Parsuna- - (from the Latin persona - personality, face) the conventional name of Russian works portrait painting XVII century. The first parsuns, depicting real ones historical figures, neither performance technique, nor figurative system in fact, they did not differ from works of icon painting (Portrait of Tsar Fyodor Ivanovich, 1st half of the 17th century). In the 2nd half of the 17th century, the development of parsuna went in 2 directions - an even greater strengthening of the iconographic principle (features real character seemed to dissolve in the ideal scheme of the face of his holy patron) and, not without the influence of foreign artists working in Russia, Ukraine, Lithuania, they gradually assimilated the techniques of Western European painting, striving to transfer individual characteristics models, volumetric shapes. In the 2nd half of the 17th century, Parsuns sometimes painted on canvas with oil paints, sometimes from life. As a rule, parsuns were created by painters of the Armory Chamber - S. F. Ushakov, I. Maksimov, I. A. Bezmin, G. Odolsky, M. I. Choglokov and others. The term parsun extends to similar phenomena in the painting of Ukraine and Belarus (Portrait Konstantin Ostrogsky, 1st half of the 17th century).

Parsuna

- (from the Latin persona - personality, face) the conventional name of works of Russian portraiture painting XVII century. The first parsuns, which depicted real historical figures, did not actually differ in either the technique of execution or the figurative system from the works of icon painting (Portrait of Tsar Fyodor Ivanovich, 1st half of the 17th century). In the 2nd half of the 17th century, the development of parsuna went in 2 directions - an even greater strengthening of the iconographic principle (the features of a real character seemed to dissolve in the ideal outline of the face of his holy patron) and, not without the influence of foreign artists working in Russia, Ukraine, Lithuania, they gradually adopted techniques of Western European painting, sought to convey the individual characteristics of the model and the volume of forms. In the 2nd half of the 17th century, Parsuns sometimes painted on canvas with oil paints, sometimes from life. As a rule, parsuns were created by painters of the Armory Chamber - S. F. Ushakov, I. Maksimov, I. A. Bezmin, G. Odolsky, M. I. Choglokov and others. The term parsun extends to similar phenomena in the painting of Ukraine and Belarus (Portrait Konstantin Ostrogsky, 1st half of the 17th century).

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Parsuna

Bogdan Saltanov. Alexey Mikhailovich in a “big outfit” (1682, State Historical Museum)

Types

Today, parsunu, based on the personalities and painting techniques depicted on them, can be divided into the following categories:

• gravestone portraits, tempera on board(Skopin-Shuisky, Fyodor Ivanovich, Fyodor Alekseevich, etc.)
• Parsuns in oil on canvas:
  • with the image of kings(Alexey Mikhailovich, Fyodor Alekseevich, Ivan Alekseevich, etc.)
  • with images of princes, stolniks, nobles, etc.(Repnin Gallery, Naryshkin, Lyutkin, etc.)
  • with the image of church hierarchs(Nikon, Joachim)

“Parsunna” (“picturesque”) icon

“Parsun” (“picturesque”) icons are those in which, at least in colorful layers, oil paints, and the technique for forming pictorial details is close to that of one of the “classical” European techniques.

“Parsun” (“picturesque”) icons include icons of the transitional period, painting in which can be attributed to the two main techniques of classical oil painting:

Literature

• Portrait in Russian painting of the 17th century half of the 19th century century. Album. / Author-compiler A. B. Sterligov. - M., Goznak, 1985. - 152 p., ill.
• Russian historical portrait. Epoch of Parsuna M., 2004.
• Russian historical portrait. The era of Parsuna. Conference materials. M., 2006
• Ovchinnikova E. S. Portrait in Russian art XVII century. M., 1955.
• Mordvinova S. B. Parsuna, its traditions and origins. Diss. for a candidate's degree. art history M.: Institute of Art Studies, 1985.
• Sviatukha O.P. Representation of autocratic power in Russian portraits of the 17th century. Dissertation for the degree of candidate of historical sciences; Far Eastern State University, 2001
• Grabar I., Uspensky A. “Foreign PAINTERS IN MOSCOW” // HISTORY OF RUSSIAN ART. Edited by I. E. Grabar. T.6,-M., 1913
• Komashko N.I.. Painter Bogdan Saltanov in context artistic life Moscow of the second half of the 17th century) // Ancient Rus'. Questions of medieval studies. 2003, No. 2 (12), p. 44 - 54.
• Research and restoration of the parsuna of Patriarch Nikon., M., 2006
• Bryusova V. G. Simon Ushakov and his time // GMMK: Materials and research. Vol. 7. Russian art culture XVII century. M., 1991:9-19
• Chernaya L.A. Russian culture of the transition period from the Middle Ages to the modern era. - M.: Languages Slavic culture, 1999

Links

• From person to parsuna. About the exhibition of parsun painting at the State Historical Museum.
• . Abstracts of the report.
• Parsuna. Illustrated dictionary of icon painting.

Notes

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Synonyms:

Big Encyclopedic Dictionary

- (a distortion of the word “persona”, from the Latin persona personality, face) a work of Russian portraiture of the 17th century. The first paintings, neither in execution technique nor in figurative structure, actually differ from works of icon painting (See Iconography) (P. of the king ... ... Great Soviet Encyclopedia

Parsuna- (distorted person, from lat. persona personality, face) convention. name of manufacture Russian, Ukrainian, Belarusian portrait painting con. 16-17 centuries, preserving elements of the formal structure of icon painting. The paintings were painted (sometimes from life) by painters from the Armory Chamber of St.... ... Russian humanitarian encyclopedic dictionary

- (distortion of the word “person”), the conventional name for works of Russian, Belarusian and Ukrainian portraiture of the late 16th–17th centuries, combining icon painting techniques with a realistic figurative interpretation. * * * PARSUNA PARSUNA (distortion of the word... ... Encyclopedic Dictionary

J. obsolete A work of Russian easel portrait painting from the late 16th to 17th centuries. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern explanatory dictionary Russian language Efremova

Parsuna, parsuns, parsuns, parsuns, parsunes, parsunas, parsuns, parsunas, parsunas, parsuns, parsuns, parsunes, parsuns (

from lat. persona – personality, face), a transitional form of portrait between an icon and a secular work, which arose in Russian art in the Middle Ages (17th century). The first parsuns were created using the technique of icon painting. One of the earliest is the tombstone portrait of Prince M.V. Skopin-Shuisky (first third of the 17th century), placed on the prince’s sarcophagus in the Archangel Cathedral of the Moscow Kremlin. Most of the parsuns were created by painters of the Armory Chamber (S. F. Ushakov, I. Maksimov, I. A. Bezmin, V. Poznansky, G. Odolsky, M. I. Choglokov, etc.), as well as Western European masters working in Russia. Parsuna represented, according to Ushakov, “the life of memory, the memory of those who once lived, the testimony of past times, the preaching of virtue, the expression of power, the revival of the dead, praise and glory, immortality, the excitement of the living to imitate, a reminder of past deeds.” .

In the second half. 17th century Parsuna is experiencing its heyday, which was associated with the increasingly active penetration of elements of Western European culture into Russia and the heightened interest in a specific human personality. Con. 17th century - the time of greatest distribution of the boyar-princely portrait. Impressive images, decorativeness figurative language The parsuns corresponded to the lush nature of the court culture of this time. The portraits of the steward G. P. Godunov (1686) and V. F. Lyutkin (1697) were painted “from life” (from life). The rigidity of poses, flatness of color, and decorative patterns of clothing in parsun images of this time are sometimes combined with acute psychologism (“Prince A. B. Repnin”).

In the era of Peter's reforms, parsuna loses its dominant significance. However, having been pushed out of the forefront, it continues to exist in Russian art for another century, gradually retreating into provincial strata artistic culture. Echoes of the Parsuna traditions continued to be felt in the work of major Russian portrait painters of the 18th century. (I. N. Nikitina, I. Ya. Vishnyakova, A. P. Antropova).

Parsuna as an artistic phenomenon existed not only in Russian culture, but also in Ukraine, Poland, Bulgaria, and the countries of the Middle East, having its own characteristics in each region.

“Parsuna”: concept, features

In the 17th century, when secular trends intensified in Russia and a keen interest in European tastes and habits emerged, artists began to turn to Western European experience. In such a situation, when there is a search for portraiture, the appearance of a parsuna is quite natural.

“Parsuna” (a distorted “person”) is translated from Latin as “person”, not “man” (homo), but a certain type - “king”, “nobleman”, “ambassador” - with an emphasis on the concept of gender. .

Parsuns - secular ceremonial portraits in the interior - were perceived as a sign of prestige. The Russian nobility needed to adapt to new cultural trends that were penetrating traditional forms of everyday life. The parsuna was well suited for the ceremonial rituals of solemn court etiquette, cultivated in the princely-boyar environment, and for demonstrating the high position of the model.

The parsun, first of all, emphasized the belonging of the person depicted to high rank. The heroes appear in lush attire and in rich interiors. The private and individual are almost not revealed in them.

The main thing in Parsun has always been subordination to class norms: there is so much significance and imposingness in the characters. The artists' attention is focused not on the face, but on the pose of the person depicted, rich details, accessories, images of coats of arms, and inscriptions.

The art of "parsuns" of the 17th century

Already in the 11th-13th centuries, images of historical figures - temple builders - appeared on the walls of cathedrals: Prince Yaroslav the Wise with his family, Prince Yaroslav Vsevolodovich presenting a model of the temple to Christ. Starting from the middle of the 16th century, icons appeared with still very conventional images of living members of the royal family.

Portrait images in the icons of the second half of the 17th century found themselves at the crossroads of man’s ascent to the divine, and the descent of the divine to the human. The icon painters of the Armory Chamber, relying on their own aesthetic canons, created new type the face of the Savior Not Made by Hands, distinguished by the certainty of its human appearance. The image of “The Savior Not Made by Hands” of the 1670s by Simon Ushakov can be considered a program for this direction.

As court artists, icon painters could not imagine the appearance of the “King of Heaven,” bypassing the well-known features of the “king of the earth.” Many of the masters of this trend known to us (Simon Ushakov, Karp Zolotarev, Ivan Refusitsky) were portrait painters of the royal court, which they themselves proudly described in their treatises and petitions.

Creation royal portraits, and then portraits of representatives of the church hierarchy and court circles became a fundamentally new step in the culture of Rus'. In 1672, the “Titular Book” was created, which collected a whole series portrait miniatures. These are images of Russian tsars, patriarchs, as well as foreign representatives of the supreme nobility, dead and living (they were painted from life).

The Russian viewer had the opportunity to see for the first time the famous portrait of Ivan the Terrible, brought to Russia, which ended up in Denmark back in late XVII century.

In the collection State Museum fine arts(Copenhagen) a series of four portraits of horsemen is kept. The series, representing two Russian tsars - Mikhail Fedorovich and Alexei Mikhailovich - and two legendary eastern rulers, came to Denmark no later than 1696; the portraits originally belonged to the royal Kunstkamera, a collection of rarities and curiosities. Two of them - Mikhail Fedorovich and Alexey Mikhailovich - are presented at the exhibition.

A picturesque portrait of the last third of the 17th century - the 1700s is the main section of the exhibition. The picturesque parsuna is both the heir to the spiritual and visual traditions of the Russian Middle Ages and the ancestor secular portrait, a phenomenon of the New Age.

Notable are textbook monuments, such as the image of Alexei Mikhailovich “in a large outfit” (late 1670 - early 1680s, State Historical Museum), OK. Naryshkina (late 17th century, State Historical Museum), V.F. Lyutkina (1697, State Historical Museum) and others.

Of particular interest is the recently discovered, comprehensively researched and restored portrait of Patriarch Joachim Karp Zolotarev (1678, Tobolsk Historical and Architectural Museum-Reserve). He is on at the moment the earliest signed and dated work among the Parsuns, mostly anonymous.

Although parsuns represent a fundamentally unique material, there are also special rarities among them. One of them is a taffeta portrait of Patriarch Nikon (1682, State Historical Museum). The portrait is an appliqué made of silk fabrics and paper, and only the face and hands are painted.

Portraits of foreign artists who worked at the royal court during the period of Rus''s introduction to the values ​​of the artistic culture of the New Age were of exceptional importance for Russian masters as models that they sought to imitate.

This group of pictorial portraits has its own rarity - the famous portrait of Patriarch Nikon with the clergy, painted in the early 1660s (State Historical-Architectural and art museum"New Jerusalem") This is the earliest of the 17th century painting portraits known to us, created on Russian soil, the only one that has survived lifetime portrait Patriarch Nikon and the only group portrait of that era that has come down to us. Group portrait of Patriarch Nikon with clergy - whole visual encyclopedia patriarchal and church-monastic life of that time.

Of great interest is the exhibited complex of monuments, united by the name Preobrazhenskaya series. It includes a group of portrait images commissioned by Peter I for his new Preobrazhensky Palace. The creation of the series dates back to 1692-1700, and the authorship is attributed to unknown Russian masters of the Armory Chamber. The characters of the main core of the series are participants in the “Most Drunken, Extravagant Council of the Most Jocular Prince-Pope,” a satirical institution created by Peter I. Members of the “cathedral” consisted of people noble families from the king's inner circle. In comparison with pure parsuna, the portraits of the series are distinguished by greater emotional and facial relaxation, picturesqueness and other spiritual charge. In them one can see a connection with the grotesque stream in Western European baroque painting of the 17th century. It is no coincidence that researchers no longer call this group Parsuna, but only talk about the traditions of Parsuna at the end of the 17th century.

A strange duality is inherent in the large parsuna “Portrait of Tsar Fyodor Alekseevich” (1686, State Historical Museum), made in the tradition of icon painting. The face of the young king is painted three-dimensionally, and the robes and cartouches are designed flatly. The divine power of the king is emphasized by the halo around his head and the image of the Savior Not Made by Hands at the top. There is a special charm in the timid, inept Parsuns, in whom we see a sign of the times.