Russian Icons

Anastasis

Notes:
The Anastasis (from the Deesis tier) The St. Ferapontov Monastery It is helpful to compare this striking version of the Anastasis (Descent into Hell) with that from Pskov (see ImageBase), a later and somewhat more dramatic composition. The event of Christ's descent into Hell (Anastasis) is believed to have occurred after the Crucifixion and before the Resurrection. As in the later treatment of this theme at Pskov, the Savior is shown rescuing Adam and Eve. It is intended to convey that the sacrifice of Christ provides redemption for the righteous. The golden robe of Christ refers to the light of salvation that the Savior brings to those who have died. The great mandorola, a symbol of divine perfection, is the circular foil against which Christ is presented. Symbolizing glory and truth, mandorolas appears often as part of the iconographic ensemble in sixteenth-century Russian painting, including in the Pskovian. Dionysus lived during a time of tremendous political upheaval in the Muscovite state. He was witness to the fierce battles between Moscow and the independent Novgorodian principality and its aftermath. The artist also experienced the final liberation from the Mongols in 1480. The decades following that event saw dramatic improvement in Russian life. The arts flourished and reconstruction of the Moscow Kremlin began. Dionysus was commissioned by Bassianus, Archbishop of Rostov, to complete several works, including the icons of the Deesis, the Festival tier, and the Prophet tiers for the Cathedral of the Assumption in the Moscow Kremlin. The period also saw intense debate surrounding ideological teachings, a byproduct of the political turmoil of the times. A number of Dionysus' works were thought to reflect the aesthetic preferences of his patron Joseph of Volotsk (1439-1515), who was often condemned for his alleged obsession with physical beauty. Dionysus was not immune to the attacks on his patron and some his works were criticized for being too decorative -- too beautiful. This tendency toward the overly decorative clashed with the ideals of monastic austerity advocated by St. Sergei of Radonezh and his follower, St. Nil of Sora. What these critics did not acknowledge, however, was Dionysus's extraordinary ability to use decorative elements to enhance -- rather than dilute -- the spiritual content of the subject. The most significant figure to appear in Russian art since Andrei Rublev (see ImageBase), Dionysus hoped to unite the spiritual world with the aesthetic. His innate taste and technical virtuosity enabled him to realize that goal. It has been suggested that the refined style of Dionysus, who was descended from several princes and a Tsarevich, reflects not only the tastes of his patrons but also his own background. Towards the end of his life, Dionysus worked with his sons Vladimir and Theodosius on the frescos and icon paintings for the Cathedral of the Nativity of the Virgin in the St. Ferapontov Monastery (1502-1503). They are considered to be the best and most complete examples of his surviving works. These objects are particularly valuable for the study of icons since Dionysus executed them during such a brief period of time. Moreover, study makes it clear that he attempted to create a cohesive program between the icons of the iconostasis and the frescos.