Abstract
Abstract This article examines the historical and spiritual significance of Radonezh soil and its impact on the artistic practice of the Abramtsevo circle. Through a close reading of three paintings—Viktor Vasnetsov’s Saint Sergius of Radonezh (1881) and Alenushka (1881), and Elena Polenova’s Pokrov Mother of God (1883)—it analyzes how the Abramtsevo artists negotiated Saint Sergius’s legacy alongside their own experiences of the sacred sites in this area and especially the Pokrovskii churches. These artworks demonstrate how, in line with the prevalent nineteenth-century Slavophile interests, Radonezh soil provided a fertile ground for articulating a distinct Russian Orthodox identity in the visual arts of the 1880s and continues to inspire artists to this day.
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