MAIASP. 2023. No. 15 O.V. Silina ( Ornamental
circles on the shrouds of the frescoes in the Cathedral of the Nativity of the
Virgin, the St. Ferapont Monastery: sacral symbols and liturgical practices
visualized DOI: 10.53737/6877.2023.77.55.038 Access this article (PDF File) Pages: 908—943 |
This article describes the wall-painting cycle of ornamental circles
on the hanging shrouds which decorate the Cathedral of the Nativity of the
Virgin in the St. Ferapont Monastery. Painted in
1502 by the artel of Dionysius, the frescoes
represent the earliest extant tier of shrouds among the works of Old Russian
monumental art. The iconography and symbolism of hanging shrouds in the
church space are well-known, but the reasons why the ornamental circles
appeared on the shrouds as well as their semantics and the idea of a special
solution Dionysius had made for the tier are among insufficiently studied
issues. The background tonality behind the shrouds, the compositional and
rhythmic arrangement and the number of circles are analyzed. By referring to
iconographic parallels in Judaic ossuaries and Old Russian sarcophagi and
church decorations, the conclusion is made that the ornamental circles had
the most ancient origin and the peculiar sacral significance; the unique is
the conceptual solution proposed by Dionysius: the symbolism of the Byzantine
liturgical hours could be reflected in his interpretation of the shrouds. |
Key words: the Cathedral of the
Nativity of the Virgin, frescoes, Dionysius, hanging shrouds, circle with
ornament, daily cycle of services, Byzantine hours. |
Received Marc 4, 2023. Accepted for publication March
19, 2023. |
About the author: Silina Ol’ga Vladimirovna ( E-mail: silina.mfd@gmail.com
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