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Novgorod is also considered to be the place
where the formation of the Russian iconostasis began in the beginning of the
15th century. Many cities contributed to its development, but Moscow did the
most for its magnificence. Russian and Soviet students like to talk about the
iconostasis with multiple rows of icons as being their primary national
product. This notion is strengthened by the fact that the appearance of the
iconostasis coincides with the time which marked the turning point of the
overtaking in importance by icons of frescoes, and of clear manifestation of
Russian independence from the Byzantine school of art. Without denying the
large contribution of Russian artists to the formation of iconostasis as a
complete framed sets of icons that forms a glittering and colorful wall inside
the church beneath the eastern side of the dome that separates the central apse
area from the main body, we must say that a similar gradual process took place
throughout the Orthodox world, and in some details it preceded the Russian
development.
The name "Iconostasis" come from the Greek
"Eikonostasis" (eikon - image, stasis - standing) and denotes the
partition that, in Orthodox churches separates the altar (neba) from the nave.
Its existence in Byzantine churches can be found in the earliest places of
worship. For centuries this partition remained low, very seldom exceeding five
feet high, and came in the form of carved wood, screen, grill with a curtain,
colonnade with an architrave on the top or simple silk curtain, balustrade,
arcade, marble wall, rail or the like. With time the partition became higher
and more decorated and the simple opening was transformed into "Royal
Doors. "Some Soviet scholars trace the origin of the iconostasis to the
stage decorations of ancient Greek theaters of the time of Sophocles who,
allegedly, was the first to introduce them. According to these scholars, the
back wall of the scene, usually in the form of a palace facade with three
doors, inspired church artists to devise the iconostasis. But even before
Sophocles primitive peoples put the altar on an elevated spot so that the
sacrificial ritual could be better seen, and even in pre-historic times the
altar was often separated by a stone wall from the rest of the temple and
decorated with totem poles or stone idols. Another version of how iconostasis
independently grew to their present shape in Serbia and in Russia is primarily
based on peoples' legend. We know that the first stone churches built by
Russian princes had galleries on the western side, at the opposite end of the
altar. They were reserved for princes and high dignitaries to attend services.
For this reason the iconostasis which was only a simple separation, could not
be high: it would hide the altar and the frescoes or mosaics and also the icons
that at that time decorated the central apse of the churches from their view.
The situation was entirely different in the little wooden village churches,
without mosaics or frescoes, where only icons could be used for inside
decoration. These "Bibles for illiterates" played an enormous role in
the religious education of the simple people. To be easily seen and approached
by the congregation, they were placed just in front of the altar. At first
there were only few of them put in a single line, but when their number was
increased by gifts to the church, the necessity of showing them all demanded a
second, then the third and more tiers until the icons, for which a special
frame to hold them together had to be built, so that the altar was eventually
completely separated from the rest of the church. Gradually the icons were
assorted in each tier in accordance with basic church decorative principles,
mainly repeating the arrangement that was applied in the painting of frescoes.
With its three, five and even seven tiers the Iconostasis was able to spread
before the view most of the major personages and events from the history of the
Church, from the Old Testament to the local saints. Iconostasis became visible
practically from any point inside the church, and the congregation could not
but turn their eyes toward it. Among the luxury of colorful icons the prominent
place just above the Royal Doors "Tsarskiya Vrata" became reserved in
Byzantine times for the beautiful composition known as "Deisus. "This
is Greek word for absolution for sins, forgiveness, prayer; it is also the name
of the icon showing Jesus on the left side in prayer interceding on behalf of
humanity. Then in the same tier and in praying position and converging towards
Jesus we see one on each side, the Archangels Gabriel and Michael, the Apostles
Peter and Paul, two fathers of the church, two martyrs and, in some cases
another two saints. This tier is second from the bottom, called Deisis Tier,
and is considered the most important. It is also known as "Apostles'
Tier" - "Apostolskii" or "Chin" tier. Beneath it is
the first or the "Local" - "Mestnii" tier with the most
venerated icons, usually the Virgin with infant Jesus in her arms, the patron
saint of the particular church, "The Trinity" icon and some other
icons often considered miraculous. The third tier or "Holiday" tier -
"Prazdnichinii" depicts major holidays and church events. The fourth
is the "Prophets'" tier - "Prorocheskii" with the Virgin in
the middle and six prophets on each side. On the top is the
"Forefathers'" tier - "Praotecheski" with the image of God
in the middle and the icons of forefathers and patriarchs on the sides.
In the middle of the Iconostasis are the Royal Doors "Tsarskiya
Vrata" through which only the celebrating priests and the tsar may pass.
The clergy must be dressed in their vestments to go through the Royal Doors,
otherwise to get to the sanctuary they must use one of the side doors provided
in the Iconostasis. The doors are usually made of finely carved and richly
decorated woodwork, with the upper part shaped in the form of a Russian church
cupola with a cross on the top of it. Each of the two panels generally contains
three framed icons depicting the evangelists. In time the iconostasis, with its
Royal Doors became an obligatory part of the orthodox church, wooden or stone,
big or small.
It was in Novgorod that Russian artists began to move away from Byzantine
austerity, which resulted in the formation of a specific Russian national style
in art. However, the future belonged to Moscow, where Russian art entered a
period of greatness and distinction in all manifestations. It was in the
atmosphere of the young, powerful and prosperous state of Moscow that its grand
dukes, tsars and high clergy became enthusiastic patrons, eager to associate
their names with and leave them to posterity magnificent churches and sumptuous
palaces. Religious severity declined and the rules of the church that guided
art softened, ready to compromise with new trends. Beautiful frescoes and
magnificent icons set into glittering Iconostasis turned new churches into
splendid art exhibitions.
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