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Russland, Moskauer Schule, um 1500
Holztafel mit einer Rückseiten-Querleiste. Eitempera auf Kreidegrund, Nimben und Hintergrund vergoldet
51 x 34 cm (ohne Rahmen)

Reserve price:
5.000,00 EUR


DIONISIY 1440-1502 (Circle of) MUSEALE IKONE MIT DER KREUZIGUNG CHRISTI A VERY IMPORTANT ICON SHOWING THE CRUCIFIXON OF CHRIST Russland, Moskauer Schule, um 1500 Russian, Moscow School, circa 1500 Holztafel mit einer Rückseiten-Querleiste. Eitempera auf Kreidegrund, Nimben und Christ's lifeless body on the cross, to the left two mourning women headed by the Mother of God, to the right Christ's disciple John the Theologian and the Centurion. The Calvary Cross on the central axis. The composition unfolds against the backdrop of the Jerusalem wall and a gold background. Minimally restored. 51 x 34 cm (without frame). Trauer an seine Wange gelegt hat, und Longinus mit Brustpanzer und Schild. Unter dem Kreuz Exhibited: Uit Noord-Rusland Ikonen uit Nederlands bezit, Zwolle 1992, Kat. U-75. erscheint der Schädel Adams. Im Hintergrund schließt die Stadtmauer Jerusalems die This icon is very similar to the Crucifixion by Dionisiy, created in Pavlo-Obnorsky Monastery in 1500, now in the Tretyakov Gallery in Moscow. Dionisy was acknowledged as a head of the Moscow school of icon painters at the turn of the 15th and 16th centuries. His style of painting is sometimes termed 'The Muscovite mannerism'. Dionisy's first important commission was a series of icons for the Cathedral of the Dormition in the Moscow Kremlin, executed in 1481. The figures on his icons are famously elongated, the hands and feet are diminutive, and the faces serene and peaceful. Among his many rich and notable patrons, Joseph of Volokolamsk alone commissioned him to paint more than eighty icons, primarily for the Joseph-Volokolamsk and Pavel-Obnorsk cloisters. The icon of the Crucifixion comes from the feast tier of the iconostasis of the Trinity Cathedral of the Pavlo-Obnorsky monastery near Vologda. Images of Christ's death on the Cross in Byzantine and old Russian art were, as a rule, characterized by a special restraint in the transfer of the Savior's suffering and the tragic experiences of witnesses to his execution. The state of peace and spiritual enlightenment is clearly expressed in the figures and faces of the future, but it is most fully revealed in the Central image of the crucified Savior. The curve of His body transferred to a smooth line, the head gently bent towards his shoulder. The interpretation of the form is completely absent naturalism, emphasized spirituality of the flesh. The figure of Christ seems utterly weightless, devoid of material weight, not nailed to the cross, as it were, soaring with outstretched arms. The feeling of weightlessness and disembodiment, was created and colour: light ochrania would 'dissolve' the figure in the glow of the Golden background. Such an image not only reminded of Christ's suffering on the Cross, but also revealed its saving effect, testified of the coming Resurrection and Victory over death, which opens the way to eternal life. The iconographic solution of the 'Crucifixion of Jesus' testifies to the acquaintance of Dionysiy not only with the creative heritage of Andrei Rublev, but also with the circle of modern theological ideas.

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