What is a 17th century parsuna. This mysterious parsuna

Parsuna

Bogdan Saltanov. Alexei Mikhailovich in a "big outfit" (1682, State Historical Museum)

Types

To date, parsuna can be divided into the following categories according to the personalities and painting techniques depicted on them:

• tomb portraits, tempera on the board(Skopin-Shuisky, Fedor Ivanovich, Fedor Alekseevich, etc.)
• Parsun oil on canvas:
  • depicting kings(Alexey Mikhailovich, Fedor Alekseevich, Ivan Alekseevich, etc.)
  • with the image of princes, stewards, nobles, etc.(gallery Repnin, Naryshkin, Lyutkin, etc.)
  • depicting church hierarchs(Nikon, Joachim)

"Parsunnaya" ("picturesque") icon

"Parsunny" ("picturesque") are called icons, where at least in colorful layers oil paints were used, and the technique of forming picturesque details is close to the technique of one of the "classical" European techniques.

The “parsun” (“painterly”) icons include icons of the transitional period, in which painting can be attributed to two main techniques of classical oil painting:

Literature

• Portrait in Russian painting of the XVII-first half of XIX century. Album. / Compiled by A. B. Sterligov. - M., Goznak, 1985. - 152 p., ill.
• Russian historical portrait. The era of parsuna M., 2004.
• Russian historical portrait. The Age of Parsing. Conference materials. M., 2006
• Ovchinnikova E. S. Portrait in Russian art XVII century. M., 1955.
• Mordvinova S. B. Parsuna, its traditions and origins. Diss. for the degree of Cand. art history. Moscow: Institute of Art History, 1985.
• Svyatukha O.P. Representation of autocratic power in Russian portraits of the 17th century. Thesis for the degree of candidate historical sciences; Far Eastern State university, 2001
• Grabar I., Uspensky A. "FOREI PAINTERS IN MOSCOW"// HISTORY OF RUSSIAN ART. Edited by I. E. Grabar. T.6, -M., 1913
• Komashko N.I.. Painter Bogdan Saltanov in the context artistic life Moscow second half of XVII century) // Ancient Rus'. Medieval Questions. 2003, No. 2 (12), p. 44 - 54.
• Research and restoration of the parsuna of Patriarch Nikon., M., 2006
• Bryusova VG Simon Ushakov and his time // GMMK: Materials and research. Issue. 7. Russian art culture XVII century. M., 1991:9-19
• Chernaya L. A. Russian culture of the transitional period from the Middle Ages to the New Age. - M.: Languages Slavic culture, 1999

Links

• From person to parsune. About the exhibition of parsing painting in the State Historical Museum.
• . Abstracts of the report.
• Parsuna. Illustrated Dictionary of Iconography.

Notes

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Big encyclopedic Dictionary

- (distortion of the word "persona", from lat. persona personality, person) a work of Russian portrait painting 17th century The first P. neither technique of execution, nor figurative formation actually do not differ from the works of iconography (See Iconography) (P. king ... ... Great Soviet Encyclopedia

Parsuna- (distorted. person, from lat. persona personality, person) conv. product name Russian, Ukrainian, Belarusian portrait painting con. 16th-17th centuries, which preserves elements of the formal structure of icon painting. P. were painted (sometimes from nature) by painters of the Armory of S. ... ... Russian humanitarian encyclopedic dictionary

- (distortion of the word "person"), a code name for works of Russian, Belarusian and Ukrainian portraiture of the late 16th and 17th centuries, combining the techniques of icon painting with realistic figurative interpretation. * * * PARSUNA PARSUNA (distortion of the word… … encyclopedic Dictionary

J. outdated. A work of Russian easel portrait painting of the late 16th–17th centuries. Explanatory Dictionary of Ephraim. T. F. Efremova. 2000... Modern Dictionary Russian language Efremova

Parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun, parsun (

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. It should be noted that our site provides data from different sources- encyclopedic, explanatory, derivational dictionaries. Here you can also get acquainted with examples of the use of the word you entered.

The meaning of the word parsuna

parsuna in the crossword dictionary

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

parsuna

and. obsolete A work of Russian easel portrait painting of the late 16th-17th centuries.

Encyclopedic Dictionary, 1998

parsuna

PARSUNA (distortion of the word "person") is a conventional name for the works of Russian, Belarusian and Ukrainian portrait painting of the end. 16-17 centuries, combining the techniques of icon painting with a realistic figurative interpretation.

Parsuna

(a distortion of the word “persona”, from the Latin persona ≈ personality, person), a work of Russian portrait painting of the 17th century. The first iconography does not actually differ from works of icon painting either in technique or figurative structure (the iconography of Tsar Fyodor Ivanovich, the first half of the 17th century, Historical Museum, Moscow). In the 2nd half of the 17th century. P.'s development proceeds in two directions. The first one also has more gain iconic beginning, features real character as if they are superimposed on the ideal scheme of the face of his holy patron (P. Tsar Fedor Alekseevich, 1686, Historical Museum). The second direction, not without the influence of foreigners who worked in Russia, is gradually assimilating the techniques of Western European painting, striving to convey the individual features of the model, the volume of forms, while at the same time maintaining the traditional stiffness in the interpretation of clothes (G. P. Godunov’s parsun). In the 2nd half of the 17th century. P. is sometimes written on canvas oil paints sometimes from nature. As a rule, paintings were created by the painters of the Armory (S. F. Ushakov, I. Maksimov, I. A. Bezmin, V. Poznansky, G. Odolsky, M. I. Choglokov, and others).

Lit .: Novitsky A., Parsing letter in Moscow Rus', "Old Years", 1909, July ≈ September; Ovchinnikova E. S., Portrait in Russian art of the 17th century, M., 1955.

L. V. Betin.

Wikipedia

Parsuna

Parsuna- the early "primitive" genre of portraiture in the Russian kingdom, in its pictorial means dependent on icon painting.

Originally a synonym modern concept portrait regardless of the style, image technique, place and time of writing, a distortion of the word "person", which in the 17th century was called secular portraits.

Examples of the use of the word parsuna in the literature.

On the walls, upholstered in gilded leather, hung parsers, or - in a new way - portraits of the princes Golitsyns and in a magnificent Venetian frame - an image of a double-headed eagle holding a portrait of Sophia in its paws.

Yes, not an icon, - the architect explained, - this is in a foreign parsuna called.

When lovers weary of caresses fall asleep, when old people exhausted by insomnia groan in delirium, when kings emerge from the gilded frames of their magnificent parsoon, and long-dead beauties are looking for their forever lost attractiveness, when not a single bird sings, when the horizon still does not flicker in the haze, when a sigh sweeps through space and sorrow floats over the steppes - maybe that's when I need to get off the high round pile stones in the middle of a spacious Kievskaya square bearing my name, and ride a bronze horse, merrily swinging a bronze mace, under the bronze clatter of hooves, scaring away the little one who loves to play at the foot of the monument so much?

He was parsuna, or a portrait, but it was not known how to deal with him, and many such things could not even be said in front of him.

As long as Her Majesty, - answered, - has not yet done anything worthwhile for the good of Russia, I command you, vice-governor, to write parsers with her image according to latest portraits Anna Ioannovna.

Now, when she sinned with Biren, two parsers from different corners.

Can parsers write, as if living human faces, not aging and not dying, but the spirit lives in them forever.

Rane parsuna ordered to paint with the red cavalry, and now he himself, like a lackey, is carrying her blue cavalry.

Ordered from Timofey Arkhipych parsuna to write, and hung up a portrait of the holy fool in her bedroom.

Menshikov galloped off to Novgorod to present Boris Petrovich with the royal parsuna, or a portrait studded with diamonds, and also the unprecedented rank of Field Marshal General.

I brought you a skilled painter with an order to write parsuna from some kind person.

He once wrote parsuna Vladyka Athanasius, Bishop of Kholmogory and Vazhesky.

"Parsuna": concept, features

IN XVII century When secular tendencies intensified in Russia and a keen interest in European tastes and habits became apparent, artists began to turn to Western European experience. In such a situation, when there is a search for portraiture, the appearance of a parsuna is quite natural.

“Parsuna” (distorted “person”) is translated from Latin as “person”, not “man” (homo), but a certain type - “king”, “nobleman”, “ambassador” - with an emphasis on the concept of gender. .

Parsuns - secular ceremonial portraits in the interior - were perceived as a sign of prestige. The Russian nobility needed to adapt to the new cultural trends that penetrated the traditional forms of everyday life. Parsuna was well suited for the ceremonial rituals of solemn court etiquette cultivated in the princely-boyar environment, for demonstrating high position models.

In the parsun, first of all, the belonging of the person depicted to a high rank was emphasized. Heroes appear in magnificent attire, in rich interiors. Private, individual in them is almost not revealed.

In the parsun, the main thing has always been - obedience to class norms: there is so much significance and impressiveness in the characters. The attention of artists is focused not on the face, but on the pose of the depicted, rich details, accessories, images of coats of arms, inscriptions.

The art of "parsuna" of the 17th century

Already in the 11th-13th centuries, on the walls of cathedrals, images of historical figures appeared - temple builders: Prince Yaroslav the Wise with his family, Prince Yaroslav Vsevolodovich, offering a model of the temple to Christ. Starting from the middle of the 16th century, icons appeared with still very conditional images of living members of the royal family.

Portrait images in the icon of the second half of the 17th century were at the crossroads of the ascent of man to the divine, and the descent of the divine to the human. The icon painters of the Armory, relying on their own aesthetic canons, created new type the face of the Savior Not Made by Hands, distinguished by the certainty of a human appearance. The image of the "Savior Not Made by Hands" of the 1670s by Simon Ushakov can be considered the program of this direction.

As court painters, the icon painters could not imagine the appearance of the "King of Heaven", bypassing the familiar features of the "King of the Earth". Many of the masters of this direction known to us (Simon Ushakov, Karp Zolotarev, Ivan Refusitsky) were portrait painters of the royal court, which they themselves proudly told in their treatises and petitions.

Creation royal portraits, and then portraits of representatives of the church hierarchy and court circles became a fundamentally new step in the culture of Rus'. In 1672, the "Titulary" was created, which brought together whole line portrait miniatures. These are images of Russian tsars, patriarchs, as well as foreign representatives the supreme nobility, the dead and the living (they were painted from life).

The Russian audience had the opportunity to see for the first time the famous portrait of Ivan the Terrible brought to Russia, which ended up in Denmark at the end of the 17th century.

In collection State Museum fine arts(Copenhagen) a series of four portraits of riders is kept. The series, representing two Russian tsars - Mikhail Fedorovich and Alexei Mikhailovich - and two legendary eastern rulers, came to Denmark no later than 1696; the portraits originally belonged to the royal Kunstkamera, a collection of rarities and curiosities. Two of them - Mikhail Fedorovich and Alexei Mikhailovich - are presented at the exhibition.

A picturesque portrait of the last third of the 17th century - 1700s is the main section of the exhibition. The picturesque parsuna is at the same time the heir to the spiritual and pictorial tradition of the Russian Middle Ages and the ancestor of secular portraiture, a phenomenon of modern times.

Textbook monuments are noteworthy, such as the image of Alexei Mikhailovich “in a big outfit” (late 1670 - early 1680s, State Historical Museum), L.K. Naryshkin (late 17th century, State Historical Museum), V.F. Lyutkin (1697, State Historical Museum) and others.

Of particular interest is the recently discovered, comprehensively researched and restored portrait of Patriarch Joachim Karp Zolotarev (1678, Tobolsk Historical and Architectural Museum-Reserve). He is on this moment the earliest signed and dated work among parsunas, mostly anonymous.

Although parsunas are a fundamentally unique material, there are special rarities in their circle. One of them is a taffeta portrait of Patriarch Nikon (1682, State Historical Museum). The portrait is an applique made of silk fabrics and paper, and only the face and hands are painted.

portraits foreign artists who worked at the royal court during the introduction of Rus' to the values artistic culture New time, were of exceptional importance for Russian masters as samples that they sought to imitate.

This group of pictorial portraits has its own rarity - famous portrait Patriarch Nikon with the clergy, written in the early 1660s (State Historical, Architectural and Art Museum"New Jerusalem"). This is the earliest pictorial portrait of the 17th century known to us, created on Russian soil, the only surviving lifetime portrait Patriarch Nikon and the only group portrait of that era that has come down to us. group portrait Patriarch Nikon with the clergy - a whole visual encyclopedia of the patriarchal and church and monastic life of that time.

Of great interest is the exhibited complex of monuments, united by the name of the Preobrazhenskaya series. It includes a group portrait images ordered by Peter I for his new Transfiguration Palace. The creation of the series is attributed to the years 1692-1700, and the authorship is attributed to unknown Russian masters of the Armory. The characters of the main core of the series are participants in the “Most Drunk and Extravagant Cathedral of the Most Joking Prince-Papa”, a satirical institution created by Peter I. The members of the “cathedral” consisted of people of noble families from the tsar’s inner circle. Compared to a pure parsuna, the portraits of the series are distinguished by greater emotional and mimic looseness, picturesqueness and a different spiritual charge. One can see in them a connection with the grotesque stream in Western European baroque painting of the 17th century. It is no coincidence that researchers no longer call this group the parsuna, but only talk about the traditions of the parsuna at the end of the 17th century.

A strange duality is inherent in the large parsuna "Portrait of Tsar Fyodor Alekseevich" (1686, State Historical Museum), made in the tradition of icon painting. The face of the young king is written in three dimensions, while the robes and cartouches are flat. The divine power of the king is emphasized by a halo around the head, the image of the Savior Not Made by Hands at the top. There is a special charm in timid, inept parsers, in whom we see the sign of the times.

Parsuna- - (from the Latin persona - personality, person) the conventional name for works of Russian portraiture of the 17th century. The first parsunas depicting real historical figures, neither by the technique of execution, nor figurative system in fact, they did not differ from the works of icon painting (Portrait of Tsar Fyodor Ivanovich, 1st half of the 17th century). In the 2nd half of the 17th century, the development of the parsuna went in 2 directions - an even greater strengthening of the icon-painting beginning (the features of a real character seemed to dissolve into ideal scheme image of his patron saint) and not without the influence of foreign artists working in Russia, Ukraine, Lithuania, gradually mastered the techniques of Western European painting, sought to convey the individual features of the model, the volume of forms. In the second half of the 17th century, parsunas were sometimes painted on canvas with oil paints, sometimes from nature. As a rule, parsunas were created by painters of the Armory - S. F. Ushakov, I. Maksimov, I. A. Bezmin, G. Odolsky, M. I. Choglokov and others. The term parsuna applies to similar phenomena in the painting of Ukraine and Belarus (Portrait Konstantin Ostrogsky, 1st half of the 17th century).

Parsuna

- (from the Latin persona - personality, person) the conventional name for works of Russian portraiture of the 17th century. The first parsuns, depicting real historical figures, did not actually differ from the works of icon painting either in the technique of execution or in the figurative system (Portrait of Tsar Fyodor Ivanovich, 1st half of the 17th century). In the 2nd half of the 17th century, the development of the parsuna went in 2 directions - an even greater strengthening of the icon-painting beginning (the features of a real character seemed to dissolve in the ideal scheme of the face of his holy patron) and, not without the influence of foreign artists working in Russia, Ukraine, Lithuania, gradually assimilated techniques of Western European painting, sought to convey the individual characteristics of the model, the volume of forms. In the second half of the 17th century, parsunas were sometimes painted on canvas with oil paints, sometimes from nature. As a rule, parsunas were created by painters of the Armory - S. F. Ushakov, I. Maksimov, I. A. Bezmin, G. Odolsky, M. I. Choglokov and others. The term parsuna applies to similar phenomena in the painting of Ukraine and Belarus (Portrait Konstantin Ostrogsky, 1st half of the 17th century).

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Parsun of Prince Ivan Borisovich Repnin, 17th century.

"... In ancient Russian painting, the portrait occupied a very modest place. The image of the righteous alone was recognized as a worthy task of art. For a long time the portrait remained the privilege of noble people. The clergy treated him especially disapprovingly. Meanwhile, interest in the appearance prominent people makes itself felt as early as the beginning of the 16th century ...
The surviving portraits of Ivan | V (Copenhagen, museum), Tsar Fedor and Skopin-Shuisky ( Tretyakov Gallery) are iconographic in nature both in the nature of the images and in the technique of execution. Is it only in trusting open eyes Fedor and in the mournful expression of his face you can see the features of his personality ... "

Tsar Fedor Ioannovich. Parsuna 17th century State. Russian Museum.

Ivan |V the Terrible. Parsuna early 17th century National Museum Denmark

Prince M.V. Skopin-Shuisky. Parsuna, early 17th century.

"... The task of a portrait in Rus' was to give the image of a person that majesty and solemnity that were characteristic of icon-painting images ..."

Parsuna Patriarch Nikon with the brethren of the Resurrection Monastery. Second half of the 17th century.

"... In the portrait of Nikon, those close to him who crowded around him fall on their knees in front of him, worship him as a deity. The proximity to the icon-painting tradition explains both the flat nature of the composition and the great role of the richly painted pattern of the carpet and clothes. In this parsun, it is correctly conveyed appearance Russian people of the 17th century, whom Surikov so penetratingly presented much later in his historical canvases ... "

Parsuna of Tsar Ivan IV the Terrible.

Parsuna Tsar Alexei Mikhailovich

"... In their first experiments in the field of portraiture, Russian masters usually depicted people constrained and flattened. But these features are not pictorial performance constitute the very essence of the Russian parsuna of the 17th century. The main thing in it is the search for characteristic, typical features, sometimes directly to the detriment of the individual.
All citations: M.V. Alpatov, General history of arts vol. 3 - Art, M., 1955, pp. 306,307