Early primitive portrait genre in the Russian kingdom. The meaning of the word parsuna

Mankind tried to capture the world, their thoughts and feelings. It took a long time before cave drawings turned into complete pictures. In the Middle Ages, portraiture was expressed mainly in the image of the faces of saints - icon painting. And only from the end of the 16th century did artists begin to create portraits. real people: political, public and cultural figures. This type of art is called "parsuna" (photos of works are presented below). This type portrait painting has become widespread in Russian, Belarusian and Ukrainian culture.

Parsuna - what is it?

It got its name from the distorted Latin word persona - "personality". That's what they called it at the time. portrait images in Europe. Parsuna is a generalized name for the works of Russian, Ukrainian and Belarusian portraiture of the late 16th and 17th centuries, which combines iconography with a more realistic interpretation. This is an early and somewhat primitive genre of portraiture, common in the Russian kingdom. Parsuna is the original synonym for more modern concept"portrait", regardless of the technique, style and time of writing.

The emergence of the term

In 1851, the Antiquities Russian state” containing many illustrations. The fourth section of the book was compiled by Snegirev I.M., who for the first time tried to summarize all the existing materials on the history of the Russian portrait. It is believed that it was this author who first mentioned what a parsuna is. However, how scientific term this word became widespread only in the second half of the 20th century after the publication of S. “Portrait in Russian art XVII century." It was she who emphasized that the parsuna is an early easel portrait painting of the late 16th and 17th centuries.

Characteristic features of the genre

Parsuna arose in Russian history when the medieval worldview began to undergo transformations, which led to the emergence of new artistic ideals. It is believed that the work in this artistic direction were created by the painters of the Armory - S. F. Ushakov, G. Odolsky, I. A. Bezmin, I. Maksimov, M. I. Choglokov and others. However, these works of art, as a rule, were not signed by their creators, so it is not possible to confirm the authorship of certain works. The date of writing such a portrait was also not indicated anywhere, which makes it difficult to establish the chronological sequence of creation.

Parsuna is a painting that arose under the influence of the Western European school. The manner and style of writing are conveyed in bright and rather colorful colors, but icon painting traditions are still observed. In general, parsunas are heterogeneous both in material and technological terms and in stylistic terms. However, they are increasingly being used to create an image on canvas. Portrait resemblance is transmitted very conditionally; some attributes or a signature are often used, thanks to which it is possible to determine who exactly is depicted.

As noted by Lev Lifshits, Doctor of Arts, the authors of the parsuns did not try to accurately convey the facial features or state of mind of the person being portrayed, they sought to observe the clear canons of the stencil presentation of the figure that would correspond to the rank or rank of the model - ambassador, governor, prince, boyar. To better understand what a parsuna is, just look at the portraits of that time.

Types

In order to somehow streamline the examples of portraiture of that era, modern art historians have identified the following categories of parsuns, based on personalities and painting techniques:

Tempera on the board, tomb portraits Ivanovich, Alexei Mikhailovich);

Images of high-ranking persons: princes, nobles, stewards (Lyutkin, Repnin Gallery, Naryshkin);

Images of church hierarchs (Joachim, Nikon);

- "parsunny" icon.

"Picturesque" ("parsun") icon

This type includes images of saints, for which the artist used oil paints (at least in colorful layers). The technique of execution of such icons is as close as possible to classical European. Parsun icons belong to the transitional period of painting. There are two main techniques of classical oil painting used to depict the faces of saints at that time:

Drawing on canvas using dark ground;

Work on a wooden base using light primer.

It is worth noting that the parsuna is a far from fully studied genre of Russian portrait painting. And culturologists have to make many more interesting discoveries in this area.

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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 P. neither technique of execution, nor figurative formation in fact, they do not differ from the works of icon painting (P. Tsar Fedor Ivanovich, 1st 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 for the 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.

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

from lat. persona - personality, face), a transitional form of portrait between an icon and a secular work, which arose in Russian art in the Middle Ages (17th century). The first parsunas were created using the icon painting technique. One of the earliest is the tomb portrait of Prince M. V. Skopin-Shuisky (first third of the 17th century), which was placed on the prince's sarcophagus in the Archangel Cathedral of the Moscow Kremlin. Most of the parsoons 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), as well as Western European masters who worked in Russia. Parsuna was, according to Ushakov, “the life of memory, the memory of those who once lived, evidence of past times, the preaching of virtue, the expression of power, the revival of the dead, praise and glory, immortality, the excitement of the living to imitate, a reminder of past exploits” .

In the second floor. 17th century parsuna is flourishing, which was associated with an increasingly active penetration of elements into Russia Western European culture and heightened interest in specific human personality. Con. 17th century - the time of the greatest distribution of the boyar-princely portrait. The impressiveness of the images, the decorativeness of the pictorial language of the parsuna corresponded to the magnificent character of the court culture of this time. The portraits of the stolniks G. P. Godunov (1686) and V. F. Lyutkin (1697) were painted “from life” (from life). The stiffness of postures, the flatness of color, the decorative patterns of clothes in the parsonic images of this time are sometimes combined with sharp psychologism (“Prince A. B. Repnin”).

In the era of Peter's reforms, the parsuna loses its dominant meaning. However, being pushed back from the forefront, it continues to exist in Russian art for another century, gradually receding into provincial layers. artistic culture. Echoes of the traditions of the parsuna continued to be felt in the work of major Russian portrait painters of the 18th century. (I. N. Nikitina, I. Ya. Vishnyakova, A. P. Antropova).

Parsuna as an artistic phenomenon existed not only in Russian culture, but also in Ukraine, Poland, Bulgaria, and the countries of the Middle East, having its own characteristics in each region.

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 face of his patron saint) and not without the influence of those who worked in Russia foreign artists, 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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