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History magazine - researches
Reference:
Ostapenko A.A., Ostapenko N.A.
The History of the Creation and Iconography of the Azov Icon of the Theotokos: a Study of the Little-Known Image
// History magazine - researches.
2016. № 3.
P. 323-335.
DOI: 10.7256/2454-0609.2016.3.19489 URL: https://en.nbpublish.com/library_read_article.php?id=19489
История возникновения и иконография Азовской иконы Божией матери: опыт изучения малоизвестного образа
Ostapenko Andrei Aleksandrovich
Doctor of Pedagogy
Professor, the department of Social Work, Psychology and Higher Education Pedagogy, Kuban State University;
353245, Russia, Krasnodarskii krai, st. Azovskaya, ul. Naberezhnaya, 22
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ost101@mail.ru
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Other publications by this author
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Ostapenko Nadezhda Andreevna
OSTAPENKO Nadezhda Andreevna – Student, Department of Russian Literature, Kuban State University;
Kuban State University, Stavropolskaya ulitsa 149, Krasnodar, Krasnodarskyi krai 350040 Russia;
nadyaost@yandex.ru
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nadyaost@yandex.ru
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DOI: 10.7256/2454-0609.2016.3.19489
Received:
15-06-2016
Published:
22-08-2016
Abstract:
The article presents an attempt at studying the little-known iconographic image of the Azov Theotokos, considered to have been irretrievably lost. The research subject is the history, iconography, and known manuscripts of the icon "the Sign of the Multitude of the World" (Azov icon of the Theotokos). The article describes the historical context and true history of the creation and historical fate of the studied icon, which is surrounded by many myths and speculations. On the basis of archival materials, art history and theological literature, and available images the authors conduct the first detailed analysis of the icon’s iconography. The research uses the following methodologies: study of theological, historical, art history literature, and examination of archival and museum material. The scientific novelty of the research consists in that this is the first detailed analysis of the Azov Theotokos icon’s iconography brought into the scientific context. Furthermore, the authors bring into the scientific art history context the image of the Vytegorskaya icon, considered to have been irreversibly gone but which was accidentally found in the Regional Studies Museum in the city of Vytegra in the Vologoroskaya region. Furthermore, the article for the first time attempts to textologically analyse the inscriptions made on the studied icon.
Keywords:
emperor Peter Alexeyevich, prince Golitsyn, iconographic image, Leontiy Tarasevich engravings, Vytegorskaya Pokrovskaya Church, Kiev-Pechersky Patericon, icon drawing, Azov icon, Theotokos icon, iconography
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