Nevyansk miniature icon painting. Nevyansk icon - history and local history - reading room - Ural provincial publishing house. Private Museum "Nevyansk Icon"

Iconography in the Urals / 10th grade /

Form of holding: lecture /with multimedia accompaniment/

Time: 2 hours

In the life of an Orthodox Christian, the icon occupies an important place. It has become an integral part of the Orthodox tradition; without it, it is difficult to imagine an Orthodox church and worship, the home of an Orthodox Christian and his life. A person is born or dies, goes on a long journey or starts some business - his life is accompanied by a sacred image - an icon.

The meaning of the icon in the Orthodox world can be compared with Holy Scripture and Tradition. If they contain divinely revealed truths in verbal form, then the icon testifies to God in the language of lines and colors.

Inextricably linked with the architectural decoration of the cathedrals was the internal appearance of the temples. The icon had a special place in Russian churches. It was called "speculation in colors." In the icon image, a believer could, without knowing the letter, comprehend the basic tenets of faith. Icons with the faces of the Savior, the Mother of God, and saints created a unique image of an Orthodox church.

The fate of the icon-painting tradition in the 20th century was not easy - three-quarters of a century passed under the sign of the struggle of the state with the church and its culture. But it was in this century that the icon was rediscovered. This was preceded by a serious preparatory process that began in the 19th century. The successes of historical science, archeology and source studies, iconographic research, the emergence of scientific restoration paved the way for the discovery of the icon.

Icons got to the Urals in different ways: settlers brought them with them, they were ordered in other cities for churches under construction, they were painted by local icon painters. During the 17th-19th centuries, their own icon-painting traditions were formed in the Urals. Today you will get acquainted with the history of the formation of the features of icon painting in the Urals.

Stroganov school of icon painting

It is tempting to start the history of Ural icon painting with the Stroganov icon, which became widespread in the late 16th and early 17th centuries. This direction got its name from the owners of the Kama salt works Maxim and Nikita Stroganov.

The uniqueness of the Stroganovs lies in the fact that they managed, possessing extraordinary enterprise and courage, to achieve already in the second half of the 16th-15th centuries. economic and political power, which many of the then aristocratic families in Russia could not achieve. They created a high level of culture in their estates in Solvychegodsk, and then in the Kama region, which corresponded to their spiritual and aesthetic ideals, focused on the best cultural achievements of their time.

By the nature of their activities, traveling around the country and major shopping and cultural centers, the Stroganovs perceived the best examples of Russian art, whether they were monuments of architecture, icon painting, singing art, etc. And perceiving, thanks to the talent of their masters, they created masterpieces of architecture, icon painting, writing, singing, jewelry and other arts, which made it possible to talk about the Stroganov schools of icon painting, facial sewing, and singing art.

The icons of the "Stroganov school" are distinguished by their virtuoso technique, the beauty and variety of pure shining colors, the use of created gold, the fine elaboration of details, the variety and detail of plots, and the secular nature of the interpretation of images. The more mature works of the school are characterized by an accentuated elegance of forms - the saints seem to float in the air, barely touching the ground, they have elongated body proportions, narrow shoulders, thin arms with miniature hands, long legs with small feet, graceful movements, gracefully tilted heads, gestures hands are pretentious, the movements are deliberate, even mannered.

The Stroganov School is the art of icon miniatures. Icon painters of the Stroganov school are not concerned with the philosophical content of the icon, but with the beauty of the form, in which a rich spiritual meaning can be captured. “Careful, fine writing, mastery of finishing details, sophisticated drawing, virtuoso calligraphy of lines, refinement and richness of ornamentation, polychrome coloring, the most important component of which was gold and even silver - these are the constituent components of the artistic language valued by the masters of the "Stroganov school" and their customers,” writes art historian D. V. Sarabyanov (Ist. Russ., Iskusstva, 1979, p. 8).

In the Church of the Epiphany in Solikamsk there was a carved wooden iconostasis with a rich collection of icons of the Stroganov school of painting of the 18th-19th centuries. The Royal Gates, the central part of the composition of the iconostasis, were covered with openwork carvings. Frames (kiots) for icons were framed with intricate floral ornaments. Crowned the royal gates decorated with flower garlands and a carved sun "koruna" (crown). And in this carved splendor - icons, distinguished by "jewelry accuracy of writing", richly decorated with gold and enamels.

Researchers distinguish two groups of icons associated with the name of the Stroganovs. The first most numerous are the icons painted in the Solvychegodsk workshops of the Stroganovs. These icons do not have distinctive features (signatures), they were made by ordinary artisans and in the 17th century. dispersed to churches and monasteries, mixing with other icons of Pomeranian writing.

Another group is icons created by Moscow masters, sovereign icon painters, who carried out orders from the Stroganovs in the capital or in Solvychegodsk, such as, for example, Prokopy Chirin in The Time of Troubles. This group probably includes icons made by local Stroganov icon painters, who were trained by the masters of the capital, whose works in terms of the level of performance were often not inferior to the icons of Moscow icon painters.

When ordering icons, the salt producers turned to those masters, whose works most of all corresponded to their tastes and preferences. They were attracted to the icons by the abundance of pure, bright colors, gold, skillful drawing of details, detailing of plots, miniature, filigree writing. In the future, they encouraged and developed this direction in their estates. Thus, the private order of the Stroganovs created the famous school of icon painting.

And it all started with the fact that, by order of the salt producers, their own icon-painting original was compiled, in which a set of images-drawings of icons arranged in calendar order is presented.

It was a guide for Stroganov artists - both beginners and experienced.

The "Stroganov School" of icon painting developed in close connection with court painting: many Moscow artists were involved by the Stroganovs in painting icons and painting churches - Prokopy Chirin, Fedor Savin, Stepan Arefiev, Istoma Savin and his sons, Nazariy and Nikifor Savina, Ivan Sobolev, Bogdan Sobolev and, probably, Semyon Khromoy.

At the same time, at the turn of the 16th - 17th centuries, as already mentioned, with the start of the construction of temples and residential chambers undertaken by the Stroganovs in Solvychegodsk (Annunciation Cathedral, Vvedensky Monastery) and Perm possessions (Pyskorsky Monastery, many churches in prisons and towns) begins activity of the iconic rooms of the salt producers. Their researchers consider as an offshoot of Moscow. The names of such masters as Grigory, Bogdan Sobolev, Mikhail, Pervusha, Persha and others are associated with the Solvychegoda upper rooms. For training in icon painting and carving in the estates of the Stroganovs, boys "from the servant clan" were selected, who had a penchant for drawing. They were sent to the icon-painting workshops of Novy Usolye or Ilyinsky, where real masters were trained from them. Sometimes they were taught by the masters of Moscow and Nizhny Novgorod.

Researchers note that at the turn of the XVI - XVII centuries. The Stroganovs have significant collections of icons: Nikita Grigorievich has at least 300, Maxim Yakovlevich has at least 240-250 icons. Such quantities were needed not only for deposits, they were probably sold.

Some part of the Stroganov letter has survived to this day and is in the museum collections of the country: the State Russian Museum, the Tretyakov and Perm galleries, the Solvychegodsk and Berezniki historical and art museums.

Often the Stroganovs ordered icons dedicated to the saints of the same name. So among the contributions of Nikita Grigorievich Stroganov there are many icons and folding with the image of Nikita the warrior, and this is due to the fact that St. Nikita was the heavenly patron of the eminent person. Both he and his cousin Maxim Yakovlevich were well versed in icons, so some suggest that they themselves were engaged in icon painting.

Already at this time, patronage of the Stroganovs was born as a special family trait of representatives of this family.

Icons of the Stroganov workshops, which the salt producers generously donated, invested their souls in churches and monasteries in the Kama region, can be seen in the art and local history museums of the Urals. The Perm Art Gallery has become the custodian of a number of icons by the masters of the Stroganov school - Istoma and Nikifor Savin, Semyon Khromy, master Grigory, Bogdan Sobolev, presumably Stefan Arefiev and Semyon Borozdin.

Among them, the earliest is the icon “Our Lady of Vladimir, with a legend (eighteen hallmarks), painted in the 1580s. Istoma Savin. This is a true masterpiece of the Stroganov school.

The Perm Gallery also contains icons of Nikifor Savin, the son of Istoma. In his icon "Saint Nikita the Warrior" the features of his work as a master of virtuoso miniature painting were especially manifested. Saint Nikita, the heavenly patron of Nikita Grigoryevich Stroganov, is depicted with great subtlety and grace.

The icon of the same name from the collection of the Perm Gallery belongs to the brush of master Gregory. Here there is a different solution to the work: the image of Nikita is more severe, and the painting is darker and more static, the colors are denser, as if condensed.

The same master Gregory painted the full-length icon of the Mother of God. The name of master Gregory is little known among the Solvychegodsk and Moscow icon painters of the Stroganov school. There is an assumption, which is also based on the stylistic features of Grigory's letter, that this master was of local origin and worked in the Kama estates of the Stroganovs.

Five icons from the Perm Gallery are associated with the name of the master Semyon Khromy. Four icons - "Our Lady of Smolensk", "Nativity of St. John the Baptist”, “Saints Basil the Great, Gregory the Theologian and John Chrysostom”, “The Week of All Saints” - have insert notes mentioning the authorship of S. Khromy. "The Conversation of the Three Hierarchs" is attributed to S. Khromy on the basis of stylistic similarity.

The collection of signature Stroganov icons includes small holiday icons. One of them is "The Descent of St. Spirit ”of 1610, written by Stefan Arefiev, the same Moscow icon painter who in 1600-1601. took part in the painting of the Solvychegodsk Cathedral of the Annunciation. The icon “Our Lady of the Sign with four chosen saints in the margins” comes from Usolye, presumably painted by Emelyan Moskvitin.

Large icons have also been preserved. One of them (“Saints Peter and Paul”) was placed in one of the churches in the village of Sludki by Maxim Yakovlevich, his wife Marya Mikhailovna and sons Ivan and Maxim.

Another large-sized icon - "The Mother of God with the Christ Child Enthroned", signed in the name of Bogdan Sobolev, came to the Perm Gallery from Solikamsk.

The Stroganov school of icon painting did not last long. However, in the depths of this specific - due to the fact that the masters worked primarily for churches - the artistic direction was born and established qualities that were also characteristic of the development of secular painting in the 17th century. This, according to art historians, is “the nature of the interpretation of images ... as well as the desire of artists to show this or that event of sacred history as plausibly as possible.” The Stroganov school of icon painting in many ways became one of the forerunners of the renewal of Russian painting in the 18th century.

Monuments of the Stroganov school are a remarkable phenomenon of the late medieval art of Russia.

Nevyansk school of icon painting

A special large group of iconography is represented by the Old Believers. A large number of Old Believer icons kept in churches, museums, and private collections in Siberia can be divided into several stylistic groups.

A characteristic feature of one of these groups was the strict adherence to tradition, for example, the icon of the Mother of God "Joy of All Who Sorrow" It is oriented to the Stroganov letter: an elegant drawing of elongated figures, colored gaps in clothes give subtlety to the color. Not darkened wood and drying oil, profiled dowels, bright colors of figures. In order to more closely match the Stroganov originals, later masters sometimes used different technological methods to age wood and painting and increase the cost of icons.

Another type of Old Believer icons are "dark icons". By the XVIII-XIX centuries. drying oil on old icons has become very dark, the orientation towards their dark brown color, while observing the canons in composition and drawing, determined the peculiarity of this group. Among the Old Believers, the main principle of evolution is a combination, a synthesis of various stylistic trends. It is revealed in the icons of the Novosibirsk Art Gallery, such as St. Nicholas the Wonderworker.

The largest group of Old Believer icons is Nevyansk. This term is more stylistic than geographical.

For 300 years, Novgorod, northern, and then Moscow and Volga icons could not help but penetrate here. It is very difficult to say specifically about this at the present time: the first iconostases did not survive, most of the documents that kept the history of many icons that are today in Siberian churches and museums have disappeared.

It is possible to speak about the Ural icon painting proper only from the middle of the 18th century. Concerning the first decades of the 18th century, one has to confine oneself to documentary evidence and legends. The Ural icon painting of the XVIII-XIX centuries, as well as the icon painting of this period in Russia as a whole, can be divided into three areas.

1).Orders of the Orthodox Church, supported by the Holy Synod and the state and focused on the Western European culture of that time.

2). Icons created primarily for the Old Believers and based on the Old Russian and Byzantine traditions.

3). Folklore iconography, common among the people.

The first direction captured mainly the Kama and Trans-Urals. In one case, this is explained by the geographical proximity to Muscovy, in the other, by the fact that in the Trans-Urals, with its administrative and religious center in the city of Tobolsk, the influence of the Church was also strong.

The second direction is typical, first of all, for the mining Urals, which has become a stronghold of "ancient piety." The Ural Old Believer icon painting begins to show features of originality, obviously, from the 1720s-1730s, when the schismatics, who had previously moved to the Urals from the center of Russia (from Tula) and from Pomorie (from Olonets), were joined after "forcings" from the upper Volga, Kerzhents and from the regions bordering Poland (from Vetka and from Starodubye) new Old Believer migrants.

Very few Ural icons painted in the first half of the 18th century have survived. There is reason to assume that its heyday occurred later, in the second half of the 18th - the first half of the 19th century.

In 1701, at the initiative of the government, a metallurgical plant was built in Nevyansk and Kamensk, in 1703-1704. in Alapaevsk and Uktussk. Peter I entrusts the management of these factories to Nikita and Akinfiy Demidov. They launched the construction of the most modern metallurgical enterprises in the Urals at that time. Their family nest was originally Nevyansk, and since 1725 Nizhny Tagil became. The government attributed entire villages from central Russia to the factories. The Demidovs willingly gave shelter to the Old Believers, who, due to their illegal position, were practically powerless.

A church was built at each factory, and more than one at large factories. The need for icons has increased dramatically. The Old Believers, who made up a significant part of the population of industrial settlements, did not recognize the icons painted after the reform of Patriarch Nikon, as a result of which the emergence of Old Believer icon painting became inevitable.

First of all, the Stroganov icons were valued. The Old Believers recognized them and bought them in large quantities. Thus, a whole icon-painting direction arose, oriented towards Stroganov, which was called "Nevyansk".

“Covered with darkened drying oil, the Nevyansk icons were often mistaken for Stroganov icons. They are really brought together by the elongated proportions of the figures, the sophistication of poses, the subtlety of writing, the abundance of gold spaces ... Stroganov icons were painted on olive-green or ocher backgrounds, they used gold more moderately.”

The people of Nevyansk resorted to continuous gilding. Sheet gold was applied to a red-brown polyment, which was previously covered with gesso. Polyment gave the gold a rich warm tone. It filled the mullion and the fields, delimited by a thin colored or white layer, the image of window frames, domes and spiers of architectural buildings shone in halos. Its brilliance echoed the light of the created gold, simulating the three-dimensional plasticity of polychrome draperies, and in a special group of icons, with cast copper folds and crosses cut into the centerpiece. The noble metal was enriched by magnification, engraving, patterns. The coloring of the Nevyansk icons is notable for its decorative effect.

As mentioned earlier, the heyday of the Ural icon painting occurred at the end of the 18th - beginning of the 19th century. The recognized center of icon painting in the Urals was Nevyansk. Well-known dynasties of icon painters worked here - the Bogatyrevs, Chernobrovins, Zavertkins, Romanovs, Filatovs, who played an important role in the creation of the Nevyansk school of icon painting, as well as masters Grigory Koskin, Ivan and Fyodor Anisimov, Fedot and Gavriil Ermakov, Platon Silgin and others. People came here to study icon painting from Yekaterinburg, Nizhny Tagil, Staroutkinsk, Chernoistochinsk and other places in the mining Urals.

The most fruitful and lasting influence on the Nevyansk icon was made by the dynasty of icon painters Bogatyrevs, whose activity fell on the period from 1770 to 1860.

Ivan Vasilyevich, Mikhail Ivanovich, Afanasy Ivanovich, Artemy Mikhailovich, Iakinf Afanasyevich and Gerasim Afanasyevich Bogatyrev were the leading workshop of the Nevyansk icon painting industry, focused on the commercial and industrial part of the Old Believer merchants, elders of the Old Believer communities, factory owners, gold producers, who held the entire economy of the Urals in their hands .

The icons of the Bogatyrevs from the heyday of their workshop (the first third of the 19th century) in terms of color, drawing, and composition are closest to the Yaroslavl icon painting of the last third of the 18th century, oriented, in turn, to the late period of creativity of one of the prominent masters of the Moscow Armory, Fyodor Zubov (1610 -1689).

And, although at the beginning of the 19th century there were up to a dozen icon-painting workshops in Nevyansk, almost all of them copied the Bogatyrevs. Their work was considered very valuable.

The ancestors of the Bogatyrevs appeared in Nevyansk in the early 1740s, having arrived with a trade caravan from Yaroslavl. According to the revision tale of 1816, three Bogatyrev families lived at the Nevyansk plant. The icon painters themselves taught the children the icon painting craft, as complete as possible, i.e. personal or private letter.

The most indicative icons characterizing the style in which they worked are the icons: Archdeacon Lawrence, St. Leo of Catania with his life, the Nativity of Christ, the Old Testament Trinity, the Savior Not Made by Hands.

In January 1845, a law was passed forbidding schismatics to engage in icon painting, but despite this, the Bogatyrevs, like other icon painters, continued to engage in their work.

The main reason for the constant harassment by the authorities was the active schismatic activity of the Bogatyrevs, and not icon painting. In 1850 The Bogatyrevs-icon painters were exiled to the theological factories of the Urals for evading joining the Edinoverie. Only later, with the transition to common faith, they were allowed to return to Nevyansk.

The first printed materials about the Bogatyrevs-icon painters appeared in 1893. The diary of court counselor S.D. was published in the journal "Brotherly Word". Nechaev, who, on behalf of Nicholas I, carried out a "research on the split" in the Perm province. Nechaev personally met the Bogatyrevs and, impressed by this meeting, made the following diary entry on November 22, 1826: “In Nevyansk, the best icon painters carefully preserve the ancient Greek manner in drawing and shade. For this they use egg yolk. The Bogatyrevs are more skillful and richer. image for the new Old Believer Church in Yekaterinburg".

In the middle of the 18th century, in archival documents, next to the surname Bogatyrevs, the surname Chernobrovins is often found. They lived in Nevyansk from the end of the 17th century. According to documents, families lived in Nevyansk in 1746: Fyodor Andreevich Chernobrovin with his wife and three sons Dmitry, Afanasy, Ilya, and Matthew Afanasyevich with his wife, son and two daughters.

At the beginning of the 19th century, they became the founders of six clans assigned to the Nevyansk factory of the Chernobrovins' peasants. All of them were Old Believers, but in 1830 they switched to the same faith.

The icon painters of Chernobrovina did not have a single family workshop, like the Bogatyrevs, they lived in separate houses and worked separately. United only to fulfill large orders.

The creativity of the Chernobrovins during its heyday (1835-1863) is characterized by an excellent command of the art of composition and the ability to combine plots, a combination of traditional Old Believer icon painting techniques with elements of secular painting (drawing gaps with created gold). The use of gold blooming and drawing techniques, as well as quotation and chasing when decorating a dolitic background. The use of herbs and flowers in the decoration of the Tagil pictorial craft when depicting fabrics in clothes and draperies. In the coloristic solution of the icons, red and green colors were decisive, tending to a cold tone in combination with dark emerald green and blue-green of medium density.

The Chernobrovins received contracts from the managers of the Nevyansk factories to paint icons for the newly built churches of the same faith. So "in the spring of 1838, cousins ​​Ivan and Matthew Chernobrovin signed an agreement on painting icons for the iconostasis in the Assumption Church of the same faith, which was being built in the Rezhevsky factory, for 2520 rubles." In November 1839 they undertook to "paint additional holy icons for Pascha 1840".

In 1887, they participated in the opening of the Siberian-Ural scientific and industrial exhibition in Yekaterinburg. For the presented icons, they were awarded an honorary review by the Ural Society of Natural Science Lovers.

The most expressive icons, reflecting their icon-painting style, are: Archdeacon Stefan, Mother of God “What shall we call thee, Overjoyed”, John the Baptist.

In the middle of the 19th century, the Chernoborovins managed to establish themselves as one of the leading dynasties of Ural icon painters. It is no coincidence that D.N. Mamin-Sibiryak noted that "Nevyansk icon painters are known to the entire schismatic world in the Urals as the Bogatyrevs or Chernobrovins ...". For more than half a century, these dynasties worked in Nevyansk. Many Nevyansk icon painters, in particular, Karmanov P.A., Berdnikov S.F., Gilgin A.N. in their works they adhered to the traditions laid down by the Bogatyrevs and Chernobrovins.

"The Nevyansk masters showed a tendency to preserve and revive ancient traditions, up to the reminiscence of the red-backed Novgorod icon."

But still, it was precisely in the backgrounds, landscape and interior, that the influence of the new time was more pronounced: a compromise, typical for the icon painting of the transitional period, between a three-dimensional face and a planar face, combined with the depth of space. "The canonical figures are graceful, their flesh is moderate, and sometimes extremely" thin "(images of the forearms and lower legs with barely noticeable girths of the wrists and ankles of the ribs and joints).

The main thing for the Nevyansk icon was not the Stroganov traditions, but those that were laid down by the Moscow Armory already in the middle of the 17th century and developed at the end of the 17th - the first half of the 18th century in Yaroslavl, Rostov Veliky, Kostroma.

The Nevyansk icon bears signs of the Baroque style, both in pre-Petrine and post-Petrine times. The Baroque style, which expresses the expressive perception of the world characteristic of the people's consciousness, grows in the Nevyansk icon until the end of the 18th century and is largely preserved in the middle of the 19th century. Being typologically related to the Baroque, chronologically, it testifies to the development of classicism in Russian art, which introduced its own characteristics into its style. At the turn of the 18th - 19th centuries, Nevyansk masters painted two-part horizontal icons. One of these icons is the icon "The Nativity of the Mother of God", "Entry into the Temple" by the Bogatyrev family.

Over time, the architectural backgrounds in the icons are classified, acquire similarities with the interiors of rotunda temples, and are fixed with clear contours.

They seized the Nevyansk icon and the influence of romanticism. They found ground in the dramatic worldview of the "religious pessimism" of the Old Believers. Vivid evidence of this is the icon of the Bogatyrevs "The Nativity of Christ", in which the main event is accompanied by scenes that accentuate the feeling of anxiety, fear on the verge of life and death, the expectation of a chase, cruel reprisal.

Although romanticism had no clear formal signs in the icon and was lost in the Baroque style, it contributed to the rethinking of the icon space, which began in the 17th century, divided into a centerpiece and a hallmark into a grandiose panorama seen from different points of view unfolded on a plane. The golden skies, the scenes of the veneration of the Magi, the temptation of Joseph, and the bathing of the baby taking place in a cozy cave, similar to a grotto in the rock, speak of the romantic worldview of the Nevyansk icon painters. The views of natural nature are romantic - valleys with herds grazing near the rivers, cliffs with hanging roots and grasses, man-made parks, fenced with slender lattices and vases on pillars.

However, this does not make the icon a painting; it is subject to dogmatic meaning. Many motifs that came to Russian iconography from Western obverse Bibles and prints turned out to be in tune with local Ural realities as early as the 17th century.

Relying on common ancient Russian foundations, the iconography of various regions, under the influence of the local way of life, acquired its own distinctive features. As a result of complex migration processes, the Ural icon painters absorbed and processed the Old Believer icon painting of Russia. In turn, Nevyansk had an impact on the central regions of Russia and at the same time extended its influence to the east - to Siberia and Altai.

Since the 1830s the Nevyansk icon began to evolve towards decorative art, a luxurious thing that personifies the fabulous capital of the Ural factory owners. Gold is used so abundantly that it begins to make it difficult to perceive painting, which becomes dry and fractional over time, while at the turn of the 18th-19th centuries the gold background played the role of a frame for precious, iridescent painting, harmoniously complementing it.

Nevyansk icon painting was also influenced by individual icon painters. Thus, the icons of Filatov, who converted to the same faith, were made not in the Byzantine tradition, which was organically developed by the art of Ancient Russia, and which the Old Believer icon painting never parted with, but in the late Byzantine, Italian-Greek tradition. Some signs under the influence of this hobby disappeared. On the other hand, a new appeal to the Byzantine testaments corresponded to the aspirations of the Old Believers to preserve the rigor of iconography and style, to prevent the penetration of naturalism into church painting.

The Old Believers did a lot to preserve the Orthodox, Old Russian tradition in Russian art. At a time when the orthodox church preferred academic painting, the communities of "ancient piety", relying on their own capital, provided their icon painters with a variety of work and supported their creativity. But at the end of the 19th - beginning of the 20th centuries, when, due to various ideological and aesthetic reasons, the traditions of Ancient Russia were widely in demand, the Old Believer masters remained in the shadow of the icon painters of Palekh, Kholuy and Mstera, who were always loyal to the state, its church and became executors of their orders. The Nevyansk school was a thing of the past. She didn't leave without a trace. Throughout its development, it had a noticeable impact on the folklore icon, which did not waste its creative potential for a longer time, on the local book miniature, on painting on wood and metal, on the entire artistic culture of the Urals.

The study of the Nevyansk school convinces us that this is a major phenomenon in the history of Russian art, expanding the understanding of the icon painting of the New Age. During its heyday, it reached true artistic heights. The harsh reality of the mining region, by no means ideal customs that prevailed among merchants and gold miners, filled the Old Believer icon painting with the pathos of a passionate sermon. But behind the concrete historical situation, behind the church strife, the Ural painters saw the sight of timeless artistic values. G. K. Wagner, a researcher of ancient Russian art, said of Archpriest Avvakum that he “went down in history not as an Old Believer, but as an exponent of the eternity of heavenly ideals” and that this is precisely why “his dramatic life and dramatic work look so modern.” These words can also be attributed to the best masters of Nevyansk icon painting.

Icons of the Nevyansk school are kept in the museums of Yekaterinburg, Perm, Chelyabinsk, Nizhny Tagil and in private collections. The impression that the faces make is akin to the feeling of a person who first came to the temple: amazement and celebration. The colors of the icon fascinate, attract the eye, and the sound of spiritual verses is almost heard. The Nevyansk icons are characterized by purity of color, wide use of gold, painting of clothes with large flowers or buds, similar to those that can be found on Tagil trays or in house painting (which indicates the close connection of all branches of the art of the Urals). The development of the ancient Russian tradition in the Nevyansk icon-painting school can be called the use by the masters of elements of contemporary painting, which found expression in the landscape, which includes the real features of the Ural nature. “Placed” in the Ural landscape, the gospel events are getting closer, overshadowing with their light, it would seem, the Stone Belt, so far from the holy places.

The plots of the Nevyansk icon are varied. From the festive tier of the iconostasis, which contained icons depicting the holidays of the annual Christian cycle, - "Annunciation", "Nativity of Christ", "Baptism of the Lord", "Transfiguration", "Assumption of the Mother of God" and others. Icons of the Theotokos - "Cathedral of the Sixteen Icons of the Theotokos", the Mother of God "Softener of Evil Hearts", the Mother of God "From the Troubles of the Suffering", the Mother of God "Before Christmas, the Virgin", the Mother of God "The Sign". Icons with the faces of Orthodox saints - Nicholas the Wonderworker, St. Panteleimon the Healer, Righteous Simeon of Verkhoturye.

One of the most beautiful icons of the Nevyansk school is kept in the Nizhny Tagil Museum-Reserve - "Rejoices in You". In the center of the composition is the image of the Mother of God, sitting on a throne with the Christ Child on her knees. Above - God the Father, personifying the heavenly powers, behind him are five single-domed churches. Around the throne are archangels, saints and great martyrs. The combination of purple and gold gives the icon solemnity and attractive power.

However, we have to state the unfortunate fact that mostly scattered icons have come down to us, the iconostases have practically not been preserved, just as the temples in which they were were not preserved. The fate of the Nevyansk icons is dramatic: many of them survived due to the fact that they accidentally ended up in museums, many were irretrievably lost in the anti-religious "battles" of the Soviet era.

Such is the fate of the famous iconostasis from the house church of the merchant L. Rastorguev. It is known that Lev Rastorguev, a merchant of the first guild, was a zealot of the old faith and built an exemplary home chapel-chapel in his estate. Icons for the iconostasis of the chapel were commissioned by the famous Nevyansk masters Bogatyrev. In the middle of the XIX century. the merchant's heirs were exiled, and the estate was empty for many years. After the revolution, in the 1920s, the iconostasis, “broken and dumped in the corner of a shed,” nevertheless entered the museum, where it was hidden for many years. Today we can see the restored surviving icons in the Historical Museum of Ekaterinburg, and we can imagine the former splendor of the iconostasis from old photographs. It is impossible not to be grateful to those curators of museums, collectors, artists, clergymen who, during the difficult decades of atheistic diktat, preserved the wonderful works of Ural icon painting.

Artistic comprehension of domestic icon painting of the 18th - 19th centuries. began in our country in the 1960s, in the Urals - a decade later. This was due to the complex changes that took place in the spiritual and aesthetic consciousness of society. Undoubtedly, the appeal to the iconography of the New Age was a logical continuation of the study of Byzantine and Old Russian art, which has a deep scientific tradition.

In the last 20-30 years, in the course of expeditionary work and thanks to the enthusiasm of researchers, the attitude towards the Old Believer heritage has changed, consistent and serious work has begun on its study. Today we can say that scientists have done a lot: the names of icon painters and the time of creation of the surviving icons have been established, the influence of various artistic styles from baroque to romanticism and realistic manner of painting has been considered. The publication of the albums "Nevyansk Icon", "Ural Icon" are important milestones on this path, opening up new opportunities for a broad study of the Ural schools of icon painting.

At the end of 2002, the Regional Fund "Revival of Nevyansk Icon Painting and Folk Art Crafts" was established in Nevyansk.

Icon-painting workshops are located in a small mansion - the former estate of a gold miner. Mostly Orthodox youth work in them. In the future, on its basis, it is planned to create an educational institution for training specialists in icon painting, restoration, arts and crafts and folk crafts. Icon painters are constantly studying, copying the works of old masters, trying to visit the churches of Yekaterinburg, Verkhoturye more often, they come to Byngi, where all the temple icons painted by Nevyansk masters were miraculously preserved in the old church during the years of hard times. And the work is progressing, orders for the Ural temples are being fulfilled, but the main thing is that the techniques and methods of Nevyansk writing are being revived.

Numerous amazingly beautiful holy images were created by modern Nevyansk icon painters, using not only ancient techniques that have been verified over the centuries, but also with the use of recent technologies.

B XVIII-XIX centuries. Nevyansk was the center of the iconography of the Urals. The Nevyansk icon is the pinnacle of the Ural Mining and Factory Old Believer icon painting.
But, before starting a conversation about the Nevyansk icon, we will briefly note the main points of the icon painting technology. Translated from the Greek "ey-kon" - an image, an image on a wooden board. At first, an icon was prepared: they cut it out of a block on a block on both sides of the core; they were dried for several years, and then the surfaces were treated. On the front side, an “ark” was cut out along the perimeter - a small depression, so that the fields rose above the middle (however, the ark was not always made). A canvas was glued onto the base - fabric, later paper. Several layers of gesso were applied to the pavoloka - a creamy mixture of chalk, glue (usually fish) with a small amount of hemp oil or drying oil. Each layer was thoroughly dried. Then the gesso was polished with a bone (a fang of a bear or a wolf). The drawing of the icon was translated from the copybook: the contours were cut with a needle and “powdered” - sprinkled with crushed charcoal from the bag.
On gesso, a “translation” of a drawing from black dots was obtained. Then polyment was applied to the gesso - paint, sheet gold was glued to it, which was polished, and after that they proceeded directly to writing the icon. The front surface of the finished icon was covered with a protective film of drying oil or glue.
The Nevyansk icon is an Old Believer icon and is associated primarily with chapels. Most of the population of the Urals and the Nevyansk Demidov factories are Old Believers who fled here from the persecution of the royal and church authorities. There were many talented icon painters among them.
The icons were noted among the state property in the inventory and return books of 1702 when the Nevyansk plant was transferred to Nikita Demidov. “At the sovereign’s court”, in the blast furnace and hammer shops, “and in other places” there were nine images on boards without a salary. These were the three Saviors: "Almighty", "On the Throne" and "Not Made by Hands"; "The Resurrection of Christ with the Twelfth Feasts", the Mother of God, the Annunciation, John the Baptist, Nicholas the Wonderworker, the Mother of God "The Burning Bush with the Twelfth Feasts." All of them passed to Demidov along with the plant. These icons were most likely of local origin.
In the census book of Verkhoturye and the county for 1710, at the Nevyansk plant, “an industrial man Grigory Yakovlev Ikonnik”, 50 years old, no wife, son Yeremey 22 years old, and three daughters: 13, nine and six years old, is recorded in his yard. Perhaps he was professionally engaged in icon painting, which is confirmed by the Landrat census of the Nevyansk factories in 1717. This is currently the earliest direct evidence of the existence and work of icon painters not only in Nevyansk, but also at the Ural factories in general. “In the yard, Grigory Yakovlev, the son of Sakharov, eighty years old, widows; he has a daughter, Paraskovya, fifteen, and a bride-to-be, the widow Tatyana Stepanova, a daughter, Eremeevskaya, Sakharovo's wife, thirty, and a son (Eremeya) Vasily, six years old. He, Grigorey, comes from the Ayatsky settlement, which is assigned to the Fetkovsky (Nevyansk) factories, and for eleven years he moved out to the Fetkovsky factories and the breadwinner from icon art.
In the census book of the Ayatskaya Sloboda of 1703, unplowed industrial people Grigory and Semyon Yakovlev, obviously brothers, are noted. Apparently, they were icon painters, since the sons of Semyon in the landrat census of the Nevyansk plant are called “Ikonnikov’s children”. But the father did not have time to pass on his icon-painting skills to them, probably because he died early (in 1705, the widow and children “moved out” to the Nevyansk factory).
In the census and return books of 1704 assigned to the Nevyansk plant of the Ayatskaya, Krasnopolskaya settlements and the possessions of the Epiphany Nevyansky monastery among the inhabitants of the Ayatskaya settlement, "which Nikita Demidov in the past 1703 was not given for work" (and were attributed in 1704) recorded industrial man Yakov Frolov with three sons aged nine to 21. “He pays ... to the treasury from the trade trade a quitrent: from the ykon trade for osmi altyn, two dengi per year.” He combined icon painting with agriculture.
According to calculations, this Yakov Frolov and G.Ya. Sakharov were almost the same age and could be cousins ​​to each other. It can also be assumed that the cousins ​​studied the icon craft in the Ayat settlement and could improve in it by participating in work on the side.
The grandson of Yakov Frolov Arapov, Akinfiy, 21, was noted by the 1732 census at the Nevyansk plant without indicating the profession, with the nickname "Ikonnikovs".
Yakov Frolov, who lived in the Ayat settlement, served as an icon painter, probably, the requests of the surrounding peasants and numerous antechambers and travelers. Grigory, who settled in the Nevyansk plant, according to him, since 1706, satisfied the more demanding tastes of its inhabitants.
By 1717, the Nevyansk plant numbered over 300 households and turned into one of the largest settlements in the Urals, second only to Solikamsk and Kungur, and surpassing all other cities, including Verkhoturye.
It is reasonable to assume that both of these icon painters differed, obviously, in the level of skill, they worked in a traditional manner. It is unlikely that their work was differentiated by customers: the Old Believers and adherents of official Orthodoxy.
From 1732 and, at least, to the beginning of 1735, most likely, it was at the Nevyansk factory that Ivan Kozmin Kholuev, by origin, the son of a beaver of the Upper Sloboda of the village of Gorodets, Balakhonsky district, Nizhny Novgorod province, "feeded on icon art". According to his own words, he studied icon painting somewhere in the Nizhny Novgorod regions, and before appearing in the Urals, he “went to various Russian cities.”
From the documents of 1790, the name of the peasant of the Yalutorovsk district, Ivan Emelyanov, the son of Neryakhin, is known, 34 years old - the Old Believer monk Isaac, trained in icon painting at the Staro-Nevyansk Factory, where the peasant Fedot Semenov (son) Voronov lived for two years, learned to paint images (approximately in 1778-1780). Then he went to sketes, and then returned to the Nevyansk plant, where in 1784-1786. lived with "peasant Vasily Vasiliev (son) Krasnykh, he is also Barannikov ... at the painting of images."
The fragmentary nature of information about the first Old Believer icon painters in the mining Urals makes us pay attention to the masters who are considered the founders of icon painting at factories. The study of this issue in the early 1920s. Suchel Dulong, a Frenchman, a representative of the Red Cross mission, was engaged. In January 1923, he presented the results in a report at a meeting of the Ural Society of Natural Science Lovers. S. Dulong visited the chapels and private houses of the Old Believers-chapels (formerly the fugitives of the Sofontievsky persuasion) in Yekaterinburg and the neighboring village of Shartash, at the Nizhny Tagil and Nevyansk factories. Of particular value to S. Dulong’s data is the fact that G. S. Romanov, himself an icon painter in the third generation (Dulong even called Romanov “the last Ural icon painter”) and the famous Ekaterinburg antiquarian D. N. Pleshkov, who was familiar with the majority who worked in the Urals at the beginning of the 20th century. icon painters and related to the Romanovs.
S. Dulong was named four masters of this period. This is Father Grigory (in the world Gavriil Sergeev) Koskin (c. 1725 - late 18th century), from the eternally given Nevyansk plant; Grigory Andreevich Peretrutov, who settled at the Nizhny Tagil plant; Paisiy's father (Pyotr Fedorovich Zavertkin) and a certain Zavertkin, Paisiy's nephew, the second son of his younger merchant brother Timofei Borisovich Zavertkin (1727 - 1769). At the same time, the first and last names belong to representatives of the second generation of local Old Believer icon painters.
“The monk-schemer Paisei Zavertkin is ... a skilled izgrapher who left his disciples rather; the first (obviously, in the sense of "the best") of them is the monk-schemer Grigory Koskin. Timothy Zavertkin was apparently also a student of Paisius. G. S. Koskin Dulong called "the greatest, largest Ural icon painter." Dulong even described the icon of the Mother of God by Koskin, which he saw in a private house in Yekaterinburg, as “brilliant”.
Dulong did not see the works of Paisius Zavertkin, but his informant, Yekaterinburg icon painter G.S. Romanov spoke of them as follows: "The work of Father Paisius is much softer than that of Father Gregory." In the mouth of a professional, the concept of “softer” had a meaning close to the meaning of “a freer manner of writing” or “more skillful work”.
At present, only 43 miniatures (some, obviously, were created with the participation of students) of the obverse Apocalypse of the Explanatory of the 1730-1740s can more or less definitely be attributed as belonging to Paisius Zavertkin. Peter (monastic Paisius) Fedorovich Zavertkin (c. 1689 - 05/01/1768) - originally from Yaroslavl, from a family of serfs-entrepreneurs landowners Khomutovs, in his youth he worked at the Armory in Moscow and the Armory Office in St. Petersburg, rather of everything, as one of the "masters of various arts." He fled to Kerzhenets, from there, together with the local skete elders, he moved to the Ural Demidov factories. From here, a few years later, he went to the Vetka Old Believer settlements in Poland. In March 1735, he and his family, with passports received from the landowner, settled down to live at the Nizhny Tagil plant. From the beginning of the 1740s. P.F. Zavertkin, under the name of Paisia, was already in the forest "factory" sketes. There, Paisius, together with his student G. Koskin, was met by an eyewitness around 1742. In 1747, he was included in the revision tales for the Nizhny Tagil plant. In the early 1750s. Monk Paisios probably went to Poland again.
Grigory Andreevich Peretrutov “was a royal icon painter under Peter the Great and fled to the Urals”, settled in Nizhny Tagil, then took the monastic name Gury. Moreover, in the Urals, the Peretrutovs were listed under the name of the Sedyshevs. Gregory's father, Andryushka Yuryev Peretrutov, a bean of the Annunciation Monastery Sloboda in Nizhny Novgorod, was probably also an icon painter.
Long-standing family ties between the Peretrutov-Sedyshev and Zavertkin families are also likely. Grigory Peretrutov and Peter Zavertkin could know each other well from their work in the Armory. And Zavertkin's brother Boris was engaged in entrepreneurship in Nizhny Novgorod. In the Urals, these families lived side by side for decades.
In 1752, churchmen, accompanied by a military team, raided Zavertkin's house. A whole iconostasis was found among the evidence. And among the especially important schismatics of the Tobolsk diocese, Timofey Zavertkin received a vivid description: “An evil schismatic who ... paints icons according to schismatic superstition ... and sends them to all schismatic places, where they are accepted ... as miraculous.” Icon painting developed throughout the Urals, but nowhere reached such perfection as in Nevyansk and the settlements associated with it.
The icons of the Nevyansk masters were distinguished by good writing and their work was highly valued, so their customers were not only "local and neighboring residents, but in general residents of the entire Trans-Urals and even European Russia."
The heyday of the Nevyansk icon - the second half of the 18th - the first half of the 19th centuries. At that time, ten icon-painting workshops worked in Nevyansk, and by the beginning of the 20th century. only three families were engaged in icon painting, painting icons to order, and they "sometimes sat without work."
The most famous dynasties that have been engaged in icon painting for more than 100 years were the Bogatyrevs, the Chernobrovins and others. Ivan Prokhorovich Chernobrovin painted the icons of the Sretensky iconostasis of the church in the name of St. Nicholas the Wonderworker. Byngi, the Nikolaevsky iconostasis was renovated (and the carver-gilder of the Sretensky iconostasis was his brother, Yegor Prokhorovich).
The dynasty of hereditary icon painters Chernobrovins from the ascribed peasants of the Nevyansk factory has been known since 1798. Ivan Prokhorovich Chernobrovin was born in 1805, studied icon painting with Ivan Anisimovich Malyganov. He was listed as a serf of the Nevyansk plant, "corrected coal duty", hiring free state peasants and was engaged in "writing holy icons."
An Old Believer of chapel consent, Ivan Prokhorovich in 1835 moved to the same faith with his brother; was a respected person in the community. Chernobrovins enjoyed the full confidence of the church authorities and received large orders from them for icons and decoration of newly built Orthodox and fellow faith churches. The Chernobrovins lived in separate houses and worked separately (unlike the Bogatyrevs), uniting only to fulfill large orders. I.P. Chernobrovin painted icons for the Rezhevskaya, Shaitanskaya, Sylvenskaya co-religious churches in the Urals. The last signed icon of Chernobrovin dates back to 1872. The icons were painted by Andrey Chernobrovin, Fedor Chernobrovin. Other Nevyansk icon painters also gained fame: Fyodor Anisimovich Malyganov, Ivan Petrovich Burmashev, Stefan Petrovich Berdnikov, Efim Pavlovich Bolshakov, Ivan Ivanovich Vakhrushev, Afanasy Nikolaevich Gilchin, Yegor Markovich Lapshin, the Serebrennikov dynasty: Joseph, his sons Nazar and Ipat, grandson Kondraty Ipatievich and great-grandson Daniil Kondratievich, Vasily Gavrilovich Sukharev and others.
A significant role in the formation of the Nevyansk icon-painting school was played by the traditions laid down by the Moscow Armory in the middle of the 15th century and developed at the end of the 15th - the first half of the 18th centuries. in Yaroslavl, Rostov the Great, Kostroma. It is known that among the first visitors to the Nevyansk factory of craftsmen were immigrants from the Moscow, Tula, Olonets, Nizhny Novgorod provinces. By 1723, the first batch of settlers arrived from Kerzhenets. Consequently, icon painters could focus on a fairly wide range of traditions, taking iconography of the 16th-17th centuries as a model. But it took a considerable period of time to unify the stylistic features and technical and technological methods that determined the originality of the Ural mining and metallurgical Old Believer icon painting. An indirect, but very important indication of the time of the formation of the Nevyansk school can be the appearance from the 1770s. and an increase in the following years in the number of dated icons. Previous similar works are rare: “Our Lady of Egypt” of 1734 and icons of 1758 and 1762. It is significant that the same S. Dulong until the end of the 18th century. names only one dated local work he saw: Timofey Zavertkin "circa 1760".

"Our Lady of Egypt", 1734

Calvary, 1799

Nicholas the Wonderworker, second half of the 18th century.

Literature:

• Dulong S. Notes on the Ural Iconography. Yekaterinburg, 1923.
• Golynets G.V. On the history of the Ural icon painting of the XVIII-XIX centuries: Nevyansk school // Art, 1987. No. 12;
• Golynets G.V. Ural icon // Seasons: Chronicle of Russian artistic life. M., 1995;
• Nevyansk icon. Yekaterinburg: Publishing House of the Ural University, 1997. - 248 p.: ill. ISBN 5-7525-0569-0. Res.: English. - Parallel catalog text: Russian, English. Format 31x24 cm.
• Runeva T.A., Kolosnitsyn V.I. Nevyansk icon // Region-Ural, 1997. No. 6;
• Ural icon. Picturesque, carved and cast icon of the 18th - early 20th centuries. Ekaterinburg: Publishing House of the Ural University, 1998. - 352 p.: ill. ISBN 5-7525-0572-0. auth.-stat. Yu. A. Goncharov, N. A. Goncharova, O. P. Gubkin, N. V. Kazarinova, T. A. Runeva. Format 31x24 cm.
• Nevyansk letter good news. Nevyansk icon in church and private collections / Ed. intro. Art. and scientific ed. I. L. Buseva-Davydova. - Yekaterinburg: OMTA LLC, 2009. - 312 p.: ill.; 35x25 cm. Edition of 1000 copies. ISBN 978-5-904566-04-3.
• Bulletin of the museum "Nevyansk Icon". Issue 2. Yekaterinburg: Columbus Publishing Group, 2006. - 200 p. : ill. : ISBN 5-7525-1559-9. Circulation 500 copies.
• Bulletin of the museum "Nevyansk Icon". Issue 3. Yekaterinburg: Publishing House "Autograph", 2010. - 420 p. : ill. : ISBN 978-5-98955-066-1 Circulation 1000 copies.

Nevyansk icons:

1. St. Nicholas the Wonderworker with selected saints in the margins (in embroidered frame), last quarter of the 18th century.
2. Savior Not Made by Hands with two holding angels, Nevyansk 1826 Wood, board duplicated, end dowels. Pavoloka, gesso, tempera, gilding. 33.2 x 29 x 3 cm. Private collection, Yekaterinburg, Russia. Restoration: 1996–1997 - O. I. Byzov
3. Transfiguration of the Lord with selected saints in the margins, 1760s.
4. Nevyansk icon. John the Baptist Angel of the Desert with lives.
5. Icon "St. Nicholas the Wonderworker". 1840s Museum "Nevyansk icon".
6. Savior Not Made by Hands, with saints in the fields. Malyganov Ivan Anisimovich (c. 1760 - after 1840). Nevyansk 80–90s of the 18th century Wood, ark, dowels. Pavoloka, gesso, tempera, gilding. 44.5 x 38.5 x 2.8 cm. Private collection, Yekaterinburg, Russia. Restoration: 1997 - O. I. Byzov

Ural Historical Encyclopedia

Nevyansk school of icon painting

formed in the middle 18th century among the Old Believers Cf. Lv. The first masters - the elder Grigory (G. Koskin), the monk Gury (G.A. Peretrutov), ​​father Paisy (P.F. Zavertkin) - worked in sketes and around Nevyansk. The patronage of miners made it possible to create workshops in the city. The skills of icon painting were passed down from generation to generation. The school reached its heyday at the end of the XVIII - the first half. XIX century., When the families of the Bogatyrevs, Chernobrovins, Anisimovs, several worked. later - Filatovs, Romanovs, Kalashnikovs and others.

A characteristic feature of the Nevyansk school is a synthesis of the traditions of pre-Petrine Russia, an orientation towards the iconography of the late 16th-17th centuries. However, the influence of the styles of the New Age also affected: baroque and classicism. Nevyansk icons are characterized by sonority and purity of color, writing on gold (in expensive icons), shir. the use of the technique of "blooming gold", clothing, prescribed angry. assist, painting them with large flowers, buds, herbal ornaments, complex folds of clothes. Polyment (lining layer of red ocher) was used in some icons. Sometimes gold, superimposed on a layer of sheet silver, acquired a cold tone. The innovation of the Nevyansk masters is especially noticeable in the landscape, which included elements of a real image. ur. nature.

There are two types of faces in a personal letter. The first comes from the iconography of Ser. The 17th century was a continuation of the Novgorod traditions: a hard, graphic drawing, a sharply defined nose, mouth, chin, cheekbones, eyes with heavy lower eyelids, arched eyebrows, brow ridges, wrinkles on the forehead, light ocher in whiteness. The second one is distinguished by soft modeling along the oval, subtlety, lightness of writing, revival of a dark face with either dense or transparent whitening engines.

Among the plots and images of icons, images of the Mother of God prevail, of the "Tenderness" type, expressing all shades of maternal feelings. Often there are Vladimir and Fedorovskaya Mother of God. Kazanskaya is popular - an intercessor and protector before the Lord, "Joy of All Who Sorrow" with the inscription: "Consolation for the suffering, healing for the sick, clothing for the poor", "Unexpected joy" and "Softener of evil hearts" ("Septerelnitsa"). Jesus Christ was portrayed both as a stern judge, "King of the King", a formidable Almighty, and as a Savior, bringing love to one's neighbor, the Messiah, who came to "those who labor and are burdened." Among the most revered saints, Nicholas the Wonderworker, perceived as the protector and patron of labor, Elijah the Prophet, usually depicted in the composition "The Fiery Ascent of Elijah", St. George (the icon "The Miracle of George about the Serpent" is the most common), Alexander Nevsky, -dov from fires. In the 19th century Panteleimon the healer is popular. Numerous icons depicting three saints - Basil the Great, Gregory the Theologian, John Chrysostom, as well as Moscow. Metropolitans Peter, Alexei and Jonah.

In the second floor. 19th century the gradual decline of N.Sh.I. began, caused by a change in the economic situation of ur. z-dov, the disappearance of wealthy customers and competition Mon. and private workshops; by the end of the century, only three workshops remained in Nevyansk. But dep. masters worked until the 20s of the XX century. Prod. N.Sh.I. are stored in the State Russian Museum, EMII, SOCM, in muses. "Nevyansk icon" in Yekat.

Lit.: Dulong S. [Notes on the issue of Ural icon painting...]. Yekaterinburg, 1923. Golynets G.V. On the history of the Ural icon painting of the XVIII-XIX centuries: Nevyansk school // Art, 1987. No. 12; Golynets G.V. Ural icon // Seasons: Chronicle of Russian artistic life. M., 1995; Nevyansk icon. Yekaterinburg, 1997; Runeva T.A., Kolosnitsyn V.I. Nevyansk icon // Region-Ural, 1997. No. 6; Ural icon. Yekaterinburg, 1998; Ural icon. Yekaterinburg, 1998.

Runeva T.A., Kolosnitsyn V.I.

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