Traditions of Icon Painting in Medieval Russia


Mar 1, 2009 Kerry Kubilius
Since the beginnings of icon painting in Russia, the development of these religious artworks were produced according to a tradition also influenced by trends.
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Icon painting in Russia was initially done by Greeks. The tradition of icon painting was eventually taken up by medieval monks and, later, artisans who copied existing icons or reinterpreted icons to suit Russia's treatment of Orthodoxy and the artistic trends of the time.


Icon painting in Russia was initially done by Greeks. The tradition of icon painting was eventually taken up by medieval monks and, later, artisans who copied existing icons or reinterpreted icons to suit Russia's treatment of Orthodoxy and the artistic trends of the time.


Icon painting in Russia was initially done by Greeks. The tradition of icon painting was eventually taken up by medieval monks and, later, artisans who copied existing icons or reinterpreted icons to suit Russia's treatment of Orthodoxy and the artistic trends of the time.


Icon painting in Russia was initially done by Greeks. The tradition of icon painting was eventually taken up by medieval monks and, later, artisans who copied existing icons or reinterpreted icons to suit Russia's treatment of Orthodoxy and the artistic trends of the time.


Origins of Icon Painting Tradition


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Byzantium is the obvious source for the origins of the icon painting tradition in Russia, and before there were Greek icon painters in Russia, there were Greek icons. The famous icon the Virgin of Vladimir, depicting a maternal Mary cradling her infant Christ, is one such icon that made its way from Constantinople to Kiev and was subsequently copied by other icon painters like Russia's most famous, Andrei Rublev.


Greeks taught the tradition of icon painting to Russians. Theophanes is the Greek icon painter who oversaw Andrei Rublev's earliest work. However, Greek work was notably severe and did not connect as compassionately with the viewer as those works did that medieval icon painters in Russia would come to favor.


Greeks taught the tradition of icon painting to Russians. Theophanes is the Greek icon painter who oversaw Andrei Rublev's earliest work. However, Greek work was notably severe and did not connect as compassionately with the viewer as those works did that medieval icon painters in Russia would come to favor.


Greeks taught the tradition of icon painting to Russians. Theophanes is the Greek icon painter who oversaw Andrei Rublev's earliest work. However, Greek work was notably severe and did not connect as compassionately with the viewer as those works did that medieval icon painters in Russia would come to favor.


Development of Icon Painting


During the 12th century, medieval icon painting, most notably icon painting in Novgorod, began to take on the look at feel of the developing Russian style. Icon painters were doing away with Byzantine traditions and were using vivid hues.


During the 12th century, medieval icon painting, most notably icon painting in Novgorod, began to take on the look at feel of the developing Russian style. Icon painters were doing away with Byzantine traditions and were using vivid hues.


During the 12th century, medieval icon painting, most notably icon painting in Novgorod, began to take on the look at feel of the developing Russian style. Icon painters were doing away with Byzantine traditions and were using vivid hues.


The iconostasis was a development in icon painting that took this art form to a new level. Tiers of icons, arranged in order of importance, made up a carved wooden screen to be placed in the church. With the development of the iconostasis came icons that were more customized to the lives of those who would most use them. The icon painters in Novgorod hand-picked saints to depict in icons who were dearest to followers' hearts.


The iconostasis was a development in icon painting that took this art form to a new level. Tiers of icons, arranged in order of importance, made up a carved wooden screen to be placed in the church. With the development of the iconostasis came icons that were more customized to the lives of those who would most use them. The icon painters in Novgorod hand-picked saints to depict in icons who were dearest to followers' hearts.


The iconostasis was a development in icon painting that took this art form to a new level. Tiers of icons, arranged in order of importance, made up a carved wooden screen to be placed in the church. With the development of the iconostasis came icons that were more customized to the lives of those who would most use them. The icon painters in Novgorod hand-picked saints to depict in icons who were dearest to followers' hearts.


The iconostasis was a development in icon painting that took this art form to a new level. Tiers of icons, arranged in order of importance, made up a carved wooden screen to be placed in the church. With the development of the iconostasis came icons that were more customized to the lives of those who would most use them. The icon painters in Novgorod hand-picked saints to depict in icons who were dearest to followers' hearts.


The iconostasis was a development in icon painting that took this art form to a new level. Tiers of icons, arranged in order of importance, made up a carved wooden screen to be placed in the church. With the development of the iconostasis came icons that were more customized to the lives of those who would most use them. The icon painters in Novgorod hand-picked saints to depict in icons who were dearest to followers' hearts.


Medieval Icon Production


By the time Andrei Rublev came onto the icon-painting scene, icon production was characterized by deep religious observance, cooperation between skilled artisans, and the influence of creative environments. Icon painters produced icons in stages, and each individual involved in the icon production process had a specific task to complete, which was accompanied by prayer.


By the time Andrei Rublev came onto the icon-painting scene, icon production was characterized by deep religious observance, cooperation between skilled artisans, and the influence of creative environments. Icon painters produced icons in stages, and each individual involved in the icon production process had a specific task to complete, which was accompanied by prayer.


By the time Andrei Rublev came onto the icon-painting scene, icon production was characterized by deep religious observance, cooperation between skilled artisans, and the influence of creative environments. Icon painters produced icons in stages, and each individual involved in the icon production process had a specific task to complete, which was accompanied by prayer.


By the time Andrei Rublev came onto the icon-painting scene, icon production was characterized by deep religious observance, cooperation between skilled artisans, and the influence of creative environments. Icon painters produced icons in stages, and each individual involved in the icon production process had a specific task to complete, which was accompanied by prayer.


By the time Andrei Rublev came onto the icon-painting scene, icon production was characterized by deep religious observance, cooperation between skilled artisans, and the influence of creative environments. Icon painters produced icons in stages, and each individual involved in the icon production process had a specific task to complete, which was accompanied by prayer.


Icons in the Late Medieval Period


By the 16th century, icon painters were trained in workshops and produced icons that were highly detailed, much smaller versions of their predecessors. These miniature icons were painted in the so-called “Stroganov” style. This style was the last significant development in the tradition of medieval icon painting even though icons continued to be produced in Russia.


By the 16th century, icon painters were trained in workshops and produced icons that were highly detailed, much smaller versions of their predecessors. These miniature icons were painted in the so-called “Stroganov” style. This style was the last significant development in the tradition of medieval icon painting even though icons continued to be produced in Russia.


By the 16th century, icon painters were trained in workshops and produced icons that were highly detailed, much smaller versions of their predecessors. These miniature icons were painted in the so-called “Stroganov” style. This style was the last significant development in the tradition of medieval icon painting even though icons continued to be produced in Russia.


By the 16th century, icon painters were trained in workshops and produced icons that were highly detailed, much smaller versions of their predecessors. These miniature icons were painted in the so-called “Stroganov” style. This style was the last significant development in the tradition of medieval icon painting even though icons continued to be produced in Russia.


By the 16th century, icon painters were trained in workshops and produced icons that were highly detailed, much smaller versions of their predecessors. These miniature icons were painted in the so-called “Stroganov” style. This style was the last significant development in the tradition of medieval icon painting even though icons continued to be produced in Russia.


Talbot Rice, Tamara. A Concise History of Russian Art. New York: Frederick A. Praeger, 1963. 34-36, 63-71, 139-143.
The copyright of the article Traditions of Icon Painting in Medieval Russia in E European History is owned by Kerry Kubilius. Permission to republish Traditions of Icon Painting in Medieval Russia in print or online must be granted by the author in writing.


The copyright of the article Traditions of Icon Painting in Medieval Russia in E European History is owned by Kerry Kubilius. Permission to republish Traditions of Icon Painting in Medieval Russia in print or online must be granted by the author in writing.
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