Резюме. Summary
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Д-р Ева Хауштейн-Барч
главный хранитель,
Музей икон в Реклингхаузене, Германия
Музей икон в Реклингхаузене
История и коллекция
Самый значительный музей Восточно-христианского искусства в Западном мире был открыт в Реклингхаузене в 1956 г. Идея возникла у Томаса Гроковяка – директора Городского выставочного зала, в котором проходила выставка икон из частных собраний. В собрание музея вошли русские иконы из коллекции историка-слависта доктора Мартина Винклера и медика доктора Хайнриха Вендта. Мартин Винклер приобретал иконы во время своих поездок в Советскую Россию в 1920-х гг. благодаря знакомству с Анатолием Луначарским, Александром Анисимовым и реставратором Григорием Чириковым. Кроме того, музей приобрел еще 150 икон из частных коллекций. Среди них иконы собрания Фанины Халле, принадлежавшие ранее ее другу Дмитрию Айналову. Первым хранителем музея и автором первого каталога собрания икон был Хайнц Скробука. Сегодня собрание включает памятники коптского искусства, греческой и румынской иконописи.
Д-р Мария Пафити
искусствовед,
Институт Курто, Лондон, Великобритания
Реликварий из капеллы Санкта Санкторум:
уникальный памятник VI в. из частной коллекции папы римского
Возникновение практики создания реликвариев совпадает с эпохой первых паломничеств в Святую землю в IV в. В наше время большая часть священных реликвий хранится в церквах и монастырях по всему миру. Одно из самых ранних упоминаний о реликвариях принадлежит паломнице Эгерии, которая посетила Святую землю около 380 г. Предметом нашего рассмотрения стал реликварий из частной коллекции папы римского, хранившийся в ризнице капеллы Sancta Sanctorum церкви Святого Иоанна в Латеране в Риме до 1905 г. В тот же год он был перенесен в Апостольскую библиотеку Ватикана, а в 1934 г. в Музеи Ватикана. Он представляет собой небольшую деревянную коробку (24,1×18,4×4,1 см), содержащую несколько камней и два фрагмента дерева из Святой земли. Сдвижная крышка украшена темперной росписью с обеих сторон. На лицевой стороне изображен крест на фоне темно-синей мандорлы с именем Христа по сторонам. На внутренней поверхности изображены в три регистра пять эпизодов из жизни Спасителя: слева внизу – Благовещение и Рождество Христово, в центре – Распятие, в верхнем регистре – жены-мироносицы у Гроба и Вознесение Господне. Часовня Sancta Sanctorum всегда была личной часовней папы и считается одним из самых святых мест в мире. Короб, в котором хранили реликварий, уподобляли ковчегу Завета. Место хранения показывает, насколько ценной святыней он является. Можно предположить, что реликварий либо специально изготовили для папы, либо привезли по его заказу. Изображение сцены Благовещения, празднование которого включено в календарь богослужений в Палестине в 530-х гг. и закреплено императорским эдиктом Юстиниана 560 г., дает основание считать, что реликварий был декорирован до 560 г.
Д-р Беттина Юнген
главный хранитель отдела русского искусства, куратор коллекции Томаса П. Уитни,
Мид Арт Музей, Амерст, США
Университетская коллекция русского искусства Томаса Уитни
Томас Уитни, вернувшись в Соединенные Штаты в 1953 г. после завершения своей работы в московском представительстве Ассошиэйтед Пресс, начал коллекционировать русские книги, рукописи и произведения искусства. Для него они были свидетельствами гонимой советским режимом культурной и художественной жизни России. Собранные Уитни произведения стали важным вкладом в понимание русской культуры на Западе. За три десятилетия он собрал более 670 произведений искусства – от русских икон XVI–XIX вв. до работ художников 1900–1950-х гг. Среди его советников были Наум Габо, живший по соседству, и поэт Алексей Раннит. Уитни вспоминал, что он начал собирать иконы, только когда стал осознавать фундаментальную роль русской иконописи для всего русского искусства, включая авангард и современное искусство. Большинство икон Уитни приобретал на аукционах Christie’s и Sotheby’s в 1970–1976 гг., некоторые – у друзей и в галереях, несколько были привезены им из СССР. Он прекратил коллекционирование русского искусства после 1979 г., когда возросло количество подделок на антикварном рынке. В 1980 г. Уитни передал часть коллекции, собранной в память о его русской жене Юлии, музею колледжа в Амерсте, в котором некогда учился.
Nadia Pivovarova
PhD (Arts), Senior researcher,
State Russian Museum
The Icon Depositary at the Russian Museum
The article examines the history of the creation in 1914 of a collection of Christian antiquities at the Russian Museum (the ‘Drevlekhranilishche’), considering the sources from which the collection was assembled and the main stages of preparation for the collection to be put on public display. Attention is given to the work of the Curator of the Art Department of the Russian Museum, Petr Neradovsky. The article also considers the concept of the exhibition in 2014, which was timed to coincide with the 100th anniversary of the Drevlekhranilishche.
Yuri Bobrov
Doctor of Art History,
Full member of the Russian Academy of Arts
Repin Art Institute
Collection of Russian Icons in the National Museum, Stockholm:
A time to cast away stones, and a time to gather stones together
The fall of the Iron Curtain made foreign collections of Russian art accessible to researchers based in Russia. The icon collection at the National Museum in Stockholm is one of the largest outside Russia. It was originally assembled by the Swedish banker Olof Aschberg who worked in Moscow as Chairman of Roskombank in the 1920s and brought back from there some 200 icons, which he kept in his villa near Stockholm. In 1926–27 Aschberg, understanding the value of the collection, organized a scientific description of the collection of icons by a Professor from the University of Lund. In 1928, Aschberg travelled again to Moscow, where he acquired another 50 works. Soon afterwards Aschberg took a final decision to donate 241 icons to the Stockholm Museum. A study of the works using scientific techniques was only carried out at the start of the 1990s on the occasion of a new catalogue issue.
Olga Vasilieva
Chief Curator, Pskov Museum Complex
The 14th–16th Centuries Icons at the Pskov Museum
History of the Collection
Two museums of Christian antiquities were founded in the city of Pskov at the beginning of the 20th century: the Museum of the Archaeological Society and the Museum of the Church Archaeology Committee. The impulse for their creation came from the antiquarian circle of the Pskov Statistics Committee, which in 1876 furnished a collection of ancient books, weapons, coins, archaeological finds, icons and works of applied art in the halls of the local Assembly of the Gentry. The collection came under the control of the Pskov Archaeological Society in 1880. A leading role in the creation of the Museum and of the Society was played by the Secretary of the Statistics Committee, I. Vasiliev. Significant contributions to the collection of antiquities were made by the archivist of the District Court and first curator of the museum, K. G. Evlentev, the Society’s secretaries, F. A. Ushakov and N. F. Okulich-Kazarin, as well as another curator, A. A. Zaborovsky. In 1900, the Society acquired the 17th century Pogankin Chambers, and the museum was re-opened there two years later in 1902. In 1914 a part of the very large collection of the Pskov collector, F. M. Plyushchkin, including a number of icons, also came to the Museum. The Museum of the Church Archaeology Committee was set up in 1906 on the initiative of Metropolitan Arseny Stadnitsky in a building of the Pecherskoye Podvorye. Its exhibition was organised by N. I. Serebryansky, and a catalogue and description of the artefacts was prepared by V. D. Gratsilevsky. During the Second World War, most of the Pskov icon collection was taken to Germany. A small part of it was sent back in 1948 and 1955 and became the nucleus of the present collection. The icon collection of the Pskov Museum now numbers about a thousand items, of which more than 400 date from the 14th–17th centuries.
Elena Vinogradova
Senior researcher,
Vologda State Museum
The Old Russian Icon Painting Collection
of the Vologda State Museum
The core of the collection at the Vologda State Museum comes from four of the city’s pre-revolutionary museums: the Museum House of Peter I (1885), the Diocesan Archive of Monuments (‘Drevlekhranilishche’, 1896), the Art Museum of the Northern Circle of Fine Art Connoisseurs and the Local History Museum of the Vologda Society for the Study of the Northern Territory. These institutions were brought together in 1923 as the Vologda State Museum. In 1918, the Diocesan Drevlekhranilishche was reorganized as the Museum of Icon Art and Church History, which was managed by the painter and graphic artist, Nikolai Dmitrevsky, and then from December 1918 until the beginning of 1923 by the artist Vasily Luzan. They conducted a survey of churches in Vologda, Kargopol, Vologda, and the rural districts of Vologda, Totma and Gryaznovets, and brought icons from there to the Museum, which had an early Russian art section. The institution continued the work of the Museum of Icon Art and Church History, seeking out historical and cultural artefacts in churches. In October 1928, the Vologda Museum was detached from the state budget and transferred to self-financing, which entitled it to offer icons for sale. The Article looks at the dealings of the Museum at that time with the state-run trading house, Gostorg, and gives an account of the present collection of icons at the Vologda Museum.
Olga Sipola
Post-graduate student,
Yuvyaskulan University, Finland
Russian Icon in Finland
The Valaamo Monastery Collection
The icons of the Valaam collection are relatively late works, dating from the 18th to the early 20th centuries. Although the Valaam Monastery is one of the oldest in Russia, founded in the 11th or 14th century, its earlier antiquities have not been preserved. Despite the late date, the Monastery’s collection was assembled on similar principles to the older collections of other Ladoga foundations (the Tikhvin Monastery and the Monastery of St Alexander of Svir) and in association with them. Donation icons, with references to the donor, dates and inscriptions, make up a significant part of the collection, including works donated by the Sinebryukhov and Tyumenev families of St Petersburg merchants. The 18th century icons are associated with the regional artistic centres of Olonets, Yaroslavl, Kineshma and Tver, and display a fusion of the 17th century tradition with baroque and classical elements. Archive documents offer a new angle on the origins of the renowned Peshekhonov school. The Heinävesi Monastery has retained icons made in Peshekhonov’s workshop, which were brought from Valaam, when the monks were forced to flee from there in 1939.
Mikhail Malkin
Head of the Theory and History of Museum Conservation Department,
State Russian Museum
Icon Conservation at the Russian Museum
Nikolai Andreyevich Okolovich (1867–1928)
Since 1914 the Archive of Monuments of Russian Icon Painting and Ecclesiastical Art (the ‘Drevlekhranilishche’) has been in the words of N. P. Kondakova, the most important Christian museum in Europe. The conservation workshop at the Russian Museum, where the Archive is housed, has existed since about 1898 and those who worked there at various times have included the restorers F. A. Kalikin, N. I. Bryagin, M. M. Tyulin and the brothers G. O. and M. O. Chirikov. In 1912 Nikolai Okolovich became the Curator of the Russian Museum, and was entrusted with the creation of a permanent conservation workshop. Later, in 1923, he was appointed head of the Russian Museum’s conservation department. In 1926 Okolovich set out the principles that were to guide conservation work: interventions should be limited to what was necessary to preserve the work, and restoration should not exceed the surviving fragments of the work. Okolovich was among the first to use scientifically-based conservation practices, which he developing in collaboration with the best specialists. Systematic conservation of icons from the Drevlekhranilishche collection began in 1920 under his leadership.
