Творческое наследие иконописных мастерских женских православных монастырей рубежа XIX–XX вв.

Abstract

The relevance of the study of icons and the activities of icon-painting workshops of the 19th–20th centuries is due to a significant number of scientific works published on this topic. Dated icons with captions are of special interest for research, being a reference point in the time space of art history. Due to this, it is possible to attribute a number of works that don’t have captions. The most capacious texts give grounds to determine the exact origin of the monument. The purpose of this work is to identify and introduce into scientific circulation dated works of iconography in the territory of the Altai Krai and the Altai Republic, belonging to the workshops of women's Orthodox monasteries of the turn of the 20th century. This aspect reveals one of the parts of the activity of Orthodox monasteries at the turn of the century, which is reflected in archival documents and preserved monuments. The location of such centers in different regions determines the presence of stylistic differences in the works of iconography. The identified icons have a significant difference in the implementation of technical techniques. The issue of continuity of traditions, preservation of the iconography of the original production and their technological features of execution is presented ambiguously. However, these works are united by an internal mood, a certain rhythm and regularity. The work on identifying the inscriptions confirmed the presence of several monastic images in Orthodox churches, private collections, and Museum collections in Altai krai and the Altai Republic. The presented icons were painted in different monasteries of the country, which are located at a considerable distance from each other, but are identified on the same territory, as a result of their active movement throughout the 20th century. It is important for the region to identify the monuments created in the icon-painting workshops of local monasteries, as the restoration of these monasteries confirms a keen interest in the study of local icon-painting traditions.