ЖИВОПИСНЫЕ КРЫШКИ ПСКОВСКИХ НАПРЕСТОЛЬНЫХ ЕВАНГЕЛИЙ
Аннотация
Ряд напрестольных Евангелий в отечественных собраниях объединяет редкая особенность их художественного убранства — иконописные крышки, исполненные в традиционной технике: темперой и золотом по коже, дереву или туго пролевкашенной паволоке, подобно двусторонним «таблеткам». Внешний вид их заметно отличался как от обиходных переплетов, так и от драгоценных окладов. Живописные сцены уподобляли иконному образу, чему способствовала и техника их исполнения, и размещение в углубленном ковчеге. При этом иконографический репертуар повторял чеканное убранство книг, здесь также чаще представлена сцена Распятия, в том числе обрамлённая образами четырёх евангелистов, но встречаются и другие редкие сюжеты. Подавляющее число выявленных памятников связано с искусством Пскова XV–XVII вв., что позволяет последовательно рассмотреть этапы становления здесь этого вида убранства. Изображения Распятия повторяли аналогичные псковские иконы, сохраняя устойчивость своих собственных изводов, заметно отличающихся от других центров. Они неизменно включали летящих ангелов и отличались готическим обликом изможденного тела Христа с провисшими руками. Широкое распространение здесь получила традиция обрамления иконописных крышек драгоценными полями, на которые крепились накладные дробницы и касты с камнями. Художественные особенности книжных крышек и изучение писцовых книг дают повод думать о псковском происхождении древней традиции и её широком здесь распространении. Многочисленные письменные источники называют такие напрестольные кодексы «Евангелиями в Страстях», при их описании подчеркивают технику исполнения верхних крышек: «писаны Страсти». Это подтверждает не только пристрастие псковичей к такому декору книг, но и сложение особой терминологии, отразившей индивидуальность их облика.
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