IN Orthodox church An iconostasis is an altar partition with several rows of icons that separates the altar from the rest of the church. According to the Orthodox calendar, the iconostasis consists of icons arranged in tiers. The number of tiers varies from three to five. A classic iconostasis is considered to be a five-tiered iconostasis, in which the plots of the icons and their order have a certain meaning.
The iconostasis can be read both from top to bottom and from bottom to top, but, as the clergy say, it is better to perceive it as a single image. “The iconostasis is perceived as a whole. It is very symbolic because it tells the whole story. The meaning of each row in the iconostasis is determined by the canon, and its content and content depends on the specific church. The entire content of the iconostasis serves as a reminder of the formation of the church, covering all times, and including all the symbolic meanings of individual icons, ”said AiF.ru Archpriest, rector of the Church of St. Alexander Nevsky at MGIMO Igor Fomin (father Igor).
The five rows of icons bear the following names: top row- forefathers, below - prophetic, festive, deesis and the lowest row - local, where the Royal Doors, altar doors, temple and locally venerated icons are located. From the middle of the 16th century, as stated in the Orthodox Encyclopedia, the North and South Gates were obligatory, but, as a rule, they were arranged only in large churches.
The lowest row of icons in the iconostasis describes the earthly life and exploits of the saints, the earthly path of Christ, his sacrifice and the Last Judgment are depicted above, and the prophets and forefathers who meet the righteous are depicted at the top.
What do the rows of the iconostasis symbolize?
local row
The lowest row in the iconostasis is local. Locally venerated icons are usually located here, the composition of which depends on the traditions of each temple. However, some of the icons of the local row are fixed by a common tradition and are found in any temple. In the center of the local rank are the Royal Doors, which symbolize the doors of paradise, a symbol of the entrance to the Kingdom of God. To the right of the Royal Doors is the icon of the Savior, to the left - the icon of the Mother of God, occasionally they are replaced with icons of the Lord's and Mother of God holidays. To the right of the icon of the Savior is usually a temple icon, that is, the icon of that holiday or saint in whose honor this temple is consecrated.
Above the Royal Doors is the icon of the Last Supper and the icons of the Annunciation of the Most Holy Theotokos and the four Evangelists.
Deesis (deisis)
The local number is followed by a deisis (translated from Greek - “prayer”, in Russian the word was fixed in the form “deesis”). Here in the center is the icon of the Savior. The Mother of God and John the Baptist are depicted to the right and left of Him. They are followed by archangels, saints, apostles, martyrs, reverends, that is, the entire host of saints, represented by all the ranks of holiness. The meaning of this series is the prayer of the Church for the world. All the saints on the icons of this row are turned three-quarters of a turn towards Christ and are shown praying to the Savior.
“In the temples there is no strict arrangement of the deesis. As a rule, it is located above the Royal Doors. The iconography of the deesis is diverse and differs in the composition of the saints and the number of figures. The minimum number of icons in the central row of the iconostasis is three - these are the Savior, the Mother of God and St. John the Baptist. In this row there can also be icons of saints, apostles, prophets, saints, saints, martyrs. In their order, they are located either on the right or on the left. So the deesis does not have a strict order. He can be both the second and the third,” Father Igor says.
Festive row
Festive describes the events of the earthly life of the Savior. In this row are icons of the twelve feasts (12 main church holidays - the Nativity of the Virgin, the Entry into the Temple of the Blessed Virgin, the Exaltation of the Cross, the Nativity of Christ, Baptism (Theophany), the Annunciation, the Presentation of the Lord, the Entry of the Lord into Jerusalem, Ascension, Pentecost, the Transfiguration of the Lord, Dormition of the Mother of God).
P prophetic series
The prophetic row of the iconostasis represents the Old Testament church from Moses to Christ. It consists of images of prophets with unfolded scrolls in their hands. Initially, images of David and Solomon were placed in the center of the row, later - the Mother of God with the Child.
Forefather row
The top row is called the forefather. This row is located above the prophetic and is a gallery of the Old Testament forefathers with the corresponding texts on the scrolls. In the center of this row is usually placed the image of the Holy Trinity in the form of three Angels - the appearance of God to Abraham as an Old Testament indication of the Trinity of God and a reminder of the Pre-eternal Council Holy Trinity about the salvation of man and the world.
The iconostasis ends with a cross or an icon of the Crucifixion (also in the form of a cross). Sometimes icons of the Mother of God, John the Theologian, and sometimes even myrrh-bearing women are placed on the sides of the cross. The cross (Golgotha) above the prophetic row is a symbol of the redemption of mankind.
09:10 2012
Construction of an Orthodox church (II). Iconostasis
Iconostasis is one of the most important and obligatory elements of an Orthodox church. The iconostasis is a partition separating the altar from the middle part of the temple, called the nave, and certainly lined with icons. Actually, the last characteristic gave the name "iconostasis", meaning "the standing of images, or icons" (from the Greek eikonostasis: icon - image, image + stasis - standing place).
The iconostasis was not the invention of any responsible person or creative figure, nor was it the result of the willful effort of a ruler or church pastor. The iconostasis has become the bearer of the religious experience of many generations different peoples, their search for the optimal arrangement of a cult building for the realization of the main goal of religion - the restoration of communication with the Creator, interrupted by the fall of the first people, the restoration of communion with God. And therefore, no definition of the iconostasis, including the one proposed by us, can include the fullness of the meaning and functions of the iconostasis. They are inseparable from the history of the Orthodox church, dating back to the events of the Old Testament, church practice (worship, the sacraments of the church), from church art (the meaning and purpose of the icon, its iconography and other features).
The iconostasis was based three ideas, born at different times of human religious history, the interaction of which gave us what we see today in Orthodox churches and call the iconostasis.
Feofan Grek, Andrey Rublev, Prokhor from Gorodets and others
Iconostasis of the Annunciation Cathedral of the Moscow Kremlin. XV-XVII centuries
Row chart:
A. Local row;
B. Pyadnichny row;
B. Deesis rite. Around 1405;
G. Festive row. Around 1405;
D. Prophetic series;
E. Forefather row
Icon layout: 1. Sabaoth; 2. Our Lady on the throne; 3. Annunciation; 4. Christmas; 5. Candlemas; 6. Midlife; 7. Baptism; 8. Transfiguration; 9. Resurrection of Lazarus; 10. Entrance to Jerusalem; 11. The Last Supper; 12. Crucifixion; 13. Position in the coffin; 14. Descent into hell; 15. Ascension; 16. Descent of the Holy Spirit; 17. Dormition; 18. Basil the Great; 19. Apostle Peter; 20. Archangel Michael; 21. Mother of God; 22. Christ Almighty;. 23. John the Baptist;. 24. Archangel Gabriel; 25. Apostle Paul; 26. John Chrysostom; 27. Nikola, with marks of miracles; 28. Our Lady of Tikhvin, with hallmarks of miracles; 29. Archangel Uriel.
north altar door; 30. Savior with the coming Mother of God and John the Baptist, with the saints in the fields; 31. Frame from the icon "Our Lady of the Don" with the image of righteous wives; 32. pass on the throne; 33. Annunciation of the Mother of God, with the hallmarks of the Akathist. Temple icon; 34. John the Baptist, the Apostle Peter and Alexei Man of God; 35. Archangel Raphael.
South chancel door; 36. Savior with crouching saints Sergius of Radonezh and Varlaam Khutynsky, with hallmarks of parables; 37. "Four-part" icon. 38–39. Ancestral row of icons; 40–41. Prophetic row of icons; 42–43. A number of minae tablets; 44. Nikola Mozhaisky; 45. Saved the belt; 46. Resurrection of Lazarus.
First, the oldest of the fundamental ideas of the iconostasis is associated with the idea of a sacred place, isolated from the usual vain world and accessible only to the initiated. Such premises existed in sacred buildings even in the pre-Christian period in all cultures, among different peoples.
New Testament Temple preserves the traditions of building the Old Testament tabernacle of meeting and revelation, transforming it in the light of the completed redemption of mankind by the Savior of the world and the opening of the Kingdom of Heaven. The image of the tabernacle, received at Sinai by the prophet Moses, was the embodiment of the idea of separating a sacred place for the presence of God and human communication with him. Tabernacle(disassembled portable temple) had three main parts: 1) Holy of Holies; 2) Sanctuary; 3) court of the tabernacle. The most sacred part of the tabernacle - Holy of Holies- symbolized the Heavenly Kingdom of God, therefore, no one entered the Holy of Holies of the Old Testament temple, except high priest who was only allowed to enter once a year. Here was kept Ark of the Covenant. The Holy of Holies was closed with a “blind” veil, separating the Kingdom of God from the rest of the world, even from the Sanctuary, in which fragrant resin, incense, was burned every morning and evening on the altar of incense to God. The image and structure of the tabernacle were transferred to a stationary Old Testament temple built in Jerusalem by King David's son Solomon.
Four-row iconostasis of the Transfiguration Church of the Kizhi Pogost. Reconstruction
In an Orthodox church Holy of Holies corresponds altar. Before the coming of Christ and the redemption of human sins, no one could enter the Kingdom of Heaven, even the righteous, and therefore the Holy of Holies was closed. With Christianity enters the world new idea, the idea of the New Testament is redemption and the opening of the Kingdom of Heaven to all people through the atoning sacrifice of Christ. So this idea enters into the traditional cult construction of the Old Testament - the openness of the Kingdom of Heaven, which begins already here, on earth, within us.
One of the most important religious and philosophical thoughts is now available to everyone in the image: the Kingdom of God exists, but it was in Old Testament closed, representing the greatest mystery of God - the mystery of the divine word and sacrificial love, creating and preserving the world. Only the prophets spoke about it.
According to Holy Scripture, during the atonement, after the words of the Savior, giving up the spirit: “It is finished”, the sun darkened, an earthquake occurred and the veil in the Jerusalem temple was torn in two. The kingdom of heaven opened, through the sacrificial love of the Savior entered the world. And a person, through faith in Christ, opens the Holy of Holies - his heart - first of all for himself and for the world. In a Christian, as in a temple, there is the Kingdom of Heaven, God dwells, communicates with man and through man with the world. Comparing the purpose of the parts of the Old Testament and New Testament churches, we see how the words of the Gospel were symbolically embodied: "The Kingdom of Heaven has come near."
Three-row iconostasis
Double row iconostasis
New idea the openness of the former sacral being was to be reflected in the dispensation of the temple, in the relationship between the altar and the nave (of the former Holy of Holies and the Sanctuary). Interaction begins two ideas - openness and secrecy.
The task for the Christian world is not an easy one. The mystery of Divine Creation and salvation has been revealed and at the same time remains a mystery. It opens up for believers in Christ in their religious experience, gradually, through the sacraments of the church, the realization of sins, repentance, testing their love for God and people, and this opening is limitless and uneven for people, the knowledge of God is infinite and depends on the person himself and the providence of God. . And can the sacrament of the Eucharist — the mystery of God's sacrifice, constantly offered for the world — be performed in front of all people, among whom there may be unbelievers, and only those who are just beginning their journey in Christ? But the main thing - where is the measure that can be applied to people who come to the temple? Who can be present, offering prayer with reverent awe, and who can interfere, distract the priest from the most important of all human affairs - prayers, the celebration of the sacrament of the Church?
Of course, only the living God has such a measure. And to establish such a measure according to human consent means to go back, from grace, to the law, and even established by people, to interfere with the liberation of one's heart for God's guidance.
In the most ancient Byzantine temples, the altar was not separated.
An excerpt from a text written in the 4th century allows us to feel how Christians experienced and perceived the Eucharist in those days: “Fear and trembling seize the priest at this terrible hour for him and for the laity. In his extraordinary quality and in his office, terrifying even to the seraphim, stands the son of the dust of the earth as a redeemer, seized with great fear. The Terrible King, mystically sacrificed and buried, and frightened spectators, trembling with fear of the Lord. The altar signified the Divine Throne, causing a holy shudder, and the Eucharist was held as "a fearful sacrament."
And over time began to be used veil (katapetasma), which was pulled during the sacrament. Quite early, judging by the description of the church writer of the 4th century. Bishop Eusebius of Caesarea, the so-called block- a low partition with doors in the middle. Images of such barriers are often found in ancient church paintings, especially in compositions of the Eucharist. Later, icons began to be placed on this low barrier, usually two, to the right and left of the Royal Doors.
The interior of the temple of the monastery in Chora is the best preserved Byzantine church in Istanbul (former Constantinople)
This is how the third idea of the iconostasis is turned on - icons as windows in spiritual world . Being in the nave of the temple, believers are not just fenced off from the altar, but stand in front of the history of the salvation of mankind and the spiritual world, which every person can look into and enter thanks to the many windows, the role of which is played by icons, images of the iconostasis. Thus, a balance was found between the need to preserve the spirit of reverence during the celebration of the sacrament of the Eucharist and the possibility of the presence and participation in it of each believer, and at the same time only God knows the measure of the worthiness of their participation.
In this particular form, the iconostasis must have passed from Byzantium to Russia and existed until the 15th century, when icon painting reaches a special flowering and churches begin to fill with many icons, repeating almost the entire wall painting of the temple. The icons on the altar barrier are already placed in several rows, close to each other, and the barrier itself is pushed forward, closing the eastern pillars, the altar and the deacon, or sacristy, the repository of sacred vessels, liturgical vestments, books, wine, prosphora and other items necessary for worship and fulfillment of treb.
In the XV-XVI centuries. the Russian type of iconostasis is being formed - high iconostasis. The Russian iconostasis has the most complex structure and, unlike the Greek one, is characterized by strict horizontal and vertical construction. The iconostasis, according to the accepted Greek-Byzantine tradition, has three doors. The middle doors are called the Royal Doors, because only through them does the priest bring out the chalice (chalice) with the Holy Gifts (under the guise of bread and wine - the Body and Blood of Christ), that is, the Lord himself, the King of Glory, passes through these gates. The Annunciation and the four evangelists are depicted on the Royal Doors.
Other gates northern and southern, bear images of archangels or holy deacons (sometimes saints) and are called diaconal because deacons usually pass through them. Priests pass through these gates several times during worship, but the bishop never, since, symbolizing Christ the Savior, he passes through the Royal Doors.
As a sign that after the redemptive sacrifice of Christ, the Kingdom of Heaven was opened for people in the New Testament temple, the altar opens to all highlights divine services. But only those who perform divine service or serve during it, only in church vestments and only during the service, can enter the altar.
The icons on the iconostasis are arranged in a certain order, in tiers (or ranks, or rows).
The classic Russian high iconostasis looks like this. On right from the royal doors located icon of the Savior, but left - Mother of God with a baby. Next to the icon of Christ is placed temple icon(it depicts a saint or sacred event to which the temple is dedicated). This local tier.
Above the local row is located deesis (deesis)(from the Greek d’esis - prayer) a row symbolizing the prayer of the entire Heavenly Church to Christ. The central icon of this row is "Savior in the Force"- depicts the Savior as the Judge of the whole world (in royal or bishop's vestments on the heavenly throne). left and right- images of those coming before the Lord in prayer Mother of God and John the Baptist. These images symbolize perfect prayer, since in the Most Holy Theotokos and John the Forerunner, the highest holiness is revealed, which is possible for the human race. On either side from the central images of the Savior, the Mother of God and John the Baptist are icons of praying apostles and other saints, so this layer is sometimes called apostolic.
Third rank is called "festive", because here, in strict accordance with the plot and compositional canons, the main Orthodox holidays are depicted.
Next, the fourth rank is prophetic. It contains icons of the Old Testament righteous - prophets through whom the revelation of the incarnation of the Savior and the Mother of God was received. The icon of the Mother of God "The Sign", symbolizing the incarnation of Christ, is located in the center of this row.
The fifth tier of the iconostasis is the forefathers- contains images forefathers - the Old Testament patriarchs and the icon of the Holy Trinity in the center.
Directly above the Royal Doors located icon "The Last Supper".
In the center above the upper rank is the Cross (Golgotha)- a symbol of the redemption of mankind and the victory of divine love over death.
Iconostasis St. Isaac's Cathedral
19th century St. Petersburg
IN Ancient Russia this type of iconostasis was the most common, although the number of tiers could decrease up to one row, with the obligatory image of the Last Supper over the Royal Doors. Under the icons of the lower row, almost above the very floor, in ancient times even images of pagan philosophers and sibyls were placed, since they, although they did not know the true God, sought to know him.
Iconostasis, like the whole altar, is located on elevated place, which protrudes into the middle part of the temple and is called salt.
The established rules and established traditions in the construction of Orthodox churches are strictly observed, however, within certain limits, differences (not fundamental) are allowed, due to the characteristics of a particular church, therefore each Orthodox church is unique in its own way both externally and internally.
Orthodox church may have additional altars, forming aisles of the temple, respectively each altar has its own iconostasis.
Latin temples are also richly decorated.
Pictured is the famous golden altar cathedral in Seville, Spain.
The iconostasis in every Orthodox Christian church is one of the most important, central elements of the interior church decoration. In the temple, it separates the internal altar space from the public space, thereby symbolizing the line that cannot be crossed just like that. At the same time, one of symbolic meanings iconostasis - the unity and communion of the Divine principle with everything worldly and earthly.
According to the actual device, it is composed of several rows of icons, the faces of which are turned to the visitors of the temple. In modern realities - there are usually 5 full rows, less often - 4 rows. In the lower part of the Orthodox church iconostasis there are invariably three doors. The central and most important of them is called the Royal Doors - this is a symbolic place of the exodus of the Holy Power of Christ. The veil that closes the Gate from the inside is of the deepest significance, it is torn off at certain moments of the services.
The doors on the left and right sides of the Royal Doors are the passages of the clergy serving in this church (the southern doors serve for entry, the northern doors for exit). Inside, traditionally located from the southern to its northern wall.
Five rows (otherwise called ranks) of the Orthodox iconostasis are symbolic. All rows have their own special names, the icons are placed in them according to the ancient tradition. Looking at the iconostasis, you see with your own eyes the history of the emergence of the world and the church.
The top row, considered the first, has the name of the forefathers. On the icons located in this rank, you will see the faces of the Holy Forefathers of the Church, starting from Adam, Eve and up to Moses. The icon of the Old Testament Trinity is invariably placed in the central part.
The next, lower row is called the prophetic row. As the name implies, it contains icons depicting the prophets of the Old Testament announcing the Mother of God and the birth of Jesus. Traditionally, the main image in the prophetic row is the icon of the Sign.
The third (when counted from above) rank bears the name of the festive one. His icons introduce major events about which the apostles narrated in the holy gospels. The composition of the icons of the festive rank can be individual in different churches, but the icons of the Crucifixion of Christ and the Ascension must be present here.
Next we see the icons of the fourth deius row. This name means - prayer to Jesus of all earthly churches. Historians and theologians believe that it was the deius row that was the main one, from which the actual formation of the traditions of the Orthodox iconostasis began. The icon of the Savior invariably occupies the central place here (if a half-length image is chosen, then the icon of the Almighty). On both sides of the central image are placed icons with images of the Mother of God and John the Baptist, then - archangels and apostles bowed in prayer to Christ. With a significant size, images of all the apostles, saints and martyrs can also be placed here. An important feature of the icons of this rank is that all the figures are depicted praying to Christ (and therefore each image is deployed in three quarters of a turn).
The lower rank, considered the fifth, is closest to the people standing in the temple, and therefore is called "local" or "locally venerated." It is in the local row that the Royal Doors, the southern and northern doors are located. On both alignments of the Royal Doors, you will definitely see images of the authors of the Holy Gospels and images in full height Mother of God and Archangel Gabriel (the plot of the Annunciation will be displayed here).
The Royal Gates are framed with skillfully decorated pillars and a crowning canopy, the usual type of decoration is gilding, fine wood or stone carving. On the sides of them are invariably located the images of the Savior (on the right side), and the Virgin (on left side). Here, usually - the so-called temple icon depicting a saint or temple Orthodox holiday in whose honor this temple was built and consecrated.
The lower row is called locally venerated because it also contains the so-called “locally venerated” icons, which are especially revered in this region / city / village, etc.
The top of the Orthodox iconostasis is always and invariably the Cross or the Icon of the Holy Crucifixion.
It is this type of five-tiered iconostasis that is considered traditional for most of both old and new Orthodox churches.
Iconostasis in the church.
The iconostasis of the Smolensk Church of the Novodevichy Convent. 2010.
Iconostasis- the altar partition separating the altar and the middle part of the temple, from the northern to the southern wall. Consists of icons arranged in tiers. The number of tiers varies from three to five.
In the middle of the lower tier are royal doors. To the right of the Royal Doors is a large icon of the Savior, to the left of them is the icon of the Mother of God with the Child in her arms. On the northern and southern gates are the archangels Gabriel and Michael (sometimes the holy deacons). Deacon doors are located behind the icons of the lower row on both sides. Above the Royal Doors is placed the icon of the Last Supper.
The second tier from the bottom contains icons of the Twelve Feasts. This is the so-called "holiday" series. It can also be called historical: it introduces us to the events of the Gospel story. The first icon here is the Nativity of the Most Holy Theotokos, followed by the Entry into the Temple, the Annunciation, the Nativity of Christ, the Presentation, the Theophany, the Transfiguration, the Entry into Jerusalem, the Crucifixion, the Resurrection, the Ascension, the Descent of the Holy Spirit, the Dormition. The number of holiday icons may be different.
The third tier is the icons of the Deesis. This entire row symbolizes the prayer of the Church to Christ, which will end on the Last Judgment. In the center of the row, directly above the Royal Doors and the icon of the Last Supper, is the icon of the Savior in Strength. Christ, sitting on a throne with a book, is depicted against a background of a red square with elongated ends (earth), a blue oval (spiritual world) and a red rhombus (invisible world). This image represents Christ as a formidable judge of the entire universe. On the right is the image of John the Baptist, the Baptist of the Lord, on the left is the icon of the Mother of God. It is no coincidence that this is the "Intercessor" - the Mother of God is depicted in full growth looking to the left and with a scroll in her hand. To the right and left of these icons are images of archangels, prophets and the most famous saints, who are the holy Church of Christ.
Fourth row. If the icons of the third row are original illustrations for the New Testament, then the fourth row introduces us to the times of the Old Testament Church. Here the prophets are depicted, announcing the coming: the Messiah and the Virgin, from whom Christ will be born. It is no coincidence that in the center of the row is the icon of the Mother of God "Oranta" ("Sign"), or "Praying", depicting the Most Pure Virgin with her hands raised to heaven in prayer and the Infant in her bosom.
The upper, fifth tier is called "forefathers". His icons refer us to the events of even more ancient times. Here are icons of the Old Testament righteous and forefathers - from Adam to Moses (Abraham, Isaac, Jacob, etc.). In the center of the row is placed the "Old Testament Trinity".
The top of the iconostasis is crowned with the image of the crucifix.
http://azbyka.ru/dictionary/09/ikonostas...
http://www.ukoha.ru/article/ludi/ikonoctac.htm
home iconostasis .
How to determine the place in the apartment, country house where to put the icons? Is it true that icons should only be placed in a corner? How to place the icons in the right place, in a certain sequence? Then you will get a home iconostasis that will not only please the eye, but also protect the house and its inhabitants, maintain spiritual purity in the room, and fill you with a sense of goodness. Creation home iconostasis can be an act that will bring us closer to God.
Previously, houses were built specifically for the so-called "red corner". He was assigned the farthest corner of the hut, on the eastern side, diagonally from the stove. At the same time, both walls adjacent to the "red corner" were with windows. It turned out that the iconostasis is located in the most illuminated place in the house. Since to the home iconostasis Orthodox Church does not impose too strict requirements, these rules can be deviated from. These are the realities of our life - in modern apartments there is no place for a "red corner". It is enough to follow the simplest rules. If possible, the eastern wall should be chosen for the iconostasis. If you have trouble with this, don't worry. Just find a free and easily accessible place for him where nothing will stop you from praying.
A prerequisite is to have two icons: Savior and Mother of God. Images of the Lord Jesus Christ and the Mother of God, as the most perfect of earthly people are necessary for every Orthodox. As for other icons, it is recommended to acquire images of those saints whose names are given to family members.
The iconostasis should be as far away from the TV as possible (in modern life it often replaces the icon for us), VCR, computer, music center and other household appliances. However, here too exceptions are made. For example, in working premises (offices, offices) it is not forbidden to put icons next to computers.If the employee works at home, then the icon placed near the computer serves as confirmation that this technique is used to spread the Good News, that this human-made tool serves as a conductor of God's will.
Home iconostasis can be decorated with fresh flowers. Next to the home iconostasis, there should not be decorative objects of a secular nature - photographs, vases, figurines, paintings, posters, magazine posters, and so on. All this reflects the bodily, material world, such images are momentary and do not correspond to the purpose of sacred icons. Next to the iconostasis, you can hang images of temples, views of the Holy Land, calm landscapes, and so on. It is important that all these species do not contain aggression, do not distract your gaze from the iconostasis and hang at a relative distance from it..
Domostroy ordered to put icons in every room. In the mind of a person, their number should have, as it were, “lowered” the sky into the real world: “Every Christian should in his house, in all rooms, hang the holy images according to their seniority, dressing them beautifully, and put lamps in which they are lit in front of the holy images in candles during prayer, and after the service they are extinguished, closed with a curtain for the sake of cleanliness and from dust, for the sake of strict order and for safety; and they should always be swept over with a clean wing and wiped with a soft sponge, and the room should always be kept clean. The bottom row of such an iconostasis was occupied by icons "local", "bow". In addition to the icons of Christ and the Mother of God, this row was occupied by especially revered images, for example, icons of the namesake saints, blessed icons from parents and relatives, panagia crosses and reliquaries with holy relics, lists of glorified miraculous images; finally, icons of saints - helpers, intercessors and intercessors in certain matters.
It is believed that it is better for icons to stand on a hard surface, and not hang on the wall. Previously, the iconostasis was placed on a special shelf or even in a special cabinet - an icon case - it is sold in all church shops. In front of the icons they hang or put a lamp. It must be lit during prayer, and on Sunday and church holidays it can burn all day.
When you enter any Orthodox church, foreground you can immediately see the holy of holies - the altar, which is an image of the Kingdom of Heaven. In the altar is its main shrine - a consecrated table, called the Throne, on which the priest performs his greatest sacrament, when bread is turned into Flesh and wine into the Blood of Christ.
What is an iconostasis?
The altar is separated from the rest of the church by an iconostasis. Dealing with the question of what an iconostasis is, it should be noted that it is a special separating partition, with icons with the faces of saints placed on it. The iconostasis, as it were, connects the heavenly world with the earthly world. If the altar is the heavenly world, then the iconostasis is the earthly world.
The Russian Orthodox iconostasis contains five high rows. The very first row is called the forefathers, it is the top one, it depicts the forefathers of the Holy Church from the first man Adam to the Old Testament prophet Moses. The image of the "Old Testament Trinity" is always set in the center of the row.
And the second row has the name prophetic, so the prophets are depicted here, who announced the Mother of God and the birth of Jesus Christ. In the center is the icon of the Sign.
The third row of the iconostasis is called Deesis and denotes the prayer of the entire Church to Christ. In the very center of it is placed the icon "The Savior in Strength", which depicts Christ, seated as a formidable Judge of the entire world he created. To his left is Holy Mother of God, and on the right - John the Baptist.
In the fourth festive row, the events of the New Testament are told, originating from the birth of the Virgin Mary herself.
And the lowest, fifth, row of the iconostasis is called the “local row”, in the center of it are the Royal Doors, above which the icon of the Last Supper is necessarily placed, and on the gates themselves is the icon of the Annunciation (where the Archangel Gabriel reports the good news to the Holy Virgin) , and on both sides of the gate - the icons of the Savior and the Virgin.
You also need to pay attention to the fact that on both sides of the Royal Doors there are single-leaf small doors, they are called deacon's. If the temple is small, then this door can be made only on one side.
Assumption Cathedral in Vladimir: photo and description
In general, the style, shape and height of the iconostasis depend on the study of the architecture and history of the temple in which it will be erected. And it should scale in accordance with the proportions of the temple itself, which were designed by architects in antiquity. The design of the iconostases and the composition of the icons in it have changed many times.
The Assumption Cathedral in Vladimir (the photo of which is presented above) has the first iconostasis with fragments that have survived to this day. It dates from 1408 and is the work of Andrei Rublev and his contemporary monk Daniil Cherny. Once upon a time it consisted of high four tiers, the Deesis rank among which was made larger and moved out of the general plan, this showed its special role. The iconostasis in the temple did not cover the domed pillars, thanks to them it was divided into parts. Subsequently, the Vladimir iconostasis became a model for the iconostases of the Moscow Kremlin Assumption Cathedral (1481) and the Assumption Cathedral in the Kirillo-Belozersky Monastery (1497).
Cathedral history
This cathedral was built during the reign of Prince Andrei Bogolyubsky in the middle of the 12th century, and the most skilled craftsmen from all over the Russian land and the Romanesque West were invited to Vladimir to complete this work. It was built to store the icon of the Vladimir Mother of God - the patroness of Russia. It is assumed that this icon was painted during the life of the Mother of God Herself by the Evangelist Luke. Then, in 450, she came to Constantinople and stayed there until the 12th century, and then was donated to Yuri Dolgoruky, the father of Andrei Bogolyubsky. Then she saved the Russian princely cities many times from devastation and wars.
Iconostasis
The question of what an iconostasis is can be continued interesting fact about the very first information about the separation of the altar from the rest of the space in the temple by a curtain or barrier, which dates back to the 4th century. Back then, in Byzantine churches, these altar barriers were quite low and were made of a parapet, a stone beam (templon) and columns. A cross was placed in the center, and on the sides of the altar were icons of Christ and the Mother of God. After a while, icons began to be placed on the templon, or relief images were carved on it instead. The cross was replaced with an icon of Christ, and then with Deisis (in other words, Deesis, prayer) - a composition of three icons: in the center - Christ the Almighty, and the Mother of God is turned to him with a prayer on the left side, and John the Baptist on the right. Sometimes festive icons or individual icons of saints were added on both sides of the Deisis.
Conclusion
The first ancient Russian temples completely repeated the Byzantine models. But this was not always possible, because most of the temples were wooden, and wall paintings were not made on them, but the number of icons increased in the iconostasis and the altar barrier grew.
The answer to the question of what an iconostasis is must be supplemented by the fact that the high five-tiered iconostasis became widespread in Russia already in the middle of the 17th century, when the local row, feasts, deisis, prophetic and forefather rows appeared.
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