ФРОНТИСПИС МОСКОВСКОГО ЕВАНГЕЛИЯ 1717 ГОДА «ВОСКРЕСЕНИЕ СО СТРАСТЯМИ» ИВАНА ЗУБОВА И ЕГО ЕВРОПЕЙСКИЕ ИСТОЧНИКИ
Аннотация
Статья посвящена проблемам заимствования и адаптации европейских гравированных оригиналов в русском искусстве первой четверти XVIII в. на примере одного памятника — гравюры «Воскресение со Страстями», исполненной крупнейшим мастером петровского времени Иваном Зубовым для московского печатного Евангелия 1717 г. Фронтиспис Евангелия 1717 г. представляет собою очень характерный образец трудоемкой компилятивной работы. В основе его композиции, состоящей из средника и двенадцати клейм, лежит не менее семнадцати оригиналов. В подавляющем большинстве, это нидерландские печатные листы конца XVI–XVII вв. — как имевшие широкое хождение в среде отечественных мастеров (Библия Мериана, Евангелие Наталиса), так и почти неизвестные (т.н. «Библия Королевского размера», изданная Н. Пискатором). Копируя и соединяя эти образцы между собой, русский гравер вносил в них изменения соответственно заданной ему программе, которая последовательно развивала тему подражания Страстям Христовым. Эта программа была определена нравоучительными стихотворными подписями, сочиненными, по всей вероятности, директором Московского Печатного двора Федором Поликарповым в традициях западноевропейской пассийной литературы. Зубову далеко не всегда удавалось найти среди имевшихся в его распоряжении образцов точный изобразительный эквивалент для стихотворных текстов, поэтому иной раз он компилировал свои крошечные клейма из нескольких источников, в том числе гравюр большого формата. Сложность задач, которые приходилось решать Ивану Зубову в процессе этой работы, позволяет поставить вопрос о том, насколько был зависим от образца среднестатистический русский мастер, а также о возможных пределах заимствования.
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