Icons with images of Old Testament prophets. Icon “Elijah the Prophet”: what does it help with and what is its significance? Writing measuring icon

The iconostasis usually has three doors (gates) leading to the altar: in the middle of the iconostasis, directly in front of the throne - the Royal Gates, to the left of the Royal Gates (in relation to those located in front of the iconostasis) - the Northern Gate, to the right - the Southern Gate.

The side gates of the iconostasis are called deacon doors. It is customary to open the Royal Doors only during divine services (in Russian divine services only at certain moments). Only clergy can pass through them, performing the required liturgical actions. Deacon's doors can be used at any time for simple (non-symbolic) entry and exit from the altar. Also, if necessary, members of the church clergy (assisting clergy during the service) can pass through them.

The subjects of the icons in the iconostasis and their order have certain established traditions. The iconographic composition of the iconostasis expresses the content and meaning of the worship taking place in the temple. However, some of the plots may be replaced or varied, which is caused by the historical development of the iconostasis and the presence of local features. The most common composition of the Russian iconostasis is as follows:

The bottom row (or in other words “rank”) is local

It houses the Royal Doors with the image of the Annunciation and the four evangelists on two doors. Sometimes only the Annunciation is depicted (full-length figures of the Archangel Gabriel and the Mother of God). There are life-size images of saints, most often the compilers of the liturgy - John Chrysostom and Basil the Great. The frame of the Royal Doors (pillars and crowning canopy) may have images of saints, deacons, and on top an icon of the Eucharist - the Communion of the Apostles by Christ. To the right of the Royal Doors is the icon of the Savior, to the left is the icon of the Mother of God, occasionally replaced by icons of the Lord's and Mother of God feasts. To the right of the icon of the Savior there is usually a temple icon, that is, an icon of the holiday or saint in whose honor this temple is consecrated.

Lotusalp, GNU 1.2

unknown, Public Domain

There are deacon's doors with multi-figure scenes based on scenes from the book of Genesis, paradise, and scenes with complex dogmatic content. The remaining icons in the local row can be anything. This is determined by the desire of the creators of the iconostasis themselves. As a rule, these are locally revered icons. Because of this, the row is called local.

Second row - Deesis, or Deesis rank

(In iconostases later than the middle of the 17th century, as well as in many modern iconostases, instead of the Deesis rank, the festive rank of icons is placed above the local row, which previously was always located third. This is probably due to the small scale of the images on multi-figure holidays, which are less visible at high altitudes. However, this movement violates the semantic sequence of the entire iconostasis.)

unknown, Public Domain

The Deesis tier is the main row of the iconostasis, from which its formation began. The word "deisis" is translated from Greek as "prayer." In the center of the deesis there is always an icon of Christ. Most often this is “The Savior in Power” or “The Savior on the Throne”, in the case of a half-length image - Christ Pantocrator (Almighty). Rarely are shoulder or even main images found. On the right and left are icons of those standing and praying to Christ: on the left - the Mother of God, on the right - John the Baptist, then the archangels Michael (left) and Gabriel (right), the apostles Peter and Paul. With a larger number of icons, the composition of the deesis may be different. Either saints, martyrs, saints and any saints pleasing to the customer are depicted, or all 12 apostles are depicted. The edges of the Deesis can be flanked by icons of stylites. The saints depicted on Deesis icons should be turned three-quarters of a turn towards Christ, so that they are shown praying to the Savior.

Third row - festive

Andrey Rublev and Daniil, Public Domain

Sometimes the feasts of the Nativity of the Mother of God and the Entry into the Temple are absent from the series, leaving more space for the icons of the passion and the Resurrection. Later, the “Exaltation of the Cross” icon began to be included in the series. If there are several chapels in the temple, the festive row in the side iconostases may vary and be shortened. For example, only the Gospel readings in the weeks after Easter are depicted.

The fourth row is prophetic

It contains icons of Old Testament prophets with scrolls in their hands, where quotes from their prophecies are written. Not only the authors of prophetic books are depicted here, but also kings David, Solomon, Elijah the prophet and other people associated with the foreshadowing of the birth of Christ. Sometimes in the hands of the prophets the symbols and attributes of their prophecies cited by them are depicted (for example, in Daniel there is a stone that was independently torn from the mountain as the image of Christ born of the Virgin, in Gideon a dew-drenched fleece, in Zechariah a sickle, in Ezekiel the closed gates of the temple).

unknown, Public Domain

In the center of the row there is usually an icon of the Mother of God of the Sign, “containing in Her bosom the image of the Son born of Her,” or the Mother of God with the Child on the throne (depending on whether the images of the prophets are half-length or full-length). However, there are early examples of prophetic series without the icon of the Mother of God. The number of prophets depicted may vary depending on the size of the row.

Fifth row - forefathers

anonymus, Public Domain

Another argument in favor of rejecting these two icons is their distorted idea of the Trinity. That is why in some modern iconostases the central image of the forefathers’ row is the “Old Testament Trinity” icon, that is, the image of the appearance of three Angels to Abraham. The most preferred iconographic version of the Trinity is the icon of Andrei Rublev. However, the image of the “Fatherland” and the “New Testament Trinity” has become widespread and is still used in icon painting.

Completion

The iconostasis ends with a cross or an icon of the Crucifixion (also in the shape of a cross). Sometimes, on the sides of the cross, icons of those present are placed, as on the usual icon of the Crucifixion: the Mother of God, John the Theologian, and even sometimes the myrrh-bearing women and the centurion Longinus.

Additional rows

At the end of the 17th century, iconostases could have a sixth and seventh row of icons:

The Apostolic Passion is a depiction of the martyrdom of the 12 apostles.
The Passion of Christ is a detailed account of the entire story of the condemnation and crucifixion of Christ.

These additional rows of icons are not included in the theological program of the classical four-five-tier iconostasis. They appeared under the influence of Ukrainian art, where these subjects were very common.

In addition, at the very bottom, at floor level, under the local row, at that time there were images of pre-Christian pagan philosophers and sibyls, with quotes from their writings, in which prophecies about Christ were seen. According to the Christian worldview, although they did not know Christ, they sought to know the truth and could unknowingly give a prophecy about Christ.

Starting a conversation about the prophetic ministry - and it literally permeates the entire Old Testament, that is, the entire history of the human race from the moment of creation to the appearance of the Only Begotten Son of God in the world - one should immediately say that with all the diversity of this ministry, with all the diversity of truths revealed through them by God, all the prophets proclaimed one thing - salvation. The Apostle Peter speaks of it this way: To this salvation belonged the searches and investigations of the prophets, who foretold the grace appointed for you, searching to what and at what time the Spirit of Christ who was in them was pointing, when He foretold the sufferings of Christ and the glory that would follow. . It was revealed to them that it was not they themselves, but us, who served that which has now been preached to you by those who preached the gospel through the Holy Spirit sent from heaven, into which angels desire to penetrate (1 Pet. 1:10-12). This common property for them is reflected in the iconography, which is represented by a large and varied number of monuments, the oldest of which date back to the 6th century. (mosaics from the church of Sant'Apollinare Nuovo in Ravenna). Church veneration of them began even earlier, already in the era of Equal-to-the-Apostles Constantine and Helen, when the relics of some prophets were transferred to Constantinople. But the formation of iconography dates back to a later period - to the 11th-12th centuries.

All the famous monuments date back to this time, in which one can find images of the prophets who spoke for edification, exhortation and consolation (1 Cor. 14:3) - mosaics and frescoes of Hosios Loukas in Phocis (1030-1040), St. Sophia Cathedral in Kyiv (same time); mosaics of the Nea Moni monastery on the island. Chios and the Church of the Assumption of the Virgin Mary in Nika (mid-11th century), Cappadocian mosaics of the temples of Elmali Kilise and Karanlik Kilise in Goreme, mosaics of the cathedral of the Daphne monastery in the vicinity of Athens, paintings of the Velus monastery in Macedonia (late 11th century), mosaics of the Cathedral of San Marco in Venice (early 12th century), mosaics of the Cathedral in Montreal (Sicily, 12th century) and others.

Interpretations on the books of the prophets belong to St. Ephraim the Syrian, St. Cyril of Alexandria, and Blessed Theodoret of Cyrrhus; hymnographic monuments - St. Herman of Constantinople, St. John of Damascus and Theophan the Confessor.

The first mention of prophetic ministry in the Holy Scripture concerns Abraham - the Lord in a dream speaks of him to Abimelech, king of Gerar: he is a prophet and will pray for you, and you will live (Genesis 20:7).

But the Orthodox tradition begins the count of prophets with Moses the Seer of God - he is more than a prophet: The Lord said to Moses: look, I have made you God to Pharaoh, and Aaron, your brother, will be your prophet (Ex. 7:1); And Israel no longer had a prophet like Moses, whom the Lord knew face to face, according to all the signs and wonders that the Lord sent him to do in the land of Egypt over Pharaoh and over all his servants and over all his land, and through a mighty hand. and by the great miracles which Moses performed in the sight of all Israel (Deut. 34:10–12).

Iconographic originals give the following description of the appearance of the prophet Moses: “A great old man, 120 years old, of the Jewish type, well-behaved, meek. Bald, with a medium-sized beard, very handsome, with a courageous and strong body. He wore a lower tunic of blue color, with a slit in the front and belted (cf.: Ex. 39:12 et seq.); on top is the ephod, i.e. e. long cloth with a slit in the middle for the head; there is a blanket on the head, boots on the feet. In his hands is a rod and two tablets with the 10 commandments.” Along with the tablets, they also depicted a scroll with the inscription: “Who am I, that I may go to Pharaoh the king of Egypt, and that I may bring out the children of Israel from the land of Egypt” (Ex. 3:11). Sometimes another text is given: “Helper and patron be my salvation; This is my God, and I will glorify Him, God of my Father, and I will exalt Him” (Ex. 15:1). There is a tradition of depicting the prophet while still quite young (“medieval”): these are icons depicting the prophet at the Burning Bush, cutting off the boots of his feet (Ex. 3:5), or receiving tablets from the Lord.

It is worth noting one most important facet of prophetic sayings - about this St. Andrew of Crete, in his Homily for the Nativity of the Blessed Virgin Mary, says this: “there is not a single place in all of the Inspired Scripture where an attentive researcher would not see various references to the Mother of God scattered everywhere.” Saint Gregory of Nyssa said that already the prophet Moses, in a vision of a burning bush - a bush that was burning but not consumed, “foreknew the secret” of the future motherhood and virginity of the Mother of God (Ex. 3:2). St. Andrei Kritsky, in the above-mentioned creation, gives a list of Old Testament prototypes of the Mother of God: “With how majestic names She is adorned, and how expressively she is shown in many places of Scripture. So, wanting to talk about Her, it calls Her the Virgin, the Young Lady, the Prophetess, further - the Bridal Chamber, the House of God, the Holy Temple, the Second Tabernacle, the Holy Meal, the Altar, the Purgatory, the Golden Censer, the Holy of Holies, the Cherub of Glory, the Golden Staple, the Ark of the Covenant, the Priestly Rod, the Royal Scepter, the Diadim of Beauty, the Vessel with the Anointing Chrism, the Alavaster, the Candlestick, the Incense, the Lamp, the Lamp, the Chariot, the Bush, the Stone, the Earth, Paradise, the Country, the Field, the Source, the Lamb...”

One of the early prophecies about the Nativity of Christ belongs to the prophet Balaam (book of Numbers), but this topic is revealed most clearly by Isaiah, who is even called the Old Testament Evangelist. It was he who wrote the words about the birth of Christ from the Virgin: The Lord Himself will give you a sign: behold, a Virgin will be with child and give birth to a Son, and they will call His name Emmanuel, which means: God is with us (Is. 7:14).

Further (Isaiah 8) in his prophecies, Isaiah speaks in detail about the miraculous Child who will be born of the Virgin: Understand the nations and submit: For God is with us... A child is born to us - a Son is given to us; dominion is upon His shoulder, and His name will be called Wonderful, Counselor, Mighty God, Everlasting Father, Prince of Peace.

The prophets Isaiah, Jeremiah, Ezekiel and Daniel are usually called great. In addition to them, the Old Testament contains 12 more books of minor prophets - they are called so because their books are relatively small, having only a few chapters. But they talk about extremely important things. Thus, the prophet Micah recorded the famous prophecy about Bethlehem, which was quoted by the Jewish scribes when King Herod asked them where Christ should be born. And you, Bethlehem Ephrathah, are you small among the thousands of Judah? From you will come to me one who is to be ruler in Israel, and whose origin was from the beginning, from the days of eternity (Mic. 5:2).

With the advent and development of the high iconostasis, from about the 15th century, it included the so-called. prophetic series. Initially, the prophets David and Solomon were placed in its center, from the 16th century. - image of the Mother of God “The Sign”. Until the 16th century The prophets were depicted half-length, and later - in full height. The Mother of God was depicted sitting on a throne with the Child Christ on her lap. Of course, the appearance in the iconostasis of a whole order of prophets (as well as the mention of the prophetic order in the 8th article of the Creed, established by the fathers of the Second Ecumenical Council) is undoubted evidence that the Church saw in the prophetic ministry not only a historical phenomenon, but also an immutable component of salvation person in the Church. Historically, the concept of prophetic ministry has undergone changes, but the importance of this calling has not been in doubt.

David could occupy a central place in the prophetic ranks of the iconostasis in the early period because, among the prophets, it was he who had the honor of being among the ancestors in the flesh of the One who is called the Rod from the root of Jesse. This is how the iconographic original describes him: “a type of Jew of Palestine, an old man of average height with a gray thick curly beard; clothing - tunic and mantle, crown on the head; signed: “Profit David”. The inscriptions on the scroll: “Hear, Daughter, and see, and incline Your ear, and forget Your people and Your father’s house” (Ps. 44:11) - a paremia for the Nativity of the Mother of God and the Entry into the Temple. In other monuments of monumental painting there are the following texts: “From the mouth of a child and of beings you have made praise” (Ps. 8:3 - San Marco, Venice, 12th century); “God reigns over the tongues” (Ps. 46:9 - monastery of St. Neophytos, Cyprus, 12th century); “But God our King, before the ages, wrought salvation in the midst of the earth” (Ps. 73:12 - ibid.); “It will fall like rain on the fleece” (Ps. 71:6 - Palatine Chapel in Palermo; mid-12th century); “The Lord looked down from heaven to earth” (Ps. 101:20 - Daphne monastery, around 1100). This does not exhaust the set of quoted texts; the iconographic original gives options: “Blessed is the man who has no idea about the advice of the wicked; or: All the nations clasp your hands” or “I have seen the Lord before me”, or “Rise up, O Lord, into Thy rest, Thou and the ark of Thy holiness...”

David, the second king of Israel, the creator of a powerful state, lived at the end of the 11th - beginning of the 10th centuries. BC. The story of David is told in 1 and 2 books of Samuel. To David, Sacred Tradition assigns the authorship of the Psalter; he set up the Tabernacle on Mount Zion in Jerusalem and brought the Ark of the Covenant there (2 Sam. 6:1–17). In the minds of subsequent generations of the Jewish people, his personality and descendants were associated with eschatological ideas about the ideal kingdom of the “future age” and about God’s anointed one from the line of David - the Messiah, who would save the chosen people and sit on the throne of this kingdom. These ideas received their most complete disclosure and development in the prophecies of Isaiah. Christian authors, starting with the evangelists, directly connect the image of King David with Christ. The Gospel of Matthew presents the genealogy of Christ according to Joseph, the betrothed of the Virgin Mary, going back to David’s father Jesse - “the tree of Jesse” (Matthew 1:1-17). The kinship of Mary herself also goes back to David, as reported by the apocryphal Proto-Gospel of James (chapter 10). Christ is called the son of David (Matthew 1:1). David is counted among the host of prophets as a person who typifies Christ and as the author of the Psalter.

As a sage and prophet, David appears in early illuminated manuscripts of the Psalter, where he is depicted between the allegorical figures of Wisdom and Prophecy; such, for example, is a miniature from the Psalter of the 10th century. from the National Library in Paris. The inscription “prophet” accompanies many images of King David in miniatures of illustrated psalms of the 9th century. In book miniatures, there are two main types of iconography of David: a young shepherd with a musical instrument or a sling, and the other - a king and a psalmist, a medieval or old man; the attributes are either a musical instrument - a psalter, or a prophetic scroll. The image of King David, crowned, appears as part of the prophetic order no later than the 6th century. The chest-length image of King David, occupying a central position in the group of prophets, can be seen in the mosaic of the apse of the Basilica of St. Catherine at Sinai 551/552. It is located in the center of the medallion belt, directly above the figure of Jesus Christ in the Transfiguration plot. This arrangement of the figure of David indicates his outstanding significance; here he is a kind of keystone, connecting all the prophets, both great and small, into a single face or rank.

In the post-iconoclastic period, the figure of David in royal vestments with an unrolled scroll in his hands is regularly included among the images of prophets occupying the upper zones of temple paintings. These are the frescoes of the Cappadocian temples of Karanlik Kilise and Elmali Kilise in Goreme of the 11th century, mosaics of Daphne, around 1100.

The prophet Solomon is also depicted in the prophetic rank - usually young, beardless, with his head turned towards King David. In the left hand there is an unrolled scroll with the text of the prophecy: “Wisdom built herself a temple and established the seventh pillar and her ambassadors (slaves)” (Prov. 9:1). The text is a paremia read on the feasts of the Annunciation and Nativity of the Blessed Virgin Mary, Her Assumption, as well as on the Resurrection of Lazarus. We find another text in Daphne’s mosaic: “O Lord God of Israel, there is no God like You in heaven and on earth below” (1 Kings 8:23). In monuments of the XI-XII centuries. There are also quotes from other sources: “Son, keep the laws of your father” (Proverbs 6:20 - Cefalu, Sicily, 12th century); “A wise son makes his father glad” (Prov. 10:1); “He calls himself the Servant of the Lord” (Wis. 2:13 - Monreale, Sicily). Son of David and builder of the temple, with whom Christian thought associated the image of the earthly Church created by Christ - the Wisdom of God. Solomon appears as a type of Christ.

How were the four great prophets portrayed?

The Prophet Isaiah, according to the iconographic original, “is of the Jewish type, from a royal family, an old man of 126 years old with gray hair, a wide, thick, but not long beard; his clothing is only sackcloth (that is, like a bag with slits for the arms and head, which was worn on a naked body); sandals on feet; the right hand is folded in a nominal blessing; on the left is a scroll with the inscription: “Behold, the Virgin will conceive and give birth to a Son, and they will call His name Immanuel,” which means “God is with us” (Is. 7:14; Matt. 1:23). The text of the scroll is a paremia for the Nativity of Christ. There is a similar text on the Isaiah scroll in the paintings of temples in Goreme (Cappadocia, 11th century), mosaics of the Palatine Chapel in Palermo (mid-12th century), Martorana, Montreal (both mid-12th century). Other texts are found in the mosaics of the Daphne monastery: “God will shine in council with glory on the earth” (Is. 4:2); in San Clemente (Rome, about 1128): “I saw the Lord sitting on a high throne” (Is. 6:1); in the monastery of St. John Chrysostom in Cyprus (end of the 11th century): “The dead will rise again and those in their tombs will rise” (Isa. 26:19); in the monastery of St. Neophyte in Cyprus, in a layer of painting from the end of the 12th century: “The same plague was for our sins” (Is. 53:5). The Prophet Isaiah is the first of four great prophets, whose writings had a tremendous influence on Orthodox theological thought. Biblical tradition gives him a place in the history of the Kingdom of Judah in the 8th century. BC Isaiah appears in the temple as the Lord of Hosts, surrounded by seraphim (Is. 6:1–7), he predicts the birth of the Son of God - Emmanuel from the Virgin (Is. 7:14). According to his prophecy, Emmaniul is the Messiah, whose genealogy goes back to Jesse, the father of King David (Is. 11:1), who with His suffering will atone for the sins of the chosen people (Is. 53–56) in order to reign in a renewed world after the Judgment. Interpretations of the books of Isaiah were written by Saints Basil the Great, John Chrysostom, Cyril of Alexandria, St. Ephraim the Syrian, and Blessed Jerome of Stridon. The memory of Isaiah in the ancient synaxarions is celebrated on May 9; On this day, his celebration took place in the Church of St. Lawrence near Blachernae, where the relics of the prophet were kept. They were transferred to Constantinople under Empress Pulcheria between 443–457, and then a special temple was built in honor of the prophet.

Prophet Jeremiah: “The appearance of a middle age, not an old man, with dark hair, large strands falling on the left shoulder. The beard is rounded, not long, emphasizing the elongated proportions of the face.” The right hand is folded in a figurative sign, in the left there is a scroll with the inscription: “Behold our God, and no one will be added to Him,” according to the Synodal translation: “This is our God, and no one else can compare with Him” (Bar. 3:36 ), that is, “Behold our God, and there is no other God” - a confession of faith in the One God and in affirming the idea of the inviolability of His union with the chosen people. The memory of the prophet is celebrated on May 1. The stichera and canon of Jeremiah the Epiphany contain a lot of detailed biographical information, because the prophet himself spoke more about himself than any other prophet-writer, and the collector of his sayings (apparently it was the prophet Baruch) added biographical sections to them. The second of the four great prophets, Jeremiah, was born in the mid-7th century. BC, stoned in 585. In addition to the book of his prophecies, the Old Testament contains the book of Lamentations of Jeremiah. The scrolls held by the prophet often read words from the book of the prophet Baruch, who was Jeremiah's friend and scribe, recording the prophet's revelations during Jeremiah's time in prison. The main focus of the prophecies of Jeremiah and Baruch is connected with the denunciation of the unrighteousness of the people of Israel and with a call for the restoration of their former piety and holiness through the sacrifice of atonement and the conclusion of the New Covenant with the Lord (Jer. 30-32). Unlike other prophets - Isaiah, Ezekiel, Malachi - Jeremiah is depicted as a powerful medieval man with dark hair on his head and beard, with stern and sharp facial features.

The Prophet Ezekiel is depicted as a gray-haired old man, similar to Isaiah; Some of the features of his image include a slightly longer and more pointed beard shape. In his left hand there is a scroll: “That door is shut, and no one can pass through it” (Ezek. 44:2). The text of the scroll is a paremia for the holidays of Christmas and the Entry into the Temple of the Blessed Virgin Mary. In the modern edition: This gate will be closed, and will not be opened, and no one will pass through it. A similar text on the Ezekiel scroll is found in the mosaic of the Cathedral of San Marco (circa 1230). From other texts we will name: “And the Lord set me in the midst of the field; “Behold, it is full of human bones” (Ezek. 37:1) in the painting of Tokali Kilise in Goreme (Cappadocia, 10th century); “This says Adonai the Lord: Behold, I will open your graves and bring you out from your graves” (Ezek. 37:12) in the painting of the Koutsovendis monastery in Cyprus (late 11th century). There are also texts of prophecies borrowed from the books of Isaiah and Baruch: “I saw the Lord sitting on a high throne” (Isa. 6:1) - mosaics of Monreale, Sicily (after 1183); “This God is ours, no one will be imputed to Him” (Bar. 3:36) - mosaics of the Palatine Chapel in Palermo, Sicily (1140s).

The Prophet Daniel in icons is always young and beardless; he has a scroll in his hand, and a small cap on his head - this is a stable element of his iconography. A short tunic, a cloak decorated with orbicules - signs of high social status, closeness to the king; the hem of the cloak, decorated at the edges with pearls and jewels, is fastened with a fibula. Pants, high boots. Inscription: “Az Daniel saw before the thrones were set up and the Ancient One sat down; His throne is of fire; His wheels are scorching fire” (Dan. 7:9). Another text: “Behold, I have touched the likeness of the Son of Man” (Dan. 10:16). The name Daniel means “Judge of God,” “revealer of the will of God.” In the book of the prophet Daniel he is called Belshazzar (Dan. 1:1–4).

Images of minor prophets are known both from manuscript miniatures and from temple decoration.

The Prophet Habakkuk is depicted as a beardless youth in a cloak; with his right hand he blesses with two fingers, and in his left hand he holds in front of him a scroll with the inscription: “God will come from the south and the holy one from the mountain-shaded thicket; The heavens have covered His virtue, and the earth is full of His praises” (Hab. 3:3). This text does not appear as a paroemic reading, but is used in the text of the irmos of the 4th song of the Christmas canon. A similar text on the scroll of the prophet is found in the mosaic of the Cathedral of San Marco in Venice (XII century). In the mosaic of Daphne (about 1100), and Monreale in Sicily (after 1183) on the scroll of the prophet Habakkuk the text of the previous verse is given: “Lord, I heard Your ear and was afraid” (Hab. 3:1). And in Elmali Kilise in Goreme (Cappadocia of the 11th century) - a text from the book of the prophet Jeremiah: “Food God is near, I am, says the Lord, and not God from afar” (Jer. 23:23).

It was customary to portray another minor prophet, Malachi, as a gray-haired old man. On his scroll there is an inscription: “Behold, the Lord Almighty Himself comes, and whoever endures the day of His departure (coming)” (Mal. 3:1–2); This is a proverb for the day of the Beheading of John the Baptist - August 29. This is the text on the mosaics of the Cathedral of San Marco (Venice, 12th century), as well as in the mosaics of Daphne (around 1100), in the Kranlik Kilise painting in Goreme (11th century), in the mosaics of Monreale (Sicily, after 1183) . Malachi is the last of the minor prophets in the order of the biblical books.

Let us give brief descriptions from the iconographic original of other prophets, whose memory is celebrated on the eve of the Nativity of Christ: “The month of December on day 1. The Holy Prophet Nahum, who preceded the Nativity of Christ for 558 years, lived for 45 years, is round in appearance, and has a brad surrounded, like Jonah the prophet, his face is dry, his hair is simple, his robe is scarlet with game, underneath is azure, in his left hand is a scroll, and in it is written: The mountains shook, then the hills also shook, and the earth was terrified at His presence, the world and all those living on it. Inde writes: Nahum is like John the Theologian.

On Day 3. The Holy Prophet Zephaniah, preceded the Nativity of Christ by 600 years; in the likeness of gray hair, with a bald head, the brad is a little dry at the end, like Elijah the prophet, the robe of the prophets, the top is crimson reddish, with azure underneath, in the left hand there is a scroll, and in it is written: Rejoice greatly, daughters of Zion, preach to the daughters of Jerusalem, rejoice and be adorned with with all your heart, daughter of Jerusalem: the Lord has taken away your iniquity, he has delivered you from the hand of your enemies. Byshe is similar to Saint John the Theologian, having a small brad and a surrounded face.

On day 9. Holy prophetess Anna, mother of Samuel the prophet; in the likeness of a medieval robe, like that of a prophetess, upper cinnabar, lower azure, a scroll in my hand, and in it is written: My heart is strengthened in the Lord, my horn is exalted in my God, my mouth is enlarged against my enemies, they rejoice in Your salvation.

On the 16th day of the Holy Prophet Haggai, preceding the Nativity of Christ 470 years; in the likeness of gray hair, bald hair, a round brad, a prophetic robe, sankir with whitewash, azure underside, in his hand is a scroll, and in it is written: To the Lord Almighty says: put your hearts in your path, build My temple and bless you to live in it and be glorified. In the Menaion and in the Prologue he writes: he was bald and old, surrounded by brada and honest in character.”

The Yaroslavl Art Museum has an icon of the first half of the 16th century depicting the prophets Jonah and Gideon (it was part of the prophetic series). Of interest is the image of Gideon, one of the judges who ruled the people of Israel after the death of the prophet Moses. On his scroll is the text of the prophecy about the birth of the Savior from the Most Pure Virgin, about the “Sheep Fleece.” The inscription on the prophet’s scroll reads: “Behold, I will lay the fleece of a sheep on the threshing floor, and if there is dew on the fleece...” (Judges 6:37)

In the prophetic rite of the early 17th century, located in the Pskov Art Museum-Reserve, the prophets are presented in full size. Zechariah holds in both hands a scroll with the inscription: “Thus says the Lord: Rejoice greatly, daughter of Zion, preach, O daughters of Jerusalem, behold, thy king cometh meek” (Zechariah 9:9). The inscription on the scroll of Balaam: “A star will rise from Jacob, a man will arise from Israel” (Num. 24:17).

The other paired icon depicts the prophets Jeremiah and Baruch. On the scroll and Jeremiah there is the inscription: “Jerusalem is the holy city, in it is the city of God,” and on Baruch it is “The rod came forth and the prayer was cast down.” Both inscriptions are absent in the canonical texts. Another icon depicts the prophets Zephaniah and Nathan. Saphonia has the inscription: “Thus says the Lord: Rejoice, O lady, daughter of Zion” (cf. Zeph. 3:14), Nathan has: “The Lord looks down from heaven to see the sons of men” (Ps. 13:2).

Quite early, not only images of the prophets themselves appear, but also scenes depicting prophetic visions: the mosaic “Vision of the Prophet Ezekiel” from the end of the 5th century is known. at the Church of St. David in Thessaloniki.

Interest in this kind of subjects appeared in the 17th century. Such, for example, is an icon from the first third of the 18th century. “Visions of the prophets Isaiah and Ezekiel” (Isaiah 6, Ezekiel 1) from the Cherepovets Museum of Local Lore (Vologda region). But the complex composition, which is an attempt to convey the meaning of the prophecies through visual means, turns into a set of naturalistic details - a raging fire, clouds of smoke, a many-eyed wheel, and does not achieve the main goal - through revelation to discern the understanding of the mystery of Christ, which was not announced to previous generations of the sons of men, as it is now revealed to His holy Apostles and Prophets by the Holy Spirit (cf. Eph. 3:2-5). Traditional compositions of prophetic ministry, which are part of Russian high iconostases, solve this problem successfully.

Archimandrite Nikolai (Pogrebnyak)

Sources and bibliography:

Alekseev A. A. Byzantine-Slavic profitology (formation of composition). Proceedings of the Department of Old Russian Literature (TODRL), vol. 56. St. Petersburg, 2004.

Iconographic original, consolidated edition of the 18th century / Edited by G. D. Filimonova. M., 1876.

Pokrovsky N.V. The Gospel in iconographic monuments. M., 2001.

Tarnogradsky I. V. Holy images. Russian icons of the 15th–20th centuries from private collections. M., 2006.

Felmy K.-H. Icons of Christ. M., 2007.

Saint Elijah is the most revered of the prophets by people, since he is the second through whom the Lord addressed the earthly inhabitants. The first was Moses. He is also one of those whom God took to himself, leaving no witnesses to this action. The airborne troops consider Saint Elijah their patron and intercessor.

The icon “Ilya the Prophet” contributes to the successful outcome of any undertaking, but it is believed that the saint helps most of all in agricultural matters. People turn to him with a request to send rain in case of drought or clear weather in case of heavy rains. Also, the prophet can save those praying in front of his icon from disturbing diseases. It removes anger from people's hearts and promotes a peaceful family atmosphere.

“St. Elijah the Prophet” is an icon whose significance is so great that it makes it the most famous and revered. It is located in a temple named after the same saint in Moscow on Obydensky Lane. The 20 stamps that decorate the image preserve the most important moments of life. The icon is the main one in the temple. Here is also another, no less revered Orthodox icon of Elijah the Prophet, which was created for the bicentennial anniversary of the temple at the beginning of the 20th century. The name of the icon is “Saint Saint Elijah the Prophet in the Desert.”

The Temple of the Prophet Elijah, located in the Novgorod region, is another place where the saint is honored. There are 2 icons here, one of which was created more than two centuries ago; it is the one that is carried during the religious procession. And the other icon is only 15 years old (the date of creation is 2000), but local residents love it very much, calling it miraculous.

Temple of Elijah the Prophet on Mount Carmel in Israel

For several centuries in a row, pilgrims from all over the world have been coming to Mount Carmel to touch the shrines associated with the prophet. The place for the temple was not chosen by chance, because it was in the cave of this mountain that Ilya hid from his pursuers for a long time, and here he defeated the pagan priest. The temple was built directly above the cave in the shape of a cross.

In the courtyard there is a small altar, similar to the one that Ilya created in his time. Nearby stands a neat statue of the prophet, who raised his hand with a blade over the pagan priest. When the Arab Muslim army waged war on the Jews, they cut off the hand of the statue, believing that it was helping all the people in the war. The temple was built relatively recently - in the first quarter of the 20th century, on the day of memory of St. Elijah. Every year believers flock here to pray or baptize their children.

How and why St. Elijah was revered in Rus'

He became one of the first to be worshiped in Rus'. Temples were erected in his honor, the first in Kyiv back in the 9th century, and Princess Olga ordered the construction of a church in the northern part of Rus', in the village of Vybuty. Ilya was and continues to be considered a truly Russian saint who understood the problems and sorrows of his people.

Elijah's Day, celebrated by believers on August 2, is considered the demarcation of the seasons. Although it is still summer, in central Russia after this date people do not swim in reservoirs and, as a rule, it gets sharply cold and rainy. On this day they asked the saint for a good harvest, and the girls prayed to give them a betrothed with whom they would go down the aisle.

How does the icon “Elijah the Prophet” help?

At all times, Russian peasants prayed to Ilya to bless them to plow the land. Saint Elijah the Prophet, whose icon was in every home, was always considered a great miracle worker, a thunderer who could control the elements, especially rain. When people worry about the richness of the harvest, so that it does not dry out or, on the contrary, is not flooded, they fervently pray to the prophet Elijah.

The Ilya the Prophet icon helps to cope with any difficulties, be it a lack of material wealth, mental or physical illness. It is also capable of preventing sudden death from a person. Believers are constantly convinced of this.

Icons depicting the prophet

The very first icon “Ilya the Prophet” was painted in the early Byzantine period. On it the saint appears as a stern man with piercing brown eyes, dressed in a woolen cloak. The prophet has long hair and a bushy beard. Often Ilya was put on a wool hat and a dagger was placed in his hands, thus conveying his strength and rage addressed to the Gentiles. In those days, almost every saint was depicted with a weapon in his hands.

There are two radically different ways of writing the prophet, since they are tied to different periods of his life. Some icon painters depict him in thought, namely, sitting on a stone in the desert and looking around, while a raven gets him food. The legend written on this occasion says that the essence of this picture is that Saint Elijah hears the Divine voice through the thickness of earthly problems and thoughts.

Another option is Elijah the Prophet at the moment of his transition to the Heavenly Kingdom. He is depicted floating with a cloud at his feet, his gaze turned to the heavens, but sometimes he also looks at the abandoned earth. It is on such icons that the prophet hands over his shroud to his most reliable follower - Elisha. “St. Elijah the Prophet” is an icon, the meaning of which is to reflect in one image all the key moments of life, it is painted with multiple marks on which one can see a conversation with the Lord, a victory over the pagan priests, and the revival of a person.

DIY icon of Elijah the Prophet

Nowadays, ready-made icons in various designs can be purchased everywhere: in church shops, in jewelry stores, you can order it from icon painters on Internet sites, or you can do it yourself. An icon made with beads “Elijah the Prophet” is the best thing that almost anyone can do in tribute to the memory of the saint. The main thing to remember is that before starting such work you must receive a church blessing. And the sketch from which you need to work can be purchased in shops at churches or in online stores. After the icon is ready, it should be consecrated and charged with church power. While doing needlework, you can read prayers to Elijah the Prophet. There is no doubt that an icon created with one’s own hands will have no less miraculous power than those that are in churches or sold in church shops.

People please God in different ways: the Heavenly Father endows everyone with talents in due measure and accepts labors from everyone for His glory, therefore the Church glorifies the saints of God in different faces.

Holy prophets

Prophets include holy people who received from God the gift of insight into the future, who proclaimed to the world the ways of His Providence; at the inspiration of the Holy Spirit, they predicted future events, especially about the promised Savior.

The most revered prophets: Elijah (August 2), John the Baptist (July 7, September 11). There are well-known prophetesses, for example, righteous Anna (February 16).

In the iconography of the prophets there is always an image of a halo as a symbol of holiness and special chosenness of God; on their heads there are prophetic caps (for example, the prophet Daniel) or a crown, like the kings David and Solomon; Prophets are also depicted with their heads uncovered; the scrolls in their hands contain excerpts from the texts of their prophecies. The prophets are dressed in a tunic (underwear in the form of a shirt to the toes) and a himation (outer clothing in the form of a cloak), and on the shoulders of some (the Prophet Elijah) is a mantle - a sheepskin cape.

The last of the prophets who proclaimed: “...repent, for the Kingdom of Heaven is at hand” (Matthew 3:2) and who saw with his own eyes the fulfillment of all the prophecies about the Savior was John the Baptist, whose iconography is very diverse.

He is depicted wearing camel hair or a chiton and himation; The “Angel of the Desert” icon is widespread, where John the Baptist has wings behind his back - a symbol of the purity of his life as a desert dweller. On this icon, the holy prophet John the Baptist holds in his hand his own severed head, which is a feature of icon painting when events that are far apart in time are depicted simultaneously, and also in the same way as St. martyrs are depicted with the instruments of their suffering for the Lord, and virgins are depicted with a palm or flower branch as a symbol of purity. The figures of the prophets are most often depicted waist-length and full-length.

Holy Apostles

Apostles(in Greek - messengers) - disciples of Christ who accompanied Him during public service, and subsequently sent by the Lord Jesus Christ Himself to all ends of the earth, spreading faith throughout the world. The apostles Peter and Paul (July 12) are called supreme.

Traditionally, the holy apostles are depicted with scrolls or a book in the form of a codex, with halos around their heads; the clothes of the apostles - tunic and himation.

On icons, the Chief Apostle Peter is usually depicted with a bunch of keys, which means a set of church Sacraments, which are symbolic keys to the Kingdom of Heaven: “You are Peter, and on this rock I will build My Church, and the gates of hell will not prevail against it; and I will give you the keys of the kingdom of heaven: and whatever you bind on earth will be bound in heaven; and whatever you loose on earth will be loosed in heaven” (Matthew 16:18-19).

Four icons of the holy evangelists are always placed on the Royal Doors. The evangelists Matthew, Mark and Luke are depicted while working on the Gospels, sitting indoors behind open books, and the holy evangelist John is among the mountains on the island of Patmos, where, according to Tradition, he dictated the inspired text to his disciple Prochorus.

Saints Equal to the Apostles

Equal to the Apostles- these are saints, like the apostles, who labored in converting countries and peoples to Christ. Such, for example, are Tsars Constantine and Helen (June 3), the baptist of Rus', Prince Vladimir (July 28), and Grand Duchess Olga (July 24).

Images of saints equal to the apostles have basically the same iconographic symbolism; differences may be in the images of clothing that is characteristic of its time and people. Often in the iconography of saints equal to the apostles, the image of a cross appears - a symbol of baptism and salvation from eternal death.

Saints

Saints - patriarchs, metropolitans, archbishops and bishops who achieved holiness through the purity of their personal lives and became famous for their tireless care for their flock and the preservation of Orthodoxy from heresies and schisms. Among their great host, the most revered saints among the Russian people are: Nicholas the Wonderworker (December 19 and May 22), Ecumenical teachers Basil the Great, Gregory the Theologian and John Chrysostom (common memory February 12); Moscow saints Peter, Alexy, Jonah, Philip, Job, Ermogen and Tikhon (common memory October 18).

Only bishops can be counted among the saints, since they, leading the community, receive the gift of teaching and continue the continuity of apostolic succession through the ordination of new bishops.

On the icons the saints are depicted in their liturgical episcopal vestments. On their head they may have a miter - a special headdress, decorated with small icons and precious stones, symbolizing the Savior's crown of thorns (but more often the saints are depicted with their heads uncovered); they are dressed in sakkos - outer clothing, signifying the scarlet robe of the Savior; on the shoulders there is an omophorion - a long ribbon-shaped cloth, decorated with crosses, which is an obligatory part of the bishop's vestment. The omophorion symbolizes the lost sheep that the gospel good shepherd carries home on his shoulders.

Saints are most often depicted with a book in their left hand; the right hand is in a blessing gesture. Sometimes the saints hold a cross, chalice or staff in their hands. The figures of saints can be full-length or waist-length.

Holy Martyrs

Martyrs- which includes the majority of saints - those who endured suffering and death for the name of Christ, for the right faith, for refusing to serve idols.

Those who have undergone particularly severe torment are called great martyrs. Among them are the healer Panteleimon (August 9), St. George the Victorious (May 6), Saints Barbara (December 17) and Catherine (December 7).

The holy martyrs accepted death in the priesthood, and the holy martyrs died in monastic vows.

Separately in Rus' they honor passion-bearers who died at the hands of murderers and villains. The first Russian saints were the passion-bearing princes Boris and Gleb (August 6).

The prototype of martyrdom is Christ Himself, who witnessed with his own blood the salvation of the human race.

Martyrs(from the holy first martyr Stephen (Acts 7) to the new martyrs of our time) - continuers of the apostolic ministry, and therefore there is a cross on their icons. It is depicted in the hands of a saint and is a symbol of both the apostolic gospel and the symbol of sacrifice. Joyfully giving earthly existence in exchange for heavenly existence, the martyrs become co-workers with Christ Himself.

The iconography of martyrs uses the color red as a figurative expression of suffering for the faith, and the red robes of martyrs are a symbol of shed blood.

Confessors The Church refers to those who suffered a lot for Christ, openly professing their faith, endured persecution, torment and torture for this, but survived, avoiding martyrdom. Since the 6th century, confessors have been called saints who have attested to the Christian faith through the special righteousness of their lives.

Reverends

Reverends (those who have become like the Lord) are saints who became famous in monastic feats. Through fasting, prayer, and labor, they created great virtues in their souls - humility, chastity, meekness. Almost every monastery is glorified before God by a holy saint. In Rus', the Venerables Sergius of Radonezh (July 18 and October 8) and Seraphim of Sarov (January 15 and August 1) are especially loved. Among the venerable women, the most famous is Saint Mary of Egypt (April 14).

Monastic asceticism is a special type of following Christ, which involves a complete renunciation of all worldly attachments. The basis of monastic feat is fasting and prayer as the path of knowledge of God and the desire for life in God. But monasticism is not only a means of personal salvation. “Save yourself, and thousands around you will be saved,” these words of St. Seraphim of Sarov indicate that the difficult monastic feat is marked by special gifts of God, using which the ascetic leads to the salvation of all his spiritual children.

The monks are depicted in full height and to the waist, in monastic vestments; right hand - in a nominal blessing finger; in the left - there may be an unfolded or, most often, a rolled scroll; A characteristic detail of the iconography of the saints is the rosary - a symbol of monastic prayer work.

The background for icons of saints can be a panoramic image of the monastery in which the saint labored.

Standing on the pillars are depicted the holy venerable pillars, who have chosen this type of extreme asceticism for themselves as a way of withdrawing from the world and concentrating on unceasing prayer.

Often on icons (this applies to all the iconography of saints) there is an image of the blessing right hand of the Lord, the Lord Jesus Christ Himself, the Mother of God, angels and archangels.

The figures can be single, but there are also multi-figure compositions, called “icons with selected saints.” Single figures are depicted surrounded by hagiographical marks - individual scenes from the life of the saint.

Unmercenary

Unmercenary had the gift of healing and used it free of charge, healing illnesses both physical and mental. Such doctors were, for example, Saints Cosmas and Damian (July 14), the great martyr and healer Panteleimon (August 9), etc.

Blessed (foolish)

Holy Fools For Christ's sake, taking on the guise of madness, enduring reproaches from those around them, they exposed human vices, admonished those in power, and consoled the suffering. Among them (Aug. 2), Ksenia Petersburgskaya(February 6) and other saints.

External madness, combined with the gift of foresight, behavior that goes against the generally accepted, but allows, regardless of their faces, to expose sinners and call for salvation through awareness of one’s own imperfection and repentance - these are the main features of the feat of foolishness.

The blessed ones are depicted on the icons in the form in which they accomplished their feat: naked or with a light bandage around their loins, in shabby clothes, with chains on their shoulders.

An obligatory element of the iconography of holy fools - nimbus.

Holy saints

Being family people and living in the world, the righteous saints were awarded holiness for a particularly pious and pleasing way of life to God.

Forefathers- the first righteous people in human history.

These are the Old Testament patriarchs (forefathers Adam, Noah, Abraham etc.), as well as the righteous Joachim and Anna(September 22) - parents of the Mother of God (to whom the Church has adopted the still high title of Godfather), righteous Zechariah and Elizabeth(July 8) - parents of St. John the Baptist, and the betrothed of the Virgin Mary - righteous Joseph. The forefathers participate educationally in the history of the salvation of mankind, being in the flesh the ancestors of Jesus Christ, and in the spiritual sense, they are an example of combining the righteousness of life with the anticipation of future liberation from eternal death. On the icons, the patriarchs are depicted with scrolls containing texts from the Holy Scriptures; the forefather Noah is sometimes depicted with the ark in his hands.

The great Russian saint, the Righteous One, also belongs to the list of righteous saints John, the Wonderworker of Kronstadt(January 2), who was a priest - a representative of the white (married) clergy.

The figures of saints are depicted both in full height and waist-length. The background is often a panorama of the city where the saint lived, a monastery or a church.

Holy saints

Holy saints- these are kings and princes who used the greatness and wealth received from God for works of mercy, enlightenment, and preservation of people's shrines. Among them - (September 12 and December 6) and Dimitry Donskoy(June 1st).

The main theological meaning of all the iconography of the saints is victory over sin, and therefore over eternal death, salvation and entry into the Kingdom of Heaven. According to St. John of Damascus, “the saints were filled with the Holy Spirit during their lifetime, but when they died, the grace of the Holy Spirit is present with their souls, and with their bodies in tombs, and with figures, and with their holy icons - not in essence, but by grace and action."

The iconostasis usually has three doors (gates) leading to the altar: in the middle of the iconostasis, directly in front of the throne - the Royal Doors, to the left of the Royal Doors (in relation to the viewer standing in front of the iconostasis) - the Northern Gate, to the right - the Southern Gate. The side gates of the iconostasis are called deacon doors. It is customary to open the Royal Doors only during divine services (in Russian divine services only at certain moments). Only clergy can pass through them, performing the required liturgical actions. Deacon's doors can be used at any time for simple (non-symbolic) entry and exit from the altar. Also, if necessary, members of the church clergy (assisting clergy during the service) can pass through them.

1st basement row
2-seat row (a - royal gates, b, c - side gates).
3 - holiday row
4 -deesis (apostolic) row
5- prophetic
6- forefathers

The bottom row (or in other words “rank”) is local
It houses the Royal Doors with the image of the Annunciation and the four evangelists on two doors.

Sometimes only the Annunciation is depicted (full-length figures of the Archangel Gabriel and the Mother of God). There are life-size images of saints, most often the compilers of the liturgy - John Chrysostom and Basil the Great. The frame of the Royal Doors (pillars and crowning canopy) may have images of saints, deacons, and on top an icon of the Eucharist - the Communion of the Apostles by Christ. To the right of the royal doors is the icon of the Savior, to the left is the icon of the Mother of God, occasionally replaced by icons of the Lord's and Mother of God feasts. To the right of the icon of the Savior there is usually a temple icon, that is, an icon of the holiday or saint in whose honor this temple is consecrated.

On the deacon's doors, the archangels Gabriel and Michael are most often depicted, sometimes the holy archdeacons Stephen and Lawrence, Old Testament prophets or high priests (Moses and Aaron, Melchizedek, Daniel) can be depicted, there is an image of a prudent thief, rarely other saints or prelates. There are deacon's doors with multi-figure scenes based on scenes from the book of Genesis, paradise, and scenes with complex dogmatic content. The remaining icons in the local row can be anything. This is determined by the desire of the creators of the iconostasis themselves. As a rule, these are locally revered icons. Because of this, the row is called local.

Second row - Deesis, or Deesis rank

“Savior is in power” is the central icon of the full-length Deesis order. Tver, around 1500.

The Deesis tier is the main row of the iconostasis, from which its formation began. The word "deisis" is translated from Greek as "prayer." In the center of the deesis there is always an icon of Christ. Most often this is “The Savior in Power” or “The Savior on the Throne”, in the case of a half-length image - Christ Pantocrator (Almighty).
Rarely are shoulder or even main images found. On the right and left are icons of those standing and praying to Christ: on the left - the Mother of God, on the right - John the Baptist, then the archangels Michael (left) and Gabriel (right), the apostles Peter and Paul. With a larger number of icons, the composition of the deesis may be different. Either saints, martyrs, saints and any saints pleasing to the customer are depicted, or all 12 apostles are depicted. The edges of the Deesis can be flanked by icons of stylites. The saints depicted on Deesis icons should be turned three-quarters of a turn towards Christ, so that they are shown praying to the Savior.

Third row - festive

It contains icons of the main events of the Gospel history, that is, the twelve feasts. The festive row, as a rule, contains icons of the Crucifixion and Resurrection of Christ (“Descent into Hell”). Usually the icon of the Raising of Lazarus is included. A more expanded version may include icons of the Passion of Christ, the Last Supper (sometimes even the Eucharist, as above the Royal Doors) and icons associated with the Resurrection - “The Myrrh-Bearing Wives at the Tomb”, “The Assurance of Thomas”. The series ends with the icon of the Assumption. Sometimes the feasts of the Nativity of the Mother of God and the Entry into the Temple are absent from the series, leaving more space for the icons of the passion and the Resurrection. Later, the “Exaltation of the Cross” icon began to be included in the series. If there are several chapels in the temple, the festive row in the side iconostases may vary and be shortened. For example, only the Gospel readings in the weeks after Easter are depicted.

“Ascension” from the festive rite of the Assumption Cathedral in Vladimir. 1408

The fourth row is prophetic
It contains icons of Old Testament prophets with scrolls in their hands, where quotes from their prophecies are written. Not only the authors of prophetic books are depicted here, but also kings David, Solomon, Elijah the prophet and other people associated with the foreshadowing of the birth of Christ. Sometimes in the hands of the prophets the symbols and attributes of their prophecies cited by them are depicted (for example, in Daniel there is a stone that was independently torn from the mountain as the image of Christ born of the Virgin, in Gideon a dew-drenched fleece, in Zechariah a sickle, in Ezekiel the closed gates of the temple). In the center of the row there is usually an icon of the Mother of God of the Sign, “containing in Her bosom the image of the Son born of Her,” or the Mother of God with the Child on the throne (depending on whether the images of the prophets are half-length or full-length). However, there are early examples of prophetic series without the icon of the Mother of God. The number of prophets depicted may vary depending on the size of the row.

“King David”, icon from the prophetic series, Church of the Transfiguration, Kizhi Monastery

Fifth row - forefathers

It contains icons of Old Testament saints, mainly the ancestors of Christ, including the first people - Adam, Eve, Abel. The central icon of the series is the “Fatherland” or later the so-called “New Testament Trinity”. There are serious objections to the possibility of using these iconographies in Orthodox iconography. In particular, they were categorically prohibited by the Great Moscow Council of 1666-1667. Objections are based on the impossibility of depicting God the Father, an attempt to which is directly made in the image of the Old Denmi (in ancient times the Old Denmi was an image only of Christ coming to be incarnate). Another argument in favor of rejecting these two icons is their distorted idea of the Trinity. That is why in some modern iconostases the central image of the forefathers’ row is the “Old Testament Trinity” icon, that is, the image of the appearance of three Angels to Abraham. The most preferred iconographic version of the Trinity is the icon of Andrei Rublev. However, the image of the “Fatherland” and the “New Testament Trinity” has become widespread and is still used in icon painting.

"Abraham". Icon from the forefathers' rank. OK. 1600 MiAR.

Completion
The iconostasis ends with a cross or an icon of the Crucifixion (also in the shape of a cross). Sometimes, on the sides of the cross, icons of those present are placed, as on the usual icon of the Crucifixion: the Mother of God, John the Theologian, and even sometimes the myrrh-bearing women and the centurion Longinus.

Additional rows

At the end of the 17th century, iconostases could have a sixth and seventh row of icons:

* Apostolic Passion - depiction of the martyrdom of the 12 apostles.
* The Passion of Christ is a detailed account of the entire story of the condemnation and crucifixion of Christ.

Symbolism of the iconostasis
The appearance of the altar curtain is associated with the construction of the Old Testament Temple of Jerusalem, where the curtain covered the Holy of Holies. Behind the curtain was the Ark of the Covenant with the tablets of the 10 Commandments. Only once a year, on the day of atonement, the high priest entered the Holy of Holies with the sacrificial blood of a goat and a bull (Lev: 16), asking God to cleanse the sins of the people. The division of a Christian church into an altar, a naos and a vestibule repeats the structure of the Old Testament temple. However, now the altar - the place where the Eucharist is celebrated - has become accessible to people. The Apostle Paul calls the veil of the temple the flesh of Christ: “Therefore, brethren, having boldness to enter into the sanctuary through the blood of Jesus Christ, in a new and living way, which He again revealed to us through the veil, that is, His flesh” (Heb. 10:19-20) . Thus, thanks to the redemption of mankind by Christ, people were able to enter the temple and the Holy of Holies, that is, the naos and the altar. But the Apostle Paul points to the role of the veil itself in this. There are moments in gospel history when the veil is compared to the flesh of Christ. According to legend, at the moment of the Annunciation, the Mother of God, having been raised at the Jerusalem Temple, was weaving a new curtain for it. A comparison of the conception of Christ and the tearing away of the veil can be found in the service: “For from the turning away of the scarlet, the most pure, intelligent scarlet of Immanuel, the flesh was worn away within in Thy womb. Moreover, we truly honor Theotokos” (the 8th song of the Theotokos of the canon of Andrei of Crete). This legend is reflected in some icons of the Annunciation, where Mary holds a ball of red thread in her hands. The moment of Christ’s death in the Gospel received special understanding: “Jesus cried out again with a loud voice and gave up the ghost. And behold, the veil of the temple was torn in two, from top to bottom” (Matt. 27:50,51). So, the curtain not only separated and covered the altar from view, but itself depicted the flesh of Christ, which was inextricably linked with the fact that Christians took Communion here.

With the development of icon veneration and later in connection with the formulation of church teaching on the icon at the VII Ecumenical Council (787), the symbolic veil could not help but be replaced by a number of images. Instead of the Old Testament symbol, it was necessary to show the New Testament reality. The barrier in the form of a row of columns also served as a symbol in itself. The columns were often numbered 12 (like the 12 apostles), and the center of the barrier was crowned with a cross - the image of Christ. The appearance of the icon of Christ over the barrier became the replacement of the symbol with its direct meaning. This is where the main row of the iconostasis comes from - the deesis (from the Greek “deisis” - prayer). The composition “Deesis” depicts Christ in glory (on the throne or surrounded by radiances and angelic powers) surrounded by the Mother of God, John the Baptist and other saints praying to Him. It shows the moment of the second coming of Christ and the Last Judgment, when the Church prays to Christ the Judge for humanity. The image of the 12 apostles (“apostolic deesis”) also recalls the Last Judgment, when the apostles will sit on thrones together with Christ to judge the 12 tribes of Israel (Matthew 19:28). At the end of the 17th century, the Deesis ranks are found with seated apostles, as in the Last Judgment icon.

The festive rite of the iconostasis develops the theme of the Church united by Christ, and shows the most important moments of the Savior’s coming into the world and the redemption He accomplished - the twelve feasts. The Resurrection of Christ as the main moment of saving humanity from death and leading people from hell to heaven is usually preceded by a more detailed depiction of the events of Passion Week, which is due to the special emphasis on these days in the service. The most important events following the Resurrection of Christ are also shown, testifying to the truth of what happened. The festive rite is not just an illustration of the Gospel, but highlights events that have an eternal meaning for humanity. It is also inseparable from the course of the liturgical year, so it is not the historical sequence of events that is found, but their order in the church calendar.
Our Lady of the Sign.

The prophetic series turns to the theme of Old Testament prophecies and omens about the Savior who was to come into the world. The prophets and the entire Israeli people waited for the birth of the Messiah into the world. That is why in the center of the row they began to place the image of the Mother of God, from whom Christ would be born. At the same time, the “Sign” icon with the image of Christ in a medallion against the backdrop of the womb of the Virgin Mary became a common option, since this iconography better showed the incarnation of God into the world.

The fifth row, called the forefathers' row, expanded on the Old Testament theme. If the prophets lived after the Law given to Moses at Sinai, then the most ancient righteous people from Adam himself are depicted here, who knew the one God and also had the promise of salvation. The central icon of the series, in this case, was supposed to depict God Himself, in whom these people believed. That is why the image of the “Fatherland” was placed here, showing all three hypostases: the Father, the Son and the Holy Spirit, through the symbols available in Christianity. The image of the Old Denmi (elder) is taken from the vision of the prophet Ezekiel and the Apocalypse of John the Theologian. If initially the Old Denmi was understood as the pre-eternal image of God the Son, now they began to depict the Father, Whom can only be known through the incarnate Son. Christ himself - the second hypostasis - is shown as a youth sitting on the lap of the Father, that is, in the iconography of Emmanuel. Savior Emmanuel is the image of Christ as a young man, as a sign of His eternity. The Holy Spirit is shown in the form of a dove as He appeared at the time of Christ's Baptism. The medallion (glory) with a dove is held in the hands of the youth Christ.

Already in the 17th century, the admissibility of this iconography was questioned. In “Fatherland” a direct image was made of God the Father, who is “ineffable, unknown, invisible, incomprehensible” (the liturgy of John Chrysostom). Here it was combined with the image of Christ, who, being co-eternal with the Father, became incarnate and received human form. To this was added the symbolic image of the Holy Spirit in the form of a dove. The different depictions of the three hypostases created their disparity in the image.

In some modern iconostases, the "Fatherland" is replaced by the Trinity icon in Andrei Rublev's iconography or in the earlier version, "The Hospitality of Abraham". This image shows the appearance of God in the form of three angels, who promised Abraham the birth of a son. Abraham already knew that the Savior would be born from his offspring, so here too we need to see a prophecy about the coming of Christ into the world. The version created by Andrei Rulev shows three angels without Abraham and Sarah serving them. Here it is emphasized that those who came themselves portrayed the trinity of God. Moreover, Rublev’s icon conveys the moment of eternal divine advice on how to save humanity, which will fall away from God. Here God the Son takes on the role of Redeemer, which is emphasized by the head of the sacrificial calf in the bowl on the table.

The crucifix at the end of the iconostasis once again emphasizes that Christ is the Redeemer and Sacrifice, thanks to whom the Church was created.
Deesis. Pskov icon of the 14th century.

Thus, the 5-tier iconostasis must be viewed from top to bottom. First, the iconostasis shows humanity’s expectation of the Savior promised by God, then the appearance of Christ into the world and the atonement He accomplished. The Deesis "rite is the completion of the historical process: it is the image of the Church in its eschatological aspect." Here the saints are shown united with Christ as one body.

If from top to bottom the content of the iconostasis shows Divine revelation and the economy of the salvation of mankind, then the program of images on the royal doors in the local row shows the path to salvation for every believer. At the Annunciation, Mary agreed to become the Mother of Christ, and in Her the earthly and heavenly were united. Also, the gates themselves connect the temple with the altar - the image of the heavenly world and paradise. Through the evangelists, the news of salvation spread to all corners of the world. Finally, in the image of the Eucharist above the royal doors, people's acceptance of Christ and union with Him is shown.

Just as in the Eucharistic prayer at the liturgy the deceased Old Testament forefathers, fathers, patriarchs, prophets, New Testament apostles, martyrs, confessors, and then all living believers in the church are remembered in faith, so the iconostasis is not closed. It is continued by the Christians gathered in the temple.

Home and travel iconostasis
In the residential buildings of Orthodox Christians there is a specially designated place for icons - a red corner - in the design of which the principles of the church iconostasis are repeated. There are multi-figure icons from the 16th to 19th centuries, containing images of the Deesis, festivals and prophets, and sometimes (especially in the 19th century) the entire multi-tiered iconostasis with a local row. In ancient Rus', such miniature iconostases were called “March Church”, that is, they could be taken with you on a trip.