The role of holy wives' representations in the Medieval Rus' icons (XV–XVI centuries) with the main figure of St. Nicholas of Myra and the chosen saints

Pshenichnyi Petr Vladimirovich ORCID: 0009-0004-3704-0046 Postgraduate student; Department of the History of Russian Art; Lomonosov Moscow State University 119192, Russia, Moscow, Leninskie Gory str., 1, room G-420 pshenichniy321@gmail.com Other publications by this author

Figures of holy women are often found in the iconographic composition of monuments of medieval art in Orthodox countries: in monumental paintings of temples, in decorative and applied art, but their images play a particularly important role in iconography. Variations of images of holy wives are numerous, they are often depicted as the central plot of the monument, with hagiographic stamps, as part of selected saints, in compositions with the image of the Mother of God or in the margins of those works where the image of one or another event of Sacred history or figures of other revered saints is presented in the centerpiece.

Special attention should be paid to the stable tradition of placing figures of female holiness in the composition of icons with the central image of St. Nicholas. Nicholas of Myra. They bring variety to the iconographic design of the work, complementing and expanding the meaning of the central image. This story became widespread in the period of the XV–XVI centuries that we are interested in.

Starting from the earliest stage of the history of ancient Russian art, icon painters resorted to complicated versions of the image of St. Nicholas. St. Nicholas of Myra, relying both on the types that came from Byzantium, and creating his own iconographic schemes ^{[1, p. 551]}. This indicates the significance of these monuments in the culture of Ancient Russia, the depth and complexity of their iconographic design. The figurative structure of the icons we are considering is largely determined by their iconography.

The subject of this work is the semantics of images of holy women in the compositions under study. We are considering a body of monuments with a central image of St. Nicholas. St. Nicholas and the figures of the chosen saints in the fields, where there are also images of female holiness. Since the veneration of images of holy wives reflected in ancient Russian iconography throughout the XV–XVI centuries is quite stable, we do not have the task of mentioning all the preserved icons of the type under study. We will focus in detail on the most representative works.

The purpose of this article is to identify the role of figures of holy women in these compositions using the example of monuments of this iconographic work and to offer an interpretation of such images. To do this, we will resort to the iconographic method of research, which allows us to identify certain nuances of compositional construction, to reveal the spiritual content of the image. No less important in this work is the method of comparative analysis, which involves the use of the latest research reflecting both the specifics of the existence of the texts of the lives of holy women and the tradition of their veneration in the culture of Ancient Russia of the XIV–XVI centuries ^{[2, 3, 4]}.

In the icon "St. Nicholas the Wonderworker, with the stamps of the life and two chosen saints (Paraskeva and Ermolai)", the first half of the XVI century. (GTG) ^{[5, cat. 21]}, in addition to complex detailed stamps, there is an image of the holy martyr, which introduces additional semantic accents into the iconographic program of the monument. Since the images of St. Ermolai in ancient Russian iconography are rare and appear in compositions with selected saints, most likely as a patron figure, then perhaps the choice of St. Paraskeva is also dictated by this motif. However, in many cases, the correlation of the figures of the holy wives and the Holy St. Nicholas of Myra may have other grounds.

Figure 1 – St. Nicholas the Wonderworker, with St. Paraskeva and St. Ermolai, and the life of St. Nicholas. Nicholas. The first half of the XVI century. (GTG)

Figure 1 – St. Nicholas of Myra, with chosen saints St. Paraskevi and St. Hermolaus of Nicomedia. First half of the 16th century (Tretyakov Gallery)

Such images are found in the composition of monuments, where the figure of St. Nicholas the Wonderworker in the middle is represented in a variety of iconographic images: for example, "St. Nicholas the Wonderworker". Nikola Mozhaisky, happy holidays and chosen saints", the second quarter – the middle of the XVI century. (collection of S.N. Vorobyov) ^{[6, cat. 8]}, as well as in images of the type of Nikola Zaraisky: "St. St. Nicholas the Wonderworker, with Deesis and the chosen saints in stamps", the end of the XV century. (Vologda Museum) ^{[7, cat. 233]} and "St. St. Nicholas the Wonderworker, with the deesis rank and selected saints", mid-XVI century. (Arkhangelsk Museum) ^{[8, cat. 56]}.

Figure 2 – Nikola Mozhaisky, with holidays and selected saints. The second quarter is the middle of the XVI century. (Collection of S.N. Vorobyov)

Figure 2 – St. Nicholas of Mozhaysk, with biblical scenes and chosen saints. Middle of 16th century (Private collection of S.N. Vorobyev)

It is not uncommon for images where the chosen saints accompany the waist image of St. Nicholas on the background, for example, "St. Nicholas. Nicholas the Wonderworker, with the chosen saints", the first third of the XV century. (Novgorod Museum) ^{[9, cat. 21]}, "St. Nicholas the Wonderworker", the first half of the XVI century. (Pskov Museum) ^{[10, cat. 38]} and "St. Nicholas the Wonderworker". St. Nicholas of Myra, with the Trinity of the Old Testament, the appearance of the Mother of God to St. Sergius of Radonezh and the chosen saints", the first half of the XVI century. (The Museum named after Andrey Rublev) ^{[11, cat. 59]}.

Figure 3 – St. Nicholas the Wonderworker, with selected saints. The first third of the XV century. (Novgorod Museum)

Figure 3 – St. Nicholas of Myra, with chosen saints. First third of 15th century (Novgorod Museum)

However, the compositions with the central image of St. Nicholas are the most revealing. St. Nicholas of Myra and the images of the chosen saints in the fields. As an example, a number of monuments with a similar compositional structure should be pointed out: icons of the second half of the XV century (GTG) ^{[5, cat. 16]}, the end of the XV–beginning of the XVI century (Vladimir-Suzdal Museum) ^{[12, cat. 17]}, the beginning of the XVI century. (Rostov Museum) ^{[13, cat. 31]}, the first half of the XVI century. (Arkhangelsk Museum) ^{[8, cat. 44]}, the first half of the XVI century. (GRM) ^{[14, cat. 101]}. All these works are united by a stable composition of a few holy wives among the figures of the chosen saints in the lower field. They form a compositional parallel to the deesis rank depicted above. Thus, the importance of the saints represented below is emphasized. At this time, those images of female holiness that are associated with evangelical events and the theme of steadfastness in faith (such as St. Paraskeva Friday, St. Barbara or St. Ulyana), or have pronounced motives for appearing at the Last Judgment (St. Catherine), acquire special importance. These aspects of the veneration of holy wives, which existed even in pre-Mongol times, correlate, not least, with the protective functions of the figure of St. Nicholas himself. Nicholas, which reveals a deep symbolic relationship between these images and the figure of the Myrlician wonderworker.

The icon of the Russian North, which belongs in its style to the iconography of the Russian North, is "St. Nicholas the Wonderworker, with Deisus and the chosen Saints", the second half of the XV century (GTG), represents the traditional version of the iconography we are considering at that time. In the monuments listed above, which are associated with different levels of order and are often separated from each other by a significant chronological interval, a distinctive feature is the invariable principle of placing the image of St. Nicholas. Nikita on the central axis with Christ and St. Nicholas. By Nicholas. The names of both the Myrlician saint and the warrior-martyr ^{[15, p. 316]} are associated with the Greek word "VίΚη" ("victory") ^{[16, p. 15]}, which researchers have already noticed ^{[16, p. 92]}. The image of St. Nikita "... traditionally was especially closely associated with the image of the Savior, acted as the conqueror of the devil and evil spirits" ^{[12, p. 128]}, which is in tune with the perception of the saint as a demon ^{[17, p. 240]}. Often this scheme is accompanied by the image of St. George the Victorious, which has the same semantics (as, for example, on the icon "St. George the Victorious Nicholas the Wonderworker, with the chosen saints", late XV– early XVI century, from the Vladimir-Suzdal Museum).

Figure 4 – St. Nicholas the Wonderworker, with Deesis and the chosen saints. The second half of the XV century. (GTG)

Figure 4 – St. Nicholas of Myra, with Deesis and chosen saints. Second half of 15th century (Tretyakov Gallery)

However, the researchers did not pay enough attention to the independent role of images of holy women in the composition of these monuments. The correlation of the figure of St. Paraskeva with the image of the Myrlician saint is not accidental: the intercession of St. St. Nicholas and his numerous miracles associated with salvation from the elements, captivity and all kinds of dangers are widely known ^{[18, p. 97]}, however, the cult of St. Paraskeva has similar motives of patronage.

In this regard, a monument originating from Tver is indicative: the side door of the iconostasis with the image of Deisus, the Miracle of George about the Serpent, St. Nikita beating the devil, early XVI century (GRM) ^{[16, cat. 25]}. Here the themes of prayerful standing and the trampling of the powers of hell by the saints are combined ^{[16, p. 90]}. It should be noted that in the deesis rank, the image of St. John the Baptist is placed on the upper field instead of the usual figure of John the Baptist. St. Nicholas the Wonderworker.

Figure 5 – The side door of the iconostasis. Deesis, the miracle of George about the serpent, St. Nikita, beating the devil. The beginning of the XVI century. (Timing)

Figure 5 – The iconostasis door, Deesis, George’s miracle of the serpent and St. Nicetas with demon. Beginning of 16th century (Russian Museum)

B.A. Uspensky believes that on Slavic soil in ancient times, even in the era of the spread of Christianity, there was a merger of the cult of St. Nicholas. St. Nicholas and Archangel Michael: thus, the idea of St. Nicholas was formed. Nicholas of Myra as praying before the Lord for Orthodox Christians, like the Mother of God or Archangel Michael, which is reflected in the monuments of iconography ^{[19, pp. 14-23]}.

In view of the above, there is no doubt that the iconographic program of this icon was dictated precisely by the desire to emphasize the intercession of the saints before the Lord, especially the saints. Nicholas, George and Nikita, as well as a small circle of holy wives.

In Slavic literature, and only in it, the story of the miracle of St. Paraskeva of Iconium, which was especially revered in Russia, has been preserved ^{[2, p. 76]}. According to legend, under Bishop Theodore, the hometown of this saint, called Iconium, was besieged by an Arab army, but at the prayer of the martyr, the Lord had mercy on the inhabitants, and the enemy army retreated ^{[3, p. 588]}. This feature of the cult of St. Paraskeva brings the perception of her image closer to the protective facets of the worship of St. Paraskeva. To Nicholas, which is reflected in the tradition of "joint glorification of the holy intercessors and helpers in various troubles and misfortunes <...> A feature of icons reflecting this tradition is a single compositional scheme" ^{[16, p. 15]}.

In the iconographic program of the icon "St. Nicholas the Wonderworker with Deesis and the chosen saints", the beginning of the XVI century. (Rostov Museum) the images of saints in the fields are placed in violation of the hierarchy of holiness: Saints Basil the Great and Gregory the Theologian are represented above the supreme apostles Peter and Paul, which probably indicates the ecclesiological aspect introduced into the iconographic design of the monument. Below the holy apostles there are figures of healers Cosmas and Damian.

Figure 6 – St. Nicholas the Wonderworker, with Deesis and the chosen saints. The beginning of the XVI century. (Rostov Museum)

Figure 6 – St. Nicholas of Myra, with Deesis and chosen saints. Beginning of 16th century (Rostov Museum)

According to the researchers, about the fact that St. Nicholas "... is represented as the great bishop and head of the Church of Christ, as evidenced by the images of the Savior Not Made with Hands at the top and the martyrs at the bottom of the icon. The martyrs, revered for their voluntarily shed blood in the name of faithfulness to Christ, for imitating the Savior in His sacrificial death, were perceived as those who became the founder of the Church, its "cornerstones" ^{[13, p. 130]}. Probably the image of St. In the context of the deesis composition, it is intended to emphasize the facet of his veneration, which is associated with the ideas of St. Nicholas. Nicholas as a great bishop, preacher of the Gospel, pillar and affirmator of the true faith.

The apotropaic significance of the image of St. Nicholas of Myra is accentuated by the fact that among the figures placed on the lower field there are images of holy women – Paraskeva, Barbara and Catherine, which suggests the significance of their role in the overall compositional design of the icon. It should be noted that St. Catherine is depicted along the central axis, probably in connection with the protective aspects of her veneration that spread in the culture of Ancient Russia. We are talking about the popular idea of the saint as an intercessor for Christians who are on their deathbed on the eve of the Last Judgment. According to ancient beliefs, whoever turns to this saint for prayerful help will receive absolution of all sins ^{[4, p. 96]}.

The researchers note that, compared with pre–Mongol times, at the turn of the XV-XVI centuries, the cult of St. Catherine began to flourish, associated with the activation of contacts between Russia and the consecrated Saint. Catherine of Sinai Monastery, and with the fact that the martyr was the patroness of Katarina Tsaccaria, who was a close relative of Basil III, which greatly contributed to the status of the saint as the patroness of the royal family ^{[4, p. 94]}.

Based on the presence of these protective motives, it is necessary to interpret the iconography of those monuments where images of other venerated saints are located in the middle: we are talking about St. George the Victorious and St. Nikita, as, for example, in the icon "The Great Martyr Nikita, beating the devil, with Deisus and the chosen saints", the second half – the last third of the XV century. (collection of S.N. Vorobyov) ^{[20, cat. 22]} or "The Miracle of George about the Serpent, with Deesis and the chosen saints", the last quarter – the end of the XV century. (the same collection) ^{[20, cat. 29]}.

Figure 7 – The Great Martyr Nikita, beating the devil, with Deesis and the chosen saints. The second half – the last third of the XV century. (The Vorobyov Collection)

Figure 7 – St. Nicetas with demon, with Deesis and chosen saints. Second half of 15th century (Private collection of S.N. Vorobyev)

Let's summarize the results. Compositions with a central image of St. St. Nicholas and the chosen saints around him, where the images of holy wives are placed on the lower field, represent a significant phenomenon in the art of Ancient Russia of the XV–XVI centuries. The icons we have considered reflect a stable tradition. It is all the more remarkable that the images of holy women are present in the composition of these monuments. The images of female holiness are combined with the main figure, the theme of intercession for Orthodox Christians, and are designed to emphasize the apotropaic properties of the cult represented in the middle of the Myrlician saint.