It is clear why this legendary midwife was revered in Russia as the patroness of all midwives. Women in labor and those receiving childbirth turned to her for help: “Grandmother Solomonida, Christ’s midwife - help the servant of God (name)”, “Grandmother Solomonida, Christ’s successor, Christ hovered, ruled the legs and arms, left a park for our baby.” They also appeal to the Mother of God, asking her to condescend to an ordinary woman and “send” the midwife who received her Son: “Most Holy Theotokos, release Mother Solomonis, do not disdain the sinner, help me during childbirth.”
The folk calendar, in which the holiday of midwives and mothers in labor follows immediately after the Nativity of Christ, emphasized with particular force the same connection, the same constant patronage of the Mother of God to ordinary earthly women, and moreover, in its own way pointed to equality in the pangs of childbirth, in happiness and pain motherhood of all women, including the Blessed Virgin Mary; he seemed to lift up and deify every woman in labor and gave the very fact of the birth of any baby a lofty, if not divine, then godly meaning.
The midwife in any village was highly respected. She was called a midwife because she knew how to properly “bundle” a newborn with diapers so that he would not struggle and sleep peacefully. Midwives were experts in women's and maternal care. No wonder they said: “Grandma will help the whole business.” Their skill was also noted: “Every woman has her own tricks.”
The midwife is a distant relative to everyone in the village. Not a single homeland could do without a midwife. The grandmother helped the woman in labor. And she was, as they used to say, with her hands. Knowing the customs of the old days, the grandmother knew her business. In the throes of the woman in labor, she flooded the bathhouse and carried the woman in labor out into the sun. The babbling - the waving - was accomplished with a kind word, kind herbs, kind prayers. By smoking the woman in labor, that is, by igniting a birch splinter and setting fire to wormwood with immortelle grass, the grandmother cared about easy homelands.
And not so long ago, mother gathered the children in the evening and taught them to glorify Christmas, sprinkle it with grain - for a long life, for happiness, for well-being. It was as easy as shelling pears to give out a slice of pie at the holiday hour and pamper the children with cranberries and honey. But mother knew: “Not every home has baked a loaf of bread, especially so that there is enough for the whole family.” And so the children had to earn a treat, the whole childish world had to taste equally both food and sweets.
“Give me the cow, the buttered head, the baked cow, the gilded cow!”
And from every house both the big women and the bride-maids carried out ritual cookies, which in their appearance were akin to cattle, into the children’s box. And the kids encouraged: “You, hostess, give it! You, sweetheart, give it! Give it - don’t break it! If you break it off a little, you’ll have a yarmoshka. If you break off the top, you’ll have Andryushka.
And so, the child’s box grew heavier. And a crowd of praisers ran to someone’s heated bathhouse and shared the treat among themselves. It was a joyful time of games and fun. The children recognized each other and were childishly happy, remembering this wonderful winter time.
There is another saying about the holiday: “On the holiday of porridge, everyone walks around with a spoon - a full ladle will not disperse a family.” This meant that the customs of this day were aimed at strengthening the family.
On the same day, believers remember Saint Joseph the Betrothed and King David, from whose tribe were (descended according to the flesh) the Mother of God and Joseph the Betrothed. This is also the day of remembrance of Saint James, the brother of the Lord from the first marriage of Saint Joseph - he, James, later one of the first of the Lord's apostles among the seventy, was with the family during the flight of the Holy Family with the Infant Christ to Egypt from the persecution of King Herod.
The Mother of God became the vessel from which the Savior of mankind was born. She, who gave birth to her Son, the Lamb of God, who began his earthly journey in a den - a cave that served as a stall for livestock, gave Him up to suffer on the cross for all of us who believed in Him. With his precious Crucifixion, He turned the cross of torment and sorrow, a symbol of the most shameful execution among the Jews, into the Life-Giving Tree, and physical death, trampling hell, into the possibility of Resurrection in the flesh, which is available to everyone who trusts Him and follows Him.
The holiday was established in the first centuries of Christianity - Epiphanius of Cyprus, Saint Ambrose of Milan and Blessed Augustine, speaking about the Feast of the Nativity of Christ, in their first sermons and teachings combined praise of the Lord, His Incarnation into man with praises of the Most Pure Blessed Virgin. The final celebration of the day of the Council of the Blessed Virgin Mary was established at the Sixth Ecumenical Council, convened in 691, in its 79th rule.
Some signs and customs associated with the holiday
But, as everywhere else, national cultural roots could not disappear without a trace with the advent of Christianity. They were preserved in the form of rituals, folklore holidays, merging with the Orthodox church cultural tradition, which enriched and spiritually ennobled the folk tradition, giving it a deeper sound: the Honey and Apple Savior, Christmas carols, Maslenitsa, where every day is the beginning of preparation for Lent, Easter, Trinity... All holidays contain a special, our, Russian national spirit. The Cathedral of the Blessed Virgin Mary, too, in the old days was not only a spiritual holiday, but also a suitable joyful occasion for the preservation of certain customs and rituals.
In the old days, on this day, rural women baked pies and took them with them, going to church to “treat” the Most Pure One, and celebrated a special women’s holiday - “women’s porridge.” The women cooked delicious porridge, took the pies, homemade lard, meat for cabbage soup and flour and went to visit the midwives, so that they would have wealth in the house, so that the one who welcomes the newborn into the world would never need anything. It is not difficult to see a symbolic parallel in this, a veiled hint that the Blessed Virgin herself received the newborn Christ-child. In addition, the midwives were given canvases or towels so that the birth she took would be successful and easy. It was a women's affair, therefore neither unmarried girls nor men were allowed to participate in the holiday.
A little about the iconography of the icon dedicated to the holiday and other icons of the Mother of God
The most famous icon of the Cathedral of the Blessed Virgin Mary comes from Serbia; it has been known in Russian iconography since the 14th century. Art historians consider this image to be a symbolic version of the “Nativity” icon, since its composition and the biblical characters present on it are close to the “Nativity” icon. It is also believed that the icon of the Cathedral of the Blessed Virgin Mary is an illustration for the Christmas stichera written by St. John of Damascus “What shall we bring,” since it accurately conveys the content of the stichera, which sings about all the gifts brought to His cradle: singing praising the Mother of God and the Child of God - from the angels, the star of Bethlehem - from heaven, gifts - from the wise men and amazement - from the shepherds. Here below are depicted those who sang the event of the Nativity, and the Mother of God, and the Fathers of the Church.
We come to Her icons and pray to the Most Pure One before them. But She also speaks to us from the icons. Icon “Softening Evil Hearts” (Semistrelnaya)- Her indication to us of the need for peace and harmony among ourselves, for every discord - tribal, family, any - like a sharp arrow, pierces Her loving heart, because now, after the Incarnation, we and Her children are forever quarreling among themselves to the great sorrow of our common Heavenly Mother.
Much to pray for Kazan Icon of the Mother of God- one of the main icons of Russia, in whatever troubles those praying turn their gaze to the Mother of God, but especially in front of this icon they ask for deliverance from vision problems. In front of her, since she belongs to the Hodegetria-Guide type, as in front of any other icon of this type, for example, the Smolensk Icon of the Mother of God, they pray for help on the upcoming journey.
Before icon “Inexhaustible Chalice” they ask for relief from the disease of drug addiction, alcoholism and smoking, for resolution of housing problems, and in general they ask for prosperity in the house. And before the image of the Virgin Mary "Quick to Hear"- about the successful delivery of pregnancy and the birth of healthy children. They also pray for spiritual insight, especially in moments when a person is at a loss and does not know what to do. The Mother of God is addressed to the Mother of God in front of Her “Quick to Hear” icon in all cases when especially quick and effective help is needed in Her prayer to the Son. Also, the Mother of God, through her icon “Quick to Hear,” gives help in curing various diseases, even oncological ones.
Has a very powerful healing effect Icon of the Mother of God “Vsetsaritsa”("Pantanassa") She is known throughout the world as a cancer healer. The very name of the icon - “The All-Mistress”, “The All-Mistress” - speaks of its special, all-encompassing power. Before the icon of the Most Holy Theotokos “The All-Tsarina” they pray for healing from fatal diseases, most often from cancer, for deliverance from witchcraft and conspiracies, and parents whose children are addicted to drugs and alcohol turn to the Mother of God in front of Her icon “The All-Tsarina” for help.
According to legend, the first icon of Eleus - the Tenderness - was painted during the earthly life of the Mother of God by the Evangelist Luke, who entered the house of the Most Holy Theotokos. He depicted the Most Pure One on the tabletop at which he was having a meal. Holy family. One of the most famous and revered variants of Eleusa in Russian traditions is. In sorrows and temptations, they read prayers and akathists in front of her, pray to the Mother of God for the humility of those at war, for softening evil hearts, as well as about the healing of physical and mental illnesses.
In front of any icon of the Mother of God, we can ask for everything, but every iconographic image of Her acquired in the history of its creation or acquisition carries Her commandment to us, which we can especially ask for precisely in front of this image. Therefore, the great many famous icons of the Mother of God are evidence of Her many all-encompassing love and attention to us and readiness for help and intercession.
But, remembering Her maternal feat, let us not forget to thank Her and praise Her for the fact that She gave the world the Eternal God Jesus Christ, thereby opening for us the time of the New Testament, and, as they say, in one of the prayers, through Her Incarnation taken the whole human race for adoption.
Troparion of the Cathedral of the Blessed Virgin Mary, tone 4
Most Pure Mother of God, Mother of God, Thy venerable Cathedral is adorned with many different kindnesses, gifts are brought to Thee, O Lady, by many worldly people, Break our sinful bonds with Thy mercy and save our souls.
Kontakion of the Cathedral of the Blessed Virgin Mary, tone 6
Who was born before the star from the Father without a mother, on earth without a father was incarnated today from You. In the same way, the star preaches the good news to the sorcerer, while the angels and the shepherds sing your indescribable Nativity, O Blessed One.
Prayer - Hymn to the Most Holy Theotokos
Theotokos, Virgin, rejoice, blessed Mary, the Lord is with you; Blessed are You among women and blessed is the fruit of Your womb, for You have given birth to the Savior of our souls.
The Orthodox calendar is rich in religious holidays. Significant dates within its framework are established as a sign of honoring God, numerous saints, certain events that played a significant role in the formation and strengthening Christian faith, and, of course, the Most Holy Theotokos - the main intercessor and patroness of all humanity. Known to any even slightly religious person are such large, bright holidays glorifying the Virgin Mary as Christmas, the Annunciation, and the Dormition. The day after Christmas, January 8, Orthodox Church marks one of these religious dates, which has a more specific character - the Cathedral of the Blessed Virgin Mary.
Description of the holiday
January 8th is the day when all Orthodox world remembers the Virgin Mary as the mother of Jesus Christ: the son of God, the Savior of mankind, the Messiah. This earthly righteous woman was chosen by the Creator to give birth to a man in whom the Lord himself and his plan were embodied; a person for whom heaven has prepared an unusual and at the same time inherently great destiny - the atonement of human sins by sacrificing himself.
It was in honor of the destiny of the chosen one, which the Virgin Mary with dignity and not without the help of God brought to life, carried through the years of her earthly existence, and the Christian Church established such an important religious holiday - the Council of the Blessed Virgin Mary - on January 8, immediately after the Nativity of Christ. On this day, clergy and believers turn to the Mother of God with solemn chants of praise and speeches of gratitude. Services are held in churches, as they were the day before this holiday, during which a troparion filled with genuine joy certainly sounds: “Most Pure Mother of God, Mother of God, Your venerable Cathedral is decorated with many different kindnesses; many people bring gifts to You, O Lady. Break our sinful bonds with Your mercy and save our souls.”
The Cathedral of the Blessed Virgin Mary is celebrated in accordance with church tradition: remember after important event, dedicated to God, the Son of God, or directly connected with him, a person who played a major role in the fact that this event happened. The Cathedral of the Blessed Virgin Mary is not the only holiday celebrated according to such a specific scheme. There is, for example, the Synaxis of St. John the Baptist, celebrated the day after the Epiphany; Cathedral of the Archangel Gabriel, established immediately after the Annunciation of the Blessed Virgin Mary, etc.
It should be noted that the holiday of January 8 is dedicated not only to the memory of the Virgin Mary as the mother of Jesus Christ, but also to some persons who were directly related to the Most Pure One during her life on the sinful earth. As part of the Cathedral of the Blessed Virgin Mary, the memory of:
- Saint Joseph the Betrothed, so called because, with the blessing of the high priest, he became engaged to the Virgin Mary in order to protect her purity and virginity;
- King David, who was the ancestor of Jesus Christ in the flesh;
- Saint James, son of Joseph the Betrothed from his first marriage, who, together with his father, participated in accompanying the Virgin Mary with the baby Jesus during the flight to Egypt.
History of the holiday
The Cathedral of the Blessed Virgin Mary has quite ancient origins. The establishment of this religious date occurred when the Christian Church, in fact, was just beginning its formation. The first mention of the feast of the Synaxis of the Blessed Virgin Mary dates back to the 4th century. AD They were found in the teachings of Ambrose of Milan, Epiphanes of Cyprus and Augustine the Blessed, dedicated to the Nativity of Christ.
In these “lectures,” the praise of Jesus Christ smoothly alternates with the glorification of the Mother of God who brought him into the world. Officially, the holiday date was established in 681 at the Sixth Ecumenical Council. An indication of this event and the Christian holiday itself are contained in rule 79 of the document relating to this kind of religious conference.
An icon is dedicated to the Cathedral of the Blessed Virgin Mary, as well as to most Christian dates associated, in one way or another, with the personality of the Virgin Mary. It is a symbolic version of the Nativity of Christ icon. In the center of the composition is the Mother of God with the Baby Jesus in her arms, sitting on a throne. Around her are depicted angels, wise men and shepherds, as well as Church Fathers and Christian hymnographers praising the Most Pure One. The iconography of the Cathedral of the Blessed Virgin Mary is of Serbian origin. It has been known in Rus' since the 14th century.
About the personality of the Virgin Mary
There is no point in telling about the life of the Mother of God, because for this there are other, more meaningful religious holidays dedicated to the Most Pure One. But it is very appropriate to talk about the virtues of the Most Holy Theotokos, which were inherent in this earthly woman chosen by the Creator.
Firstly, the Virgin Mary is the embodiment of complete devotion to God's will to the detriment of her own. When the Archangel Gabriel, at the direction of the Lord, brought the good news to the future Mother of God about her impending immaculate conception of the Son of God, she replied: “Behold the servant of the Lord, be unto Me according to thy word,” thereby expressing absolute humility before the will of the Almighty.
It would seem that what is so difficult about accepting the great dignity and title of the Mother of God, since this is associated with triumph, glory, and not with humiliation? However, the Mother of God suffered an endless number of troubles, sorrows and temptations, therefore meekness in this case turned out to be the crown of human selflessness. Agreeing with the will of God, the Virgin Mary voluntarily took upon her shoulders the entire burden of possible (and actual!) suffering and deprivation: the martyrdom of Jesus alone in atonement for the sins of mankind was worth so much! Moreover, even this terrible event did not shake my humility.
Secondly, the virtue of the future Mother of God consisted in the fact that all earthly life she kept a vow of virginity and purity: both spiritual and physical. Who knows whether the Virgin Mary would have agreed to become the mother of the Child Jesus, sent by God to earth through earthly birth, if the need to break this vow was implied? The Mother of God gave an answer to the Archangel Gabriel only after she learned about the immaculate conception, but not before, being in complete ignorance. This is evidenced by Scripture, where it says: “For what does She say to him? “What will this happen if I don’t know where my husband is?”
Finally, the third virtue of the Virgin Mary was the courage with which chosen by God the woman endured all the hardships that befell her. In this sense, the Mother of God is the clearest example the said virtue, of course, after Jesus Christ.
Based on the foregoing, on the feast of January 8, the Council of the Blessed Virgin Mary, in prayers offered to the Virgin Mary, one should ask for the granting of just these three important virtues. Indeed, in our world, which is losing more and more grains of light every minute, we so lack precisely humility, spiritual purity of thoughts and courage to bear our cross with dignity.
It is interesting that in pagan Rus', on January 8, the Slavs celebrated the holiday “Woman's porridge”. On this day, midwives were honored, who in the old days helped women in labor and had wise knowledge.
The theme of the incarnation of the Savior in Eastern Christian art is reflected not only in icons depicting the Nativity of Christ, but also in images dedicated to the feast of the Council of the Blessed Virgin Mary.
The liturgical annual circle has the following feature: after the “main”, “main” holiday, the next day the special memory of those persons associated with this holiday is celebrated. So, after Epiphany, the “Cathedral of John the Baptist” is celebrated, after the day of the supreme apostles Peter and Paul - the “Cathedral of the 12 Apostles”. The word “cathedral” in this context means a certain gathering of the faithful, not limited by time or space, held in honor of a saint. The celebration of the Council of Our Lady takes place on the second day of the Nativity of Christ, January 8 (NS). The services of these days are closely related in meaning and character, and the iconography of these holidays is also related. On the day of the Council of Our Lady, we honor Her as the Most Holy Virgin and Mother of the Son of God, who served the great mystery of the Incarnation.
The celebration in honor of the Mother of God, associated with the holiday of Christmas, arose in the Church very early, already in the 4th century. This was the very first Mother of God feast, from which other Mother of God celebrations were later formed.
The iconography of the “Cathedral of Our Lady” was formed quite late, only at the end of the 13th century. It was based on the iconography of the Nativity of Christ and some important elements, introduced under the influence of the text of the Christmas stichera. This is the fourth stichera of the Great Vespers of the Nativity: « What shall we bring to Thee, O Christ, since He appeared on earth as a Man for our sake? Every former creature from You brings thanksgiving to You: Angels - singing; heaven - a star; volsvi – gifts; shepherding is a miracle; earth is a den; desert - manger; we are the Mother of the Virgin. Like before the ages, God, have mercy on us.” In a manuscript from the Sofia Library of the 14th century. (No. 193) it is said that the shepherds bring a “wondering” to Christ as thanksgiving.
The earliest known composition on this theme is the narthex fresco of the Church of Our Lady of Periveleptus in Ohrid (1295). During the Palaiologan period, iconography spread in the Orthodox ecumene. The oldest Russian icon on this subject comes from Pskov and was created at the end of the 14th - beginning of the 15th century. This is a most interesting monument both in terms of its iconography and style. The icon differs significantly both from previous Byzantine monuments and from Russian icons and frescoes of a later time. Perhaps the peculiarities of the composition of the icon are related to the fact that it was based not only on the text of the stichera “What shall we bring to You...”, but also on other holiday chants. Some details of this particular Pskov icon still remain a mystery to researchers.
Icon from the Pskov Varvara Church. Late XIV - early XV centuries. Pskov. Tretyakov Gallery, Moscow
In the center of the icon is the Blessed Virgin seated on a throne, which has a curved asymmetrical back and is decorated with a white curtain. However, the Mother of God does not hold the Child Christ in her arms, although this is exactly how She is depicted in all other works on this subject. On the Pskov icon, in front of the Mother of God, on Her chest, is placed the image of Christ Emmanuel, enclosed in a two-color eight-pointed “glory,” which She seems to be holding.
This image of the Savior and the Mother of God is reminiscent of the iconography of Our Lady of the Sign. On the “Sign” icons, the placement of the image of Emmanuel in the “glory” on the chest of the Mother of God indicates His hidden, mysterious presence and emphasizes the main theological idea of the image - the dogma of the incarnation of God the Son from the Ever-Virgin Mary predicted by the prophets. In the iconography of the “Cathedral of Our Lady,” such an unusual move further emphasizes the theme of the Incarnation.
Another feature of the Pskov icon is the image of a cave, inside which is a manger with a swaddled Baby. This episode, borrowed from the image of the Nativity of Christ, is not found in other works of the Cathedral of Our Lady iconography. It can be assumed that both of these unique features appeared as a reflection, for example, of the text of the kontakion for the holiday of Christmas: “Today a virgin gives birth to the Most Essential, and the earth brings a den to the Unapproachable: angels and shepherds glorify, and wolves travel with a star: for our sake born When I was young, Eternal God ». In this case, the image of a manger with a newly born Baby reinforces the very theme of birth, and the image of Christ-Emmanuel in “glory” is intended to emphasize that it is not an ordinary person who is born of the Virgin, incarnated, but namely the “Eternal God,” the Second Hypostasis of the Most Holy Trinity.
Otherwise, the central and upper parts of the composition of the icon follow the established tradition. To the left of the throne of the Mother of God are depicted the wise men bringing gifts, one of whom points to a star, the image of which has not survived. To the right and left of the foot of the throne are two peculiar figures: half-naked women with disheveled hair. These are personifications - images personifying the Desert and the Earth. The desert, dressed in red, offers Christ a manger, and the Earth, dressed in a green cloak, seems to hold out a nativity scene with one hand, and holds a flourishing branch in the other.
Icon from the Pskov Varvara Church. Late XIV - early XV centuries. Pskov. Tretyakov Gallery Fragment
At the top, above the hills, angels and marveling shepherds are written. In the upper corners there are semi-figured images of especially revered saints: Nicholas the Wonderworker and St. Barbarians, which, apparently, were made at the request of the customer and are not directly related to iconography.
Usually in the compositions “Cathedral of Our Lady” the solemn Christmas service is depicted below: a choir of singers, hymnographers John of Damascus and Cosmas of Mayum, priests, monks; Patriarchs and kings may also be depicted. This group, on the one hand, personifies the entire human race, which, according to the stichera, brings the Virgin Mother to Christ. On the other hand, the depicted liturgical glorification of the Mother of God takes place right before our eyes. This enhances the liturgical, liturgical function of the image.
Mid-15th century Rostov-Suzdal school. House-Museum of P.D. Korina, Moscow
At the bottom of the Pskov image, a unique iconographic solution is again revealed. It depicts three men in white robes similar to surplices, a young reader, and a young man in an intricate pose reminiscent of a dance movement. This whole scene still has no clear interpretation. Conflicting interpretations can be found in the scientific literature.
Icon from the Pskov Varvara Church. Late XIV - early XV centuries. Pskov. Tretyakov Gallery Fragment
It is assumed that the whole group as a whole can personify various shapes glorification of the Mother of God, which is performed by all humanity (that’s why the characters are depicted different ages and peoples). The three central figures were interpreted as a choir of singers, as deacons, as the Godfathers David, Joseph and Jacob. They were defined as “shepherds in the concrete and allegorical meaning of the word,” meaning by this also wandering performers of spiritual verses dedicated to biblical events.
Some researchers see men as magicians. Indeed, three men are very similar to the Magi depicted in the middle part of the icon in appearance and age: an old man, a middle-aged man and a young man. The change in color and character of the attire can be explained by the legend according to which, after Pentecost, the Magi were baptized by the Apostle Thomas. White robes are a sign of the newly baptized person’s cleansing from the burden of original sin.
It should be noted that in Western Europe the Magi were highly revered. Their relics, according to legend, acquired by Queen Helena, came from Constantinople to Milan, and from there to Cologne. In the 12th century, a special Christmas liturgical rite arose in the West, which was a kind of performance performed by clergy, singers and readers. The Magi were the main characters of this mystery. Much later, when it came to Western Ukraine, a theatrical performance of this kind was called “Nativity Scene”. Pskov was the westernmost Russian city and Western European traditions and influences were strong in this principality. It is quite possible that in the 14th century the people of Pskov knew about such performances, and perhaps a similar ritual was included in the celebration of Christmas in this city. This is not difficult to imagine if we remember that in Rus' there was a rite similar in nature - “Cave Action”. Thus, a specific festive church rite can be represented on the Pskov icon. In exactly the same way, in the version of iconography discussed above, the Christmas service was depicted, but without indicating any specific part of the service.
Dionysius. Painting of the Pokhvalsky chapel of the Assumption Cathedral of the Moscow Kremlin. 1481
Using and transforming the version of the depiction of a special holiday rite representing the worship of the Magi, we dare to suggest that the three husbands may not be Magi, but shepherds. The shepherds depicted at the top of the icon are also an old man, a medieval man and a young man. There is also a certain external similarity. Men in white robes and shepherds have the same attributes - staves. This version is supported by the fact that since the 11th century in the Western Church there has been a liturgical rite dedicated exclusively to the worship of shepherds.
This church rite was performed as follows: near the Throne, on a special dais, a manger was installed, in which there was a statue or icon of the Virgin Mary and Child. Several canons (clerics) in church vestments, with linen scarves on their heads and staffs in their hands, represented Bethlehem shepherds. A boy from the choir, portraying an angel, informed them about Christmas, quoting the Gospel. Accompanied by the singing of the choir “Glory to God in the highest...”, the shepherds walked into the altar, where two canons, portraying midwives, were waiting for them at the manger. They asked: “Whom are you looking for in the manger, shepherds?” “We are looking,” the shepherds answered, “for the Savior Christ.” The midwives pulled back the curtain, which hid the image of the Blessed Virgin with the Child of God. Pointing to him, they said: “Here he is - this Baby with his Mother.” The shepherds bowed and sang prayers, then the liturgy began.
This version would explain well unusual shape the throne of the Mother of God, and a white curtain, extremely rare for Russian monuments. However, this motif - the veil on the throne - arose in early Christian art, and was later developed in South Slavic paintings and icons. The above reasoning is nothing more than a cautious guess, since it is not possible to know for certain whether such a rank could have been known in the Western Russian lands. And such an attribute as a staff could easily move from one “scenario” to another and become an attribute of a traveling sorcerer.
The mysteries of the icon do not end there. The most difficult figure to interpret remains the dancing young man. There is an opinion that this is a young shepherd marveling at the miracle of Christmas. Amazed, he covers his face with his hand, which reminds him of the shepherd depicted in the upper corner of the icon - he, seeing the star, also closes his eyes. The young man's clothing - a short chiton - corresponds to the tradition of depicting shepherds. It’s easier to define the image of a young man with a book in his hands. Some researchers see in him Roman the Sweet Singer; others, pointing to the absence of a halo, the reduced size of the figure and other details, believe that this is some kind of collective image of a hymnographer or reader.
In the monuments of the 16th–17th centuries, the composition greatly expands, it includes personifications of the sea and winds, which bring the Child, according to the expression of the iconographic original, obedience and obedience. The image of those praying is becoming more and more multi-figured.
Dionysius. Painting of the Cathedral of the Nativity of the Virgin Mary at the Ferapontov Monastery. 1502
XVI century Moscow. Moscow Kremlin Museums
The theme of the incarnation of the Savior in Eastern Christian art is reflected not only in icons depicting the Nativity of Christ, but also in images dedicated to the feast of the Council of the Blessed Virgin Mary.
The liturgical annual circle has the following feature: after the “main”, “main” holiday, the next day the special memory of those persons associated with this holiday is celebrated. So, after Epiphany, the “Cathedral of John the Baptist” is celebrated, after the day of the supreme apostles Peter and Paul - the “Cathedral of the 12 Apostles”. The word “cathedral” in this context means a certain gathering of the faithful, not limited by time or space, held in honor of a saint. The celebration of the Council of Our Lady takes place on the second day of the Nativity of Christ, January 8 (NS). The services of these days are closely related in meaning and character, and the iconography of these holidays is also related. On the day of the Council of Our Lady, we honor Her as the Most Holy Virgin and Mother of the Son of God, who served the great mystery of the Incarnation.
The celebration in honor of the Mother of God, associated with the holiday of Christmas, arose in the Church very early, already in the 4th century. This was the very first Mother of God feast, from which other Mother of God celebrations were later formed.
The iconography of the “Cathedral of Our Lady” was formed quite late, only at the end of the 13th century. It was based on the iconography of the Nativity of Christ and some important elements introduced under the influence of the text of the Christmas stichera. This is the fourth stichera of the Great Vespers of the Nativity: « What shall we bring to Thee, O Christ, since He appeared on earth as a Man for our sake? Every former creature from You brings thanksgiving to You: Angels - singing; heaven - a star; volsvi – gifts; shepherding is a miracle; earth is a den; desert - manger; we are the Mother of the Virgin. Like before the ages, God, have mercy on us.” In a manuscript from the Sofia Library of the 14th century. (No. 193) it is said that the shepherds bring a “wondering” to Christ as thanksgiving.
The earliest known composition on this theme is the narthex fresco of the Church of Our Lady of Periveleptus in Ohrid (1295). During the Palaiologan period, iconography spread in the Orthodox ecumene. The oldest Russian icon on this subject comes from Pskov and was created at the end of the 14th - beginning of the 15th century. This is a most interesting monument both in terms of its iconography and style. The icon differs significantly both from previous Byzantine monuments and from Russian icons and frescoes of a later time. Perhaps the peculiarities of the composition of the icon are related to the fact that it was based not only on the text of the stichera “What shall we bring to You...”, but also on other holiday chants. Some details of this particular Pskov icon still remain a mystery to researchers.
In the center of the icon is the Blessed Virgin seated on a throne, which has a curved asymmetrical back and is decorated with a white curtain. However, the Mother of God does not hold the Child Christ in her arms, although this is exactly how She is depicted in all other works on this subject. On the Pskov icon, in front of the Mother of God, on Her chest, is placed the image of Christ Emmanuel, enclosed in a two-color eight-pointed “glory,” which She seems to be holding.
This image of the Savior and the Mother of God is reminiscent of the iconography of Our Lady of the Sign. On the “Sign” icons, the placement of the image of Emmanuel in the “glory” on the chest of the Mother of God indicates His hidden, mysterious presence and emphasizes the main theological idea of the image - the dogma of the incarnation of God the Son from the Ever-Virgin Mary predicted by the prophets. In the iconography of the “Cathedral of Our Lady,” such an unusual move further emphasizes the theme of the Incarnation.
Another feature of the Pskov icon is the image of a cave, inside which is a manger with a swaddled Baby. This episode, borrowed from the image of the Nativity of Christ, is not found in other works of the Cathedral of Our Lady iconography. It can be assumed that both of these unique features appeared as a reflection, for example, of the text of the kontakion for the holiday of Christmas: “Today a virgin gives birth to the Most Essential, and the earth brings a den to the Unapproachable: angels and shepherds glorify, and wolves travel with a star: for our sake born When I was young, Eternal God». In this case, the image of a manger with a newly born Baby reinforces the very theme of birth, and the image of Christ-Emmanuel in “glory” is intended to emphasize that it is not an ordinary person who is born of the Virgin, incarnated, but namely the “Eternal God,” the Second Hypostasis of the Most Holy Trinity.
Otherwise, the central and upper parts of the composition of the icon follow the established tradition. To the left of the throne of the Mother of God are depicted the wise men bringing gifts, one of whom points to a star, the image of which has not survived. To the right and left of the foot of the throne are two peculiar figures: half-naked women with disheveled hair. These are personifications - images personifying the Desert and the Earth. The desert, dressed in red, offers Christ a manger, and the Earth, dressed in a green cloak, seems to hold out a nativity scene with one hand, and holds a flourishing branch in the other.
At the top, above the hills, angels and marveling shepherds are written. In the upper corners there are semi-figured images of especially revered saints: Nicholas the Wonderworker and St. Barbarians, which, apparently, were made at the request of the customer and are not directly related to iconography.
Usually in the compositions “Cathedral of Our Lady” the solemn Christmas service is depicted below: a choir of singers, hymnographers John of Damascus and Cosmas of Mayum, priests, monks; Patriarchs and kings may also be depicted. This group, on the one hand, personifies the entire human race, which, according to the stichera, brings the Virgin Mother to Christ. On the other hand, the depicted liturgical glorification of the Mother of God takes place right before our eyes. This enhances the liturgical, liturgical function of the image.
At the bottom of the Pskov image, a unique iconographic solution is again revealed. It depicts three men in white robes similar to surplices, a young reader, and a young man in an intricate pose reminiscent of a dance movement. This whole scene still has no clear interpretation. Conflicting interpretations can be found in the scientific literature.
It is assumed that the entire group as a whole can personify various forms of glorification of the Mother of God, which is performed by all humanity (therefore, characters of different ages and nations are depicted). The three central figures were interpreted as a choir of singers, as deacons, as the Godfathers David, Joseph and Jacob. They were defined as “shepherds in the concrete and allegorical meaning of the word,” meaning by this also wandering performers of spiritual verses dedicated to biblical events.
Some researchers see men as magicians. Indeed, three men are very similar to the Magi depicted in the middle part of the icon in appearance and age: an old man, a middle-aged man and a young man. The change in color and character of the attire can be explained by the legend according to which, after Pentecost, the Magi were baptized by the Apostle Thomas. White robes are a sign of the newly baptized person’s cleansing from the burden of original sin.
It should be noted that in Western Europe the Magi were very revered. Their relics, according to legend, acquired by Queen Helena, came from Constantinople to Milan, and from there to Cologne. In the 12th century, a special Christmas liturgical rite arose in the West, which was a kind of performance performed by clergy, singers and readers. The Magi were the main characters of this mystery. Much later, when it came to Western Ukraine, a theatrical performance of this kind was called “Nativity Scene”. Pskov was the westernmost Russian city and Western European traditions and influences were strong in this principality. It is quite possible that in the 14th century the people of Pskov knew about such performances, and perhaps a similar ritual was included in the celebration of Christmas in this city. This is not difficult to imagine if we remember that in Rus' there was a rite similar in nature - “Cave Action”. Thus, a specific festive church rite can be represented on the Pskov icon. In exactly the same way, in the version of iconography discussed above, the Christmas service was depicted, but without indicating any specific part of the service.
Using and transforming the version of the depiction of a special holiday rite representing the worship of the Magi, we dare to suggest that the three husbands may not be Magi, but shepherds. The shepherds depicted at the top of the icon are also an old man, a medieval man and a young man. There is also a certain external similarity. Men in white robes and shepherds have the same attributes - staves. This version is supported by the fact that since the 11th century in the Western Church there has been a liturgical rite dedicated exclusively to the worship of shepherds.
This church rite was performed as follows: near the Throne, on a special dais, a manger was installed, in which there was a statue or icon of the Virgin Mary and Child. Several canons (clerics) in church vestments, with linen scarves on their heads and staffs in their hands, represented Bethlehem shepherds. A boy from the choir, portraying an angel, informed them about Christmas, quoting the Gospel. Accompanied by the singing of the choir “Glory to God in the highest...”, the shepherds walked into the altar, where two canons, portraying midwives, were waiting for them at the manger. They asked: “Whom are you looking for in the manger, shepherds?” “We are looking,” the shepherds answered, “for the Savior Christ.” The midwives pulled back the curtain, which hid the image of the Blessed Virgin with the Child of God. Pointing to him, they said: “Here he is - this Baby with his Mother.” The shepherds bowed and sang prayers, then the liturgy began.
This version would well explain both the unusual shape of the throne of the Mother of God and the white curtain, which is extremely rare for Russian monuments. However, this motif - the veil on the throne - arose in early Christian art, and was later developed in South Slavic paintings and icons. The above reasoning is nothing more than a cautious guess, since it is not possible to know for certain whether such a rank could have been known in the Western Russian lands. And such an attribute as a staff could easily move from one “scenario” to another and become an attribute of a traveling sorcerer.
The mysteries of the icon do not end there. The most difficult figure to interpret remains the dancing young man. There is an opinion that this is a young shepherd marveling at the miracle of Christmas. Amazed, he covers his face with his hand, which reminds him of the shepherd depicted in the upper corner of the icon - he, seeing the star, also closes his eyes. The young man's clothing - a short chiton - corresponds to the tradition of depicting shepherds. It’s easier to define the image of a young man with a book in his hands. Some researchers see in him Roman the Sweet Singer; others, pointing to the absence of a halo, the reduced size of the figure and other details, believe that this is some kind of collective image of a hymnographer or reader.
In the monuments of the 16th–17th centuries, the composition greatly expands, it includes personifications of the sea and winds, which bring the Child, according to the expression of the iconographic original, obedience and obedience. The image of those praying is becoming more and more multi-figured.
Reformatskaya M.A. Pskov icon painting of the 13th – early 15th centuries (Towards an understanding of the concept of “local school”): Dis. M., 1979. S. 117, 118.
Ovchinnikov A.N. Experience in describing ancient Russian easel painting: Technique and style: Pskov school of the 13th - 16th centuries. M., 1971. Issue. 1. P. 13.
