Notre-dame of Vladimir — Wikipedia
The Mother of God from Vladimir , also known as Notre-Dame de Vladimir , Vladimir virgin or Vladimirskaïa (in Russian: Владимирская богоматерь), is one of the most revered Orthodox icons in Russia. The Mother of God (in Greek Théotokos ), the Virgin Mary, is considered the holy protector of Russia. The icon is exhibited in the Tretiakov gallery of Moscow (Saint-Nicolas church of Tolmatchi annex to the museum). His party is set on June 3.
Luc Chrysobergès, Patriarch of Constantinople, sent the icon as a gift to the Grand Prince Youri Dolgorouki in Kiev around 1131. This icon was produced by the painter Grégoire using the inverted layer (specular copy) of the Virgin icon, Painted by the evangelist Saint Luke and who, according to the tradition of Theodorus Reader at the Holy Sophie Basilica of Constantinople [ first ] , had been sent before 439 from Jerusalem by Eudoxia, the wife of the emperor Theodosius II, to Saint Pulchérie, the sister of the emperor. The original of Saint Luke is currently the round part of the face of the icon of the virgin of the Montevirgine sanctuary in Mercogliano in Italy. There are other copies of this original: the oldest copy and undoubtedly the closest to the original was discovered at the Sainte-Françoise-Romaine church on the forum by Pico Cellini in 1950, this icon painted ‘Encaustic is the specular copy – as in a mirror – (ditto that of Vladimir) executed between 438 and 439 in Constantinople, then sent to the daughter of the emperor Theodosius II and Eudoxia who had married the emperor of Western Valentinian III and brought to Rome on the Palatine in the fall of 439. The second copy is that of Notre-Dame du perpetual help today at the Saint-Alphonse church in Rome, executed by the Saint Lazare monk who had them Hands burned in order of the Théophile iconoclastic emperor (emperor from 829 to 842) for having painted this image of the mother of Jesus [ 2 ] .
The beautiful icon coveted by the son of Youri was placed in the Mejihirski monastery in Vichgorod (Vychgorod) until Endrei Bogolioubsky wore her in his favorite city, Vladimir, in 1155. When the horses that transported the S ‘icon stopped near Vladimir and refused to go further, this was interpreted as a sign that the Theotokos wanted the icon to remain in Vladimir. The great cathedral of the Dormition was built to house the icon and other churches dedicated to the Virgin throughout North West Russia.
Later, in 1395, the icon was transported from Vladimir to the new capital, Moscow, to protect Russia from the invasion of Tamerlan. The place where the population and the reigning prince met the icon was commemorated by the construction of the Sretensky monastery (from the ” Encounter ” ). Vassili I is From Moscow spent one night crying in front of the icon and the Tamerlan armies withdrew the same day. The Muscovites then refused to restore the icon to Vladimir and placed it in the Cathedral of the Kremlin of Moscow Kremlin. According to popular tradition, the intercession of the Mother of God, through the icon, also saved Moscow of hordes Tatares in 1451 and 1480.
The icon was revered during the coronation of the Tsars, the Patriarch elections and during other state ceremonies. The mother of God of Vladimir was originally an icon-business. On the lower edge remains the trace of the notch for the shaft [ 3 ] .
In October- , she presided over the election of the Holy Patriarch Tikhon of Moscow.
In December 1941, when the Germans approached Moscow, Stalin would have ordered that the icon was placed on an airplane that went around the besieged capital. The German army began to withdraw a few days after [Ref. necessary] .
Even more than the most famous icons, the original has been repeatedly copied over the centuries, and many copies have acquired considerable artistic and religious meaning. The icon is a version of the type Ourésusa (Virgin of “tenderness”), carrying the child-jesus huddling against the maternal cheek. The mother tilts her face on the child who lifts an anxious face towards her. Yet she does not look at the child, but the one who looks at the icon [ 3 ] . This guy later became very popular.
The Maforii, of a cherry red, which covers the forehead and the shoulders, is adorned with the star of the Mother of God, the star of the Virgins of the Ancient Orient called Spica [ 3 ] .
The icon of Notre-Dame de Vladimir is sometimes described as expressing the universal feeling of maternal love and anxiety towards his child. At XVI It is century, the Vladimirskaïa – as the Russians called it – became the object of legend. The tradition of the Church affirms that the first icon of the Mother of God was painted by Saint Luke which sometimes led to think that the Vladimir icon had been painted in the I is century by the evangelist.
The icon of Notre-Dame de Vladimir is considered by art historians as the most important icon of the Comnenian period from an artistic point of view. It expresses a deeper humanity and emotion than the typical works of Byzantine art from the previous period. David Talbot Rice affirms, in the last edition of the Britannica encyclopedia : “It is of considerable importance in the history of painting, because it is not only a very high quality work, but also a more human icon of a new style which anticipates on the end Byzantine style which experienced its peak between 1204 and 1453 » .
Over time, the icon has been repainted and restored many times. In 1918, the restoration of master’s hand by Tchirikov made the initial painting reappear [ 3 ] .
The iconography of the preparation of the throne (in Greek: Hétimassia / ἑτοιμασία) is linked to ancient conceptions of the Emperor-Tabernacle considered as a God. This throne is symbolized by the altar covered with a tablecloth bordered by a dark blue strip.
In Byzantium, at XI It is A century, the instruments of the passion of Christ were added to the altar: the crown of thorns on the right and the four nails on the left. Erected behind the altar, on the left, a spear and, on the right, a long straight branch, with the sponge of vinegar above, which complete the composition [ 4 ] . A dove is placed on the evangeli. The whole forms a concentrated and stylized symbolization of the sacrifice of Christ on the cross [ 5 ] .
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