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Who is Simon Ushakov. Simon Ushakov: biography and the best works of the icon painter (photo)

The tsarist painter of the 17th century, Simon Ushakov, was either blasphemed, "bestowing" the label of a destroyer of the primordially Russian type of icon painting, or called a genius who managed to preserve the tradition in difficult times. Where is the truth? Nadezhda Bekeneva, an art historian and author of the book “Simon Ushakov” (1984), helps us to understand the peculiarities of the style of the famous icon painter, the originality of his artistic search.

- Nadezhda Gennadievna, Simon Ushakov is called the last icon painter Ancient Rus' and at the same time a reformer. Why?
- This is a very controversial opinion. About ten years ago, I also thought that Simon Ushakov was a reformer. Now I understand: this is not entirely true, he did his best to preserve the ancient icon-painting canon and style, defending them with all his might.

Icon detail
"Christ Almighty Enthroned"

- How about new technology letters - the so-called vividness?
– Indeed, in the icons of Simon Ushakov, a rather tangible volume appears. And he worked differently. ancient art icon painting is akin to the creation of the world. Let's remember the book of Genesis: first, God separates light from darkness, then creates the firmament of the earth and heaven... The icon painter works on the same principle. First, he paints architecture, herbs, clothes, animals, and lastly, after praying and fasting, he proceeds to paint the face. In the very last place, God creates a person, and the icon painter paints the Divine Face. Therefore, in the icon there is such a concept: "Dolichnoye" - everything that is written to the faces, and personal. The ancient master writes a personal letter in the same way as everything else - rather conditionally. Makes the first layer colorful. In pictorial art, portraiture, this is called "underpainting", and in icon painting - "sangir". Having laid the first colorful layer, he begins to write "light". The divine light that descends on the saint and at the same time radiates from him, he writes in ocher. This second ink layer is called "whirling". Quite often, the waving is very different from the sanguir - then a contrasting image is obtained. Dark-dark sanguir and a light image, which still does not give volume, but hints at it - the brightened part of the face. Finally, the third colorful layer the ancient icon painter puts the so-called "engines". These are small strokes that indicate the most highlighted parts of the face. Simon Ushakov already paints in the same way as later, in the 18th century, master portrait painters worked. With the help of multi-layered melts, small strokes, giving a smooth transition from one tone to another, he creates the volume of the Divine face. This technique was not previously known. Then his disciples-followers, and all the other masters began to write like that.

– Thus, Simon Ushakov “humanizes” the images of the saints…
– In the book, I wrote that in the face of Christ, not only His Divine hypostasis is manifested, but also the human hypostasis. Now I'm starting to think I was wrong. It needs to be worded differently. The face of the Savior in Simon Ushakov still remains Divine. Unlike, by the way, from subsequent icon painters of the 18th century, whose icons are already close to the earth, and Christ is lowered to earth.

– What else distinguishes Simon Ushakov from his predecessors?
– His icons are signed. In the 17th century, artists were already allowed to autograph icons. Previously, such a thought could not come to mind. The Russian icon is anonymous. The names of such masters as Andrei Rublev, Dionysius are known to us not so much by their autographs, but by documentary data.

– Nadezhda Gennadievna, how did you get involved in this topic?
- In my youth, I did not like the icons of Simon Ushakov. I loved master Dionysius very much. And now I adore him, and then even more, and I dreamed of doing research on Dionysius, of lecturing on him. To which my first head at the Tretyakov Gallery, Valentina Antonova, objected: “Well, many of us give lectures on Dionysius, but you better take care of Simon Ushakov ...” With some disappointment, she began to watch, study, read. And gradually got carried away with this time. The beauty of art of the 17th century opened up to me. Of course, Ushakov and Dionysius are completely different. It is necessary to take into account this moment. When an icon painter finishes an icon, he covers it with drying oil. Drying oil brings together the entire color palette. But after a hundred years, it darkens. Accordingly, Ushakov could not see what the ancient masters created. The icons were darkened, they were renewed: instead of restoration, they were rewritten according to the preserved contours.

Part of the hallmark of the icon
"Annunciation with Akathist"

- It turns out that at one time Simon Ushakov did not know and could not see what was revealed to us thanks to the restoration?
- Certainly. In 1913, the first exhibition of restored ancient icons was held in Moscow. When french artist and the sculptor Henri Matisse visited her, he was shocked and delighted. “Russian masters come to us for an internship,” said Matisse, “but in fact it is we who need to go to Russia to study.” Can you imagine? And then they began to look at Simon Ushakov as a destroyer of icon traditions. In 1973, the researcher Georgy Filimonov wrote about him for the first time, he called Simon Ushakov a genius of Russian art. It is not surprising, because almost only his works reached the 19th century, everything else belonged to more late period. And when the earlier icons opened and appeared in their original form, it was as if a veil had fallen from the eyes of the Russian people. For the first time they began to talk about ancient icons and the art of ancient masters. Simon Ushakov faded into the background, and already the Soviet restorer and painter Igor Grabar reduced the master to an "evil genius".

- As usual, it happens: either to scold, or to extol ...
- Simon Ushakov is not simple and contradictory! However, those people cannot be reproached. I can imagine their excitement. All around were black, sooty boards, and suddenly these ancient, wonderful images were revealed. The true significance of Simon Ushakov for the development of Russian icon painting has yet to be comprehended...

1. Praise to the Vladimir Icon of the Mother of God (“Tree of the State of Moscow”)

The icon was specially painted for the Church of the Holy Life-Giving Trinity in Nikitniki and installed in its main iconostasis. Nearby, just a few meters away, you can see the house where Simon Ushakov lived. Nikitnikov Lane is located near the Kremlin, according to experts, Tsar Alexei Mikhailovich could visit this temple.

The icon "Tree of the State of Moscow" expresses not only artistic, but also political outlook. Simon Ushakov clearly develops the idea of the unity of the Church and the state. Previously, there could not have been such a program in art; it appears during the time of a church schism.

An exception. The icon is missing a signature. Any icon painter, having created this or that plot, had to sign it. It is significant that Simon Ushakov violates this rule. Apparently, he does not give any theme of his composition a dominant value.

2. Metropolitan and Prince. The icon depicts the key historical event: bookmark in 1325 Uspensky cathedral. Simon Ushakov paints a tree - a vine, which is a symbol of life. The vine covers the entire icon and grows through the Assumption Cathedral. Moscow saints, reverends, metropolitans, pious tsars, holy fools are represented in small medallions on wood. The central medallion depicts the Mother of God of Vladimir, the patroness of not only Moscow, but the entire state. Below, against the background of the Assumption Cathedral, Metropolitan Peter and the first Moscow Tsar Ivan Kalita are planting and watering this tree. Once, in 1325, Metropolitan Peter predicted to Ivan Danilovich that the department, the capital, should be moved from Vladimir to Moscow: “You yourself will be glorified and your children will be glorified.” Vladimir was often raided and, of course, many suffered from this. Moscow was in a more remote and more advantageous location.

3. Moscow documentary. The Assumption Cathedral stands behind the Kremlin wall, which Simon Ushakov accurately depicts in documentary form. He shows the Spassky Tower, decorated with both sand and mechanical clocks, and details the battlements around the Kremlin. But the Assumption Cathedral is presented conditionally. Geographic maps were depicted in the same manner in the 17th century from a bird's eye view.

4. Dialogue between heaven and earth. We can say that the icon represents the history of Moscow in the portraits of the most prominent characters glorified as saints. All saints hold scrolls facing the center, to the Mother of God. They begin with the word "rejoice." The only scroll, Alexei Mikhailovich, is addressed not to the Mother of God, but to the Savior, whom we see at the very top with a crown and a riza intended for Alexei Mikhailovich. Near the crown there is an inscription: "Be faithful to me until death and I will give you a crown of life." The scroll of Alexei Mikhailovich, addressed to the Savior, reads: "God save your people and bless your property."

5. What is under the paints. "Tree" is written in gold. The golden background, gesso, symbolizes the divine Light.

Simon or Pimen?

Our ancestors in the 17th century had two names: one secret, dedicated to God (for Simon, this is Pimen - the name with which he was baptized), and the other name is well-known, “called” (Simon). That is why Simon Fedorovich Ushakov was also called Pimen. Also, according to the signatures of the icons, one can decipher the names of his household members and heavenly patrons.

Information sheet:

Ushakov Simon (Pimen) Fedorovich
Born in Moscow c. 1626, most likely in the family of townspeople. In 1648 he entered the royal service in the Silver Chamber, where he worked as a "flagman", i.e. prepared drawings for decorating utensils and jewelry, as well as drawings for banners, geographical maps, embroideries and church vestments. He won great prestige at the court of Alexei Mikhailovich. In 1657 he was instructed to "renew" the paintings of one of the rooms of the Kremlin palace, and since then not one major order in Moscow has been complete without Ushakov. In 1664 he is transferred by a special decree to the Armory, where he is a “complained” (i.e., receiving a personal salary) “royal painter”, and in fact - the main expert not only in painting, but also in all matters relating to art. Among the works performed by Ushakov with his students and apprentices are frescoes in the Archangel and Assumption Cathedrals (1660), as well as in the Tsar (1657) and Faceted (1668) chambers of the Kremlin, icons for the Trinity Church in Nikitniki (1656–1657). From these works, in the most original form, the murals of the Assumption Cathedral (partly) and the picturesque ensemble of the Church of the Holy Trinity have come down to us.

Anastasia Chernova

Address: Lavrushinsky per., 12, Engineering building.

IN State Tretyakov Gallery opened an exhibition called Simon Ushakov. Tsar's isograph". This is the first monographic exhibition in the history of Russian museums by Simon Ushakov dedicated to the work of the most famous Russian icon painter of the 17th century. From the extensive artistic heritage Ushakov, about fifty signature icons have come down to us, most of which are presented at the exhibition. The idea of the exhibition was born 30 years ago, but the identification and study of all surviving works, primarily signed ones, required long work many specialists. In the process of preparing the exhibition, a large-scale complex of technical and technological studies of Simon Ushakov's works from the collection of the Tretyakov Gallery and other museums was carried out for the first time.
The biography of Simon Ushakov is established according to the surviving sources of the Armory of the 17th century, as well as from the extensive inscriptions on the icons. In the 17th century, signatures of the authors began to be often found on icons, which certify the quality for which the icon painter is responsible. Although, insert entries also continue to occur. So we know the names of the parents and relatives of Simon Ushakov not only from the synodics, but also from such insert notes made by the master.

Petition Simona Ushakova about determining his salary. 1648.

Sometimes Simon Ushakov is called the head of the Armory, which is not true, since the head of the Armory was the boyar Bogdan Matveyevich Khitrovo. But, judging by the surviving documents, Simon Ushakov was most often involved in the head of collective artwork. He supervised the renewal of the murals of the Archangel Cathedral in 1666, the renewal of icons in the Cathedral of the Annunciation. He also signed documents for the issuance of art materials and these documents of the 17th century have come down to us. He most often made presentations to his students for the title of paid icon painters, was called to clarify the quality of the work of other icon painters. Therefore, we can call Simon Ushakov the main, leading master of the Armory. As well as the style of the Armory since the 70s of the XVII century, to a very large extent, the merit of Simon Ushakov.

The Holy Trinity. 1671. Simon Ushakov. Wood, tempera.
Was in the Church of the Exaltation of the Cross in the Tauride Palace in St. Petersburg. State Russian Museum.

Simon Ushakov did not immediately get into the icon-painting workshop. In 1648, he wrote a petition for the title of paid icon painter, although he was only 22 years old. A draft of the royal decree on the promotion of three icon painters to paid icon painters has come down to us, but the name of Simon Ushakov has been crossed out. Why this happened, we can only guess.

Extract from the decree of Tsar Alexei Mikhailovich on the appointment of icon painters to the Armory Order and
the issuance of the sovereign's salary in cash and bread. 1648.
Russian State Archive of Ancient Acts.

The documents presented at the exhibition cover the period from 1648, when the first petition was written, to 1687-1689 - documents containing information about his death in 1686 date from this time. Petitions and murals of materials compiled by Ushakov himself contain samples of his handwriting, which has great importance when attributing signed icon-painting works. Often at exhibitions, such documents are presented only in copies. But here you can see the originals provided by the Russian State Archive of Ancient Acts.
Instead of an icon-painting workshop, Simon Ushakov was enrolled in the Silver Chamber, where he created drawings for performing artworks, at the same time he also created drawings for sewing works in the Tsaritsyno workshop. One of these works is presented at the exhibition. While working in the Silver Chamber, he painted icons and was repeatedly sent by both the king and the patriarch to perform a number of artistic works.

Savior Not Made by Hands. 1661. Simon Ushakov. Wood, tempera. Comes from the Trinity Church in Nikitniki in Moscow.

The image of the Savior Not Made by Hands from the Church of the Trinity in Nikitniki is the earliest among Ushakov's numerous works on this subject. Until recently, this image was under partial recording of the 18th-19th centuries, but it was opened for the exhibition. Moreover, during the restoration, fragments of the author's inscription with the date "1661" (and not 1658, which was read in the inscription of the 19th century) were discovered.
Another discovery in the process of preparation for the exhibition is associated with an icon from the Trinity Church in Nikitniki - the famous "Tree of the Moscow State", which, it turned out, was created not in 1668, but in 1663.

Praise to the icon "Our Lady of Vladimir" (Tree of the State of Moscow). 1663. Simon Ushakov. Wood, tempera.
Comes from the Trinity Church in Nikitniki in Moscow.
State Tretyakov Gallery.

The icon is dedicated to the glorification of the ancient miraculous image of Our Lady of Vladimir. It is he who is placed in the center of the composition. The image is surrounded by branches with smaller medallions depicting saints and Moscow tsars holding scrolls with texts glorifying the Mother of God. The tree is “cultivated” by Metropolitan Peter and Prince Ivan Kalita: the saint waters it from a vessel, and the prince supports the trunk growing through the Assumption Cathedral of the Moscow Kremlin. Under the canopy of a tree, inside the Kremlin walls, is presented royal family: Tsar Alexei Mikhailovich, Tsarina Maria Ilyinichna and their sons - Tsarevich Alexei and Fedor.

Fragment of the inscription with the date of creation of the icon. Praise to the icon "Our Lady of Vladimir" (Tree of the State of Moscow). 1663. Simon Ushakov. Wood, tempera. Comes from the Trinity Church in Nikitniki in Moscow. State Tretyakov Gallery.

So far, not only is it unknown original name icons, but also the names of its customer and compiler complex program. However, by purchasing a book in the museum shop Simon Ushakov. The Tree of the State of Moscow” from the “History of a Masterpiece” series for a ridiculous 200 rubles, you can know some interesting details about this amazing icon.

Our Lady of Kykkos. 1668. Simon Ushakov. Wood, tempera.
State Tretyakov Gallery.

According to legend, the "Our Lady of Kykkia" belonged to the number of icons painted by the Evangelist Luke, and was kept in the Bolshoi imperial palace in Constantinople among the most valuable relics. Under Emperor Alexei I Komnenos, the image was transported to Cyprus and placed in the Kykksky Monastery. In Russian art, the icons of the Mother of God of Kykksk appeared, obviously, only in the second half of the 17th century as a result of collecting relics of the Orthodox East.

Fragment. Our Lady of Kykkos. 1668. Simon Ushakov. Wood, tempera. Comes from the Church of Gregory of Neocaesarea in Moscow. State Tretyakov Gallery.

The construction of the stone church of St. Gregory of Neocaesarea was begun with the blessing of Patriarch Nikon by priest Andrei Savinov (Postnikov), who was appointed in 1660 as rector of the old wooden church. In 1665 he became the royal confessor and archpriest of the Annunciation Cathedral in the Moscow Kremlin. He had a close friendship with Alexei Mikhailovich, to some extent he replaced the Tsar Patriarch Nikon, who had fallen out of favor by that time. That is why the king became the temple builder of a new stone church in the name of St. Gregory of Neocaesarea. The sovereign allocated huge funds for the construction of the church.

Fragment signed by Simon Ushakov. Our Lady of Kykkos. 1668. Simon Ushakov. Wood, tempera.
Comes from the Church of Gregory of Neocaesarea in Moscow.
State Tretyakov Gallery.

Great Martyr Theodore Stratilat. 1661. Simon Ushakov. Wood, tempera.
Salary -1661. Gold, gems, pearl; chasing, niello, enamel, threading.

Comes from the Archangel Cathedral of the Moscow Kremlin.
State Historical and Cultural Museum-Reserve "Moscow Kremlin".

This icon is a measured (made in the size of a baby) image of the third son of Tsar Alexei Mikhailovich, Tsarevich Fedor Alekseevich. The prince was born on May 30, 1661 and was baptized in honor of Theodore Stratilat. After the death of Fyodor Alekseevich, the icon was transferred to the Archangel Cathedral of the Moscow Kremlin and installed over the tomb of the tsar. The iconography goes back to the rendition, traditional for royal measured images, known from the middle of the 16th century and involving the combination on one board of the image of the Holy Trinity in the upper part of the icon and a rectilinear full-length image of the patron saint.
The work is under the record of the XVIII-XIX centuries, only small fragments allow us to judge the author's painting, one of which is a stamp with the image of the Holy Trinity.

Festive ceremony. 1673. Comes from the Church of the Intercession in the village of Bratsevo. State Tretyakov Gallery.

Icons of holidays comes from the Church of the Intercession Holy Mother of God in the village of Bratsevo - the estate of the boyar Bogdan Matveyevich Khitrovo, who headed the Armory from 1656 to 1680. The church was built in 1672, and several leading masters of the Armory were invited to decorate it, including Simon Ushakov.

crucifixion. Grigory Zinoviev. Wood, tempera.

Of the large complex of paintings of the Intercession Church, only seven icons of the festive tier of the main iconostasis have been preserved. The ensemble of the fraternal church is a unique example of the collective work of the paid masters of the Armory. All icons were signed, which makes it possible to reveal the individual handwriting of each artist. Thanks to this monument, we can see the variety of manners of the masters inside the Armory.

Resurrection of Lazarus. Nikita Pavlovets. Wood, tempera.

The variety of stylistic and figurative solutions used by the master is clearly visible when comparing several icons of the Savior Not Made by Hands, created in the 1670s, belonging to him.

Savior Not Made by Hands. 1673. Simon Ushakov. Wood, tempera.
Salary - the second half of the XVII century. Silver; gilding, chasing, engraving.
Comes from the sacristy of the Trinity-Sergius Lavra.
State Tretyakov Gallery.

Due to the fact that the icon almost immediately got into the sacristy, it completely preserved the author's painting. Over time, the drying oil only darkened. The icon was restored for the exhibition. And she appeared in all her splendor before the guests of the exhibition.

Fragment. Savior Not Made by Hands. 1673. Simon Ushakov. Wood, tempera.

Look at this snippet. How, with the help of many dark and light layers, the author created a vivid, luminous face. If we are now talking about the innovation of Simon Ushakov, then he himself tried to reproduce ancient samples, the correct Byzantine antiquity. At the same time, Patriarch Nikon was also looking for true Byzantine antiquity in Greek books, Archpriest Avvakum in ancient Russian books. original image luminiferous, it must represent the fullness of divine beauty. The icon painter wanted to abandon the dark appearance and return to a life-like luminous image. The image of the Savior Not Made by Hands acts as a kind of tuning fork, with which the artist constantly checks himself. Is there any authenticity of the evidence, or is it distorted or lost.

Fragment. Candle flame damage. Savior Not Made by Hands. 1673. Simon Ushakov. Wood, tempera.

The exposition also includes icons of Simon Ushakov's students. For the leading masters of the Armory, as a rule, several students were officially assigned. The first of the disciples of Simon Ushakov known to us is Andrei Vladimirov, who is mentioned in the inscription on the icon “Our Lady of Vladimir, with Selected Saints.”

A fragment of Nikita's beating of a demon in a dungeon. Great Martyr Nikita with Life. 1677. Fedot Protopopov (Ukhtomsky). Wood, tempera. Comes from the Niktsky Cathedral of the Nikitsky Monastery in Pereslavl-Zalessky.
Pereslavl-Zalessky State Historical, Architectural and Art Museum-Reserve.

Among those masters who could have been trained by Ushakov, researchers also name Fedot Ukhtomsky, an isographer and "sovereign chanter deacon", who managed the court church choirs. Although direct indications of the connection between the two artists have not come down to us, this assumption is confirmed by the closeness of their painting style, as well as some circumstances of Ukhtomsky's biography.
And look what amazing flowers bloom on the icon "Transfiguration" by Ivan Maksimov with his son.

Fragment. Transformation. 1685. Ivan Maximov and Vasily Ivan Maximov. Wood, tempera.
Comes from the Church of Gregory of Neocaesarea in Moscow.
State Historical Museum.

The exposition also contains works attributed to the royal painter. This is a circle of works of icons differing in style and time, which for a number of reasons were previously attributed to the master. Most often, the source of their attribution to Simon Ushakov is either late inscriptions on the icons themselves, or oral traditions that existed in the church or the owner's family.

King Ptolemy Philadelphus knows vanity human life. Second half of the 18th century.
Wood, tempera. Was in the collection of P.M. Tretyakov. Attributed to Simon Ushakov.
State Tretyakov Gallery.

The birth of Russian engraving on metal is connected with the name of Simon Ushakov. One of the first works of the master were two etchings - "The Seven Deadly Sins" (1665) and "Fatherland" (1666). As a rule, Ushakov's engravings are made in mixed media, engraved not with pure etching, but with refinement with a chisel and needle.

Seven deadly sins. 1665. Engraving by Simon Ushakov. Etching, cutter, needle. Was in the collection of D.A. Rovinsky.
State Museum fine arts named after A.S. Pushkin.

The engraving "The Seven Deadly Sins" depicts a sinner who is saddled by a demon and driven with a whip. He moves towards hellfire, loaded with two baskets of sins, personified by a dog, a snake, a goat, a peacock, a bear, a frog, and a lion.
As a protographer, Simon Ushakov could use the illustrations of the Roman edition of Ignatius Loyola's "Spiritual Exercises" published in 1663. However, Ushakov interpreted the European prototype, abandoning many details: elements of the landscape, numerous demons and sinners, which are replaced by traditional rivers of hellfire.

Our Lady of Vladimir. 1652. Front side of a double-sided icon. Simon Ushakov. Wood, tempera.
Comes from the Church of the Archangel Michael in Ovchinniki in Moscow. State Tretyakov Gallery.

The icon belongs to the earliest surviving works of Simon Ushakov. The image on the front side is an exact copy of the Byzantine icon of Our Lady of Vladimir from the first third of the 12th century, but has features that correspond to changes in composition ancient image after restoration under Metropolitan Varlaam in 1514.

At the end of our story about this exhibition, I would like to say that the employees of the State Tretyakov Gallery have tried to domestic art XVII centuries to make the property of the domestic audience. Simon Ushakov was a contemporary of Rembrandt, but how many of us know about the great Dutchman and how many about the royal iconographer? Unfortunately, Russian art of this time is much less known than Western Europe, even among the domestic audience. According to the organizers of the exhibition, they tried to give the floor to the artist himself, so that he would speak about himself and the tasks he set for himself in the language of his beautiful paintings. Come in in Tretyakov Gallery discover the forgotten and beautiful Russian XVII century.

Address: Lavrushinsky lane, 10, 3rd floor.
Travel to st. metro station "Tretyakovskaya" or "Polyanka".
Working hours: Tuesday, Wednesday, Saturday, Sunday - from 10.00 to 18.00 (box office and entrance to the exposition until 17.00)
Thursday, Friday - from 10.00 to 21.00 (box office and entrance to the exposition until 20.00)
day off - Monday
Ticket price: adult - 350 rubles. There are benefits, read more.

« Do not despair! These terrible storms will turn to the glory of Russia"(words on a scroll in the hands of St. Theodore Ushakov)

On October 15, the Orthodox Church commemorates the holy righteous warrior Fyodor Ushakov, Russian naval commander and admiral. Saint Fyodor Ushakov traces his genealogy to Roman, the son of Prince Redega of Kosozh, and the daughter of Grand Duke Mstislav Vladimirovich. He was born in the family of a retired Lieutenant of the Life Guards Semyonovsky Regiment Fyodor Ignatievich Ushakov in the village of Burnakovo, baptized on February 13, 1744 in the Church of the Epiphany-on-Ostrov in the village of Bogoyavlensky, on the left bank of the Volga, 18 miles from the city of Romanov.

Admiral Fedor Fedorovich Ushakov, an outstanding naval commander who did not know defeat in naval battles, contributed many bright pages to the annals of the exploits of the Russian fleet, played a huge role in the difficult period of Russia's formation on the Black Sea, in the construction of Sevastopol, a fortress city, the main base of the Black Sea Fleet. The multilateral activities of Admiral Ushakov left a deep mark on the history of Russia. He devotedly served the good of his people, the sovereign dignity of the Motherland, devoted his whole life to serving the Fatherland. Under the command of Ushakov, the Black Sea Fleet defeated the Turkish fleet at about. Fidonisi (1788), at the Kerch Strait (June 1790), at about. Tendra (August 1790).

... In 1796, Emperor Paul I ascended the Russian throne. At that time, revolutionary France "turned to the conquest and enslavement of neighboring powers." Vice-Admiral Ushakov received an order to put the Black Sea Fleet on alert, and in early August 1798 - the highest order "to immediately follow and assist with the Turkish fleet against the malicious intentions of France." Heading for Constantinople, the Russian squadron soon approached the Bosphorus. Vice Admiral Ushakov was appointed commander of the joint forces.

Thus began his famous Mediterranean campaign, in which he showed himself not only as a great naval commander, but also as a wise statesman, merciful Christian and benefactor of the peoples he had liberated. The first task was to capture the Ionian Islands, located along the southwestern coast of Greece, the main of which - Corfu, having already the most powerful bastions in Europe, was still significantly fortified by the French and was considered impregnable.

The commander acted wisely: he sent a written appeal to the inhabitants of the islands - the Orthodox Greeks, urging them to assist in "overthrowing the unbearable yoke" of the atheists-French. The answer was the widespread armed assistance of the population. No matter how the French resisted, our landing force liberated the islands of Tserigo, Zante and Kefalonia with decisive actions ...

On November 10, 1798, Fyodor Ushakov wrote in a report: “Thanks to the Almighty God, we, with the united squadrons, except for Corfu, liberated all other islands from the hands of the malicious French.” February 18, 1799, at 7 o'clock in the morning, the assault began on Corfu - the next day the fortress fell. It was the day of the great triumph of Admiral Ushakov, the triumph of his military talent and strong will, supported by the courage and skill of his subordinates, their confidence in their victorious leader and his confidence in their unshakable courage.

The commander went ashore, “solemnly greeted by the people, who did not know the boundaries of their joy and delight, and went to the church to bring the Lord God a thanksgiving prayer ... And on March 27, on the first day of Holy Easter, the admiral appointed a great celebration, inviting the clergy to take out the relics of the saint God's Spyridon Trimifuntsky. The people gathered from all the villages and from the nearby islands.

A. V. Suvorov, having learned about the capture of Fr. Corfu exclaimed "Hurrah! Russian fleet! Now I say to myself: “Why wasn’t I even a midshipman at Corfu?” English Admiral Nelson congratulated Ushakov with restraint. The Turkish sultan sent Ushakov a diamond cheleng, a sable coat and a thousand chervonets as a gift, for the team - 3.5 thousand chervonets. Fedor Ushakov wrote after the victory: “We do not want any award, if only our servants, who serve so faithfully and zealously, would not be sick and not starve to death". For the victory at Corfu, Emperor Paul I promoted Fyodor Ushakov to full admiral. This was the last award he received from his sovereigns.

As the plenipotentiary representative of Russia, Admiral Ushakov created a form of government in the Ionian Islands that ensured "peace, silence and tranquility" for the entire people. Thus was formed the Republic of the Seven United Islands - first Greek nation state new time.

... On the night of March 11, 1801, Emperor Paul I was villainously murdered by conspirators, his son Alexander I ascended the Russian throne. The policy of Russia changed dramatically. And soon Admiral Fyodor Ushakov was transferred to St. Petersburg - the opinion prevailed at court about the uselessness of a large fleet for "land" Russia.

In 1804, Fedor Fedorovich compiled a detailed note about his service to the Russian fleet, in which he seemed to sum up his activities: “Thanks to God, with all the indicated battles with the enemy and during the entire stay of this fleet under my command at sea, the preservation of the Most High goodness not a single ship from it was lost and not a single person from our servants was taken prisoner by the enemy».

Continuing to serve as chief commander of the Baltic Rowing Fleet and head of the St. Petersburg naval teams, Fedor Ushakov performed these duties with zeal and zeal, as was generally characteristic of him. In addition, the admiral did not forget to take care of his neighbors: many people came to his house in St. Petersburg for help. Some he supplied with money, clothes, for others, especially in need, he busied himself with eminent dignitaries; he took upon himself the care of orphaned nephews.

With pain, Fedor Fedorovich followed what was happening in Europe: one of the stages of the Franco-Russian war was nearing completion, peace was being prepared in Tilsit. Emperor Alexander I will soon become an ally of Napoleon Bonaparte, and The Ionian Islands will be handed over to the "malicious" French…

On December 19, 1806, the legendary admiral submitted a letter of resignation to the emperor: “My spiritual feelings and sorrow, which have exhausted my strength and health, are known to God - may His holy will be done. I accept everything that has happened to me with the deepest reverence.” These words crowning feat of arms, glorious and laborious service to his native Fatherland, testify that the invincible warrior was filled with humility and obedience to the will of God - these were truly Christian feelings.

After retiring from official duties, he lived for some time in St. Petersburg, and in 1810 he moved to the village of Alekseevka in the Temnikovsky district, near the Sanaksar Nativity of the Theotokos Monastery. According to the then rector of the monastery, Hieromonk Nathanael, “Admiral Ushakov, a neighbor and famous philanthropist of the Sanaksar monastery ... led a solitary life ... on Sundays and holidays he came to the monastery for worship ... great post lived in a monastery, in a cell ... for a whole week and stood every long service with the brethren in the church ... From time to time he donated ... significant blessings to the monastery; Also to the poor and needy he did the constant merciful alms and help».

The Patriotic War of 1812 began. All the people rose to fight the French - in the Tambov province, as elsewhere, a militia was formed, the head of which was elected Fedor Fedorovich Ushakov. Thanking for the trust, the admiral refused this honor due to poor health. At the same time, at his own expense, he arranged a hospital for the wounded, contributed two thousand rubles to the formation of the 1st Tambov Infantry Regiment. Everything that he had, he gave "to help his neighbors, suffering from the ruin of a vicious enemy."

The admiral spent the rest of his days “extremely abstinent and ended his life as a true Christian and faithful son of the Holy Church on October 2, 1817, and was buried at his request in a monastery near his relative from the nobles, the founder of this monastery, Hieromonk Theodore by the name of Ushakov the same." They buried it in the Church of the Transfiguration of the Savior in the city of Temnikov, a few miles to the Sanaksar Monastery, the coffin with the body was carried by the people in their arms. Nephew Fyodor Ivanovich erected a modest monument on his uncle’s grave with the inscription: “Here lies the ashes of His Excellency and the highly respected boyar of the fleet, admiral and various Russian and foreign orders of the cavalier Fyodor Fedorovich Ushakov, who died on September 4, 1817, at 74 years old from birth.” Nephew Fyodor indicated the date of death incorrectly. The monument stands to this day.

When the times of persecution of the Russian Orthodox Church, The Sanaksar Monastery, where Feodor Feodorovich rested, was closed. The chapel built over the grave of the admiral was completely destroyed, his honest remains in the 1930s. were desecrated by the godless. But the ascetic and highly spiritual life of Feodor Ushakov was not forgotten in his native Fatherland, although almost two centuries had passed since his righteous death. During the years of the Great Patriotic War his name, along with the names of the holy noble warrior princes Alexander Nevsky and Dimitri Donskoy, inspired the defenders of the Motherland. During the Great Patriotic War of 1941-1945. By a decree of the Presidium of the Supreme Soviet of the USSR dated March 3, 1944, the Order of Ushakov, I and II degrees, and the Ushakov Medal were established, which became the highest awards for sailors. In Sevastopol, one of the central squares of the city is named after Ushakov, on which there is a monument to Admiral F.F. Ushakov. The highest award for sailors was the Order of Admiral Ushakov.

At the same time, in 1944, the question arose about the burial place of Admiral Ushakov. Was created state commission, which made excavations on the territory of the Sanaksar monastery and opened the grave of Admiral Ushakov near the wall of the cathedral church. The honest remains of Feodor Feodorovich turned out to be incorrupt , which was noted in the relevant document of the commission.

In December 2000, His Holiness Patriarch Alexy II of Moscow and All Rus' gave his blessing to glorify Admiral of the Russian Navy Feodor Ushakov in the face of righteous locally venerated saints of the Saransk diocese, and was canonized in August 2001.

Then, in a special message “on the occasion of the glorification of the holy righteous Theodore, Admiral of the Russian Fleet,” Patriarch Alexei II of Moscow and All Russia noted that “Feodor Fedorovich Ushakov, glorified by military prowess and not defeated in any battle, the admiral of the great Russian fleet, is now being humiliated by the Holy Church Christ as a righteous and faithful man, as one of the examples for believers to follow, as a saint of God.

For the first time in for a long time a saint was recognized as a person who lived in a relatively recent past. And for the first time among the names of the saints of God appeared the name of the great naval commander. On the territory of the Sanaksar Nativity of the Bogoroditsky Monastery, another one was erected - a monument to the great naval commander. The relics of Fyodor Sanaksarsky and Fyodor Fyodorovich Ushakov rest in the monastery Church of the Resurrection of Christ. And in August 2006, the only temple in the world dedicated to the holy sailor was consecrated in Saransk.

Today there are three different icon images of the holy admiral. The most common is the half-length image of the holy righteous warrior Theodore Ushakov in admiral's uniform. In his right hand he holds a scroll with the words: “Do not despair! These terrible storms will turn to the glory of Russia. On the left - a sword, a sign of the nobility, is depicted as a symbol of military prowess. His memory is celebrated on the day of his glorification - June 23/August 5, and on the day of his blessed death - October 2/15.

Recall that the recently notorious Fr. Georgy Mitrofanov opened up: “There has not been a widespread veneration of the New Martyrs among the people, they are remembered only in memorable dates. On the other hand, many proposals for canonization flock to the commission " strong personalities associated with the state": Ivan the Terrible, Rasputin, Marshal Zhukov, "secret Christian Stalin"", and the transformation of the canonized Admiral Ushakov into a "brand of the naval forces", as he "delicately" put it: http://expertmus .livejournal.com/34282.html

The fact that Russia has a Navy, and the US has a Navy, he apparently does not know :-) Well, this is so, by the way ...

Blog of the scientific team of the Andrei Rublev Museum.

Ushakov Simon Fedorovich (1626-1686)

The name of S. F. Ushakov in the history of ancient Russian icon painting is usually associated with the idea of the last period of the art of Muscovite Rus'.

Both his work and his very personality are typical of the era of fundamental changes that took place in the second half of the 17th century. The clearly marked breakdown of the medieval worldview leads to serious changes in the understanding and interpretation of the icon-painting image.

These innovations were especially clearly expressed in the activities of the masters of the Armory Chamber of the Moscow Kremlin. Emerged at the sovereign's court back in early XVII V. as a repository of weapons, already in the middle of the century it turns into a large art workshop, where the best icon painters from different cities of Rus' gather, where invited foreign masters work next to them. A huge amount of work is carried out here, from painting churches and living quarters of the Kremlin to decorating banners, carriages, and various household items.

Simon Ushakov worked in the Armory for more than twenty years. His work ethic and energy are amazing. He paints the walls of temples, paints icons and miniatures, draws maps, makes drawings for banners, coins, gun embellishments, engravings, and engraves himself. He writes a lot on orders for the churches of Moscow, Novgorod, Tver, Rostov, for the Trinity-Sergius Monastery.
Ushakov heads the icon-painting workshop and leaves many students and followers, among whom Tikhon Filatiev and Kirill Ulanov are especially famous. Following the teacher, they are trying to find new forms to create an iconic image.

Mine A New Look Ushakov formulates the tasks of icon painting in his "Word to the Curious Icon Painting", written by him no later than 1667, where he admires the properties of a mirror that can accurately reproduce the world around him, and wants to liken it to a picturesque image. Following this desire, he tries with the help of multilayer melts (small, barely noticeable strokes that give a smooth transition from one tone to another) to apply light and shade modeling in the interpretation of faces.

He often paints images of the Savior and the Mother of God, demonstrating his ability to softly model the face and neck, emphasize the roundness of the chin, and the swelling of the lips. In the icon "Our Lady of Vladimir (Tree of the Moscow State)", painted in 1668, he depicts Tsar Alexei Mikhailovich, trying to convey his portrait features.

It is known that Ushakov wrote parsunas. In the depiction of the interior or landscape on icons, he sometimes uses the principles linear perspective. As a model for the backgrounds of icons, the artist sometimes uses Western European engravings. So, in the architectural landscape of the icon "Trinity" (1671), he repeated the image from the engraving, executed according to the painting by the Italian painter of the 16th century. Paolo Veronese "Feast at Simon the Pharisee". As for the understanding of the icon-painting image as a whole, the master remains within the framework of medieval ideas. (The dual nature inherent in his art finds analogies in the work of late Greek icon painters such as Emmanuel Tzanes.)

Unlike icon painters of the past, Ushakov often signs his works, stating the date the image was painted and his name. From the surviving documents it is known that from 1648 to 1664 he worked as a denominator in the Silver Chamber, and from 1664 to 1686 - as a paid iconographer of the Armory. Information about the "family of the icon painter Simon Fedorov son of Ushakov" is contained in the manuscript synodics of the Moscow Church of the Georgian Mother of God.

Of his heritage that has come down to our days, the most famous icons are now stored in the State Tretyakov Gallery and the State Russian Museum. Among them are repetitions of famous Russian shrines: the images of Our Lady of Vladimir (1652, 1662), Our Lady of the Don, Our Lady of Kikk (both 1668), etc. His copper engravings are also known - "Fatherland", "Seven Deadly Sins"; engravings for "The Life of Barlaam and Joasaph", for the "Psalter of Simeon of Polotsk".

Biography

Ushakov probably came from townspeople and, apparently, he received a thorough training for his specialty very early, since, being only 22 years old, he was accepted into the royal "complained" (that is, who received a permanent salary) master Silver Chamber at the Armory Order. Here, his direct duties were to “famous”, that is, to make drawings for various items of church utensils and palace household items, mainly for gold, silver and enameled items, paint banners, compose patterns for needlework, draw maps, plans, etc. Diligently performing similar works, he also painted images for the court, churches and private individuals, and soon gained fame as the best icon painter in Moscow.

With the transfer of Ushakov to serve from the Silver Chamber to the Armory, in the city, the circle of his activities expanded, and his fame increased even more: he became the head of other royal masters, formed a whole school of icon painters, enjoyed the favors of Tsar Alexei Mikhailovich and his successors on the throne, he fulfilled all their assignments in the artistic part and lived in contentment and honor until his death.

Works

Simon Ushakov. Icon "Tree of the Russian State"

Quite a few icons painted by Ushakov have come down to us, but most of them have been distorted by later recordings and restorations. As the best preserved and especially curious icons, one can point to the icons: the Annunciation, in which the main image is surrounded by compositions on the themes of the Akathist to the Most Holy Theotokos (located in the Georgian Church Mother of God, in Moscow), Our Lady of Vladimir with Moscow saints (ibid), St. Theodore Stratilates (at the grave of Tsar Fyodor Alekseevich, in the Archangel Cathedral), the Savior Not Made by Hands (in the Cathedral of the Trinity-Sergius Lavra), the Descent of the Holy Spirit (ibid.) and on an icon-portrait of Tsars Mikhail Fedorovich and Alexei Mikhailovich (in the Archangel Cathedral). These works, as well as other works of Ushakov, testify that he was a highly developed person in his time, a talented artist, who perfectly mastered all the means of the then technology. In contrast to the rule adopted at that time “to paint icons according to ancient patterns,” Ushakov was not indifferent to Western art, the trend of which in general had already spread greatly in Rus' in the 17th century. Remaining on the basis of the primordial Russian-Byzantine icon painting, he painted both according to the ancient “patterns” and in the new so-called “Fryazh” style, invented new compositions, looked closely at Western models and nature, and strove to impart character and movement to the figures. Ushakov's occupation included making drawings for engravers. D. Rovinsky in his " Detailed dictionary Russian engravers” points to two etchings made by him.

Gallery

Literature

Leonov A. Simon Ushakov: Russian artist XVII century: 1626-1686 / A. Leonov. - M.; L .: Art, 1945. - 24, p. - (Mass Library). - 15,000 copies.(reg.)

Links

Simon Ushakov. Word to the inquisitive iconic writings. according to the collection "Philosophy of the Russian religious art XVI-XX centuries Anthology." Moscow: Progress, 1993.
Igor Grabar. Simon Ushakov and his school. by Grabar I. E. HISTORY OF RUSSIAN ART IN 5 volumes
Ushakov, Simon Fyodorovich in the library "Prospector"
Simon Ushakov's writing icons on the website of the University for Effective Development
G. Filimonov. "Simon Ushakov and the era of Russian icon painting contemporary to him" (Moscow, 1873)

Categories:

Personalities in alphabetical order
Born in Moscow
Deceased in Moscow
Born in 1626
Deceased in 1686
Russian icon painters
Artists of Russia of the 17th century

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See what "Ushakov, Simon Fedorovich" is in other dictionaries:

- (Pimen) (1626 1686), Russian painter. In 1648 64 he worked in the Silver and Gold Chambers, since 1644 he was a paid icon painter of the Armory, the head of its icon painting workshop. He painted icons, parsuns, miniatures, supervised the paintings in ... ... Art Encyclopedia

- (1626 1686), painter, engraver. From 1664 he directed the icon-painting workshop of the Moscow Armory. Ushakov's works (icons, parsunas, miniatures), combining the traditional techniques of Russian icon painting with volumetric black and white modeling of the form, ... ... encyclopedic Dictionary

Savior Not Made by Hands, written for the Trinity Sergius Lavra in 1658 Simon (or Pimen) Fedorovich Ushakov (1626 1686) famous Moscow icon painter. Ushakov probably came from townspeople and, apparently, very early received a thorough ... ... Wikipedia

- (1626, Moscow 1686, ibid), painter and graphic artist. In 1648 80 "complained icon painter" of the Armory; since 1664, the head of the icon-painting workshop, supervised all icon-painting works in the state. In 1648, 64 also worked as a denominator in ... ... Moscow (encyclopedia)

- ... Wikipedia

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