Icon painted by Simon Ushakov in 1676. School Encyclopedia

Simon (Pimen) Fedorovich Ushakov - talented artist and graphic artist, the last great icon painter of pre-Petrine Rus', who firmly connected the Old Russian artistic tradition with a new realistic direction. The biography of the artist has many gaps, which were partly restored by the author's inscriptions on the icons. He was born in Moscow in 1626, most likely in a family of townspeople. At a young age, he perfectly mastered the complex craft of “sign” (drawing) and in 1648 entered the royal service in the Silver Order at the Armory. He painted icons and miniatures, made drawings for banners, coins and weapon decorations, drew maps, plans, updated ancient painting in temples, observed various artwork and soon began to be referred to only as "gold and silver denominator and icon painter." diligently performing similar works, he won great prestige at the court of Alexei Mikhailovich, who was elevated to the rank of nobility for outstanding services. In 1657, he was instructed to renovate the murals of one of the rooms of the Kremlin Palace, and since then not a single one large order in Moscow is not complete without Ushakov. In the mid-60s, he reached the pinnacle of fame and became known as the best Moscow icon painter. In 1664, by special decree, he was transferred to the Armory, where he organized his own school of icon painters and became a "paid royal painter", and in fact - the main expert not only in the field of painting, but also on all issues related to art. Frescoes in the Archangel and Assumption Cathedrals (1660), as well as in the Tsarskaya (1657) and Faceted (1668) chambers of the Kremlin, icons for the Trinity Church in Nikitniki (1656-1657) are attributed to his authorship. Early work Simon Ushakov did not reach us. The first icon that unquestionably belonged to him is the Our Lady of Vladimir (1652), the author's copy of the famous icon, once delivered to Rus' from Byzantium. Currently, more than 50 icons of the master are reliably known, although many of them are distorted by later recordings and restorations. Among the relatively well-preserved signed works by Ushakov are Trinity (1671, Russian Museum), images of the Savior Not Made by Hands (1658, 1673, 1677 and 1678, Russian Museum and Tretyakov Gallery), Assumption (1663), Our Lady of Vladimir (Tree State of Moscow”, 1668), two images of St. Sergius of Radonezh (1669-1670), “Annunciation” (1673). The last five are in Tretyakov Gallery. In his work, the master actively uses the techniques of the "Fryazh" (Western) style, looking for new forms, imparting character and movement to the figures. With the help of multi-layered "floats", the smallest strokes that provide a soft transition from one tone to another, he achieves that the faces on the images acquire light and shadow modeling and the eyes already seem "alive". Its interiors and landscapes include elements linear perspective. Sometimes individual fragments or even the entire composition (The Seven Deadly Sins, 1665) are borrowed from Western engravings. Ushakov formulates his own view on the tasks of icon painting in the theoretical essay “A Word to the Curious Icon Painting” (c. 1666), in which he defends the principles of artistic verisimilitude, comparing painting with a mirror, and speaks of the artist’s personal responsibility for his work.

Simon Fedorovich Ushakov died in Moscow on July 25, 1686. This remarkable artist, famous during his lifetime as an icon painter, who was often called the Russian Raphael, had a noticeable influence on Russian church art, anticipating its new course in the era of Peter the Great's reforms, and completed a number of our great icon painters : Theophan the Greek - Andrei Rublev - Dionysius - Simon Ushakov.

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, according to Dionysius, many of us give lectures, and you will take care of better Simon Ushakov ... ”With some disappointment, she began to watch, study, read. And gradually got carried away with this time. I discovered beauty art XVII century. 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.

Ushakov Simon (Pimen) Fedorovich (1626-1686).

With the name of S. F. Ushakov in the history of ancient Russian icon painting it is customary to associate the idea of last period 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. 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 the icons, he sometimes uses the principles of 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.)

1660s - Creation of a series of copperplate engravings on theological themes.

1666 - Takes part in the painting of the Archangel Cathedral of the Moscow Kremlin.

1668 - Icon of the Mother of God of Vladimir "Planting the tree of the Russian state". Work in the royal icon-painting workshops in the Moscow Kremlin.

The icon "Planting the Tree of the Russian State" was painted in 1668 during the reign of Tsar Alexei Mikhailovich. The idea of ​​the image is the approval of the succession of rulers on the Russian throne from Ivan Kalita and Metropolitan Peter.

In the center of the icon is the image of the Mother of God of Vladimir - the shrine of the Russian princes. The icon is entwined with a vine, in the branches of which Ushakov placed images of Russian saints who helped with prayer and personal participation in the peaceful unification of Russian lands.

This was perhaps the first experience in Rus' of depicting ordinary laity on the icon - the king and his family, although in Europe there was already a tradition of portraits of customers in church painting.

In his works, Ushakov sought to convey the volume of objects, he painted faces "puffy and rounded", "as it happens in life." This new style of writing for those times caused criticism of contemporaries, especially the Old Believers, led by Archpriest Avvakum.

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: images of Our Lady of Vladimir (1652, 1662), Our Lady of the Don, Our Lady of Kikk (both 1668), etc.

Also known are his engravings on copper - "Fatherland", "Seven Deadly Sins"; engravings for "The Life of Barlaam and Joasaph", for the "Psalter of Simeon of Polotsk".

Handwritten icon by Fyodor Ushakov.

Against the golden background of the icon is a half-length figure of the righteous Theodore Admiral (Fedor Feodorovich Ushakov), a naval commander, one of the creators of the Black Sea Fleet.

The gaze of the saint is fixed on the viewer. Theodore is dressed in the admiral's uniform of her era, with awards he deserved in numerous battles. In his right hand, the saint holds an open list, proclaiming: “Do not despair! These terrible storms will turn to the glory of Russia.” In the left hand is an officer's saber, as a symbol of the noble profession of the defender of the fatherland. The weapon with which the righteous warrior fought the enemies of his Motherland.

Correct, harmonious facial features personify the spiritual beauty of a celestial. The facial expression is strict, without excessive sensuality and emotionality, shows detachment from the world, concentration in serving the Lord. The face is written in delicate ocher melts. The pinkish tones of the blush and lips contrast with the olive color of the sankir, which gives the face additional volume and expressiveness, softness and warmth.

Straight and wide folds of clothing set a certain rhythm and movement for the icon, expressing the completeness of the orderliness of spiritual forces. In their strict geometric construction, the elasticity of spiritual energy is manifested. All elements of the icon are painted with thin, transparent melts, which give depth, softness, unearthly airiness to the image of the righteous Theodore Admiral.

The subtle pattern of engraving on gesso gives the icon a solemn, refined look.

The icon of Fyodor Ushakov is made in the canonical style, in compliance with the age-old traditions of icon painting. When writing the icon, a pure and natural natural palette of colors was used: minerals, semi-precious stones, ocher, earth manually rubbed with a chime and mixed with yolk. rich color palette natural pigments, made it possible to achieve moderate saturation and softness of colors characteristic of the Moscow School of Writing.

Righteous Theodore Admiral, life

“All the batteries that are captured will raise flags on them, which will mean our victory. Without wasting time, try to master the entire island. As soon as a prosperous wind sets in, I will immediately weigh anchors and with the whole fleet I will hasten to execute, as indicated.
In 1659, across the Moksha River, not far from ancient city Temnikov, the Sanaksar Monastery was founded. In our century, this monastery has become a place of glorification in the face of the saints of the righteous warrior - Admiral of the Russian Navy - Fyodor Ushakov. Thousands of kilometers separate the Sanaksar monastery from the shores of the Black Sea, where the Russian naval commander Fyodor Ushakov served. Why exactly here, in Sanaksary, after leaving his military career, did the illustrious admiral retire?

The Ushakovs are not rich, but an ancient noble family. Fyodor Ushakov spent his childhood in a family estate in the village of Burnakovo, Romanovsky Uyezd, Yaroslavl Province, in a family of pious and deeply religious parents. The uncle of the future naval commander Ushakov, Ivan Ignatievich, who was 27 years older than his nephew, had an unusually great influence on the young man.

According to the custom of that time, the children of well-born nobles were assigned to the guards. In his youth, Ivan Ushakov served in the Life Guards in the Preobrazhensky Regiment, but at the age of 30 he left military service. In the Alexander Nevsky Lavra he took tonsure and was named as a monk Fyodor. When the nephew was enrolled in the marine cadet corps, in St. Petersburg, Father Fyodor restored the monastery in Sanaksar in the Tambov Province.

An invisible connection, spiritual, prayerful with this monastery, accompanied the admiral throughout his life. Kept in dangerous campaigns, supported in seemingly hopeless circumstances. Two Fyodors - a monk and a sailor, were soldiers of Christ, both did the same thing. Uncle Ushakov restored the monastery, was a firm and strict abbot, served God and prayed for the fatherland.

Admiral Fyodor Ushakov performed glorious deeds for the glory of Russia. The prayerful communion of his uncle, Rev. Theodore of Sanaksarsky, and Admiral Ushakov was never interrupted. A man of a righteous life, Ushakov also served God in the military field. And evidence of this - brilliant victories Russian Fleet. Historians shrug their hands - "This does not happen!" The fact is really unprecedented in all military history. During his military service, the admiral did not lose a single battle. Another amazing example from the life of a naval commander - sometimes, money for the maintenance of the Black Sea Fleet was not delivered on time, in such cases Ushakov gave out several thousand from his own money to the office of the Sevastopol port, so as not to stop the work.

He extremely valued the state interest, arguing that in his own money he should be generous, and in state money he should be stingy. And he proved it in practice.
After retiring in 1810, Fyodor Ushakov went to live in the village of Alekseevka, Temnikovsky District, near the Sanaksar Monastery.

ABOUT recent years life of the admiral, the testimony of an eyewitness - the rector of the monastery, hieromonk Nathanael, has been preserved. He wrote that Ushakov reverently stood up for long services in the monastery. He also had his own cell. The admiral donated significant sums to the monastery, set up an almshouse in Temnikovo. Prayer was always in his heart. During Patriotic War 1812, he consoled:

"Do not despair! These terrible storms will turn to the glory of Russia. Faith, love for the fatherland, and loyalty to the throne, will triumph.”

Fyodor Ushakov was buried, at his request, near his uncle, the founder of the monastery, Hieromonk Fyodor Sanaksarsky.

The Orthodox Church twice celebrates the days of the memory of Fedor Ushkov: on October 15, on the day of his death, and on August 5, when the warrior was canonized. On these days, a festive liturgy is performed, and everyone can honor the memory of the great warrior and saint of God.

The meaning of the icon of Fedor Ushakov

Fedor Fedorovich Ushakov, a great admiral and a simple righteous warrior, glorified by the church, gives us the deepest and instructive, for our time a very important example that no deed, in any field, state-political or military, can be done without the blessing of God, without turning to God in prayer, but it is even more important that our prayers, our requests to God be created and based on the purity of our inner life otherwise they may all be in vain. We must live holy, to which the Gospel calls us.

What helps the icon of Fedor Ushakov

The patron saint of sailors and all defenders of the fatherland, Fedor Feodorovich Ushakov is an example of fiery service to God and the Russian people. His spiritual strength, pure faith, helped him cope with many difficulties and deadly dangers. The holy image of Admiral Fyodor Ushakov teaches us unshakable faith, calls us to do deeds of faith and love, to trust in God's help and His boundless mercy.

Before the icon of Fyodor Ushakov they pray:

On Strengthening Faith
- About the health of officers and soldiers who protect our peaceful existence. Mothers pray for their sons serving in the armed forces, for their safe return home. About giving them courage and patience in their difficult service. About valor and selflessness on the battlefields.
- About sailors.
- About victory over enemies.
- About protecting the weak, the innocent, the oppressed.
- About relief in bodily and spiritual infirmities.
Saint Theodore will hear our sincere prayer and, being before the throne of God, will bring our petitions to Him and we will receive what is good for our souls.

Buy an icon of Fyodor Ushakov

In the icon-painting workshop of Radonezh you can buy or order a hand-written icon of the righteous Fyodor Ushakov. and we will help you choose the plot, the compositional solution of the icon, its optimal size and design, or we will paint the icon according to your sample.
Free delivery across Moscow. If desired, the icon can be consecrated at the Holy Trinity Sergius Lavra.

The image of Fyodor Ushakov, made by the icon painters of the Radonezh workshop, like any handmade icon, carries the living warmth of human hands and a loving heart. Each icon painted with love is unique and unrepeatable.

Peace and goodness to you Dear brothers and sisters, and may the righteous Theodore Ushakov accompany you throughout your life journey.