Entombment icon

from Wikipedia, the free encyclopedia
Entombment icon from the school of Andrei Rublev, 1425–27.

The orthodox entombment icon represents the entombment of Jesus in a form that is unfamiliar to the western tradition . Despite all the differences in details, this icon always contains the same symbols and types.

motive

The icon refers to the Gospel according to Mark , chapter 15, verses 42–47:

Jesus' burial. 42 And when it was already evening and because it was the day of preparation, that is the day before the Sabbath, 43 came Joseph of Arimathea, a respected councilor, who was also waiting for the kingdom of God; He dared and went in to Pilate and asked for the body of Jesus. 44 But Pilate, astonished that he was already dead, called the centurion and asked him whether he had died long ago. 45 And when he had found out about the centurion, he gave the body to Joseph. 46 And he bought a linen cloth, and took it off the cross, and wrapped it in the cloth, and laid it in a tomb that was hewn into a rock, and rolled a stone before the door of the tomb. 47 But Mary Magdalene and Mary the mother of Joses saw where he was lying.

Icon cycle of the Passion of Jesus Christ

Four-part icon, Pskov school, influenced by Ivan Wiskowatow (1547–1551).

The entombment icon is one of the passion icons . These include the motifs

  • The kiss of Judas
  • The judgment of Pilate
  • The flagellation of Jesus
  • Jesus with the crown of thorns
  • Carrying the Cross on the Way of the Cross
  • The crucifixion of Jesus
  • Decrease from the cross and
  • Entombment

The grave sealing icon has developed as a motif following the burial icon .

presentation

The picture shows the entombment in front of abstract and bizarre rock structures and is often closed off by the walls of Jerusalem , especially in the older icon painting . The composition is characterized by the horizontal line of the white linen cloths of Jesus, which is cut vertically by the plaintive Mary Magdalene , usually depicted in red . The weeping Mary and the two disciples are aligned with the head of Jesus, the line of the figures above runs parallel to this alignment. As a rule, the cross on which Jesus died is in the background of the burial scene . From a western point of view, this can lead to confusion with the motifs of the descent from the cross or the lamentation of Jesus .

An exception is, for example, an entombment icon from the North Russian school from the end of the 15th century. Konrad Onasch described the specialty of the probably Kargopol work in his series Ikonen :

“According to an oral tradition, the icons on panels 104 to 106 are said to come from the town of Kargopol on the outflow of the Onega from Lake Lača. In the 15th century the city was seized by a strong wave of monasteries founded in Novgorod. Therefore the relations between the two cities were very close. Nevertheless, Novgorodian influences alone are not enough to explain the peculiarity of Kargopol icons. The riddles they pose, like the question of the “North Russian school” in general, have not yet been resolved. [...] Your painters must have a precise knowledge not only of Novgorod, but also of Moscow art and, here again, especially of that of Dionisij. In addition, they were well versed in Western painting. The analysis shows that the Kargopol masters had great independence in terms of form and aesthetics. They were looking for a new way to reproduce emotional moods, a way that differs from that of a Rublev. In doing so, they took over the form of drawing and certain but already modified Novgorod color combinations from popular painting of the north. "

- Konrad Onasch : Icons . Book 5, plate 104. Descent from the Cross

During the Baroque period , the motif was further developed by Georgii Zinowjew, among others, who after 1667 reproduced the iconographic theme entirely in accordance with the artistic conception of the tsarist family . At that time, the Russian tsars Alexei I , Fyodor III ruled . and Sofia Alexejewna .

use

Iconostasis of the St. Sophia Cathedral of Novgorod (from 1509).

The burial icon is used not only as a holiday icon , but also in iconostasis (e.g. in the St. Sophia Cathedral of Novgorod ). In addition, it is the typical motif on an antimension :

Antimension

Siberbesticktes antimension with Grablegungsszene (about 1540 to 1560), Benaki Museum , Athens .
Despoineta (1682 - 1723): Lamentation of Jesus Christ , gold embroidered textile icon for the liturgy of the epitaph, Benaki Museum, Athens.

The antimension is the most important altar cloth of the Orthodox Churches and the Eastern Catholic Churches . It is in the Byzantine rite in the tradition of the early Christian martyr's grave, similar to the altar stone of the western church. The relic of a saint is sewn into the antimension . No divine liturgy can be celebrated without an antimension . The iconographic motif of the Entombment on the Antimension, which occurs frequently, is often confused in the West with the lamentation of Jesus because of the depiction of the cross - sometimes even with the motif of the Descent from the Cross . The lamentation of Jesus belongs in Orthodoxy to a completely different type, the lamentation icon . There are considerable differences between these two traditional motifs, which have become firmly established in the course of church history .

literature

  • Konrad Onasch : Icons , folder volume 5, plates 102 to 125 , Union Verlag (VOB), Berlin 1973, No. 105 Entombment .
  • Irina Kyzlasova: Russian Icons 14th – 16th centuries. The History Museum, Moscow . Aurora Art Publishers, Leningrad 1988, ISBN 5-7300-0020-0 , plates 64-66, The Pskov School. Church Feasts tier .
  • Victor Nikitich Lasarev (1897–1976): The double-faced tablets from the St. Sophia Cathedral in Novgorod. Pages from the history of Novgorodian painting. Iskusstvo Art Publishers, Moscow 1983, Plate XV: Request for Christ's body. Descent from the cross. The Entombment. Holy woman at the sepulcher .

Web links

Commons : Icons of the entombment of Christ  - Collection of images, videos and audio files

Remarks

  1. ↑ Mark chapter 15, verses 42-47 at die-bibel.de ( Lutherbibel 2017).
  2. ^ Tretyakov Gallery , Moscow, Russia, inventory number 12041; Cf. Konrad Onasch : Ikonen , folder volume 5, plates 102 to 125 , Union Verlag (VOB), Berlin 1973, No. 105: Entombment .
  3. ↑ Konrad Onasch: Icons , folder volume 5, panels 102 to 125 , Union Verlag (VOB), Berlin 1973, No. 104: Descent from the Cross .
  4. ↑ See Konrad Onasch: Ikonen , folder volume 6, plates 128 to 151 , Union Verlag (VOB), Berlin 1974, no. 143, Entombment .
  5. ↑ See Dodekaórton .
  6. ↑ Снятие со креста, Положение во гроб, Жены мироносицы у гроба Господня Лаврентьев Андрей ИцвермаЯ Дверм. Школа или худ. центр: Новгород. 1509 г. Дерево, темпера. Оклад - серебро, басма, золочение, оброн, эмаль, вторая треть XVI в. Собор Святой Софии, Новгород, Россия, Инв. Соф. 52.
  7. ↑ Originated in the Ottoman Empire during the occupation of Greece by the Turks .
  8. ↑ Despoineta was a Greek embroiderer in Constantinople who preferred to work for the patriarch there from a young age.She lived from 1682 to 1723, her artistry is proven from 1689 (at the time of Kallinikos II. ). See Despoineta: Epigonation of 1689 ( Byzantine and Christian Museum , Athens ).
  9. ↑ Nikola Tomov, Januarius (Yanko) Dzhangozov: Wax Embedding as a Method for Preservation of Body Relics Used by the Orthodox Church . In: Acta Morphologica et Anthropologica . 25, No. 1-2, September, pp. 122-125.