Стилевое своеобразие иконописи Карелии XVII–XVIII веков на примере житийных икон, посвященных святителю Николаю

Abstract

This article analyzes the cult painting of Karelia of the XVII–XVIII centuries on the examples of hagiographic icons dedicated to St. Nicholas. It was in these monuments that an artistic variety of forms emerged, which represented a bizarre combination of new techniques and traditional archaic features. A significant role in updating the visual structure of icons was formed by the Baroque. In the design of architecture, in the technique of writing the open parts of the figure of the Saint, the desire to realize intricate elements was manifested, in particular, the S-shaped line became a marker of the "local" Baroque. Among the isographers, a more refined color, consisting of blue and pink shades, was recognized, and the landscape and the animal world began to play the role of the main subject of the narrative. Some changes have also taken place in the composition, they touched the direct perspective. In icons with folklore semantics, painterly-plastic unity was preserved. This idea was convincingly revealed in the color, the peculiar interpretation of the image of the Saint and the themes caused by the everyday impressions of the northern man. The experience of this study idea to expand the understanding of Karelian icon painting of the late Middle Ages. In contrast to the cult painting of the early period, in the works of the 17th-18th centuries, new trends had a significant impact on the style of icons. But despite this, archetypal artistic thinking and everyday practical experience allowed to save the pre-emptive right to further self-affirmation.