Russian Icons

Historical / Cultural Significance

In 988, Vladimir, Great Prince of Kiev, adapted the Greek Orthodox form of Christianity as the official religion of his pricipality. He immediately ordered the destruction of all pagan objects of worship, including many pieces of art. Prince Vladimir ordered the construction of new and magnificent churches in hopes of winning over his people, many of whom were hostile to Christianity. Part of the magnificance he desired was beautiful works of art. He imported many religious icons from Constantinople and Russian artists soon began to copy these pieces. During the 12th Century, the icons took on more Russian characteristics. The faces were more oval-shaped and natural with less stern expressions than those of their counterparts. The Russian artists eliminated essential details and used more vivid colors. Unfortunately, very few of these pieces are left today. Many were destroyed during the Tartar invasion of 1230.

By the late 14th Century, there was a consolidation of the Russian style. The bodies were elongated and often standing on tiptoe with gestures indicating upward motion (toward heaven), but they still had the sturdy build of country labourers. The colors were delicate, yet intense, extremely varied and astonishingly clear, producing a splendour of tone and shade that has seldom been surpassed in medieval painting. Because so much Russian art was destroyed in 988 we do not know if these icons were painted in a new style or adapted from previous Russian works.

Icons were originally produced solely for use in churches and for carrying in religious processions. They were often painted on both sides and were fairly large in size. In the churches they were displayed on a stand called an Iconostasis, often in several rows with the largest and most important at the front. By the 15th Century, the growth of wealth of Russians meant a demand for smaller icons for use in private chapals and homes. An icon was often placed in the far righ-hand corner of a room as well as at the foot of each bed in the house.

Principles and Elements of Design

Please refer to Cultural/Historical significance. Note the use of vivid color and of shape.

Icons were made of wood and it was important to find a piece broad enough so as not to have to join boards together. The boards were trimmed with an axe to form a slightly raised edge around the outside. It was then covered in canvas and treated with several thin layers of chalk ground. The piece was then ready for paint, which was usually tempura. When finished, the icon was coated in olive oil and resins. This presented a problem in that the coating collected dust and soot from candles, making the colors look dull. Later, artists often used duller colors to reproduce the same effect. As a final touch, many icons were adorned with precious metals and jewels, most of which are now lost.