Oranta is one of the three main types of image of the Mother of God, representing her with raised arms, outstretched to the sides and open palms.

Traditionally, this pose is interpreted as a gesture of prayer, although in reality it has more ancient roots than is commonly believed. We will return to this issue and consider it in more detail. And now let’s dwell on the symbolism of the image of Oranta and its special role. In the 11th century, during the existence of the state of Kievan Rus, Prince Vladimir Krasno Solnyshko planned to build majestic churches in Kiev, Novgorod and Polotsk, which in their splendor and beauty could be compared only with the most beautiful and impressive cathedrals in the world. He successfully implemented this idea by building a cathedral in the capital, which is still famous throughout the world for its uniqueness, attracting thousands of tourists every year. All three cathedrals were dedicated to Sophia - the Wisdom of God. His son, Yaroslav the Wise, completed the construction of the cathedrals. We will talk today at the cathedral in Kyiv - St. Sophia of Kyiv, as it is also called.

The fame of this place is brought not only by its historical glory, but also by one feature, one might say, the pearl of the cathedral - the first and world-famous fresco of the Virgin Mary “Oranta”. The height of the figure is 5 meters 45 centimeters. IN Slavic countries it is also called the “Unbreakable Wall”.

The fresco is about a thousand years old, but even now everyone can freely look and feel its greatness and the heartfelt message with which it was executed. This fresco, amazing in its beauty, adorns the main slate altar of the Hagia Sophia, on the pillars of which the scene of the Annunciation is depicted: Archangel Gabriel (Power of God, Messenger of the Good) and the Blessed Virgin Mary. It was these symbols that had special meaning for the people who lived in Kyiv thousands of years ago. Let us mention that Archangel Gabriel and the Virgin Mary, as you know, are the original patrons of the city of Kyiv. The ancient chronicles indicate that it was the Mother of God and Archangel Gabriel who were entrusted with the protection of Kyiv, and it was they who were asked for the capital’s heavenly intercession.

Archaeological research confirm that the peoples Kievan Rus They venerated the Mother of God Oranta en masse, wearing medallions and amulets with her image. Even the princes, knowing about such popular love for the Mother of God and veneration for her ordinary people, introduced the honorable right to put the image of the Mother of God on one of the sides of their princely seals.

IN historical sources it is indicated that the Mother of God in different corners the world was called “protector”, “Life-giving Source of Wisdom”, “guardian”, “city planner”, since her feminine, orderly principle personified order, tranquility and peace in the city.

The Mother of God is recognized and revered by people as the patroness of many settlements around the world, in many countries, especially Slavic ones. Delving into the true essence of this symbol, you understand what truly global unity it conceals within itself, connecting generations historically, influencing the understanding of the meaning of their life and the fate of everyone who came into contact with the soul of the secret of this image, with life-giving source all-awakening Love - the spiritual power of the Mother of God.

“From the visible, know the invisible,” taught the outstanding Ukrainian philosopher of the 15th century Grigory Skovoroda. So it is in the case of the amazing symbol of Orans: the visible form of this gesture contains a wide range of meanings invisible to the eye, which we will talk about.

The earliest images of Oranta in this prayer position were found on the walls of Roman catacombs and date back to the 2nd-3rd centuries AD. But what’s interesting is that even before this symbol appeared there, figurines called “adorants” existed in the Mediterranean territories. The dictionary has the following definition of the word “adorant”:

Adorant is a figure (mostly women) with arms outstretched to the sky in ancient and early Christian art (especially in the painting of the catacombs), which served to convey the image of the supplicant or his asking soul. ( Ancient world. encyclopedic Dictionary in 2 volumes. — M.: Tsentrpoligraf. V. D. Gladky. 1998).

The word "adorant" is of Latin origin and means "to deify." This word is derived from “orante” - “to pray”, which, in turn, comes from the Latin root “ōrō”, “ōrāre” - to speak, to pray. A striking example of another use of this root in our language is the word “orator”. Thus, the words “Oranta” and “orator” have the same root. It is also interesting that in ancient Aramaic (the language Jesus spoke), the concepts of “speaking” and “praying” were also combined into one word. All this speaks of the deep essence of the meaning inherent in the word “Oranta” itself. Indeed, in ancient times it was believed that the word was given to people as the beginning of the path to understanding and awareness of their Divine nature.

Let's return to the figurines. Adorants are quite ancient. The age of the most ancient figurines found in the Oranta pose, astonishingly, is 45 thousand years! And that is not all! Researchers find such figurines in all cultures of the world, without exception.

And figurines this list is not limited to, schematic images of people in the Oranta pose are also found among rock paintings and petroglyphs around the world! Australia, Africa, North and South America, Siberia, Italy, France, China….

MORE ABOUT THE ICON CALLED “THE SIGN” AND THE DAYS OF ITS CELEBRATION

Thus, we see that the symbol of “Oranta” is not just a significant image within the framework of a particular religion, it is a symbol that takes its roots in universal, universal knowledge, which was previously present as a kind of self-evident truth in ancient cultures of our planet! This is the knowledge that today unites people, cities and countries. Knowledge that unites the whole world.

The figure of the Mother of God depicted in full height with the Infant God, called “ Great Panagia", which means "All Holy".

Half-length images of icons of the “Great Panagia” type in ancient Russian icon painting became widespread and began to be called “The Sign”. One of the values Slavic word sign - miracle. Indeed, the image of the infant Christ in the bosom of the Virgin Mary is a symbol of the greatest miracle, the miracle of the Incarnation, when the Beginningless and Incontainable God fit into the human body. The word sign is related to the Slavic verb znamenaya - I convene, call for worship. This reveals the second deep meaning of this iconography: the raised hands of the Mother of God, as a symbol of prayer; baby Christ in a circle as a symbol of the Eucharist; entrust in the hands of the Mother of God - a symbol of the concelebration of the entire Church with its Heavenly Primate.

The most common icons of this type are:

* Icon of the Mother of God “The Sign” Kursk

* Icon of the Mother of God “The Sign” of Novgorod

Since pagan times, our ancestors asked for the intercession of Mother Bereginya, the goddess of the forces of the earth, raising their hands to the sky in a prayerful pose. Later, with the spread of Christianity, the images of the Proto-Slavic beliefs faded, changed their appearance, new symbols of faith arose, but people still raised their hands to the sky and asked for help. This is how the image of the Christian Mother Goddess was formed - the patroness of man with his fears, sorrows, and prayers, the Intercessor, offering prayer through raised hands from earthly man further to heaven and to God.

Our Lady of Oranta: the origins of the image

This gesture, traditional in iconography and monumental art, dates back to the period of early Christianity and is a symbol of intercessory prayer, perseverance, indestructible spiritual strength, and spiritual warfare. It has been known since Old Testament times, when Moses gave strength to his people in the battle with Amalekites holding hands raised to God.

Since early Christianity 2-4 centuries In the Roman catacombs, images of women (presumably the first images of the Virgin Mary) with their hands raised in prayer were found; they are far from the canonical image of Oranta, but stand at the origins of one of the most widespread traditions of depicting the Virgin Mary.

Depiction of Oranta in the "cubiculum of the five saints" - a small chamber with burials in the walls, found in the Catacomb of St. Callistus (Rome, early 4th century). Source - Wikipedia.

Our Lady of Oranta translated from Latin means "praying". Since ancient times, her image has been associated with intercession and defense of the city, and church chants organically gave the image of Oranta the epithet “the indestructible wall of the kingdom” (akathist to the Mother of God).

In the Byzantine system of church painting, the image of “Our Lady of Oranta” was traditionally placed at the top of the altar. Oranta is majestic and monumental, calm and harmonious.

The appearance of Oranta in Sofia of Kyiv

At the beginning of the 11th century, with the appearance of the Greek metropolitan in Kyiv Grand Duke Yaroslav the Wise began the construction of a large cathedral Hagia Sophia- in honor of the long-awaited victory over the Pechenegs, at the site of the decisive battle. The central mosaic, located in the semicircular part of the Temple above the altar, was made by Greek craftsmen in accordance with the canons of the capital's churches of the Constantinople model. It's about about the mosaic of Our Lady of Defender Oranta, or the “Unbreakable Wall,” raising her hands to the Savior Almighty in the dome of the Temple. In accordance with the canons of the Byzantine model, the Mother of God began to be perceived not only as a patroness, a wise one, a guide from earthly people(praying) to God (to heaven, to the dome of the Temple), the source of Grace, but also began to be considered intercessor of the City, protector of his fortress walls. The perception of the city as “preserved by God” had great importance also for social life, as it strengthened people’s faith in invincibility and chosenness, gave strength in the fight against enemies, and encouraged the development of society, construction, and the adoption of laws.

Symbols of the Kyiv Oranta

The central mosaic of the Temple immediately catches the attention of those entering. The simplicity of the image characteristic of early Christianity makes it close to the common man, harmonious, natural and as if alive. Oranta is unyielding, strong, standing confidently, while her face is clear and serene. The Mother of God seems to shine against the background of the golden smalt framing her. Blue chiton- Byzantine tradition - symbolizes heavenly perfect purity, virginity. Golden armlets(detail of the vestments of priests) - a symbol of concelebration with the High Priest Christ. Behind the red belt we see a piece of fabric ( lention) - according to beliefs, the Mother of God wipes away the tears of those praying with it. Cover, falling over the shoulders and covering the hair, is a symbol of mercy and protection. The golden cover is a symbol of light, purity, glory. Three Stars on the shoulders and on the forehead - traditional elements of the iconography of the Mother of God - a symbol of ever-virginity - the Virgin before the Nativity of Christ, during and after. Shining halo. The combination of gold and red colors in the clothing of the Virgin Mary ( purple boots, red belt) is a sign of her Royalty, as in ancient times these were the colors of rulers. Red color in the Eastern Christian tradition it is also a symbol of the human principle.

Our Lady of Oranta stands on a quadrangular golden stone - an unshakable foundation. It is interesting that in ancient Christian perception, along with the interpretation of the angle as a figure of stability and foundation (remember the meaning of the concept “ Foundation stone"), the corner was considered at the same time a vulnerable figure, in need of cover or protection.

Along the bend of the arch framing Oranta there is an inscription in Greek:

God is in the midst of him; he will not hesitate: God will help him early in the morning. Psalter. Psalm 45:6.

We are talking about contrasting the world chaos with the indestructible City in which God dwells.

With. 51¦ 3. Our Lady of Great Panagia (Oranta) 1.

1 The iconography of this icon of the Mother of God, known as the Orants, was one of the common Constantinople types of Mary Blachernitissa. A. I. Anisimov, who published the icon in 1928, mistakenly called it Oranta, since the iconography of Oranta represents a full-length figure of the Mother of God, with raised hands, but without a baby. The composition of the work from Yaroslavl is usually defined in Byzantine iconography as the Great Panagia (see N.P. Kondakov, Iconography of the Mother of God, vol. II, Pg., 1915, pp. 63–84, 114–115; “History of Russian Art”, vol. I, M., USSR Academy of Sciences, 1953, p. 490). IN Ancient Rus' such an image was called “Our Lady of the Incarnation.”
G. and M. Sotiriou discovered among the Sinai (apparently of local origin) icons of the 12th–15th centuries. a monument where the Virgin Mary is full-length, supporting a baby in front of her chest with outstretched arms, named in the inscription Ἡ Βατος - Burning Bush (G. Sotiriou et M. Sotiriou, Icones du Mont Sinaï, t. I, Athènes, 1956 (in Greek with French translation, table 155). Apparently, by analogy, the publishers applied this epithet to the image of the Mother of God of the Great Panagia (ibid., table 158 - an ordinary composition without naming the type of inscription). G. and M. Sotiriou called the Great Panagia the Burning Bush without an inscription on the folding door of the Palaiologan era (ibid., table 231).

Around 1114 (?) years. Kyiv 2.

2 In the bibliography below, everyone except I. E. Grabar and D. V. Ainalov dates the icon to the 13th century. and belongs to the Rostov-Suzdal school. V.N. Lazarev believes that the Great Panagia was written in Yaroslavl in the 20-30s of the 13th century. Meanwhile, the style of painting of the Great Panagia is a monumental image, in the expressiveness of which, as in the Kiev mosaics, gold plays a large role, the type of classically finished faces of the mother and baby, the Hellenistic images of angels, the nature of the decorations of clothes and carpets - all this does not find an analogy in the beginning take shape at the beginning of the 13th century. Rostov-Suzdal school of painting. Neither in Vladimir Zalessky, nor in Rostov the Great, nor in Suzdal, nor in Yaroslavl itself - the largest centers of this school - have there been preserved from the 13th century monuments marked, like the Great Panagia, by completed pictorial mastery, suggesting a long previous development. The environment that gave birth to such a mature, outstanding work could at that time have been the Kiev school of painting, which has almost not reached us.
Patericon Kiev-Pechersk Monastery(ed. Archaeographical Commission, St. Petersburg, 1911, “Homily 34, about Spyridon the marshmallow and about Alimpia the iconographer,” pp. 120–125) preserved a legend connecting the origin of the ancient Rostov “great (large. - V.A.) icon of the Mother of God "with the famous Kiev artist Alimpy Pechersky, who died in 1114. This icon was considered to be the Mother of God of Vladimir of the Assumption Cathedral in Rostov the Great.
Since the icon of Our Lady of Vladimir, which became widely known in Rus', was brought from Constantinople in the 30s. XII century (see No. 5), the work about which the legend speaks could not be associated with this iconography. The monument to the Rostov Assumption Cathedral, considered an Alimpiev icon, is, as a survey carried out in 1919 showed, a copy of the Vladimir one, executed in the 17th century (I. E. Grabar, Andrei Rublev - In the book: “Issues of Restoration”, Coll. 1, M., 1926, p. 51; about the Assumption Cathedral in Rostov, see N. N. Voronin, Archaeological studies of architectural monuments of Rostov - In the book: “Materials on the study and restoration of architectural monuments Yaroslavl region", I. Ancient Rostov. Yaroslavl, 1958, pp. 4–5).
There is reason to believe that the “great icon” of the legend preserved in the Kiev-Pechersk Patericon is the “Great Panagia” discovered in the Spassky Yaroslavl Monastery. Since 1788, this monastery served as the residence of the Yaroslavl metropolitans, transferred here from Rostov the Great after the abolition of the ancient Rostov metropolis, along with all the property of the bishop's house. The vast storerooms of this monastery contained ancient Rostov heritage that had survived theft, consisting of manuscripts, icons and other items of bishop's use. It is significant that in 1795 A. I. Musin-Pushkin bought from the Archimandrite of the Spassky Monastery a manuscript containing, among other articles, a precious monument of Kyiv literature - the list of “The Tale of Igor’s Campaign.”
Thus, the work of Alimpius of Pechersk, transported to Rostov the Great under Vladimir Monomakh, may be the “Great Panagia”, which came to light at the end of the 18th century. to Yaroslavl, to the Spassky Monastery.
Neither its style, nor the method of applying paints, which goes back to the most ancient examples of painting of the Kyiv state, nor individual parts do not contradict the stylistic and historical connection of the monument with Kievan Rus outlined above.

The Mother of God stands on an oval ornamented red carpet, raising her arms with open small palms to shoulder level. On her chest there is a golden disk with Emmanuel at the waist, his arms spread wide with his fingers folded in an oratorical gesture. In the upper corners there are half-figures of the archangels standing in front of the Mother of God in baptized omophorions, enclosed in white rings, with mirrors in their hands.

3 A. N. Svirin found an analogy for this ornament on Andalusian fabric of the 12th century. (see O. von Falke, Kunstgeschichte der Seidenweberei, Berlin, 1921, table 144).
The rapprochement made by A.N. Svirin seems unconvincing. Perhaps it would be more correct to see some similarity in the pattern on the carpet Kyiv icon with mesh motifs in Central Asia and Iran (see “Sculpture and painting of ancient Panjikent”, M., 1959, pp. 104–106, Fig. 8 “e” and “f”).

The Mother of God is strictly frontal to the waist, which, in combination with the rounded floors of the maforia, gives her figure a peculiar statuesque appearance 4 . The legs of the Mother of God, emphasized by the kinks of the folds, are shifted to the right, imparting hidden movement to the composition. It is also expressed by the fact that on the right, at the feet of the floor, the maforia reaches the carpet, ending much higher on the left, where this movement is balanced by straight, repeating folds of the tunic. This is also served by the fact that the Mother of God’s gaze is slightly slanted, and the archangels in the circles (especially the right one) are shifted away from the longitudinal axis; they seemed to lean back.

4 The bell-shaped figure of the Mother of God corresponded to the curved surface of the concha - the site of the Unbreakable Wall of the mosaic prototype of the icon of the Great Panagia.

The rich, dense colors of the dark green tunic and reddish-brown maforia are covered with wide gold stripes outlining the folds. On the maforia and on the clothes of the Savior, these wide assistive golden spaces-stripes, sometimes formed by thin parallel lines, have comb endings. The gold border of the maforia, outlined with two cinnabar stripes, is decorated with dotted patterns on gesso. The border was trimmed with pearl fringe, which survived in the form of fragments. On the forehead and shoulders of the Mother of God are golden brooches-quadrifolia, with pearls on the backs. The arms and shoes of the Mother of God are gold, studded with pearls, forming an ornament in the form of circles.

The gold-covered robes of Emmanuel and the archangels alternate between cinnabar orange, white, brown and dark green. On Emmanuel's alam there is a thin herbal ornament of a Byzantine character. A transparent white shirt is visible from under the sleeves of his chiton and at the neck 5. With. 51
With. 52¦ The cinnabar of the carpet, echoing the colors of the clothes of Emmanuel and the archangels, gives the color a rhythmic structure, enhanced by the white halos of the images; The archangels, in addition to the white stripes encircling them, also have white lore and mirrors. Meaning white the color is emphasized by a wide white husk 6. The swirl is very whitened, dense, with small strokes in shape, made on top of the olive sankir. The blush with white is applied to the bottom layer of the swirl, on which the second top layer 7 is applied. Shadows of bleached red ocher are splashed. The background is without soil and the fields are golden. Fragments of cinnabar inscriptions have survived against the background 8 .

The board is fake. Traces from ancient dowels have been preserved on the back - holes for wooden nails. Counter, mortise, pine dowels of a later time. Pavoloka, gesso, egg tempera. 194 x 120.

The icon was discovered in 1919 by an expedition of the Central State Historical Museum in the “junk” (storeroom) of the Spassky Monastery in Yaroslavl.

Discovered at the Central State Russian Museum in Moscow in 1925–1929 by I. I. Suslov, G. O. Chirikov and V. O. Kirikov.

Received in 1930 from the Central State Russian Museum. With. 52
¦

With. 167¦ 21. Our Lady of Great Panagia

Around 1224. 194x120. Tretyakov Gallery, Moscow.

From the Spaso-Preobrazhensky Monastery in Yaroslavl, whose church was consecrated on August 6, 1224. The icon should have been painted around this time. Safety in general With. 167
With. 168¦ good. The gold on the background, margins and medallion has been lost in many places. The iconographic type of the Great Panagia should not be confused with “ Burning Bush"(ή Βάτος), as the Sotiriou spouses do ( Sotiriou G. et M. Icones du Mont Sinaï, vol. I, fig. 158, 231). We have two here various types. In addition to the “Great Panagia”, other famous icons were kept in the Blachernae Church. This, in particular, is evidenced by the image of Our Lady of Tenderness on one Sinai icon XII century, around which the epithet Βλαχερνίτισσα is affixed. The attribution of our icon by D.V. Ainalov and V.I. Antonova to the Kyiv school cannot in any way be accepted, just as the fantastic dating proposed by V.I. Antonova to the early 12th century (around 1114) cannot be accepted. The type of face of the Mother of God finds its closest analogy in a strongly Byzantinizing miniature of one Thuringian-Saxon Psalter, executed around 1235 and kept in Donaueschingen ( Haseloff A. Eine thüringisch-sächsische Malerschule des 13. Jahrhunderts. Strassburg, 1897, pp. 18–20, Abb. 91). For angels cf. painting of the late 12th century in the Dmitrievsky Cathedral in Vladimir ( Grabar I. Die Freskomalerei der Dimitrij-Kathedrale in Wladimir, Taf. XI, XXXIV, XXXV). With. 168
¦

Literature:

• Lazarev 1953/6. Lazarev V.N. Painting of Vladimir-Suzdal Rus' // History of Russian art. In 13 t. T. 1. - M.: Publishing House of the USSR Academy of Sciences, 1953. - Page. 490-491, illus. on pages 485, 487, col. insert after page 484.
• Old Russian painting 1958. Old Russian painting in the collection of the State Tretyakov Gallery: [Album of reproductions]. - M.: State. publishing house art, 1958. - Ill. 13-15.
• Onasch 1961. Onasch K. Ikonen. - Berlin: Union Verlag, 1961. - S. 345-346, Taf. 6.