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The Virgin had been always very popular in
Novgorod as a subject for icons. We see her as Our Lady of Tenderness, as
Odigitria, in the Orans attitude and in many other variations alone or with
other figures. Naturally she is also the central figure in all of the major
events of her life which became important holidays, such as the Nativity of the
Virgin, the Annunciation, the Dormition, etc. A new subject - the Intercession
of the Virgin -had to wait until the 14th century to become popular in
Novgorod, though the Russian version had already been in existence in Vladimir
for almost two centuries. The holiday of the Intercession of the Virgin was
established in the 10th Century after Saint Andrew saw the Virgin praying and
protecting the Christians with a maforii or veil in the war against the
Saracens.
In Russia this holiday was presumably introduced by Prince Andrei
Bogoliubski, who prayed to the Virgin for protection in his struggles against
the Bulgarians, and soon gained importance which spread over the lands he
ruled. Since that time the story of the holy day often served as a subject for
icons. There are two similar icons depicting the Intercession which date from
the end of the 14th and the beginning of the 15th centuries. Obviously, they
both belong to the Novgorod school and their similarity suggests that they may
have been painted by the same hand. The simpler and older one is in the
collection of the old-believers (it is more correct to say
"Old-ritualists), and the second in the Tretiakov Gallery, both in Moscow.
Similar situations exist with some other remarkable icons, and we should not be
surprised if the same artist painted two or even more nearly identical icons.
At that time the demand for icons was indeed great since so many new churches
were under construction. The cult of the Virgin as protectress of Russia and
her people spread rapidly; the Virgin was not only worshiped by the Church but
also accepted by the people and the secular power. Along with the Pokrov and
the Virgin of Vladimir, we see the Virgin of Smolensk, of Kazan and many
others. She is often portrayed not only as a tender mother and vigilant
protectress but also as a beautiful woman, a very fine specimen of the fair
sex.
The 15th century is generally considered the golden age of Russian
iconography. For a while Novgorod continued to influence, the arts of other
regions and Russian cultural development in general, but his leadership would
soon move to the newly emerging center, the young and aggressive Moscow state.
From late Novgorodian art Moscow could learn about clean forms, expressiveness
of design, bright colors, particularly the blazing vermilion, and , above all
meet new Russian faces for its saints, which are less static than the early
Byzantine examples and express certain inner feelings, heartiness, compassion
or spiritual anguish. There are many beautiful icons of this period which
unquestionably belong to the Novgorod school, but unfortunately we again do not
know anything about their creations. One of the best is the icon "The
Battle Between the Suzdalians and the Novgorodians," which depicts
historical details of the victory of the Novgorodians that took place in 1169.
The icon is divided into three parts. On the top we see praying Novgorodians
turning for help to the miraculous icon of the Virgin of the Sign
'Znamenie," which is carried in a procession from the Church of the Savior
at Ilyn street, to the Novgorod Kremlin and the Saint Sophia Cathedral on the
opposite side of the river Volkhov. In the middle we see the Suzdalians in
attack, with a shower of their arrow hitting the miraculous icon, behind which
stand unhurt Novgorodians.
In Novgorod Museum there is and old icon painted on both sides. On the
front we see Saint Peter and Saint Natalie praying to Christ; the opposite side
is completely lost; we are told that this is the famous icon that shielded
against enemy attacks and saved the Novgorodians. At the bottom the Novgorodian
army, headed by Saints Boris And Gleb, George and Demetrios of Salonika, whom
the Virgin sent to lead them, rushes out of the Kremlin and attacks the
Suzdalians. We even see an angel hitting them from above with his sword. As a
document that shows architectural objects in Novgorod, including the bridge the
costumes, weapons, the faces of the Novgorodians, their religious procession,
the armies etc. , this icon is of exceptional historical value. Artistically it
is executed with great skill. The painter conveys vividly the dramatic tension
of the moment through the motion of the figures, particularly the two armies.
Soldiers with their weapons, shields and banners, of whom we only see the faces
of those in the front row, serve as a background for the leading participants
in the scene. All others are shown as a compact mass of helmets. In all
probability the artists painted the icon for a boyar from Novgorod who feared
Moscow's intention to capture his city, which actually happened in 1471. This
time the Virgin of the Sign must have been on the side of Ivan III.
The signs of change in the artistic taste of Novgorod school are quite
visible in the second half of the 15th century. Simple and clear composition
was disappearing; its place was taken by a kind of descriptive style which
contained an increased number of details, as in "The Battle Between the
Suzdalians and the Novgorodians. "Soviet art historians have felt that
these new icons lost their "Democratic" outlook, which was gradually
replaced be "Aristocratic" inclinations. Leaving aside the Marxist
viewpoint, it is true that the figures became more slender and animated, their
faces more delicate and their fingers more elongated than before. The icons of
this period are sometimes divided into two, three or more areas displaying the
successive development of the entire event.
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