«ОБРЕЗАНИЕ ИОАННА ПРЕДТЕЧИ» В МИНИАТЮРАХ «СЛОВА НА ЗАЧАТИЕ» ЛИЦЕВОГО СБОРНИКА ЧУДОВА МОНАСТЫРЯ 1560-Х ГОДОВ: К ПРОБЛЕМЕ МИГРАЦИИ ОБРАЗОВ
Аннотация
Статья посвящена проблеме миграции образов из Западной Европы в изобразительное искусство позднесредневековой Руси на примере миниатюры «Слова на Зачатие Иоанна Предтечи» сборника Чудова монастыря 1560-х гг. (ОР РГБ ф. 98, №1844. Л. 155 об.–156). Речь идет об изображении «Обрезания Иоанна Предтечи» в составе развитой композиции «Рождество и Наречение имени Предтечи». Этот уникальный для древнерусской и византийской иконографии сюжет был достаточно широко представлен в европейском искусстве, будучи, в свою очередь, композиционно зависимым от иконографии праздника «Обрезания Господня». Изображение последнего в Западной Европе было очень распространено, в связи с насыщенной богословской нагрузкой данного события, а также с активным почитанием в качестве реликвии Carne Vera Sancta (Священной крайней плоти) Христа. Ввиду отсутствия православного образца кремлевские миниатюристы XVI в., вероятнее всего, воспользовались европейской иконографией этого праздника. На присутствие в Москве образца данного сюжета косвенно указывает стартовавшее на рубеже XVI–XVII вв. развитие иконографии «Обрезания Господня» в русском церковном искусстве. Ранние примеры его изображения обнаруживают близкое сходство с изучаемой миниатюрой. В то же время сюжет «Обрезания Иоанна Предтечи» не вошел в последующий состав житийного цикла святого, и миниатюра «Слова на Зачатие» осталась уникальным примером трансляции западноевропейского мотива в древнерусское искусство грозненской эпохи.
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