The development of Russian culture in the Middle Ages is characterized by the active development of church architecture. Newly built temples had to be decorated with interior decoration. As early as the second half of the 14th century, many outstanding painters of Byzantine and Balkan origin who had been trained in the workshops of Constantinople and Thessaloniki arrived in Moscow, Novgorod, probably in Pskov and perhaps in other major cities of Russia. They introduced sophisticated painting techniques, and Russian iconographers were adopting these techniques, learning from the Byzantines and helping them to create large paintings.
The names of a few of these teachers have survived to date, including that of Theophanes the Greek.
He was born in Byzantium (hence the nickname Greek), and before coming to Russia he had worked extensively in Constantinople, Chalcedon (a suburb of Constantinople), the Genoese Galata and Caffa (now Theodosia in the Crimea), developed there as an artist and gained a reputation. Theophanes came to Russia not as an ordinary artist, but as a famous maestro, a genius in his field.
It is quite difficult for a contemporary person to imagine how an iconographer’s workflow was actually organized at that time. One can imagine that the work was executed by some silent and focused monks. Surprisingly, however, according to the extant memoirs of Theophanes the Greek’s contemporaries, Theophanes’s creativity and imagination were so striking that they wrote about him, “When he [Theophanes the Greek] was drawing or painting all those images, no one ever saw him stare at the samples, as some of our iconographers do. They are constantly confused and refer to the samples all the time, looking back and forth. Apparently, they look at the samples more than they actually paint the icon. [Theophanes] did paint icons but he was constantly walking, talking to the visitors and thinking about the noble and the wise matters at the same time, while his eyes were in persistent scrutiny of the mind and its goodness.”
Theophanes’s style is characterized by temperament, sharpness,and impetuosity. First of all, he is a painter and he shapes his figures with energetic, bold strokes, adding bright glare to them, which makes the faces flutter and highlights the intensity of their expression. The art of Theophanes the Greek may be regarded as the most comprehensive manifestation and the perfect embodiment of the two poles of Byzantine spiritual life as reflected in culture: the antique principle of the glorification of earthly beauty as a Divine creation and as a reflection of the highest excellence versus the pursuit of asceticism, which rejects the external, the glamorous, and the attractive. Hence, his color palette tends to be minimalistic and reserved, but the colors are saturated and intense, all the while the brittle sharp lines and the complex rhythm of the composition further reinforce the overall expressiveness of the images.
The works of Theophanes the Greek are conventionally divided into two periods: his work in Novgorod and his work in Moscow. It is known that Theophanes the Greek also took part in painting dozens of churches in Russia. He painted a number of icons and also created book miniatures (e. g., he is credited with the illustrations in the Gospel of Fedor Koshka and the miniatures in the Khitrovo Gospels). His most famous works are the Church of the Transfiguration of the Savior on Ilyina Street in Novgorod (we know for a fact that the work was made by him), as well as St. Michael the Archangel Cathedral and the Annunciation Church of the Kremlin. A chronicle has it that he painted the latter church together with Andrey Rublev and Prokhor of Gorodets.
There is an iconostasis in which Theophanes the Greek painted the deesis part. The brilliance and outstanding manner of the Greek showed itself with amazing power. The central image of the Savior has been less preserved than others, but the skill and virtuosity of the iconographer is still evident: Jesus sits on the throne in white robes emblazoned with gold hatching, while John the Baptist and the Blessed Virgin are praying to Him. The most expressive image is that of the Mother of God who wears a deep-blue garment with subtle pale-blue flashes that shimmer in darkness. This color is reminiscent of a sapphire, a precious stone that symbolizes the mystery of the Ever-Virgin. Her elongated figure looks like a candle, and the face of the Virgin Mary is the flame of that candle. The light is streaming out of her eyes softly and at the same time energetically.
Not much is known about the icons painted by Theophanes the Greek. Artists usually did not sign their works in ancient times. Nevertheless, there are several icons attributed to him. One of them is the icon of the Transfiguration from Pereslavl-Zalessky. The icon is big (184×134 cm) and impressive. Jesus Christ is portrayed standing on top of a mountain, while his disciples are on the ground frightened and trembling. The Savior is surrounded by radiant glory; golden rays emanate from Him. The light penetrates the scene, blowing up everything from the inside, essentially making the traditional caves on the hills look like funnels of an explosion. The miracle of the Transfiguration is shown as a cosmic event that turns the universe upside down, transforming the whole creation.
Traditionally, the art of Theophanes the Greek is associated with the Russian culture but he still was and is a Byzantine Greek, both as a thinker and as an artist. Art historians may argue whether Theophanes was the teacher of Andrey Rublev or not, but at any rate they used to work together, which could not but affect the formation of a younger painter who would set the course for Old Russian art after the decease of the great Theophanes the Greek.
Maendeleo ya utamaduni wa Urusi katika Enzi za Kati ni sifa ya maendeleo ya kazi ya usanifu wa kanisa. Hekalu lililokuwa limejengwa hivi karibuni lilipaswa kupambwa kwa mapambo ya ndani. Katika nusu ya pili ya karne ya 14, wachoraji wengi mashuhuri wa Byzantium na Balkan waliofundishwa katika warsha za Constantinople na Thessaloniki waliwasili Moscow, Novgorod, labda Pskov na labda katika miji mingine mikubwa ya Urusi. Walitumia mbinu za kuchora za kisasa, na wasanii wa sanamu wa Urusi walikuwa wakitumia mbinu hizo, wakijifunza kutoka kwa Wabyzantium na kuwasaidia kutengeneza michoro mikubwa. Majina ya wachache wa walimu hao yamehifadhiwa hadi leo, kutia ndani jina la Theophanes Mgiriki. Alizaliwa Byzantium (kwa hiyo jina la utani la Kigiriki), na kabla ya kuja Urusi alikuwa amefanya kazi sana huko Constantinople, Chalcedon (mji wa Constantinople), Genoa Galata na Caffa (sasa Theodosia katika Crimea), aliendeleza huko kama msanii na kupata sifa. Theophanes alikuja Urusi si kama msanii wa kawaida, bali kama maestro mashuhuri, kipaji katika uwanja wake. Ni vigumu sana kwa mtu wa kisasa kuwazia jinsi kazi ya mchoraji wa sanamu ilivyopangwa kwa kweli wakati huo. Mtu aweza kuwazia kwamba kazi hiyo ilifanywa na watawa fulani wa kiume waliosimama kimya na wenye kukaza fikira. "Kwa kushangaza, hata hivyo, kulingana na kumbukumbu zilizopo za Theophanes Mgiriki, ubunifu na mawazo ya Theophanes yalikuwa ya kushangaza sana kwamba waliandika juu yake, ""Wakati yeye [Theophanes Mgiriki] alikuwa akichora au kupaka rangi picha hizo zote, hakuna mtu aliyemwona akitazama sampuli, kama baadhi ya wasanii wetu wa picha wanavyofanya." Wao ni daima kuchanganyikiwa na rejea sampuli wakati wote, kuangalia nyuma na mbele. Yaonekana, wao hutazama sampuli zaidi kuliko wao kwa kweli kuchora icon. "Theophanes alichora sanamu lakini alikuwa akitembea daima, akizungumza na wageni na kufikiria mambo ya kifalme na ya hekima wakati huo huo, wakati macho yake yalikuwa katika uchunguzi wa kuendelea wa akili na wema wake. "" Mtindo wa Theophanes una sifa ya tabia, mkali, na msukumo." Kwanza kabisa, yeye ni mchoraji na yeye huunda takwimu zake kwa nguvu, strokes ujasiri, kuongeza mwangaza mkali kwao, ambayo hufanya nyuso flutter na highlights nguvu ya usemi wao. Sanaa ya Theophanes Mgiriki inaweza kuonekana kama maonyesho kamilifu na mwonekano kamili wa nguzo mbili za maisha ya kiroho ya Byzantine kama ilivyoonyeshwa katika utamaduni: kanuni ya kale ya utukufu wa uzuri wa dunia kama uumbaji wa Mungu na kama mwangaza wa ubora wa juu zaidi dhidi ya utafutaji wa asceticism, ambayo hukataa nje, glamorous, na kuvutia. Kwa hiyo, palette yake ya rangi huwa minimalist na reserved, lakini rangi ni saturated na nguvu, wakati wote wakati fragile sharp mistari na rhythm tata ya utungaji zaidi kuimarisha jumla expressiveness ya picha. Kazi za Theophanes Mgiriki zimegawanywa kwa kawaida katika vipindi viwili: kazi yake huko Novgorod na kazi yake huko Moscow. Inajulikana kwamba Theophanes Mgiriki pia alishiriki katika kupaka rangi makanisa kadhaa nchini Urusi. "Alichora picha za sanamu za kihistoria na pia alitengeneza michoro ya vitabu (kwa mfano, anasifiwa kwa michoro katika Injili ya Fedor Koshka na michoro katika Injili za Khitrov).""" "Mambo yake maarufu zaidi ni Kanisa la ""Transfiguration ya Mkombozi"" katika barabara ya Ilyina huko Novgorod, na Kanisa la St. Michael Archangel na Kanisa la Annunciation la Kremlin." Kulingana na maandishi ya kihistoria, alichora kanisa hilo la mwisho pamoja na Andrey Rublev na Prokhor wa Gorodets. Kuna sanamu ya sanamu ambayo Theophanes Mgiriki alichora sehemu ya deesis. Uwezo wa kipaji na wa kipekee wa Mgiriki ulijionyesha mwenyewe kwa nguvu ya kushangaza. Picha ya kati ya Mkombozi haijahifadhiwa vizuri kama nyingine, lakini ustadi na ustadi wa mchoraji wa sanamu bado unaonekana: Yesu ameketi kwenye kiti cha enzi akiwa amevalia mavazi meupe yaliyotiwa rangi ya dhahabu, huku Yohana Mbatizaji na Bikira Mtakatifu wakisali kwake. Picha yenye kuvutia zaidi ni ile ya Mama wa Mungu aliyevalia vazi la bluu nzito lenye miale ya bluu-nyeupe yenye kung'aa katika giza. Rangi hiyo inakumbusha zafiri, jiwe la thamani linalowakilisha fumbo la Bikira wa Milele. Mfano wake mrefu unafanana na mshumaa, na uso wa Bikira Maria ni moto wa mshumaa huo. Nuru inatiririka kutoka machoni pake kwa upole na wakati huohuo kwa nguvu. Si mambo mengi yanayojulikana kuhusu sanamu zilizochorwa na Theophanes Mgiriki. Kwa kawaida wasanii katika nyakati za kale hawakutia sahihi kazi zao. Hata hivyo, kuna sanamu kadhaa zinazohusianishwa naye. Mojawapo ni sanamu ya Mgeuko wa Umbo kutoka Pereslavl-Zalessky. Icon ni kubwa (184x134 cm) na ya kuvutia. Yesu Kristo anaonyeshwa akiwa amesimama juu ya mlima, huku wanafunzi wake wakiwa chini wakiwa wameogopa na kutetemeka. Mwokozi amezungukwa na utukufu wenye kung'aa; miale ya dhahabu hutoka kwake. Nuru huingia ndani ya eneo hilo, ikivunja kila kitu kutoka ndani, na kufanya mapango ya kawaida kwenye vilima yaonekana kama matope ya mlipuko. Mshangao wa Mgeuko wa Umbo unaonyeshwa kama tukio la ulimwengu ambalo linageuza ulimwengu, likibadili uumbaji wote. Theophanes alikuwa Mgiriki wa zamani, lakini baadaye aligeuka kuwa Mgiriki wa Byzantium. "Wanahistoria wa sanaa wanaweza kubishana kama Theophanes alikuwa mwalimu wa Andrey Rublev au la, lakini kwa kiwango chochote walikuwa wakifanya kazi pamoja, ambayo haingeweza kuathiri malezi ya mchoraji mchanga ambaye angeweka mwelekeo wa sanaa ya Urusi ya Kale baada ya kifo cha Theophanes Mgiriki. """