Liturgical meaning and purpose
The sparkling robe of the icon symbolizes the heavenly immaterial light emanating from it: “Dress yourself in light, like a robe.” The Seventh Ecumenical Council, in its act on the restoration of icon veneration, noted the identity of the material (wood) of the Ark of the Covenant and the icon. Therefore, just as the Ark of the Covenant was overlaid with gold (“...cover it with pure gold, cover it inside and out; and make a golden crown around it at the top.”), so icons are decorated with precious frames.
As a rule, in icons, even those immediately painted under a frame, the clothing, background and inscriptions were carefully written out - that is why even now, left without frames, they look so good. Such care is “evidence that these vestments, covering the painted clothes of the saints on the icons, were understood as a symbolic revelation of the image of the salvation of the soul, the shining robe of purity (silver) and divine grace (gold). Decorating frames with semi-precious stones, pearls, colored enamels - “valuable beads” - is a symbol of the wealth of the soul, adorned with many spiritual gifts.” The purpose of the frames is to create a symbol of the immaterial Light in which the saints abide. And basma plant ornaments with the image of eternal flowering denote the life-giving power of this Divine Light.
The emergence of precious icon decoration is associated with the primordial tradition of worshiping shrines, borrowed by Christianity from paganism, but at the same time it ceased to be an element of idolatry, and became a way of spiritualization artistic language. Icons were “dressed” in precious frames and vestments in memory of the long past, in gratitude after any successfully completed events, according to given to God vow.
Temple icons were dressed in vestments through contributions from major patrons, or gradually through gifts from ordinary parishioners

Story
The frame that covers the icon except for the faces comes from relief icons made entirely of precious metal. The oldest known domestic one is the 12th century frame on the 11th century icon of the holy apostles Peter and Paul (Tretyakov Gallery), as well as hammered silver frames of the icon depicting the apostles Peter and Paul and the Mother of God Hodegetria, stored in the St. Sophia Cathedral in the city of Novgorod.
The decoration of the Mother of God icons was especially popular. In Russia, one of the first especially rich gold frames was created for the icon of Vladimir Mother of God(according to the chronicle, it took about five kilograms of gold, not counting silver) was made by order of Prince Andrei Bogolyubsky. In the first period, ordering salaries, which cost pounds of gold, was available only to representatives of the elite of society. (The tradition of monarchs decorating the frames of revered icons was preserved in later times. Thus, in 1768, Empress Catherine II decorated the frame of the Kazan Icon of the Mother of God in the Kazan Mother of God Monastery with her diamond crown.)
Settings initially appeared on small carved ones and only later on large temple icons. Early frames covered only the background part of the icon. Known since the 14th century simplest form The setting is basmen, it spread in the first half of the 17th century with the growth of icon craft. With the discovery in the 1730s. In the Russian silver mines, salaries become cheaper and reach the craft level.
In the late period (19th - early 20th centuries), on mass-produced house icons one can find “crash” painting of just the visible parts of faces and hands, without elaboration of the background, clothing, etc. (so-called lining icon, podokladnitsa, subfogal icon).
In addition, the existence of the so-called is noted. hellish icons - with secret blasphemous images: a devil was depicted under the frame or the top layer of paint, or horns were added to the face of the saint, etc. Similar icons are already mentioned in the life of St. Basil, but they became more widespread in the 19th century among peasants.
Most Russian vestments, due to their obvious material value, did not survive the 1921 Decree on the complete liquidation of monastic property in Russia.

Description
The salary could be full or consist of one or several parts. Frame mounted from individual parts, was called typesetting. The icon was not always decorated with the frame all at once; often it was built up gradually: individual parts were made later and added to those already strengthened, or the old ones were replaced with new ones. The icon could be supplemented with rich detail in honor of some important event by votive dedication. From the last quarter of the 17th century, composite frames began to be replaced by solid ones, which were made from sheets of metal and crowns attached to them.
IN early period The frames were fastened with nails, traces of which can be seen on ancient icons. All parts of the frames were attached to the surface of the board with nails that pierced the painting and gesso. The frames, made from a single sheet of metal, had special sides that were adjacent to the sides of the icon board, to which they were nailed. Nails of various sizes were made from copper or silver alloys. In the 19th century, cheap frames began to be fastened with iron nails, sometimes using them to repair old frames.

Elements
.Crown - false halo, decoration around the head. They can be smooth, slotted, filigree, with enamels, stones, rhinestones, in castes or claws, as well as with large teeth - a “crown crown”.
. Koruna - a jagged or slotted decoration that sometimes completes a crown.
. Actually reese a - part of the icon frame covering images of clothes. (The word spread to the entire frame of the icon).
. Flashing frame - part of the frame or an independent frame, covering only the edge (field) of the icon.
.Background - metallic overlay (light) on the field and ground of the icon
. Tsata (Old Russian “cyata” from Latin centus - “small coin”) - an element in the shape of an inverted crescent, sometimes with a figuratively carved edge. It is attached to the frame so that it lies under the face on the chest of the saint - usually its edges are attached to the inner lower edge of the crown. It could have a pattern (embossed, embossed, filigree), stones in castes, etc. Distinctive feature decoration of frames of images of the Holy Trinity, Jesus Christ, the Mother of God and some saints: John the Baptist, Nicholas of Myra and Sergius of Radonezh. Symbolizes the rank of the Kingdom and the high priesthood.

Decorations:
. Drobnitsa - a small silver or gold plate of rectangular or figured shape with holes for attaching to the icon
. Zapony - decoration clasp ( floral ornament and curls) with precious stones, secured with a cord, chain or bar.
.Dies
. Ryasno - pendants-decorations for the crown on the icon frame. The name was derived from an existing piece of jewelry - women's pendant jewelry, usually with pearls, attached to the headdress and covering the temples.
. Earrings, cassocks, pendants, pearl headbands, sleeves, necklaces

Types
. Hammered metal and sewn frames - they covered the “personal letter”: the entire icon, except for the images of the faces and hands of saints (that is, except for the “personal letter” - carnation).
. Base salaries - were made using the basma technique, covering the fields and backgrounds of icons so as to leave open the figures of saints, images of architecture and soil. They were made from thin metal plates decorated with various symbolic ornaments using embossing and chasing techniques.
. Defense salary - a frame made of metal sheet by embossing.
. Filigree salary

Technique
To create the settings, traditional techniques of ancient Russian jewelers were used:
. Basma, granulation, canfarka, counter-enamel, ribbon or filigree cloisonné enamel, obron, cloisonné enamel, filigree, foil (relief and slotted), embossing, niello, painted enamel overlays.
Quite often, frames were decorated with precious and semi-precious stones or colored glass, which were secured using metal frames - castes. Starting from the 18th century, a second type of stone fastening - claws - was also used in frames. Pearls or glass beads and precious stones secured with pins. Sometimes they made it lower by passing a wire through the holes in the beads, which was attached to the frame.
Embroidered icon frames made of fabrics, as well as carved gilded ones made of wood, are relatively rare.

Settings for icons in the history of culture
It is of interest that during the 18th-19th centuries the cultural Russian society did not perceive icons as the most important works of Russian art, treating them exclusively as a cult object. Only at the beginning of the twentieth century, when the dark icons under the blackened drying oil began to be cleared away, did a breakthrough happen. The public experienced a cultural shock from the beauty of these works, thanks to which icon painting took that significant place in the history of culture, which it retains to this day.
In many ways, the beauty of the icons remained a secret not only because of the darkening of the faces, but also because of the tradition of covering everything with frames, especially since the more significant and ancient the icon was, the more difficult it was to see. Therefore, at the beginning of the twentieth century, enlightened people began to perceive icon frames as something wrong.
The discovery of the icon, which took place before our eyes, is one of the largest and at the same time one of the most paradoxical events modern history Russian culture. (...) We passed by the icon, but did not see it. It seemed to us a dark spot among the rich golden frame; only as such did we know her. And suddenly - a complete revaluation of values. The golden or silver chasuble that covered the icon turned out to be a very late invention late XVI century, it is, first of all, a product of that pious tastelessness, which testifies to the loss of religious and artistic meaning. In essence, we have here a kind of unconscious iconoclasm: for to shackle an icon in a chasuble means to deny its painting, to look at its writing and colors as something indifferent both in the aesthetic and especially in religiously. And the richer the setting, the more luxurious it is, the more clearly it illustrates the abyss of everyday misunderstanding that has built this impenetrable, golden partition between us and the icon.
What would we say if we saw the Madonna of Botticelli or Raphael, clad in gold and sparkling with semi-precious stones?! Meanwhile, crimes no less than this were committed against the great works of ancient Russian icon painting; The time is not far when this will become clear to all of us. Now, before our eyes, everything that was hitherto considered an icon is being destroyed. Dark spots are removed. And in the golden armor itself, despite the desperate resistance of domestic ignorance, a hole has been made in some places.

Christian icons, bearing images of the Savior, the Mother of God, the Holy Apostles and Saints, are a symbol of faith and communion with bright images. Holy images are the main attribute of the Church and the home of believers. For centuries, people have carried with them pieces of miraculous images in the form of necklace icons on a chain. They are intended to serve as proof of veneration Christian faith and a talisman, a barrier from unclean thoughts, troubles and dangers.

Orthodox miniatures are used differently than full-size holy images. By placing icons on a chain, their owners can say a prayer, pressing the icon to their heart for higher concentration spiritual impulses. It is impossible not to recognize the fact that in addition to spiritual satisfaction, such an icon in jewelry also brings aesthetic pleasure.

For true faith the material value of religious attributes is not of fundamental importance, the main thing is its semantic load and the sincerity of the owner. When creating and designing personal Christian symbols, various materials and technique. Everyone is free to choose what they like - exquisite luxury or noble asceticism. And also - whether to hide your shrine from prying eyes or put it on display. Only on condition sincere faith in her miraculous power a feeling of security and inner peace is possible.
The technology for making necklaces of a religious nature is constantly being improved, but the skillful hands of a master jeweler and noble materials remain unchanged. For Orthodox pendants, precious metals and stones are used and decorated with engraving and enamel. Time-tested designs are used and new design directions are developed. The attractiveness of the products is achieved thanks to elegant weaving, unusual shape, mixing metals and various techniques.
Icons on a chain They are made from popular precious metals, which carry with them not only a decorative element, but also a certain symbolism. “Hot” gold is designed to kindle emotions and excite fading spiritual impulses. Silver is more likely to calm down, cool down excessive excitability, and reduce flow negative energy. But, of course, everyone knows which metal best suits their temperament.

Craftsmen widely use a technology that is very popular among buyers for the production of painted enamel images. Hot enamel (enamel) has long been used in religious jewelry.

Icons of extraordinary beauty are obtained using precious and semi-precious stones as material. The technique of negative relief is used here - the image appears to be placed inside the gem. Such intaglio pendants are made using topaz, amethyst, colored quartz and other translucent and transparent stones.

Another technique is engraving on precious metal - gold, silver or platinum. Although, platinum cannot be considered better basis for engraving.

Orthodox icons on a chain decorated with a metal frame. The use of pearls, diamonds, and topazes in the settings adds special sophistication. The image is often decorated with cubic zirconia.

When starting to choose an icon pendant, you need to decide on the theme and plot of the image. The icons of Christ the Savior, the Holy Trinity and the Apostles will help everyone and become a reliable spiritual support. Very popular are Orthodox miniatures bearing the image of the Guardian Angel - the protector who accompanies a person from the moment of birth. Personalized icons are selected according to the name of the saint, which coincides with the person’s name given to him at birth or baptism.

The Mother of God is considered the patroness of pregnant women, women in labor and mothers. Saint Catherine of Alexandria will help girls of marriageable age in their search for a groom. In men's heavy and dangerous work It’s worth turning to St. Nicholas the Wonderworker and Alexander Nevsky for inspiration. In studies and comprehension of sciences - to Sergius of Radonezh. In case of serious illnesses, prayers are addressed to Saint Panteleimon.

The Bible, the clergy and, of course, your personal impulse will tell you which icon to choose for yourself or as a gift.

If you have ever been to Orthodox church, you probably saw images hung with various jewelry: chains, earrings, rings, crosses, pendants. This causes bewilderment for many people: why do they hang decorations on icons? Does Christ, the Mother of God or any saint need jewelry? If not, then why hang jewelry on the icons so that the faces themselves are hard to see? Let's try to answer this question, while at the same time finding out where the tradition came from and what it looks like in different Orthodox Churches.

Why do they hang decorations on icons? In gratitude!

Every person has a feeling of gratitude. We thank each other for our time, help, and pleasant surprise. If someone does something good for us, we subconsciously want to respond in kind. And the larger and more valuable a gift another person can give us, the more grateful we are to him.

But there are situations when neither friends, nor relatives, nor acquaintances can help us. There is only one hope left - for a miracle, for help from above.

This feeling is experienced by a seriously ill patient when even doctors refuse to treat him.

A mother waits for a miracle at the bedside of her sick child.

A student hopes for the impossible during an entrance exam.

Spouses who do not yet have children rely on God’s help.

There are many people who believe in miracles. But they don’t just believe, but knock with all their might, as it is written in the Gospel of Matthew:

Ask, and it shall be given you; seek and you will find; knock and it will be opened to you (Matthew 7:7).

How does prayer and faith heal?

If what we ask for is useful to us, then God responds, the Mother of God helps, the saints come to the rescue. And then something happens that cannot be explained. After all, how can you explain the story of Nazar Stadnichenko, whose fingers grew back through prayers to St. Luke of Crimea?

Or the HIV-infected babies Lavrenty and Misha, who were healed in the Banchensky monastery (there is an orphanage at the monastery)?

Or Nina Malinina, who, through prayers at the relics of Alexander Svirsky, got rid of breast cancer?

And you can find many such examples of healings, not to mention smaller ones.

How to thank heaven for miracles?

People don't even know how to say thank you heavenly powers for your amazing help. With a person everything is much simpler: you can use words, deeds, money. But how to thank the Lord? Of course, first of all in your own words. You can also order a thanksgiving prayer service.

It also happens that people make certain vows: if they recover, they will do this or that. Some donate icons to the temple, donate money or bring decorations to hang on the image in front of which they prayed. Here is the answer to the question “Why do they hang decorations on icons?” Of course, neither the Virgin Mary nor the saints need these few grams of gold or silver. This is necessary for the person himself who is trying to express his gratitude, or for those who see these “testimonies” of heavenly help.

All these crosses, rings, chains, bracelets on the images are silent stories about miracles.

If there are so many decorations on the icon that it becomes a nuisance, then they are removed and melted down to make a frame. For many miraculous faces that have survived to this day, expensive frames with precious stones were made.

Gratitude in Greek

Even more interesting tradition thanking the Most Pure One or saints for help exists among the Greeks. Here the question is no longer why decorations are hung on icons. The Greeks attached silver plates to or near the images... with an image of what they prayed for.

Therefore, do not be surprised if you see hands, fingers, feet, eyes, etc., or figures of children, men or women on the icon. All of these are examples of grace-filled help: someone was healed of an illness, gave birth to a child, or started a family. Oddly enough, you can buy these silver figurines directly at the temples.

Following the example of John of Damascus

How did the tradition of hanging metal plates on or near the icon come about? They say that St. John of Damascus did this for the first time.

The saint lived in the 8th century, during the rampant iconoclasm. But the Monk John prevented heresy in every possible way, for which he aroused the wrath of the authorities. Ill-wishers wrote a false letter on behalf of the saint Byzantine Emperor. The angry ruler ordered the saint to be beheaded right hand. After the execution, the Monk John prayed for a long time before the icon of the Mother of God, and a couple of days later a miracle happened: the Most Pure One healed him.

The grateful saint attached another hand to the icon of the Mother of God, in front of which he prayed, as a sign that the right hand belonged to the Mother of God. This is how the Mother of God’s face, known in our time as the “Three-Handed”, appeared.

Good afternoon. Often with miraculous icons you can see rings, bracelets, chains and crosses from grateful parishioners to whom the icon granted a miracle. I understand that in this way people express their gratitude, and I also remember the gift of gold to the baby Savior as the Son of Heaven. But when I see such gifts, thoughts arise - how right is this? Rings, earrings, bracelets - these are all worldly things. How correct is it to take oneself off? pectoral cross(even for an icon, but still) - generally a question of questions. Please help me with spiritual enlightenment. Thank you. Victoria.

Priest Igor Dudko answers:

Hello, Victoria!

In order to answer your question more clearly, I will draw the following analogy. After the Sacrament of Confirmation has been performed, the rite of cutting his hair is performed on the newly baptized person. By this custom, a Christian expresses his willingness to sacrifice himself to God, devoting himself to His service. The symbol of this initiation is hair as a part of the human body. Likewise, people who have received help from God through the intercession of the Mother of God or saints through prayer in front of a miraculous icon, try to express their gratitude by giving away what is most dear to them. What was valuable to a person was an integral thing, which was, as it were, a part of the person himself (for example, a baptismal cross), offered to God as a symbolic sacrifice of thanksgiving.

Sincerely, priest Igor Dudko.