Abstract
A synthesis of the main iconographic connotations of the Savior Not man-made is presented. Due to its antiquity and the status of the first icon, the relic of Saint Ubrus becomes the source of many semantics, which find their embodiment in various monuments of ancient Russian artistic culture. The author made an analysis of specific examples, which are considered frescoes and icons from the 12th to 16th centuries. The article formulates interconnection of means of artistic expressiveness peculiar to ancient Russian culture and realization of semantic accents and interpretations. The variability of the interpretation of the image and semantics of Mandilion in the chronological and territorial perspective is considered.
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