Vestments. Style change January 27th, 2014
In the comments to the previous post, a discussion began on the topic of style preferences. The mention of the competition for the project of the temple said: "It was indicated - there must be a Russian style (the patriarch blessed it so)". And what is the "Russian style" in relation to modern church architecture? And in relation to contemporary church art in general...(?)
Tastes are changing. And the understanding of the style by the leadership of the Church (the same style - the Russian church style) varies depending on many reasons, including personal tastes, knowledge, moods ...
Very interesting material for understanding the moment is given by the style of vestments - this is an item of daily personal use, so it clearly reveals the taste of the owner. ( All photos are taken from the site http://www.patriarchia.ru/).
The late Patriarch Alexy preferred the soft texture of velvet combined with gold embroidery with rich floral ornaments.
His vestments are true works of art.
The miters were generally of the same color, material and style.
Patriarch Kirill, after enthronement, was dressed in the same sakkos of Patriarch Alexy.
Mitra is more ancient. The omophorion is large (in the upper photo of Patriarch Alexy, this is a small omophorion from the same set).
But very soon the style of vestments changed radically.
Patriarch Kirill prefers a polystavrion - a sakkos with large crosses of the simplest geometric form. Sometimes without a border on cuffs and hem (as depicted in ancient frescoes). On the omophorion are crosses of the same shape.
And here is the miter... from some other set.
Here's another example:
If a border is used on the miter, then with a very large geometric ornament.
The texture of the fabric is rigid, all contour lines are almost straight (the vestment does not "sit" on the figure, but "stands" ...).
Recently, details have appeared that reproduce the same elements on the iconic vestments of saints: for example, a border with red and green stones, on which glare is embroidered in the way it is depicted on icons.
The golden lines of the assist are also reproduced by embroidery (but apparently - by a typewriter, too mechanically).
Mitra - know-how :)) No one else had such. I would not say that it adorns the most holy ...
But this sakkos - almost literally reproduces the sakkos of Metropolitan Peter from the icon of Dionysius (although the icon has neither a club nor a miter, so they were added as best they could))).
Maybe this is - RUSSIAN STYLE?
Bishop's Service. Everyone will remember what a beautiful and majestic sight it is. In ancient times it was called a mystery (from the Greek "mysterion" - sacrament), and at bishop's services you somehow especially acutely feel that for a while you find yourself in a different, mystical reality. Everyone feels it. But those who know the deep symbolic meaning of each element of the service: the rite itself, the hymns, the iconography, the vestments, experience this reality incomparably more strongly. In this publication, we will talk about one of these elements - the episcopal vestments.
Sakkos
The modern vestments of bishops, in addition to traditional priestly robes: stole, vestment, belt, handrails, consist of sakkos and omophorion.
The shape of the sakkos is similar to the surplice, but somewhat shorter, wider and decorated with bells. "Sakkos" is a Hebrew word meaning "sackcloth", "sackcloth". The ancient Jews wore sakkos during the days of sorrow, repentance and fasting. His cut was the simplest: a large rectangular piece of coarse material with a cutout for the head. During the earthly life of the Savior in Roman society, there was clothing similar in shape to sakkos, the so-called dalmatic - made of red fabric, with short sleeves. It was worn by the Roman kings, as well as the imperial soldiers (of course, among ordinary legionnaires, the dalmatic resembled royal clothes, except perhaps in a cut). It was in such a “royal scarlet” that the soldiers dressed Christ, who wanted to laugh at Him. In the 11th-12th centuries, the Byzantine emperors had a tradition of giving items of royal vestments to the patriarchs, including the aforementioned Dalmatians. And those, as St. Philaret of Moscow says, out of humility, renamed the dalmatic into sakkos, according to the similarity of cut. In the Russian Church, the sakkos appeared in the 15th century; only the metropolitan had the right to wear it. A century later, it became the vestment of the patriarchs, and from the beginning of the 18th century - of all Russian bishops.
omophorion
The omophorion is a wide ribbon-like dress decorated with crosses, which is placed on the shoulders of a bishop over other clothes. The omophorion symbolizes the sheep that the Good Shepherd carries on His shoulders, so in ancient times it was made exclusively from white wool. Later, omophorions began to be made from brocade, silk and other expensive fabrics, but the symbolism remained the same. The omophorion shows that the bishop in the Church is the image of the Savior and has the same care for the flock entrusted to him that the Lord had for the people. He also lays down his soul for the Church, as Christ laid it down. Bishop's omophorion is large and small.
As a bishop's vestment, the omophorion has existed in the Church since apostolic times. According to legend, the Apostles Peter and Mark wore an omophorion and left it to their successors in the Alexandrian Church, and the Mother of God sewed with Her own hands an omophorion for St.
Sulok
Russian bishops have one distinctive part of the vestment - the sulok. These are two small boards nested one inside the other and tied to the top of the bishop's baton. Anyone who knows what Russian winter is can guess about the origin of this element of bishop's vestments. During the winter religious processions, the sulok protected the bishop's hand from frost, with which he held the rod. At the same time, the lower plate protected the hand from touching the wand itself, and the upper one from external cold. Subsequently, the sulok received a symbolic meaning. He is considered a sign of God's grace, helping the bishop in the great work of governing the Church.
Decorations
Hierarchal vestments are always richly and elegantly decorated, and this tradition has very ancient roots. The first bishop in the history of mankind, the Old Testament high priest Aaron, was dressed not only beautifully, but even luxuriously. Imagine clothes from the most expensive fabrics, which are all woven with gold. On the hem are golden apples and bells - made of the purest metal! - and on the chest are twelve precious stones in golden nests. The Lord commanded to make for Aaron just such a vestment. This was one of the first commandments He gave to Moses on Mount Sinai.
Some vestments of Russian patriarchs, made several centuries ago, are simply amazing. For example, the sakkos of Patriarch Nikon, made of silk spun with gold, was so richly decorated with precious stones and gold fragments (chased ornaments) that it weighed no less than twenty-four kilograms.
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Continuation of the publication of questions of the Kremlin test for guide-interpreters in 2014 and answers to them.
Beginning in articles:
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This review is devoted to some items from the collection of the first floor of the GOP.
STATE ARMORY CHAMBER
First floor
COLLECTION OF LITTLE GARMENTS
– From what fabric is Metropolitan Peter’s camp of sakkos made?
a) Turkish gold satin
b) Iranian fabric
c) Italian fabric
d) Byzantine atlas
Correct answer: Turkish gold satin.
Sakkos of Metropolitan Peter
Sakkos. North-Eastern Rus', 1322 (?); braid - Byzantium, late XIII - early XIV centuries; golden satin - Turkey, late 16th century (?); fragments - Moscow, XIV-XVII centuries. Gold satin, satin, damask, silver, pearls; weaving, basma, sewing, embossing. Made for the Metropolitan of Kyiv and All Rus' Peter.
– Country of origin of Patriarch Nikon’s “Pokhvalsky” sakkos?
a) Byzantium
b) Turkey
c) Italy
d) Russia
Correct answer: Russia.
“Praiseworthy” sakkos of Patriarch Nikon - What fabric is Nikon's sakkos made of?
a) Turkish gold satin
b) Iranian fabric
c) canvas
d) Italian Aksamit
Correct Answer: Canvas.
(“Pokhvalsky” sakkos. Moscow, 1655. Workshops of Tsarina Maria Ilyinichna. Canvas, gold threads, pearls, embroidery. Belonged to Patriarch Nikon” - a quote from the book of I.V. Faizova).
SOCIAL COSTUME COLLECTION
- For whom was the payment made, stored in the Armory?
a) Mikhail Fedorovich
b) Alexei Mikhailovich
c) Fedor Alekseevich
d) Peter I Alekseevich
e) Ivan Alekseevich
Correct answer: for Peter I Alekseevich.
- For whom were barms made, which we see on Peter's fee?
a) Fyodor Ioannovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: for Tsar Fyodor Ioannovich.
Barmas of Tsar Fyodor Ioannovich, the last tsar from the Rurik dynasty, are exhibited together with the paid Tsar Peter I Alekseevich Romanov. - The payment of Peter I was used:
a) for the coronation,
b) weddings to the kingdom,
c) ceremonial occasions
d) receiving ambassadors
I find it difficult to name the only correct answer. Most likely, this is point c), for special occasions. Below is an explanation.
I quote from the book I.V. Faizova: “Paid with barm was the main ceremonial attire of the king, it belonged to the Great Alongside and had the value of a regalia. It was intended for the wedding ceremony for the kingdom and solemn exits. “Payment of Peter I ... was sewn in Moscow in 1691 from the Italian aksamite, donated to the tsar by the Hetman of Ukraine Mazepa. According to the Inventory of the royal treasury, in addition to the preserved silver lace, it had a sable edge and thirteen gold buttons with emeralds and rubies. “The ceremonial royal dress, intended for the wedding ceremony for the kingdom, large festive exits to cathedrals and solemn receptions of foreign ambassadors was multi-layered.”
Thus, from the above reasons to wear for a fee, point a) is obviously wrong - the fee was NOT used for the coronation.
Agent Note #2:
“In a private conversation with a Kremlin employee during the training, a question was asked about the appointment of a fee. The answer was:
“Imagine that Peter I was crowned king in it. This is impossible - Peter was very small then. Charged for an adult. Of course it was used for special occasions.”
That's how I answered the test. Although I did not see my mistakes, but by their number I think that this should be the correct answer.
- Who owned the Ferezei from the collection of the Armory?
a) Alexei Mikhailovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: Alexei Mikhailovich
According to I.V. Faizova: “Ferezeya. Kremlin workshops. End of the 17th century. Was part of the wardrobe of Tsar Alexei Mikhailovich.
I did not find a picture of the Ferezei. Maybe someone knows where to get it?
First part: . In it, we addressed our colleagues with an introductory speech and highlighted the general historical issues of the test.
The second part: . The publication is devoted to the history of the architecture of the Kremlin, the Kremlin cathedrals and the features of iconography.
Literature:
I.V. Faizova “Methodological recommendations for a sightseeing tour of the State Armory of the Moscow Kremlin”, Moscow, 2011
The article uses photographs from the "golden guide" to the Armory. “The Armory”, Moscow, 2000
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