic definition of the seventh Ecumenical Cathedral of 787 years. In this period, the iconographic canon begins to be formed in Byzantium - a set of rules and norms regulating writing icons, based on the concept of image and symbol. The iconographic canon fixed and fastened those features of the iconographic images that separated the mountain world from the earth. . The development of iconography, artistic style changes - all this is inextricably linked to the liturgical life of the Church, with the level of Eucharistic (Greek. Ευχαριστια - thanksgiving) piety of the church people. One of the obvious differences in the temple painting from the icon is that the fresco lives together with the temple, agrees, restored with him and dies with him. The iconographic stories are distributed in the temple, depending on the meaning and value of each part of its part and its role in worship. It is important to indicate the location of the compositions of the "terrible court" - as a rule, the Western Wall, or Nartex.

The iconography of the "Scary Court" consists in the Byzantine art in the XI-XII centuries. The period includes the "Macedonian Revival" and "Comninovsky Revival" and ends with the Epoch of the Latin Empire (1204). Eschatological (Greek. Εσχατον - edge, end, limit; λογος - doctrine) themes of the Board of Antichrist, the Second Coming of Christ, resurrection of the dead And the terrible trial was not widespread in the Byzantine Apocalyptic (from Greek. Apokaluyi - Revelation).

Songs of the righteous of the upcoming throne of God. Fragment of the fresco of a terrible court. Temple of Assumption Blessed Virgin Mary.. Western apse; Georgia. Athenium. 11 V.

The events and wars of the Christian emperors that took place in the east of the East of the Emperia received paramount importance for the history of the whole world in this genre of literature. The most outstanding examples of the preserved complexes of monumental painting of this time may be called: painting in the focus of the Church of Panagi Halkon in Thessaloniki (1028), the frescoes of the Mauriotiss Church in Castoria (1082), the painting of the Bachkovskaya Kuznitza in Bulgaria (founded in 1083, The frescoes of the XI-XIV century) and the Cathedral in Otranto (1163, the mosaic of the floor).

From the most famous monuments of the Byzantine world, the image of the "terrible suite" can be found in Georgia - in Davido-Garegi monastery, there is a strongly damaged fresco of XI century.; In addition, there are poorly preserved frescoes of the "Scary Court" in Athena. Fragments of the "Scary Court" of the mid XII century. Preserved in a small church in the estuary. In Russia, the most early frescoal image of the "Scary Court" is known in Kirillov Monastery in Kiev (1170s.), In St. George Cathedral

Georgievsky Cathedral in Old Ladoga (80s. XII. Then Western Wall.

Old Ladoga (80s of the XII century), in the church of Savior Neoledsy in Novgorod (1199), in the Dmitrov Cathedral in Vladimir (end of the XII century). In Western Europe, the tradition of the iconography of the "Scary Court" was not interrupted throughout the Middle Ages, continuing in miniatures of manuscripts, wallopy, sculpture.

Until the XI century, the territory of Western Europe is part of the unified religious Christian world. Conditionally referred to in the Franksky Dynasty of the Merovingian (by the 7th century) and Caroling epochs make up the Domanian period, followed by the Ottenovsky era (X- Start of the XI centuries), which starts the nominar period as the first period of the established, full of holistic Western European church art, at the same time The last period in the West, when visual art followed Orthodox traditions. Known by their image of the "Scary Court": Church of Sant Angelo-Institute in Kapua (last quarter of the XII century), also the grand mosaics of Torchello Basilica in Venice (approx. 1200). The traditional version of the composition includes a large number of images that can be grouped by three themes: the first - the second coming of Christ, the resurrection of the dead and the trial and sinful trial, the second - the renewal of the world, the third is the truthful celebration in Heavenly Jerusalem. This composition captured the imagination of Christians and became an important part of the overall picture of the universe, was an instructive character, contributed to the missionary narration.

Dmitrovsky Cathedral in Vladimir (1194). Frescoes in the northern and southern slopes of the Central Nafa.

Consider the iconographic solution of the image of the "Scary Court": in the center of the composition, Christ is depicted - the judge of the world. He is coming to the Mother of God and John the Forerunner - a petition for people. At their feet, Adam and Eve are the first people on earth. On the sides of this central group, the apostles are sitting (six on each side) with open books in their hands. Behind the apostles angels are the guys of heaven. Under the apostles - nations go to court. To the right of Christ - the righteous, on the left - sinners. Below Christ is the judges of the world, the throne is spelled. On it, the clothes of Christ, the cross, the gunners and the opened "Book of Genesis", in which all the words and affairs of people are recorded according to the legend. Even below, there are presented: a big brush hand holding babies, which means "righteous souls in the ruhouse of God," and here, nearby, the scales of the "Measure of Human Affairs".

Scary court. The sea and the earth give their dead, animals - eaten people.

About the weights take place angels with devils for the soul of a man, which is often present right there, in the form of a naked young man. The bottom of the composition usually follows the scenes: "Earth and the sea give the dead," "Vision of the Prophet Daniel" and the composition of Paradise and Hell. The earth is represented in the form of a dark circle, usually incorrect shape. In the center of the earth, a semi-naked woman is sitting, personifying the earth. A woman surrounds the rising figures of people - "Resurrected from the Dead." Beasts, birds and reptiles, sprinkling those whom they quit. In the sea surrounding the land, swim fish. They, as well as animals on Earth, give the resurrected to the court of God.

Paradise. Fresco. Cathedral of the Nativity of the Blessed Virgin Mary in the Snegogorsk Monastery (1313). Murals of the western part of the cathedral.

Paradise in the form of a sacred city - "Horine Jerusalem" with the righteous blesses in it, is written almost always at the top. Paradise is presented by several plots: "Lono Abrahamovo" - Elders Abraham, Isaac and Jacob with the souls of the righteous, sitting among the paradise trees; Image against the background of the trees of Our Lady on the throne with two angels and prudent robber on the sides; The image of the gates of paradise, to which the righteous, headed by the apostle Peter with a key from paradise in hand. Especially much attention is paid to the scenes of the "terrible court" by the images of hell. Hell is depicted in the form of "Gienna Fire", with a terrible beast, on which Satan is sitting - Mr. Hell, with Judah's soul in his hands.

Scary court.
Santa Maria-Assunta Cathedral, Torchello
OK. 1200

Its variations are insignificant: so, the marine monster can be one-eyed, resembling a triton with a head of a beast (icons from the monastery of St. Catherine on Sinai), or a double-headed, devouring both sinners, like, for example, in Torchello mosaic. Prower here were leviafan, a mythical animal, in which the features of the Dragon and the Sea Snake (Cathedral in Watopyrse, XIV century are connected. Characteristic iconographic feature of the image of Satan: his figure is often depicted in the darkest corner of the temple, where the daylight beam never penetrates; Sometimes Satan is located on the verge of the wall: the artist seeks to abide, stop preventing evil power. In special stamps show sinners subjected to various torments. The scenes of punishment of sinners in the early iconography of a terrible court do not contain images of individual punishments. Later, for example, in the Church of Savior in Decans (1335-1350), all sinners and types of sins are named. Other details are introduced into the "Scary Court" composition.

An image of the "terrible court" on the western wall of the temple in Tymmotebani.

Capture and plundering of Constantinople Crusaders led to destruction centralized system The culture of the Orthodox world, which prevail in the afterconotional period. With the ruin of Constantinople, the art impulses of which were feeding the art of provinces and countries that were in the field of church influence of Byzantine art, the activity of local schools of Serbia, Bulgaria, Georgia and Russia increased. The XIII century was the time of the addition of independent national forms of Orthodox art, which greatly contributed to the Greek artists, emigrated with territories captured by crusaders. So in parallel with the Byzantine art, the iconography of the "Scary Court" was formed in the Christian countries of the Transcaucasus: several monuments were preserved from the era of the Blessed Queen Tamara, including the grandiose composition (first quarter of the XIII century). On the monumental metropolitan painting of the first half of the XIII century. You can make an idea of \u200b\u200bthe frescoes of Serbia, where for half a century on orders of Archbishop Savva and Serbian rulers worked the best artists. The most outstanding examples of the temples with the composition of the "Scary Court" school of the Rashki school are monastic cathedrals: the Great Assumption Lavra Studenitsa (80s, 90s. XII century), Zhich monasteries (XIII century), Mileshyev (about 1234 ) And Popiosan (1272-1276). Works of Serbian painters are characterized by monumentality. New features appeared for Byzantine art: implacability of images, lyrical feeling, introducing a personal beginning to the image. In painting, deliberately refuse linear stylization, so common in painting in the late XII century.

Fresco "Scary Court". Mileshyev Monastery. Serbia. Fragment.

The features of the National Serbian style decisively appear on the first plan of the Church of the Ascension Mileshyev monastery, founded by King by Vladislav. The strong influence of Byzantine art was on the culture of the Latin West, where many works of fine art were exported from Constantinople. From examples of the image of a "terrible court" in monumental painting of the West, we call only some: painting in the Church of St. George in the wubber outdoor wall Apcida, in the monastery of Donna Regina in Naples (1293), in the Church of San Pablo in Caceres (about 1200), in the Florentine Baptistery (1225-1228).

Actually, in the XIV century, the images of the "Scary Court" can be found in a number of Balkan (Church of the Virgin Levishka in the proud, 1307-1313; Church of Our Lady in the Greachanitsa, 1321; Church of the Savior in Dechans 1335-1350; Mural of Grigory Church Sofia Ohridskaya) and Greek monuments (Church of Metropolis in Mr., the beginning of the XIV century; Cathedral in Watopeda, XIV century).

Scary court
Cachrie Jami, Choir Monastery
OK. 1316-1321.

The main metropolitan ensemble is the monastery of Choria (Cachrie-Jami, 1321), which can be judged about the perception by Greek masters of the end of times. Almost in all cases, the "terrible court" is depicted in Nattec. The exception is the famous painting Cachrie - Jami, where the composition "Court" is placed on the prosecution in the central part, performed on a dark background. The art of Mozaic Cachrie, Jami, is the Byzantine art, it cannot be regarded by the measure of the Byzantine aesthetics of the XI-XII centuries, and in the same way, despite his points of contact with Italy, it cannot be measured by the measure of Italian crack.

Scary court
Kachrie Jami, Choir Monastery. OK. 1316-1321.

In the composition of Cachrie-Jami main idea not so much dogmatic, how many narrative, their creators occupied not so much symbolic meaning Legends, how much sensual visibility, not so much the hierarchy of images, how many of their sequence in time. The image of "Christ in Glory" is placed in the center, on the sides of him - the Virgin and John the Forerunner, asking for sinners. At the top - an angel folding the sky. On sails and arches scenes of the heavenly world are placed; Some of them are not quite common, as, for example, the image of three men carrying the ark of the covenant to the temple of King Solomon. A distinct division of the scene of the "Scary Court" into two parts, comparison of bright and dark areas of painting remind of a valid division of the world after the second coming.

We note some renaissance frescoes, for example, it is possible to include the work of the Jotto transition era in Kapella del Arena (overseas) in Padua (1305). The "terrible court" on the southern wall of the Pisa Campo Santo (second half of the XIV century), finally, the work of Michelangelo on the eastern wall of the Sistine Chapel. It should be noted that the western literature is "meager" than the literature of the East in the development of the topic of the "terrible court", which does not exit the scheme. Western teachings "were more dumbfounded than the evangelical doctrine of a terrible court understood", i.e. Abstract reasoning and not visible attempts to solid and comprehensively disclosure ideas.

In the time of the decline of the political life of Byzantium, significant centers of post -anizantine art are preserved. This is, above all, the Cretan School of Icon Pouring and Athos. The iconographic heritage of the image of a "terrible court" is associated with a number of frescoes in Egypt - Monastery of St. Catherine in Sinai (XVI century), in Romania - Monastery Voronets in Bukovina (1547), in Serbia - Krushvedol monastery (XVII century). Athos became the keeper of the church legends of Byzantium, a closed corner, which did not enter the influence of the West, nor the intelligence political, nor the innovation of church. The XVI cent represents a shiny era in the painting of Athos. However, in general terms of the composition of the "Scary Court", there is an important discrepancy associated with the mixing of the second coming of Christ with a terrible court who differ in the Byzantine art (the Cathedral of Andreyevsky Skit on the Hagia Mount Athos; Lavra PRP. Athanasius). According to N.V. Pokrovsky, the image of the second coming in the form of separately artistic narration brings closer to East Christian art with the church art of Western Europe.

Fragment of painting the refectory monastery Dionisiat. Athos. 16th century

It should be noted here that the iconographic tradition from the XV century, or even earlier, the images of the Apocalypse and the "terrible court" distinguish. The "terrible court" could be either part of the Apocalypse, as it can be seen, for example, in the painting of the Blagoveshchensky Cathedral of the Moscow Kremlin (1405), made by Feofan Greek, or exist apart from him. In Greek monumental painting, several cycles to the "Revelation of John the Bogoslev" was created in the Afonov monasteries, the most early of which is the painting in the refectory monastery Dionisiat (1563 - 1568), also painting the refectory in Dohiar (1676 - 1700) and exonatex of the cathedral in Monastery Xenophon (1632-1654). N. V. Pokrovsky mentions painting in the exonatexes of the Cathedral temples of the Lavra PrP. Athanasius (1535), Karakal Monasteries (1750g.), Phyphlae (1752) and Zograh (1817). Athos apocalyptic cycles, in turn, became samples for wallopices of Romania and Bulgaria of the XVIII-XIX centuries. Some compositions almost completely repeat the engravings of Western European masters, such as Albrecht Durer, Lucas Cranes, others were reworked in accordance with the traditions of post-sanitary art. At the same time, those and other monuments can use the vision of the Prophets of Daniel and Ezekiel, telling about the end of times. The "apocalyptic" motives may be present at the image of a "terrible court" on a par with images from the mentioned visions. In other words, the "court" as part of the Apocalypse itself may include an "apocalypse" as its part. So in the assembly of instructions and instructions on the icon painting, compiled at the beginning of the 18th century, the Greek icon painter Dionisia Furniographer, there are guidance on the Apocalypse and the "Scary Court". The artist describes 24 scenes from "Revelation", but in its description it largely follows Hans Holbein engravings. I think it is worth saying that in the XVI-XVII centuries. It is noticeably the desire of artists to abandon the separation of the field of the icon on numerous parts and to associate all the abundance of images of the "Scary Court" in one whole, as N.V. writes Pokrovsky.

Assumption Cathedral of the Moscow Kremlin (1481, 1513-1515g., 1642-1643) Painting of the Western Wall.

The iconography of monumental painting developed by Byzantine theologists, for long centuries, was entirely perceived by the circle of the Balkan Peninsula, Western Europe and Russia. Style features the image language, Technical skills that were further improved and changed, acquired their features and features at each school. The Byzantine base of the plot of the "terrible court" has been preserved in inviolable intentions in ancient monuments of art, there is no serious attempts here not only in the development of the idea, but even to the modification finished scheme. Conditions of space caused by the need for a peculiar placement of individual parts of the picture, but this peculiarity is mechanical and does not detect traces of the artistic concept. Some signs of development of the "terrible court" painting are found only in monuments of the XV-XVIII centuries.

Savior Transfiguration Cathedral of the Yaroslavl Spassky Monastery (1563). Painting of the Western Wall

Church of the Resurrection of Christ on Debre in Kostroma (1651-1652). Vasily Ilyin. The fresco of the southern lunic of the Eastern Western Gallery.

Bibliographic list

1. Antonova V.I. MNEVA N.E. Catalog of ancient Russian painting. Experience of historical and art classification. T. 2. XVI - NE. XVIII century M., 1963.
2. Bobrov Yu.G. Basics of iconography of monuments of Christian art. M.: Publishing House Art School, 2010.
3. Buslaev F. I. Images of a terrible court in Russian originals // Buslaev F. I. Works. T. 2. SPb, 1910.
4. Pokrovsky N.V. Essays of monuments of Christian art. St. Petersburg: League Plus, 1999.
5. Pokrovsky N. V. A terrible court in the monuments of the Byzantine and Russian art // Proceedings of the VI of the Archaeological Congress in Odessa. T. 3. Odessa, 1887.
6. Archpriest Nikolai Pogrebnyak iconography of the terrible court // Moscow Diocesan Vedomosti: Network Zhur. 2014. URL: http://www.mepar.ru/library/Vedomosti/34/51/ (Date of handling: 03/08/2014).
7. Orthodox encyclopedia. T. XXIV (John Warrior - John the Theologian Revelation). M., 2010.
8. Kolpakova G. S. Art of Byzantium. Late period. T.2. St. Petersburg: Alphabet, 2010.
9. Lazarev V. N. The story of Byzantine painting. T. 1. M., 1947.
10. Igumen Alexander Fedorov Church art as a spatial-image complex. St. Petersburg: Satis, 2007.

Anastasia Melich, 3 course.

The prophecy of the vessel and the theme of a terrible court was not at all relevant for ancient Russia. This topic came from Byzantium only in the XIV-XV centuries, having received its special interpretation here.

The prophecy of the vessel and icon on this topic, any - Greek, Byzantine, Catholic, is very saturated with various figures, animals, plants that are difficult to understand contemporaries. It is difficult, not only because not everyone knows and understand the Gospel and Apocalypse, but also because modern performances are far away from the medieval person.

Today, the apocalypse and the end of the world bind no longer with the personal state of the soul of every person, and with the crash of the world in general. Icon also appeals to a person, prompting to comprehend his own life, to understand what he did something wrong.

A terrible court, as a personal tragedy and catastrophe, worried many: this is the topic of the Roman Kafki Process, Andrei Rublev films, Tarkovsky and "Apocalypse Today" Francis Coppola ... I'm not talking about endless speculation on this topic of various sects and exercises, the last Of which the world survived in December 2012. And they all lie here - in the theme "Small" and "big" end of the world.

The prophecy of the day and Russian icon dedicated to this topic is based on the gospel affair about the terrible court, although includes some elements of the apocalypse, but there are also such icons that include a terrible court into the image of the apocalypse. But the first is still more often.

The main difference between the Russian version of the icon from others is that it not only reflects the parable of the terrible court, the essence of which in the division of people and peoples on the righteous and sinful, but is the manner of the Unified Laughty Cycle of Leb By Triodi, including the passionate sadmits. First, the movement of a person goes up - through repentance and judy day to the passions of the Lord (through the Great Post), then descends down (in the passionate saddemitsa), reaching higher Point - in the resurrection of Christ. Movement up is the path of man to God through personal cleansing and repentance. Movement down - the path of God towards a person. The point of the meeting of man and God - Easter, the Day of the Resurrection of Christ.

The prophecy of the vessel with an icon on this topic is not isolated and is not defined only by the parable, but turns into an assembly into a single character, words and images, in which each element takes a certain place, and the whole icon is set by all the liturgical cycle of the Great Post, being a lenger Triode in paints.

What is contained in a huge, almost messenger, foliance called "Last Trigode", is located in total on one icon, often minor sizes. This is the difficulty of reading and understanding the icon. In addition, it refers to some elements and the Christmas cycle, which will be discussed below.

Therefore, the icon needs a specific route and specify key points for which you can move and navigate, both in the icon and in the space of the Great Post. First of all, the coordinate system will make it possible to navigate the icon, both spatial and moral. At the same time, we will be repelled from the external viewer.

The right lower corner of the icon is hell, the place of concentration of evil. The left upper is the place of the Hornstone Jerusalem, in which there are righteous people who are closed in white clothes with halbs above their heads. This is a place of good. By connecting these two corners with a diagonal, we will get the first orientation line: good - evil.

If you look from the inside the icon, the right and left side are changing in places and then their names correspond to Evangelskiy: the left side is "Oshui" and the right "gum" (left and right).

There is another moral opposition - Paradise gate (EDEM), from which Adam and Eve were expelled, and new worldCutting the Savior.

The lower left corner (the opposite hell) is the place of paradise the gated. The righteous people led by the first apostles Peter and Paul are running into it. In the hands of the first are the keys to paradise. They come to meet those righteous that they are already in paradise. But such an image is not always present. Skimniki-righteous are often shown by the "Eden Corridor" to the righteous people sitting in Mountain Jerusalem.

Thus, the bottom of the icon has a clear opposition: paradise and hell. Exactly in the middle there is a gracious clodnik, who for mercy did not receive hell, and paradise was not honored for a prodigal passion. So he is between them, nor there or here.

In addition to such an opposition, the opposition of a terrible court (paradise, prophets, the Mother of God, righteous) is also reading the left and apocalypse (right) with his images of land, water, hell, a snake and fiery river.

The upper right corner (from the viewer) is the place of creation of a new sky and a new world, which in time refers to the passionate sadmice and the descent of Jesus Christ to hell, from which he withdraws all the righteous. It brings closer to the icon of the terrible court and the icon of the Resurrection of Christ ("Descent to Hell"), having them in one space of lenger triodes. Here, two angels fold the sky into a scroll (an element of the apocalyptic image), here Jesus Christ is depicted, as the head of the new world and in the same place depicts Calvary with a cross, on which the Savior was crucified and buried. Here, the Angels of the Light reset the angels of darkness to hell.

So, Paradise (or Vertograd concluded) is opposed to hell, and at the top of the new light, creatible instead of the old world. The Old Testament Frames (Jacob, Isaac and Abraham), the Virgin, Crucified with Jesus, but confirmed him, in response to what the Savior said that he would be in paradise that he would be in paradise. So not only paradise and blood pressure are opposed, but the old and new, first and last times.

Below, about paradise, we see the prophet Daniel, who propheted about the four kingdoms and the onset of the new kingdom - the kingdom of Christ. Four kingdoms, in the form of four animals (Bear - the Babylonian kingdom, Griffin - the Macedonian Kingdom, Lev - the Persian kingdom and a miracle beast with horns - an antichrist or the Roman kingdom) are in a circle, which shows Daniel Angel. Here is also depicted land and water that gives their dead so that they will appear at the trial.

If we speak as a whole, then the bottom of the icon is most saturated and relates us not only to the first and old Testament timesBut also to the Christmas service cycle, in which the forefathers and prophets are remembered. This is the space of the Earth, not the sky.

The sky is above. It begins with a decet row. It is the Savior in Glory, which judges people and peoples coming to him. Next to him on the left there is an intercession for the humanity of the Mother of God and on the right - John the Baptist. They, graciously begging Jesus to pardons coming to a terrible court.

Slightly below Dietax with Jesus Christ, the Virgin and John the Baptist are Adam and Eve, as the image of saved humanity. At the heel of Adam, as if stuck it, the head of the snake rests. This is the serpent of Nataris, coming out of hell with twenty rings of passions. Sometimes instead of a snake, a fiery river is depicted, outgoing from the mouth of the beast, on which Satan sends with Judah's soul in hand.

Below the acetical rank is the throne, on which the deployed gospel lies - the book of life, the cross and instruments of the passions of the Lord. This place is central on the icon. It is before the throne that a person gets up on the day day and all his works recorded in the book become apparent. Under the throne depicted with hands in which there are white souls of righteous, including infants.

Above the acetical rank is God-Savaof, Gorenia Jerusalem and a new sky.

The icons of a terrible court, especially the icons of earlier centuries, have folk roots, this art that has a folk core in the very core itself, which remained for a long time and has come down to us in the images of the revolt performances. Such icons are written alone, brightly, simply and edifying, so that they are understandable to a simple peasant.

The origins of the folk testes and folklore are in the poetry of the lean trio, which is full of bright paintings and images that it was easy to put performances.

Old Believers who tried to withstand the maximum proximity to the texts of the Holy Scriptures were adhered to the same tradition.

Over time, the "Eden Corridor" with the Paradise Garden and ascending to Gorey Jerusalem Skimniki became more clearly separated from the "Geensky" with his snake of Natarmas and flying the Angels of Darkness.

Gorenia Jerusalem began to turn into place of the feast of the righteous, with a clear division of the ranks sitting for festive table With disadvantages. They began to manifest parallels with other icons: "sign", "descent to hell", the "son of one-bedroom" and others. A greater emphasis began to be made on the cross as a symbol of crucifixion playing an important role in good days.

But in general, the lower part of the icon, the upper (deisus, throne, and with the image of the Lord Savaof), is subject to large changes, remains almost unchanged. The changes and other elements of the icons undergoed, but in the main iconography persisted, representing the general image of a great post with its framing preparatory cycle and the final passionate.

Tina Guy.

Iconography of a terrible court

Archpriest Nikolai Pogrebnyak

In the readings and chants of the week about the terrible court there are some versatility, they are addressed to every person as the Apostle Paul wrote: the people should die once, and then the court (Heb. 9:27).

Your ships, Lord, Fighting and flour

endless, evil do not clarity ...

PS John Damaskin

In the twee, the days, prepared to the Holy Fourth, the week meat suite - about the terrible court - is perhaps the most expressive both in hymnographic and iconographic terms. Of course, and in other preparatory days, gospel readings - about Schähi (even before the start of the singing of triodi), Outar and Pharisee, about the prodigal son, Syropusaya weeks, - have paramount importance For a Christian who is preparing to join the saving field of the Great Post.

Chanication of these days is deep and important, but in readings and chants of the week about the terrible court there is some versatility, they are addressed to every person as the apostle Paul wrote: the people should die once, and then the court (Heb. 9:27). In his care for salvation of each church and offers memories of this court to save at least some (1 Cor. 9:22).

Recalling about the terrible court, the Holy Church calls everyone to repentance, while pointing to the true meaning of hope in the mercy of God: Lord Mercy, but he is a righteous judgment, who has to give everyone to his affairs (Rev. 22:12). Therefore, it should not be mistaken about responsibility for its moral condition and abuse the long-suffering of God.

Turning our mental look at the "Lights Eternal, Dark Ground and Tartar, Lutty Worm, grinds the same paki dental and incredited, the disease of the IMUMA to be without a measure of the sinned", "trepidation of inspired and fear", "imperious torture" and "hell", holy The church inspires us the idea of \u200b\u200bthe need for repentance and corrections, and advanced tear prayers to the Lord, while there is still an opportunity, and on behalf of all we exclaims us: "You'll be wounded with a lot of things with a strengthening business and lack of interest."

Author of the canon of the week meat support, Rev. Feodor Studit, shows the thrill of the human soul before the Grozny Court of God. Recalling the Day of the Terrible Second Coming of Christ, he prays, and he will not decide the court of the secret acts of the sinner's sinner, but he will spare her graciously.

"Alas to me, a gloomy soul, did not spend the opposite from evil? Doc notice of tears? What do not think about the terrible hour of death? What is not trembling all the scary of judicia Savival? Such a reservoir, or what is it? Your business is coming to the guards, the acts are denied slandering. Other, about the soul, time is NAS; The Terse, Far, Faith Reopers: Sigger, Lord, Sugrey! But Vam, a good man, the prudettobia, a good man, but do not give me a downtime for you, a greatness for the sake of mercy. "(Pochir on the charge, voice 8).

Also known chants of the week about the terrible court of the St. Noman Swekopevtsa. In the Greek handwritten Kondakar XII century. (From the Assembly of the Synodal Library, GIm) contains 21 anthem a week meat suction with acrostichum: "Smered Roman Creation.

Meat's week's chants represent a detailed and expressive picture of how the terrible court of God will occur. The main source for the creations of the gymnographs is, of course, Holy Bible: Father ... Gave him the power to produce and the court, because he is the Son of Man. Do not divide; For the time comes in which everyone in coffins will hear the voice of the Son of God; And they will be treated good to the resurrection of life, but who made evil - on the resurrection of condemnation. I can't create anything from myself. I hear, so judging, and my judgment is righteous; For I am not looking for my will, but the will of the father sent me (John 5: 26-30).

In the image of the coming terrible judgment of God, the tradition could not be limited to the liturgical texts. The painting of a terrible court from the ancient Christian times was trying to convey and fine means, because the Lord himself describes his second coming in bright auditoriums: the sun will fade, and the moon will not give his light, and the stars will fall from the sky, and the power of heaven will die; Then the sign of the Son of Human in Heaven will appear; And then all the tribes of the earth will be ignited and they will see the Son of the Human, who coming on the clouds of heaven with force and Great Great; And the angels will send him with a pipeline loudly, and they collect his chosen from four winds, from the edge of heaven to the edge of them (MF. 24: 29-31).

The origins of the scary trial of the terrible trial are torn to the IV century, to the fresco painting of the catacomb. Initially, the court of God was presented in the plots of the branch of the sheep from goats and parables about ten devices. In the V-VI centuries. There are separate parts of the painting of the terrible court, and by the VIII century. In Byzantium, a complete composition appears.

Later, the terrible court was established in the system of wall paintings of both the Byzantine and Russian temples, was also distributed in the West. In Russia, the most early frescoal image of a terrible court in Kirillov Monastery in Kiev, made in the XII century, in the St. George Cathedral of the Old Ladoga (80s of the XII century), in the church of Savior Savings in Novgorod (1199), in Dmitrovsky Cathedral in Vladimir (end of the XII century). We also reached fragments of a terrible court written by St. Andrei Rublev and Daniel Black on the walls in the Assumption Cathedral of Vladimir. The most early known image in iconography refers to the XV century. (Icon in the Assumption Cathedral of the Moscow Kremlin).

Scary court. Assumption Cathedral of the Kremlin

In the developed form, the iconography of a terrible suite is based on the texts of the Gospel, the Apocalypse, as well as the patristic creations: the words of Ephraim Syrina, the words of Palladia Mnich, Vasili Vasily and other works of Byzantine and Old Russian literature; Later in the iconographic details you can see the texts of folk spiritual poems. In the terrible Cude, pictures of the end of the world, the last trial over all humanity, the resurrection of the dead, the scenes of the hellish torment of the unreasonable sinners and the paradise bliss of righteous people.

Second coming. Church of Panagi Halkon in Thessaloniki

From the most famous monuments of the Byzantine world, the image of a terrible suite can be found in the focus of the Church of Panagi Halkon in Thessaloniki (beginning of the XI century); In Georgia - in Davido-Haregi monastery, there is a strongly damaged fresco XI century in the Western Wall.; In addition, there are poorly preserved frescoes of terrible covers in Athena. Fragments of the terrible building of the mid XII century. Preserved in a small church in the estuary. From the era of the Blessed Queen Tamara, several monuments were preserved, including the grandiose composition of the terrible church of the Temple in Tymmotebani (first quarter of the XIII century).

In Russia, the composition of a terrible discussion appears very early, shortly after her baptism. This can be explained by the fact that images of a terrible suite were effective tool The beliefs of the pagans to contact Faith Christ. It is not by chance that the Greek preacher in the famous episode of the choice of faith from the lives of Holy Equal-Apostles Prince Vladimir deploys an impressive picture of a terrible suite before the prince.

One of the earliest examples of the image of a terrible discussion among those who came to our time the monuments of the art of ancient Russia are the painting of the Nikolo-Dvorchensky Cathedral in Novgorod began the beginning of the XII century. The compositions "Terrible Cud" and "Jobs on the Mint" are preserved in the southwestern part of the church's lining. The program in the painting of the Nikolsky Cathedral is the theme of repentance. Perhaps the reason for this was concrete cases of "Visit of God", i.e. those natural disasters who have been postigli Novgorod: Cattle Padge in 1115, who deprived the prince and his squad of horses; The storm of 1125, from which the prince's chorons were injured and the "Stad of Cattle Istop in Volkhov"; Hunger 1128. Perhaps, the grave illness of the prince prompted, from which he prompted miraculously It was healed from the suffocating of the Nikola Lipnaya (found on the island of Lipno on Ilmen).

It is necessary to note the important feature of the scary suite images: they are not created to intimidate a person, but are designed to make him think about their sins; Do not despair, do not lose hope, but put the beginning of repentance.

Scary court. Novgorod, XV century.

The Savior's Savior Sermon began in words: Just the kingdom of heaven approached (Matt. 4:17). Repentance as an indispensable condition for the achievement of the kingdom of God is one of the fundamental provisions of Christian creed. Rev. Simeon New Theologian So talks about repentance: "Run repentance on the path of the commandments ... Run, run, look, knock on the gate of the kingdom of heaven and you were inside it."

For the Orthodox Church of the turn of the XI-XII centuries, including in Russia, the question of repentance is not distracted by theological problem, but the live practice of spiritual life. Words of St. Hilarion of Kiev, Rev. Feodosia Pechersk, finally reculting canon St. Cyril Torovsky - undoubtedly confirmed. In repentance, they see the basis of the life of the compilers of the "Tale of Bygone Years": "Whether the rest of the rest will be, in it, God orders life. The verbolec is a prophet to us: to me with all my heart, fasting and crying. Yes, Sita will create, all the sin of forgiveness will be. "

To encourage the sinner to repent, to approve the smoking man in the hope of mercy of God, for the forgiveness of sins - such a task was set by the authors of the Nicho-dvorishchensky composition. Righteous Jobs and his wife are depicted surrounded by scenes of torment, under the image of Prince Darkness - Satan. Next to the sow on a small man on a dark red background, the figure of a naked man is depicted. This is the rich-sitting in the flame and turning to the forewhars to Abraham with a request to send poor Lazarus to make it easier for his suffering, moisturize the language (see: Lux. 16:24). The images of MUK are in relation to the image of the proud of Christ in the eastern part of the arch.

The image of rich and other scenes of torment next to Jews are designed to emphasize not only the measure of suffering and grief, who fell out, but also the idea of \u200b\u200bthe hope and faith in the unchanging mercy of the Lord, who does not leave the righteousness even in hell. The forefranchise comes to the foreground, but the salvation and personal appeal to the Lord, which is best to express to the words of the Psalmopevtsa David: Lord, my God! I appealed to you, and you healed me. Lord! You brought my soul out of hell and revived me so that I did not get into the grave. You drew my journaling in the babysitis, took off my sackcloth and presented me with mercy (Ps. 29: 3, 4, 12).

The iconographic decision of the Nikolo-Dvorchensky Cathedral suggests the answer to the questions: why the righteous came to hell; How can he get out from there, to appear before the Lord? In the "Svyatoslav flavor" 1076, I read: "And in the drain of the Underworld, it is written in Jew, in the ground of the dark and the burial ... the ideal to be light, nor the video of the life of a human hand, in Once Christ came, the Divine Soul and Prech, to visit the Sitting in the dark". The theme of the final crying of a sinner, waiting for the court of the Lord, not only reveals the main idea of \u200b\u200bthe scene, but also indicates a direct connection of the image of a terrible suite with a cycle of the walkers of the Great Post. A man who takes the post and committing true repentance, God restores in rights, like Adam and Jea, and he, as the stairs, can rise from the abyss of sin to heaven; On the Sinai Icon "Valtolez John Sinai" the path of monks up to Christ begins from the black failure of hellish abyss.

Rev. Andrei Cretsky in his great canon speaks about the "scenser of the active soul climb." In the same canon, the righteous Job is remembered, as an example of excuses in the court of God: "I was in a lawyer hearing, about my soul, who was justified, that courage did not even ever eligible. As a result, the one who used to be in the throne - "The first was the first on the throne," "Nag on the grove of the grove", and the one who had a lot of household and was glorified, - "madless and stray", his chambers turned In the face, and treasures - "Bisry" - in the "Strip". Recall in this regard, that Job is depicted sitting under the throne of Satan, and not far from it is the image of the rich.

At the turn of the Millennium, the iconographic canon of a terrible suite, which will be destined to exist, at least another seven centuries. One of the most important sources that influenced the composition and character of the compositions of a terrible discussion was the lives of Vasily of the new (x.). In the XI-XII centuries. At the same time, a number of significant images of the terrible discussion were created on the extensive territory of the Christian world. The most famous of them - the painting of the Church of Panagi Halkon in Thessaloniki, 1028, the frescoes of Sant Angelo in Formise, two icons depicting a terrible desk from the monastery of St. Catherine in Sinai XI-XII centuries, two miniatures of the Parisian Gospel (National Library in Paris, gr. 74), ivory plate from Victoria and Albert Museum in London, Grand Mosaic Bazalika Torchello in Venice, Mary Mauriotiss Church in Castoria, painting of the Bachkovskaya Khuznitsa in Bulgaria and Giant Mosaics Paul Cathedral in Otranto, 1163, and close in time Thrust.

Scary court. Sinai, Monastery of St. MPC. Catherine

In the center of the composition is a depicted Christ - the court of the world. He is coming the Mother of God and St. John the Forerunner is a petition for human genus. At their feet, Adam and Eve are the first people on earth. On the sides of this central group, the apostles are sitting (six on each side) with open books in their hands. Behind the apostles angels, the guys of heaven. With four great archangels - Mikhail, Gabriel, Rafail and Uryal, who are first mentioned together in the apocryphal "Book of Enha", eschatological topics are often associated. They must be a pipe voice to appeal all the dead on a terrible court, and they also protect the church and every believer from the forces of Darkness. Under the apostles depicts entering the court. To the right of Christ - the righteous, on the left - sinners. Among the latter in late compositions are depicted with the corresponding signatures: Germans, Russia, Lyhai, Ellina, Ethiopia (we will pay attention to the fact that the number of sinners do not fall on the basis of nationality). Sometimes groups of people who appeal to proud with the words, according to the Gospel, "When we saw you sharpening" and so on.

The at the top is often depicted by God Savaof, the angels of the light, depressing from the heavens of the angels of darkness (demons) and as a symbol of the end of the world is always depicted by the sky in the form of a scroll, twisted by the angels. Below Christ, the pride of the world, is written by the throne. On it the clothes of Christ, the cross, the gunners, and the open "Book of Genesis", in which, according to the testimony of legends, all the words and affairs of people were recorded: "The books will turn off, they will be acting a person" (the poem of the "Lord, the crowd" of the meat ); Faugh to be prestone and the book will be rejected, and God will sit on the court, about cue fear then the angel is the upcoming in the ride and the river of the fiery invested! " (Ibid, glory).

Upper fragment icons

Even below, there are presented: a big brush hand holding babies, which means "righteous souls in the Ruta of God", and here, nearby, "measure of human affairs". Around the weights there is a struggle of angels with demons for the soul of a person who is often present immediately as a figurine of a naked young man.

The nude human figure as the personification of the soul of the dying person meets in the illustrations of the Psalm of the 118th ("Blessed in the Blessed in the Way") and the "Canon on the outcome of the soul" (the painting of the Grigory Church of Sofia Ohridskaya, the middle of the XIV century; the stamp of Vasilyevsky Gate "Soul is frightened", 1335-1336). Such a kind of early attempts to illustrate "Canon to the outcome of the soul" SVT. Kirill Alexandria is known, in particular, by the painting of the refectory monastery of St. John the Theologian on the Patmos of the beginning of the XIII century, where the "death of the righteous" and "death of a sinner" are represented. Composition "Canon on the outcome of the soul" in the monuments of art of the XII century. It is known only by book miniatures (thumbnail of the XII century. in Psaltiri from Dionisiat Monastery). Probably, from illustrations of manuscripts, this scene has penetrated into the monumental painting of the Lieszantine period. So, in the painting of the Gregory Church of Sofia Ohrid, the XIV century, the extensive canon cycle is located directly under the composition of the terrible court.

In the lower part of the composition usually follow the scenes: "Earth and the sea give the dead", "Vision of the Labor Daniel" and the composition of Paradise and Hell. "Daniel Prophet, the husband of the desires of the former, the sorry of God Vijev, Sita is true: Sudie Sudie, and the books accepted" (in the same place, the poem of praises). The earth is represented in the form of a dark circle, usually incorrect shape. In the center of the Earth, depicting a semi-naked woman - the personification of the Earth; She is surrounded by the rising figures of people - resurrected from the dead. Beasts, birds and reptiles, sprinkling those whom they quit.

In the sea surrounding the land, swim fish. They, as well as animals on Earth, give the resurrected to the court of God. In the scene "Vision of the Prophet Daniel" angel shows the prophet Daniel of four animals. These animals symbolize the "dedicated kingdoms" (kingdoms who have to die) - Babylonian, Macedonian, Persian and Roman, or Antichristovo. The first is presented in the image of the bear, the second - in the image of the griffin, the third - in the image of the lion, the fourth - in the image of the horned beast. Other animals with allegoric meaning were also written. Among the latter, hare are particularly interesting, which, according to the widespread presentation, embodied in verses about the "pigeon book", were allegorical images of the truth (white hare) and "Cryption" (gray hare).

Especially much attention is paid to the scenes of a terrible court to the images of hell. Hell is depicted in the form of "Geenna Fire", with a terrible beast, on which Satan is sitting - Mr. Hell, with the soul of Judah in his hands. In the fire there are sinners, tormented by devices. In special stamps show sinners subjected to various torments. From the fiery mouth of the hellish beast up, to the feet of Adam, the long appearsive snake rises, personifying sin. Sometimes instead of the snake, the fiery river is depicted (on the icon of the terrible court of the first half of the XV century. Assumption Cathedral of the Moscow Kremlin).

Fiery stream (river) is known for the so-called "the waters of the Virgin on the flour", one of the most popular apocryphal in the ancient Russian writing. In the lists of "walking", starting from the XII century, it is indicated that "in the river this many husbands and wives; Some are immersed to the belt, others - on the chest, and only the third - on the neck ", depending on the degree of their guilt. Starting from the XIII century, and in some cases before (mosaic Torchello), the characters of the world of sinners, fascinated by the fiery flow, are specified: these are representatives of various social groups (know, faces in the imperial crowns, barbarians, monks and even bishops, etc.)

In Byzantine art by the XI-XII centuries. The stable iconography of Prince Darkness was developed, - Satan, as one of the main characters of the "Scary Court", personifying hell: the frontal image of a terrible appearance of a semi-naked elder with unwitted gray hair and a beard, squeezing on the sea monster, presented either on the background of sea depths, or, more often - In the Fire Lake (Geenne). At the same time, as a rule, the elder holds a small figure of Judah on his knees. Variations are insignificant: so, the marine monster (dragon) may be one-eyed, resembling a triton with a head of the beast (icons from the monastery of St. Catherine on Sinai), or double-headed, devouring both sinners, like, for example, in Mosaic Torchello, the fresco of Savior and the Christmas Cathedral of the Snetogorsk Monastery in Pskov. In addition, often the body of Satan has an ash-bluish color, in which the extension of the deep Hellenistic tradition is seized (the prince of darkness in the mosaic Torchello is depicted).

Scary court, Torchello

Characteristic iconographic feature of the image of Satan: his figure is often depicted in the darkest corner of the temple, where the daylight beam never penetrates; Sometimes Satan is located on the edge of the wall: the artist seeks to dissect, stop the evil force, to show that the prince of darkness is deprived of the face, the image that he is in the literal sense "without-sample."

Paradise is presented by several plots. These include "Lono Abrahamovo" - the plates of Abraham, Isaac and Jacob with the souls of the righteous, sitting among the paradise trees; Image against the background of the trees of Our Lady on the throne with two angels and prudent robber on the sides; The image of the gate of paradise, to which the righteouss are suitable, headed by the apostle Peter with the keys from the paradise in her hand. Paradise in the form of Holy Grad - Horine Jerusalem with the righteous blessed in it, is written almost always at the top. Under Major Jerusalem, the image of flying into the paradise of samples is often found.

At the top, between the scenes of Paradise and Hell, the "gracious clodnik" chained to the post ", which" for the sake of mercifully relieved eternal flour, and for the sake of the fornication of the kingdom of heaven. "

In Sofia Novgorod (1109), the composition includes the image of the prophet Daniel. On the scroll of the inscription, transmitting the words of the prophet Daniel: "Az Daniel of the form? Dongeys of the throne and the Old Denmi Sedse; The throne is his flame of fire, the wheels of his fire Polysm "(DAN. 7: 2, 9). A similar text is available on Mosaic Martoros in Palermo (approx. 1146), in the monastery of St. Neophyte in Cyprus (approx. 1183). Another text: "The likeness of the Son of Helper touches Usnam My" (Dan. 10:16) - in Mosaic Montreal, Sicily (after 1183). The text given in the scroll of the prophetic vision is not used as a paremian reading. In his study, Gravard, referring to the texts of Yermia 1701-1745, indicates that these texts were introduced into the images of a terrible court. In this text, a special place, along with the crudilization, a soul mission belongs to the image of a dilapidated day, with whom the image of the Pantokrator of Christ is correlated in the painting of the Sofia Cathedral. Images of "Visions of the Prophet Daniel" are known in the paintings of the Church of the Apostles in the middle of the middle of the XIII century. and the Cathedral of the Pskov Svyatogorsk Monastery.

The scenes of punishment of sinners in the early iconography of a terrible trial do not contain images of individual punishments (for belonging to innerians, heretical teachings, for an objectionable God profession or for each specific kind of crime). Later, for example, in the frescoes of the Pskov Snetogorsk Monastery of 1313, all sinners and types of sins were named. In the temple of the Savory, there are inscriptions of punishments: "Darkness", "Mraz", "Chervie Piece", "Resin", "Inimes". Types of torment are presented ones from Prince Darkness, in the form of accused by snakes of naked sinners; It goes back to the earliest known images of hellish flour. We served with snakes female figures are found, for example, in the paintings of the Cappadocia of the X century, in particular, in Iilanley Kilis, Mialara. The descriptions of this type of torment is replete with the lives of Vasily New (Monk Grigory sees the adulterers, harlists, oaths, whims from fiery snakes). The same motive is found in the apocryphic "walking of the Virgin on the flour" and "the vision of the Apostle Paul" - snakes come out of his wife and eat her body. At the same time, women in the fire eaten by snakes mean nuns that sell their bodies on the fornication, or gossip ("Battle of the Virgin"). Similarly, the sinners are presented in the painting of the Church of Mauriotissa in Castoria (the beginning of the XII century), in the Temple Asin in Cyprus, on the mosaic of the floor in the northern Nef of the Cathedral in Otranto (1163); Seven sinners in copies (about 1272).

We give a few examples of the most famous monuments depicting a terrible court.

Miniature in the Greek Gospel of the XI century. National Library in Paris (№74): Christ Sudiya in Blue Almond-shaped with the rays of the halo is sitting on the throne; His hands are simplet, and the nippers are visible on garbage. Under the feet of his chariot of Ezekiel and Cherubis; on the sides of the Hall of Our Lady and the Forerunner in the prayer position; Next, the apostles on the thrones with books in the hands; At the top of the Angels Dorinosy. Below the halo is ethimathia, to which the righteous team is approaching from the left side; Behind the righteous angel with a detailed scroll; Under them, the sea gives televisions of the dead and two groups of people going to court; To the right of the angel of the pipe, the dead rebel from the coffins, the animals give the devices of the dead. Angel weighs the acts of people on the scales, the cup of which is pulling two demon. Below on the left side of the paradise - Vertograd: they are sitting on the thrones of Our Lady and Abraham and near him the righteous souls in the form of young children in the shirts. The apostle Peter leads a group of righteous to the gates of Paradise. The picture of hell is extensive: the fiery river comes from the throne, the fiery river emanates and flows into a whole lake, Satan is sitting in a beast, swallowing the sinner, with Juda in the depths; There is a merciful rich and points with his hand to his language; Angels plunge sinners into the flame, and the demons pick them up. Under the fiery lake in six separate cells, the types of torment of sinners are presented.

Image in the Gospel of the National Library in Paris

This is a Greek gospel - on the completeness of the iconographic material, preservation and beauty is the best of all the Byzantine facial gospels that have come down to us.

In Athos, in the meal of the laurels of St. Afhanasiya on the entrance wall, at the entrance itself over the doors and on both sides - a complex image of a terrible court presented in the form of a number of separate scenes, equipped with long Greek inscriptions of the authorized letter. The top is represented by Christ Almighty, in a circle, on Cherubims and Serafima; On the sides of his standing forerunner and the Virgin, 12 apostles on their solemn sedans. According to the arc over the door, four angels, on both sides of the Arch group of people who appeal to proud with the words of recognition, according to the Gospel, on the topic: "When we saw you sharpening and so on." On both sides of the entrance, the scenes of the righteous, resurrected for eternal life, and sinners, resurrected for eternal torments, are clearly represented. The first kingdom is depicted to the right of the entrance. Here prepared the throne (H ¢ e ¢ toimasi ¢ A Tou ~ Qro ¢ Nou) - a carved chair, with a cross, copy, cane, the gospel on a covered pillow; Along the parties to the knee, Adam and Eve as the image of the entire righteous, redeemed humanity. Below on this vision, the angel indicates a lying and awakened Daniel. In the coffin risen with a prayer to God for the resurrected. On the left side of the two groups of resurrected, a group of angels and several demons arguing for sacrifices in front of the weights (o ¢ zugo ¢ v TH ~ V Dikaiosu ¢ NHV - Justice scales). The fiery river flows, expanding, and in her an angel immerses the emerging sinner. Side walls represent paradise and blood pressure and additional scenes of a terrible court; To the right of the entrance is a large group of righteous: the apostles with Paul at the head, the prophets (with Daniel and Solomon), the saint (John of Zlatoust and others), martyrs. They enter, led by Peter, opening a locked door to heaven, over the entrance to cherub with two spears and the inscription: jlogi ¢ nh r ¢ mjai ¢ a. At this entrance - the image of Paradise in two pictures: Our Lady on the throne with two angels and an encompassing door of a prudent robber, and below Isaac, Abraham and Jacob, sitting on the bench, keep the tiny heads of the shower of the righteous. Upstairs, surrounded by cloud glorious, as if thick foliage, move to the proud of a group of hermites, holy wives, nuns, martyrs, saint and prophets.

A similar painting in a watopad monastery is three times less than Lavr. Here are: an angel, a pipe over the earth; Allegoric Earth, traveling on Lion, and a lion, an extinguishing children's figure, and nearby beasts, birds, reptiles, fantastic griffin and others return the slices-swords. Four kings are sitting on their thrones: Nebuchadnezzar, Kir, Alexander with a naked sword and August with a spear; In the midst of them the falling ram (on the inscription - Darius) and the goat - Alexander (in Watopeda there is no). Four apocalyptic beasts are represented in both paintings. Below is the deploy mouth of the hellish zmia, the worm (Wed: MK. 9:48: where the worm does not die and lights them and lights). Hello Zmiy swallows the fiery river with victims and demon at the double-headed sea monster, and aside in 10 branches are hellish torments. The Lavrian painter, apparently familiar with the naturalism of European painting, is trying to achieve precisely in the transfer of hellish torments of reality and in forms, and in flavor. Thus, the figure of the smoky demon with eyes climbed out of orbit, the master performs with different colors of sepia and indigo, the external darkness (chummy darkness) transfers green shadows and reddish biblies on the bodies of people. Tartar is represented by two kings. Julian's apostate wore Snake; Presented in typical samples: Soloolebtsy, thieves, adultery, drunkard; Crushing teeth are represented by people tormented in the flame. Antichrist is depicted in rich clothes surrounded by people and demons.

Here are excerpts from the words of Rev. Ephraim Sirin, without which the characteristics of the iconography of a terrible court will be incomplete:

"That's, I will comprehend us, brethren, that day, in which the sun is overshadowed by the light, and the stars will fall into which the sky is twisted as a scroll, a great tube will be raised and a terrible sound will awaken everyone from the century of the dead; On the day, in which, after the proud, the taiblics (caches) of hell will empty, in which Christ appears on the clouds with holy angels to judge the living and the dead and give everyone to his affairs.

Indeed, terribly Christ in the fame of the coming! A wonderful thing to see that the sky suddenly rolls out, the Earth changes its appearance, the dead will rise. The Earth will present all the human bodies, which he accepted them, at least confused their beasts, the birds were filmed, crushed the fish; There will be no lack even in the human hair before the judgment, because everyone will prevail God in the volatile. Everyone will fit the body, according to their own business. The body of the righteous will shine seven times more sunny light, and the bodies of sinners will be dark and filled with stench; Everyone will show his body, because each of us is affected by your own body.

When Christ gets from the sky, the restless fire will take effect everywhere before Christ and take it all. For the flood, the ex with, served as the restless fire. As a flood covered all the peaks of the mountains, so the fire will cover everything. Then the angels flow everywhere, and all the saints and faithful to delight in the glory on the clouds in the reference of Christ ... "

"The sky is in horror, heavenly shine will fall as immature figs with a fig tree and like leaves from trees. The sun will fool away from fear, the moon pale pale, shuddering, blonde stars in fear of pre-judicia. The sea, horrifying, hesitating, will dry, will disappear, and will not be it. Furniture will be embraced by a flame, and everything will turn into smoke. The mountains melted from fear, like lead in the horn, and all the hills, as the living lime, will be inserted and collapsed.

Suddey squeezes on the fire throne, the outskirts of his sea flame, and the fiery river flows from him to expose all worlds ... who are absorbed by the sea, whom the wild animals were filmed, whom the birds smelled, who burned down on fire, - in the shortest moment of time all awaken will rise and come. Who died in the womb of the mother and did not enter into life, he will make adults at the same moment, which will return the life of the dead men. The baby, whom Mother died with him during a wonder, will face her husband and recognized his mother, and she recognizes his children. Not see each other here will see there ...

There are good, according to the deception of proud, will be excommunicated from the evil, and the first are raised to the sky, and the latter are overthow in the abyss; Some will enter the kingdom, while others will take to hell.

Mount evil and wicked! They, in punishment for their affairs, will be tormented with Satan.

Who sinned on Earth and insulted God, he will be injected into the darkness of the pitch, where there is no beam of light. Who is at the heart of his envy, it will cover the terrible depth, full of fire and boiled. Who indulged in anger and did not allow his love in the heart, even before hatred towards the neighbor, he would be devoted to the ill antician angels.

Whoever did not refracted his bread with the sharpests, did not reassure the tormented in need, he would turn to tormented, and no one would hear and could not stop him. Who, with the wealth of his wealth, lived considerably and luxuriously, and did not reject the doors with his needy, that in the flame will ask himself a drop of water, and no one will give him. Who desets the mouth of their glooming and the tongue of their mouths, he wakes up in a fetter tine and deprived will be able to reject the mouth. Who robbed and oppressed others, and the house has enriched with the unrighteous heritage, he will entail the unlike demons to themselves, and his lots will be filled and crushing the teeth.

Who spilled here a shameful lust of worstrays and adultery, he, along with Satan, will burn forever in Gehenna. Who critic for the prohibition of the Jewels and trampled the commandment of God himself, he undergoes the harmful and terrible of all the torment ... "

The iconography of a terrible court - one of the remarkable pages of the history of church art, not only and not so much by the complexity of the plot, but by the deep impact on the soul of the preparing to join the holy quarter of the Christian: "Take, hear, king and prince, Rabbi and free, sinners and righteous, rich and bend; Jaco is coming a judgment, even judge the entire settlement. And who will premature him, if Angeli will appear squeezing acts, thinking and thoughts, yazh in novche and in days? About what is then then! But before, even the cum will not fit, the cowrs are sweat, the soul; God, turning to save me, Jaco one of the prudettake "(the poem on the praises of the week meat suite).

• Scary court. Assumption Cathedral. Moscow Kremlin

• Scary court. Great Laurel. Athos

• Scary court

• Posledny Sud (The Last Judgment)

• Scary court

• Scary court

• Scary court

• Scary court. Russian

During a terrible court, everyone ever existing living and the dead will be resurrected in the flesh. A court will be carried out on them with Jesus, and everyone will deserve a sentence according to their earthly affairs - either eternal bliss in paradise or eternal flour in hell (MF.25: 1-13, 25: 31-33).
The iconography of a terrible court is based on the texts of the Gospel, the Apocalypse, as well as the patristic creations: "Words" of Ephraim Sirin, the words of Palladia Mnich, "Vasil's Vasily" and other works of Byzantine and Old Russian literature; In the next period, the texts of folk spiritual poems can also be obtained in the iconographic details.
- One of the most important sources that influenced the composition and character of the compositions of a terrible discussion was the lives of Vasily of the new (whiten).
- Vision of the Prophet Daniel (Dan.10-12) - in the scene "Vision of the Prophet Daniel" Angel shows the prophet Daniel of four animals. These animals symbolize the "dedicated kingdoms" (kingdoms who have to die) - Babylonian, Macedonian, Persian and Roman, or Antichristovo. The first is presented in the image of the bear, the second - in the image of the griffin, the third - in the image of the lion, the fourth - in the image of the horned beast. Other animals with allegoric meaning were also written. Among the latter, hare are particularly interesting, which, according to the widespread presentation, embodied in verses about the "pigeon book", were allegorical images of the truth (white hare) and "Cryption" (gray hare).
- Fiery stream (river) is known for the so-called "wischable of the Virgin in the torment", one of the most popular in the ancient Russian writing of apocrys. In the lists of "walking", starting from the XII century, it is indicated that "the river this many husbands and wives; Some are immersed to the belt, others - on the chest, and only the third - on the neck ", depending on the degree of their guilt.
The images of a terrible court had an important feature: they were created not to intimidate a person, but to make him think about their sins; "Do not despair, do not lose hope, but putting the beginning of repentance." Repentance as an indispensable condition for the achievement of the kingdom of God - is one of the fundamental provisions of Christian creed, and this problem was particularly relevant to the turn of the stroke of the XI-XII centuries, the time of penetration of the plot on Rus.
The Orthodox iconography of a terrible court exists in the Byzantine art from the XI-XII centuries.
The origins of the image of this plot will go up to the IV century - painting Christian catacombs. Initially, the court was depicted in two forms: the history of the separation of sheep from goats and the parable of ten devies. Then, in V-Vi, separate parts of the narrative image are formed, which, then by the VIII century in the Byzantium, will be folded into the complete composition.
The image of this plot includes not only the iconography, but also the System of the Orthodox Temple painting (and in Byzantium, and in Russia), where it is usually located on the western wall. Western Europe also used this plot (for example, Michelangelo in the Sistine Chapel). The most famous monuments of the Byzantine Cultural Area on this plot - in the focus of the Church of Panagi Halkon in Thessaloniki (beginning of the XI century); In Georgia - a strongly damaged fresco in Davido-Haregi monastery is safely on the western wall (XI century); poorly preserved frescoes of terrible suite in the Atensky Zion (XI century), in the Church in the IQ (XII century), the grand composition of the terrible house of the temple in Tymmotebani (1st quarter of the XIII century)
In the "Tale of Bygone Years", the episode is mentioned about the use of the Christian "philosopher" (Orthodox preacher), departures with the image of a terrible court for the preaching of Christianity by Prince Vladimir, which influenced the future of the baptism of Vladimir himself and Rus. The images of the terrible court were an effective means that helped to handle the pagans. In Russia, the composition of a terrible discussion appears very early, shortly after baptism.
The earliest famous Russian fresco on this plot - Kirillov Monastery in Kiev (XII century), the painting of the Nikolo-Dvorchensky Cathedral in Novgorod (beginning of the XII century), St. George Cathedral of Old Ladoga (1180s), the Church of the Savior in Nerette ( 1199), Dmitrovsky Cathedral of Vladimir (end of the XII century), followed by fragments of the painting of Andrei Rublev and Daniel Black in the Assumption Cathedral of Vladimir.
The iconographic canon of a terrible discussion, which will be destined to exist, at least another seven centuries, develops at the end of the X - early XI centuries. In the XI-XII centuries, a number of important images of a terrible suite was created. The most famous: church paintings of Panagi Halkon in Thessaloniki (1028), the frescoes of Sant Angelo in Formise, two icons depicting a terrible joint from the monastery of St. Catherine on Sinai (XI-XII century), two miniatures of the Parisian Gospel, an ivory plate Victoria and Albert Museum in London, Mosaic Basilica Trocello in Venice, Mauriotiss Church Madridges in Castoria, painting of the Bachkovskaya Khuznitsa in Bulgaria and Giant Mosaics of the Cathedral of the Cathedral in Otranto (1163), and a close-time cathedral in Trani.
The most early well-known Russian icon-painted image refers to the XV century (icon in the Assumption Cathedral of the Moscow Kremlin). N. V. Pokrovsky, researcher of the XIX century, indicates that until the XV century, Russian "terrible courts" repeat the Byzantine forms, at the XVI-XVII century there are peak development of this plot in painting, and the end of the XVII century, according to Pokrovsky, eschatological images of steel Write with less skill - especially in southwestern Russia (under the influence of Western European influences).