About the creator of the museum Andrey Rublev. Museum of ancient Russian culture and art. Andrey Rublev

The oldest building in Moscow is not the Kremlin at all, as many are sure, but the Spaso-Andronikov Monastery. The cathedral itself is, and even more. He is very handsome and is known for saving Moscow more than once. Andrei Rublev also lived here as a monk. The fate of the monastery and famous icon painter inextricably intertwined. The holy monastery gave shelter and spiritual food to Rublev, and the icon painter himself became the unwitting savior of the cathedral centuries after his death.

History of the A. Rublev Museum

The monastery was founded in 1356, many heroes are buried in it Kulikovo field. Here the icon shone Holy Mother of God Vladimirskaya, it is believed that it was she who saved Moscow from Tamerlane's raid. The cathedral is well fortified with massive walls, behind which the townspeople took refuge more than once during the onset of enemies.

In the XVIII century, a bell tower was built in the monastery, the second highest after the Kremlin Ivan the Great, but it was blown up in the 30s, when they decided to fight the churches. Approximately the same fate awaited the monastery itself, but quite unexpectedly, scientists found frescoes by Andrei Rublev on the walls of the cathedral. They were badly damaged, as it turned out later, during the raid of Napoleon, a significant part of them was lost forever. But even what was left was enough to save the cathedral from demolition - this is how the icon painter helped the monastery that sheltered him. In 1947, on the rise of patriotism that reigned after the war, it was decided to create a museum of Andrey Rublev. In the Andronikov Monastery, the exposition began to work only in 1960, on the 600th anniversary of Andrei Rublev.

Museum exposition

Now the Andrei Rublev Museum is the largest icon painting museum in the world. main shrine For many centuries, the image of the Savior Not Made by Hands has been considered in the Andronikov Monastery. This icon is priceless, it has been in the cathedral almost from the very foundation of the church. The next most important exhibit is Andrei Rublev's masterpiece, the icon of John the Baptist. The figure of the saint is filled with unearthly sadness and tranquility. The viewer gets the impression that the prophet knows about the fate prepared for him. The icon is written with such talent that even time could not reduce its impact on the viewer. The prophet attracts glances, despite the cracked wooden board and faded colors.

The Rublev Museum also has an exact copy of Rublev's famous "Trinity". A non-specialist will not be able to distinguish a copy from the original. There are many icons on the theme of the Trinity. Rublev wrote a popular plot like no other. This can be seen by comparing with other icons, some of them are even more early period. The museum contains works by other masters, not only icons, but also frescoes, objects of applied church art, and wooden sculptures.

All church festivities are solemnly celebrated in museums, lectures on culture are given Ancient Russia and Byzantium, and on Sundays - concerts of instrumental and sacred music. Admirers of the talent of the icon painter, lovers of ancient Russian and Byzantine history, Orthodox Christians and simply inquisitive people will be interested in visiting the Andrey Rublev Museum.

Address of the Andrey Rublev Museum: Moscow, Andronievskaya sq., 10, metro: "Ploshad Ilyicha", "Rimskaya", "Kurskaya", "Chkalovskaya".
Opening hours of the permanent exhibition and exhibitions:
Monday, Tuesday and Thursday from 14:00 to 21:00 (ticket office until 20:15)
Friday, Saturday and Sunday from 11:00 to 18:00 (ticket office until 17:15)
On Wednesday, the exposition and exhibitions are closed.
The territory of the Museum is open daily from 9:00 to 21:00.
Phone number of the Andrey Rublev Museum: (495) 678-14-67.
Museum named after Andrey Rublev: http://www.rublev-museum.ru

Central Museum of ancient Russian culture and art named after Andrey Rublev is the only special museum in Russia dedicated to the Russian artistic culture middle ages. The museum is located within the walls of the Spaso-Andronikov Monastery, where the great Russian icon painter lived, worked and was buried Reverend Andrew Rublev.

On the territory of the monastery, the oldest stone church in Moscow, the Spassky Cathedral, built during the life of Andrei Rublev in the first quarter of the 15th century, has been preserved.

The museum's collection has been collected over the past 50 years and includes about 10 thousand works. ancient Russian art. It gives a comprehensive idea of ​​the artistic life of Ancient Russia. Its main core is made up of works of fine art: monuments of icon painting of the 13th-17th centuries, book miniatures, monumental painting (fragments of murals taken from the walls, as well as copies of frescoes).

The collection of iconography includes monuments of all directions and schools from antiquity to late medieval(Moscow, Rostov, Novgorod, Pskov, Tver, Volga region). The pride of the museum collection is the works of the masters of the circle Andrei Rublev and Dionisy, their closest followers, images created by special order of Ivan the Terrible, signature works by the iconographers of the Armory.

The museum's collection includes a variety of works of decorative and applied art of the 11th-19th centuries: facial sewing, wooden sculpture, small plastic arts, enamels, precious metals. The collection of manuscripts and early printed books includes liturgical and secular compositions, singing books of the 15th-19th centuries.

The museum offers visitors a variety of sightseeing and thematic tours, as well as special programs for children and adults.

Highly qualified specialists of the museum conduct an examination of works of ancient Russian art.

History of the Andrey Rublev Museum

The Andrei Rublev Museum was established by a government decree on December 10, 1947. The initiator of the creation of the museum was Pyotr Dmitrievich Baranovsky (1892-1984), a famous restorer architect who did a lot to preserve the ancient Russian artistic heritage. The organization of the museum saved the architectural ensemble of the Spaso-Andronikov Monastery from destruction, within whose walls the great icon painter Andrey Rublev worked and was buried. The founding of the museum was timed to coincide with the celebration of the 800th anniversary of Moscow.

The first director of the museum in 1949 was David Ilyich Arsenishvili (1905-1963), museum enthusiast, founder of the Theater and Literary museums in Tbilisi, and the first researcher was Natalya Alekseevna Demina (1904-1990), one of the outstanding researchers of ancient Russian art, an expert on the work of Andrei Rublev.

In the early 1950s, a young art critic, Irina Aleksandrovna Ivanova, came to the museum. Through the efforts of these people, the first scientific expeditions were organized, and the formation of the museum's collections began. Its employees often saved works of ancient Russian art from destruction, taking them out of churches and some peripheral local history museums, which did not know how and were afraid to store works that were dubious from the point of view of the ideology of that time. The first receipts in the museum were several icons of the XVI-XVII centuries. from Vladimirsky local history museum and an iconostasis complex from the Cathedral of the Spaso-Evfimiev Monastery in Suzdal, created in the 1660s.

At the same time, research and scientific restoration of the architectural ensemble of the monastery was carried out, primarily the white-stone Spassky Cathedral of the early 15th century, the oldest surviving architectural monument in Moscow, as well as other monastic buildings.

The museum was opened to visitors on September 21, 1960. This year was declared by UNESCO as the year of celebrating the 600th anniversary of Andrei Rublev, and the opening of the museum became one of the most important events of the anniversary days. At that time, the museum collection consisted of only 317 monuments. Today, thanks to numerous expeditions, acquisitions, as well as valuable offerings, the museum has about 10 thousand icons, works of arts and crafts, originals and copies of frescoes, manuscripts and early printed books, archeological monuments.

Museum named after Andrei Rublev took a special place among others Russian museums. It has become the only museum of fine arts of the Russian Middle Ages in the country, covering a huge stage of history spanning more than seven centuries. Since its opening, the museum has been a real informal cultural center, where the Moscow intelligentsia flocked, discovering earlier unknown world ancient Russian fine arts. In the 1960s, a new generation of researchers came to the museum, among them G.V. Popov, who is now its director, as well as K.G. Tikhomirova, V.V. Kirichenko, A.S. Loginov, V.N. Sergeev, L.M. Evseeva, I.A. Kochetkov. At that time, the museum carried out especially numerous expeditions, thanks to which the museum collection expanded significantly. The collection was replenished with the help of purchases from private owners, collectors, in antique and second-hand bookshops. A lot of works detained while trying to illegally export abroad were transferred to the museum government organizations: customs, internal affairs and state security agencies. Friends of the museum, private collectors also made an active contribution to the replenishment of the museum collection with their generous gifts. Among them G.D. Kostaki and artist V.Ya. Sitnikov

A valuable collection of icon painting of the 13th-17th centuries brought to the Andrei Rublev Museum world fame. In 1991, it was included in the list of especially valuable objects. cultural heritage peoples of the Russian Federation.

In 2001, the first director of the museum D.I. Arsenishvili and the first researcher N.A. Demina in the museum, on the wall of the Rector's building, commemorative plaques by Zurab Tsereteli and Viktor Surovtsev were installed.

Expositions of the Andrey Rublev Museum

The permanent exhibition of the Museum is deployed in the architectural complex of the Church of the Archangel Michael and the refectory. It includes the most significant works museum collection, giving a holistic view of the history and development of Russian icon painting from the 12th to early XVIII centuries.

The exposition is organized chronologically and is divided into two large sections dedicated to Russian fine arts antiquity (Painting of the 12th - early 16th century) and the late Middle Ages (Painting of the 16th - early 18th centuries). Within the sections of the exposition, separate art centers are distinguished (plans-schemes of the expositions of the first and second floors).

The section of the exhibition Paintings of the 12th - early 16th centuries is located on the second floor. In the premises of the Church of the Archangel Michael, the oldest icons of the collection and monuments of icon painting of Peter I by the boyar Lev Naryshkin in his estate near Moscow are presented and is a vivid example of the architecture of the so-called Naryshkin style (or baroque). It is distinguished by the use of unconventional ancient Russian architecture solutions for the plan and volumetric composition, orientation to European samples in white stone carving.

The church has altars in the summer and winter temples. Upper, summer, in the name of the Savior Not Made by Hands, almost completely preserved the original decoration interior. The gilded carving of the iconostasis, choirs and the royal box was made by the best Moscow carvers. Icons for the iconostasis are painted outstanding artists from among the royal masters of the Armory Chamber, Kirill Ulanov and Karp Zolotarev. The interior of the lower, Pokrovskaya, church was repeatedly updated during the 18th-19th centuries.

Address: Moscow, st. Novozavodskaya, d. 6, metro: "Fili"

Maria Golovina reviews: 1 ratings: 1 rating: 0

Great place! Russian history!

I spent more than two hours at the exhibition - at first I listened to the tour (it’s inexpensive and you don’t have to book in advance), then I couldn’t leave, I kept looking and thinking - Lord, this is where you need to take your children (grandchildren), to show what we have lost, what a great was Russia

Nadezhda Nikolaeva reviews: 14 ratings: 14 rating: 0

Icons of the era of Nicholas II

On a wonderful, rainy day in July, I went to the opening of the exhibition "Icons of the era of Nicholas II", dedicated to the 100th anniversary of the martyrdom of Emperor Nicholas II and his family. The exhibition opened at the Andrei Rublev Central Museum of Ancient Russian Culture and Art, which is located within the walls of the famous Spaso-Andronikov Monastery, where the great icon painter Andrei Rublev painted the Spassky Cathedral - now ancient temple Moscow.,

I was a little elated from the anticipation of meeting with the beautiful, and a little sad from the realization that 100 years have passed since the day when the last Russian Emperor Nicholas II, along with his family and servants, was shot. Now we are all aware of the cruelty of that time.
“The exhibition presents high-quality works of icon painters and jewelers - suppliers of the imperial and grand ducal courts, such as V.P. Guryanov, I.S. Chirikov, M.I. Dikarev, D.L. Smirnov, O.F. Kurlyukov, Carl Faberge, I.P. Khlebnikov.
The first section of the exhibition contains memorial icons related to important events in the life of the imperial family.
The second hall presents works that reflect the history of the glorification of Russian saints - Seraphim of Sarov, Theodosius of Chernigov, Joasaph of Belgorod and others, which took place with the personal participation of the emperor, as well as icons provided by the Russian Orthodox Old Believer Church. After all, the true flowering of the Old Believer icon painting occurred after the publication in 1905. The Imperial Manifesto on Tolerance, which gave the zealots of the old faith the opportunity to openly confess it, serve in old churches and build new ones.
V last section exhibitions - the tragic events of the First World War and the revolution are reflected in the icon painting. During the First World War, the iconography of Our Lady of Augustus (“The Appearance of the Mother of God to Russian Soldiers in the “August Forests”) took shape and became widespread. Its composition was based on the testimonies of eyewitnesses who saw the image of the Mother of God in the night sky on the eve of the battle near the town of Augustow in September 1914.
Many icons use tempera paints based on crushed minerals, the same paints have been used since ancient times, and the technique of tempera painting is rightfully considered one of the most ancient and difficult to master, since tempera paints dry differently than more familiar oil paints.
Experts say that under favorable conditions, without temperature and humidity fluctuations, icons painted with these paints will be in good condition for at least 200-300 years, that is, more than one human generation.
The exhibition also presents especially valuable jewelry. "A unique exhibit is the last Faberge Easter egg for the Imperial House, work on which remained unfinished since Easter 1917 royal family met in captivity in the Alexander Palace of Tsarskoye Selo. On this Easter egg, called the "Constellation of the Tsesarevich", is presented accurate map constellations that were above the horizon at the second of the birth of the Tsarevich"
The icons presented at the exhibition are beautiful and picturesque, as if invisible, divine light emanates from them. There are no words to convey the whole gamut of feelings and sensations that I experienced, from sadness to complete admiration, it is difficult to stand in front of the icons and think about the eternal, since there are a lot of visitors at the exhibition. The exhibition will run until October 23, 2018.

Tatyana reviews: 122 ratings: 122 rating: 16

The opening of the exhibition "Northern Expeditions" in the Andrey Rublev Museum was timed to coincide with the Night of Museums, which was held under the motto "Masterpieces from the storerooms". It is no secret that museum funds are much larger than the volume of exhibits that are on display. And it does not mean at all that in the storerooms there are things that are not valuable or of interest to the general public. Perhaps there is simply no place, or there is no way to bring it to a state for exhibiting - it needs to be restored, for example.
And this night of museums is an occasion to show such exhibits to museum visitors.
And now the exhibition "Northern Expeditions" in the Andrei Rublev Museum presents icons that have never been exhibited. For icons, restoration is very important. And some of the icons presented here began to be restored only for this exhibition. Although they were brought to the museum half a century ago!
The opening of the exhibition was preceded by the presentation of the book-catalog of this exhibition, in which, in addition to the list of icons, the memoirs of the expedition members were also printed.
The exhibition presents icons brought to the museum as a result of expeditions carried out from 1963 to 1971.
And the participants of those expeditions performed at the presentation of the catalog!! Gennady Viktorovich Popov, Lilia Mikhailovna Evseeva, Igor Alexandrovich Kochetkov, Alexander Alexandrovich Saltykov. The stories were different, but permeated with an explosive mixture of adventurism and purity of intentions. Do you think finding and revealing a valuable icon is the job of expeditions? Icons still need to be delivered to Moscow!
Decommissioned burlap is an excellent material for packing valuable icons. How to get eggs to strengthen the painting on the icons, with a total weight of 600 kg, before being sent to Moscow?
And here we have the result at the exhibition - a collection of icons. Some of which are exhibited half-restored - but you can see real result restoration work.
Icons of the 16th - 19th centuries are presented.

Andrey Travin reviews: 49 ratings: 49 rating: 10

On March 6, a one-room exhibition opened in it, entirely dedicated to the monument Old Believer book culture- the illustrated Book of Revelation (Apocalypse). At the same time, it is a monument to Pomorye's bookishness.
The title of the exhibition is “Wonderful Apocalypse”, although such an epithet would rather suit specifically New Jerusalem, it needs no explanation. But the subtitle "front manuscript" needs to be explained. "Front" - means a book with pictures, with the faces of the characters.
The illustrative cycle of the manuscript is based on the Apocalypse from the so-called Collection of the Chudov Monastery, created under Ivan the Terrible by an anonymous master. The illustrations convey the text very accurately. But it is this artist who uses the tulip as a personal highlight, which unobtrusively adds here and there to the images.
The decor is based on the early printed style of the 16th century (to put it simply, the style of the books of the first printer Ivan Fedorov).
Before us is the Apocalypse Three-interpreter. That is, for each fragment, three interpretations are given.
In his Commentary, Andrew of Caesarea divided the text of Revelation into 72 chapters (I had never heard of such a fact before). Well, in any case, this is one of the three interpreters. Who are the rest - has not yet been established, because they simply did not reach their hands.

The Old Believers attached such importance to the Book of Revelation as if it were describing the events of their time. They were waiting for the imminent arrival of the Antichrist, they were looking for signs of the Laodicean Church (Rev. 3:14-22) in the then Russian Orthodox Church. And so, I think, they invested in the production of such resource-intensive books, probably made to order.

livejournal.com reviews: 124 ratings: 124 rating: 34

"The abyss has opened, full of stars" - this is how I can briefly describe my impressions of visiting the Andrei Rublev Museum, officially called the Andrei Rublev Central Museum of Ancient Russian Culture and Art.

Let's start with the fact that the museum itself is located on the territory of the Spaso-Andronnikov Monastery (founded on this site in the 14th century), and the exposition itself occupies the premises of the Church of Michael the Archangel (1691-1739). This is very successful, in my opinion, because. the main part of the museum's collection is made up of icons and other items related to religion. In this place, several amazing discoveries, I will try to tell about them in order.

We came here for the opening of the exhibition" Apocalypse wondrous", which is dedicated to the remarkable monument of the Pomeranian Old Believer book culture late XVII- the beginning of the 18th century - an illustrated manuscript of the Book of Revelation of John the Theologian. But the first thing we saw (and were amazed at the impression made) was the hall of icons of the 16th century.

Pay attention to the background on which the icons are located. I think this is an absolutely wonderful find. The fresh color of the young foliage is incredibly suitable for the icons of the 16th century, in which there is a lot of the same tenderness, strength and freshness. A little later, the museum staff told us that the color space is the idea behind the new design of the museum. Each hall is dedicated to icons of a certain period. And the color of the background not only makes it easier for the viewer to assign paintings to a particular century, but is also chosen in accordance with color preferences icon painters. For example, noble dark green was chosen for the 18th century, deep blue for the 19th century.

Here I was interested in an unusual icon of the Mother of God, around the image of which there are many symbols. This is where you realize how average person The 19th century was more versed in symbolism than the same person of the 21st century ... It would be very interesting to decipher all these small images in circles.

All the halls mentioned (green and blue) are on the second floor, but don't think that's all. The first floor is dedicated to the most ancient and valuable icons (they are on a red background), and if you go higher, you can see a rare wooden sculpture (in my opinion - charming and very interesting), and even higher - the frescoes of the altar, transferred here from the destroyed temples ( the photo does not convey the atmosphere at all, so come see with your own eyes).

But back to the subject of our original curiosity. Those. To Old Believer manuscript. It is worth noting that this exhibition is unique - it contains only one exhibit, but you can see almost all the pages in detail. Of course, no one will allow you to flip through an old copy, but you can look at miniatures and texts as much as you like on a large screen nearby.

The initial miniature shows John the Theologian with an angel descending to him, sent by the Lord to show the Revelation about "what must be soon." And it is this future that we see further through the eyes of John. By the way, looking at the miniatures turned out to be very exciting. The manuscript was made with big love, each sheet is framed, the headpieces impress with a lush pattern, the headings are neatly displayed in vermilion.

Miniatures of the "Apocalypse" consistently reveal the contents of the book of Revelation of John the Theologian. The main cycle of the Apocalypse is made up of 72 miniatures accompanying each chapter. So even an illiterate person, leafing through a book, would understand a lot for himself. By the way, pay attention to the images of tulips. Tulips are something like an artist's mark. There are quite a few of them throughout the manuscript.

mysterious content, vivid images, numerical symbolism Apocalypse led to the fact that there was an extensive interpretive literature. The most famous and popular was the interpretation of Andrew of Caesarea (6-7 century). He divided the text into 72 chapters, explaining it as follows: we have divided the present work into twenty-four words and seventy-two chapters according to the tripartite nature of the being - body, soul and spirit, twenty-four elders, which, as will be confirmed below, designate the fullness of those who pleased God from the beginning to the end of the age. We consider further discussions about this God-inspired book to be completely superfluous. and. However, such a statement did not at all prevent further interpreters from offering their own versions. This "Apocalypse", for example, is three-way - that is, besides the canonical one, he has two more (anonymous) interpreters.

In general, the further you get into this topic, the more interesting it becomes. This is truly an abyss, full of stars. I can't help but say that this book written on Amsterdam paper. Those. the connections of the Pomeranian Old Believers with Europe is another interesting topic.

The exhibition will last only 1 month - until April 10, 2018 (then the book will be replaced by something else, probably also interesting), so hurry up to see it.

It would be time to end here, but I want to talk about one more room that made the most vivid impression on me. The iconostasis (brought from the Transfiguration Cathedral of the Spaso-Evfimiev Monastery) is lowered down here, to the level of the floor. Due to this, a person, entering the hall, suddenly finds himself among the saints. Due to the close levels (the icons are just the height of a person), an amazing feeling of the realness of the images arises. In the most human sense. And it's an absolutely amazing feeling! It's very difficult to explain, but it's like the sky came down to you. That alone is worth coming here for.

Andrei Rublev Museum of Ancient Russian Art June 25th, 2014

This Moscow museum has a very long name - the Andrei Rublev Central Museum of Ancient Russian Culture and Art and is located on the territory of the former Spaso-Andronikov Monastery.
The monastery was founded in 1357 by Metropolitan Alexy and named after the first hegumen, Andronik, a disciple of Sergius of Radonezh. On the territory of the monastery, the oldest church on the territory of Moscow, the Spassky Cathedral, was preserved, it was erected in the 1420s.
The greatest Russian icon painter Andrei Rublev worked here, he died in the monastery and was buried in 1427 or 1430.

Holy Gates of the Spaso-Andronikov Monastery.

The oldest church on the territory of Moscow is the Spassky Cathedral, it was erected at the beginning of the 15th century. True in 1959-1960. the cathedral was reconstructed - kokoshniks and the head were completed by restorers. There is reason to believe that they made the drum too narrow, perhaps the original top of the cathedral was more massive.

The architectural ensemble of the monastery - the Cathedral of the Savior and the Church of the Archangel Michael (1691 - 1739)

The Spassky Cathedral was painted by Andrei Rublev and Daniil Cherny, both of them were monks of the Andronikov Monastery, but unfortunately, almost nothing of their frescoes remains. As nothing remained of their graves, although it is known that both painters were buried on the territory of the monastery.

In 1691, the wife of Peter I, Evdokia Lopukhina, founded a new church - the Archangel Michael. The church was attached to the old refectory built in 1504-1506. The result was an old Russian skyscraper in the Naryshkin style, although somewhat ascetic, since Lopukhina was never able to finish the temple, falling into royal disfavor in 1698, the church was completed after her death. The building has several floors, the first tier became the tomb of the Lopukhins, and the church was placed at the top. The building now houses the permanent exhibition of the museum.

The refectory chamber of the Andronikov Monastery (1504-1506). View from the outside, from the Yauza River. One of the oldest such structures in Moscow.

The fraternal building of the early 18th century and part of the fortress fence of the monastery.

In the photo below, the remains of the necropolis. The first burials on the territory of the monastery date back to the 14th century; soldiers who died on the Kulikovo field were buried here.
Once the Spaso-Andronikov necropolis was not inferior to the cemetery of the Donskoy Monastery in terms of the number of tombstones and the richness of their design. Representatives of many Russian aristocratic families found their last refuge here - the Zagryazhskys, Zamyatins, Golovins, Saltykovs, Trubetskoys, Naryshkins, Stroganovs, Volkonskys, Baratynskys, Demidovs, etc.

Since the 17th century, the Spaso-Andronikov Monastery has become a family burial vault noble family Lopukhins. The parents and brothers of Tsarina Evdokia Feodorovna, the first wife of Peter I, are buried here - a total of more than 40 people.

But in the 20th century, under the Bolsheviks, the cemetery was destroyed. Some remains of tombstones and sarcophagi are stacked near the monastery wall.

Some of my photographs of museum exhibits.

Mother of God Hodegetria. First third of the 16th century Moscow

Spas the Almighty (fragment), ancient icon in the collection of the museum of the middle of the 13th century from the village of Gavshinka, Yaroslavl region.

Position in the coffin. Around 1497, from the Assumption Cathedral of the Kirillo-Belozersky Monastery.

St. George (detail), late 15th - early 16th century. From Pyatnitskaya, Dmitrov, Moscow Region.

Savior Not Made by Hands, Moscow school, 2nd floor. 14th c.

Saint Nicholas of Myra with the Appearance of the Mother of God Sergius of Radonezh (top left) and selected saints.

Saints (fragment of the icon of St. Nicholas of Myra).

Worship cross with the crucifixion of Christ. White stone, in general, Russian khachkar. Late 15th - early 16th century. From the village of Tolmachi, Bezhetsky District, Tver Region.

Apostle and Evangelist John the Theologian from the composition The Crucifixion of Christ. First half of the 19th century. Tree.

Martyr Centurion Longinus and Apostle John the Theologian from the composition The Crucifixion of Christ. First half of the 19th century. Tree.

Nicholas the Wonderworker (Mozhaisky). End of 17th century.

Rev. Nil Stolobensky, 2nd floor. 19th century, Tver province.

Nicholas the Wonderworker. Late 17th - early 18th century, Arkhangelsk region.

Great Martyr Paraskeva Pyatnitsa. Late 17th - early 18th century.

Anthony the Great, fresco (detail), Athos (?), 16th (?) c.

Fresco, 1654, Trinity Cathedral of the Makariev Monastery, Kalyazin.

Apostle Peter. Chudov Monastery in Moscow 1633-1634

Unknown saint. Mozhaisk, Luzhetsky monastery.

Our Lady Burning bush(fragment), 17th century, from the Trinity Makariev Monastery in Kalyazin.

Our Lady of the Burning Bush (detail).

Meeting (fragment). 2nd floor 17th century, Volga region, from the Church of John the Baptist in Vesyegonsk, Tver Region.

Circumcision (fragment). 2nd floor 17th century, Volga region, from the Church of John the Baptist in Vesyegonsk, Tver Region.

First half of the 17th century, Volga region, from the Church of the Nativity of the Virgin in the village of Dryutskovo, Tver Region.

Nativity of the Mother of God (detail).

Nativity of the Mother of God (detail).

Nativity of the Mother of God (detail).

Holy Trinity.1st floor. 17th century, workshop of the Trinity-Sergius Monastery in Klimentovskaya Sloboda, from the iconostasis of the Church of the Epiphany in the village of Semenovskoye, Moscow Region.

Archangel Gabriel (part of triptych) Holy Trinity.1st floor. 17th century, workshop of the Trinity-Sergius Monastery in Klimentovskaya Sloboda, from the iconostasis of the Church of the Epiphany in the village of Semenovskoye, Moscow Region.

Nativity of the Virgin (detail). Late 16th century, Moscow. From the Cathedral of the Nativity of the Virgin in Murom.

Conversation between the Monk Varlaam and (Buddha Gautama) Prince Joasaph of India. 17th century, Russian North.

Rev. Kirill Belozersky (Alexander Svirsky?) Middle of the 16th century, Vologda (?)

Icon in salary "Our Lady of Semiezerskaya" (fragment), 17th century.

My other posts dedicated to Russia.