The Litsevoi Svod as Graphic Novel: Narrativity in Iconographic Style
Nancy Shields Kollmann
The Litsevoi Svod as Graphic NovelNarrativity in Iconographic Style Nancy S. Kollmann (bio) In Orhan Pamuk’s brilliant novel about seeing and beauty, My Name Is Red, miniaturists at the Sultan’s court exemplify historical tensions 16th-century Ottoman artistic culture. They deplore “Frankish” style of painting a “temptation Satan”: portraiture was “a sin desire, like growing arrogant before God, considering oneself utmost importance, situating center world”; true perspective “removes from God’s lowers it to level street dog.” their view, “painting is act seeking out Allah’s memories world He sees world.” Murders ensue among corrupted by Western desire develop own “style.”1 At much same time, artists Kremlin were facing similar stresses, revealed complaints Ivan Viskovatyi, an educated, worldly-wise bureaucrat (d´iak) Foreign Affairs Chancery. 1553, he denounced new frescoes icons Kremlin, declaring work be painted “according minds, not according Holy Scripture.” declared these works’ subjects symbols without precedent Orthodox theology iconography condemned them heretical Latin imports. Viskovatyi defended otherworldly iconographic art insisted that sacred should represent only grace incarnated—that is, living people (Jesus, Mary, saints) earthly existence, allegorical representations theological concepts or depictions God Father. countering Moscow Church Council 1554, Metropolitan Makarii church hierarchs identified precedents for most symbolic ways had condemned, thereby approving guise tradition approach painting. [End Page 53] this 1554 sharply contrasted 1551 Stoglav taken position Viskovatyi’s: namely, icon painters reproduce old models, “changing nothing.”2 controversy reflects swirling currents change IV’s court. From 1550s through 1590s, hierarchy, tsarist court, wealthy monasteries commissioned immense projects illustration—frescoes, icons, illuminated hagiographies, chronicles. Many tasks asked depict lacking iconographical on scale they never experienced before. response, embodied all sides Viskovatyi’s complaint: maintained dabbled realism; borrowed European printed books experimented with symbolism; hewed genres created ones. one spectacular project produced workshops 1560s–70s, Illustrated Chronicle Compilation letopisnyi svod (hereafter LLS), trained evolved genre book illumination, breathtaking advance visual narrativity.3 LLS vast compendium over 10,000 manuscript pages folio size tracing history Rus´ lands Creation biblical times mid-16th century. Scholars have remarked unusual multi-episodic composition many its images overall narrative flow LLS. struggled identify sources unprecedented style, postulating evolution previous Slavonic illustrated chronicles, training “life experience” artists, exposure influences.4 This essay extends arguments, arguing did 54] organically evolve chronicles exploring styles available It explores Russian unto graphic novel. was, after all, time when being remade court: despite critique, introducing themes modes representation;5 another dynastic history, Stepennaia kniga, organized chapters rulers. Although kept annalistic listing events within thus breakthrough into historia in...
Kritika