Icon of the nativity of our lord jesus christ meaning. Merry Christmas!!! Christmas iconography
The Nativity of Christ is described in detail only in one Gospel - from Luke:
"In those days, there went out from Caesar Augustus a command to make a census of all the earth. This census was the first in the reign of Quirinius to Syria. And all went to enroll, each to his own city. Joseph also went from Galilee, from the city of Nazareth, to Judea, to the city Davidov, called Bethlehem, because he was from the house and family of David, to sign with Mary, his betrothed wife, who was pregnant. Him in the manger, because there was no room for them in the hotel "(Luke 2: 1-7).
The Gospel of Matthew says that Jesus was born in Bethlehem during the reign of King Herod.
Based on the information indicated by the evangelists, scientists tried to calculate the exact date when Jesus Christ was born. The most likely date for Christmas is 7 BC. - it was in this year that the census of the emperor Augustus mentioned by Luke was carried out. However, there is a contradiction here with the reign of Quirinius in Syria mentioned by the same Luke: he began to rule only in 6 AD. BC, which contradicts the fact that Jesus was born during the reign of Judah by King Herod, who died in 4 BC. NS. (according to other sources, in 1 BC or 1 AD). Another probable date for the Nativity of Christ is 12 BC, when Halley's camet passed over the Earth, which could be mentioned in the Gospel of Matthew by the star of Bethlehem.
The Nativity of Christ is also mentioned in apocryphal sources: the Proto Gospel of James and the Gospel of Pseudo-Matthew. The apocryphal records describe Joseph and Mary staying in a cave (now known as the "Cave of the Nativity") where Mary gave birth to Jesus while Joseph went to look for a midwife:
"Joseph went to look for an experienced woman, and when he returned to the cave, Mary had already given birth to the Holy Child. And Joseph said to Mary: I brought you two women, Zeleny and Salome. They are waiting at the entrance to the cave and cannot enter because of too bright Mary, hearing this, smiled. And Joseph said to her: Do not laugh, but be careful lest you need any help. And he ordered one of the women to come in. And when Zeloma approached Mary, she said to Her: let me touch. ”And when Mary allowed her, the woman exclaimed in a loud voice: Lord, great Lord, merciful! have mercy on me. There was nothing unclean at conception and no disease at birth, She conceived a Virgin, She gave birth to a Virgin, and She remains a Virgin!
Another woman named Salome, hearing Zeloma's words, said: what I hear, I will not believe if I do not make sure. And Salome, approaching Mary, said to her: let me touch you and make sure that Zeloma told the truth. And when Mary allowed, Salome touched and immediately her hand withered and, feeling intense pain, she began to cry very loudly and scream, and said: Lord, you know that I was always afraid of You, that I always followed the poor, not accepting rewards; I did not take anything from widows and orphans, and I never sent an ill person away from me without helping him. And so I became unhappy because of my unbelief, because I dared to doubt Your Virgin! And when she spoke this way, a beautiful young man appeared before her and said to her: draw near to the Child and worship Him, and touch Him with your hand, and He will heal you, for He is the Savior of the world and all who trust in Him.
And immediately Salome went to the Infant and, bowing to Him, she touched the edge of the swaddling cloth in which He was wrapped, and immediately her hand was healed. And when she went out, she began to divulge and talk about the miracles that she had seen, and how she suffered and was healed; and many believed her preaching "(Gospel of Pseudo-Matthew, chapter 13).
Salome (sometimes together with Zeloma) is depicted in many Orthodox icons of the Nativity of Christ: Salome helps to swaddle the baby Christ or bathes him. In the early images of the Nativity, the Mother of God often appears seated, in contrast to the later canon, where images of the reclining Mother of God prevail. The sitting posture of Mary was supposed to confirm the notion that the Mother of God painlessly gave birth to Christ and therefore, unlike all women, did not need rest after childbirth. However, later, by about the 9-10th centuries, a canon with the reclining Mother of God was formed in Byzantium, which also finds its confirmation in theological texts relating the Nativity of Christ as the beginning of the Savior's path with its finale, with Golgotha: the reclining Mother of God, usually turning away from the Infant, looking aside, the future sufferings of the Son on the Cross can be seen. An ox and a donkey peep out from behind the nursery where the baby lies. These animals are symbols of different peoples to whom Christ brought salvation: the ox symbolizes the Jewish people, and the donkey symbolizes the pagans. Joseph is depicted sitting in a pensive pose and talking with one of the shepherds. Angels praise Christ. Also, on the Orthodox Christmas cues, famous gospel stories are depicted - the gospel to the shepherds, etc.
Andrey Rublev. Nativity
After a long winter fast, joyful days come for the Orthodox: gifts, family dinners, carols, and attending a festive service. This is one of the main holidays for Christians - Christmas. The icon, decorated with garlands of white flowers, can tell a lot about the mysterious meaning of that old day. It depicts all the main participants in the evangelical events.
If for a person Christmas is just another day when you can not go to work, it may be worth delving into the essence of a long-familiar story. After all, this is not just a plot for a beautiful postcard with angels. The day when Christ was born, not without reason became the countdown of a new era.
The exact date is hidden from the people. January 25 is set arbitrarily by a certain monk-mathematician who compiled the Julian calendar. Over time, astronomical "surpluses" accumulated, for two whole weeks. Therefore, the whole world at the end of the 16th century. switched to a more accurate Gregorian calendar. Russia, however, accepted it only in 1918, and the Russian Orthodox Church still lives according to the Julian style.
Therefore, many may get the wrong impression that our country has its own Christmas. No, it falls on the same date, just on a different calendar. According to a number of researchers, Jesus Christ could not have been born at the end of December, but everything happened in the spring, before the Jewish Passover. In principle, this is not decisive for the salvation of the soul, otherwise the Lord would have kept the exact date.
In the first centuries of Christianity, people did not celebrate birthdays at all. For them, the most important was the day of death - this is the date of a person's birth into eternal life, the day of his union with the Creator. Therefore, the Nativity of the Savior was not celebrated either, or rather, it was combined with the Epiphany. Only years later, it was decided to set a separate date for this important event. The holiday became ubiquitous for Christians only in the 4th century, in Russia it began to be celebrated in the 10th century, after the baptism of Prince Vladimir.
Development of iconography
The first known images associated with Christmas do not tell about him. Here in the center is a fulfilled prophecy. In the center of the composition is the Virgin Mary with the Child, in front of them is the prophet pointing to the star. A more detailed description of the events of the Nativity of Christ appears on icons only by the 6th century.
- The Mother of God and Jesus lie in the cave.
- There are animals nearby - a donkey, an ox, and sometimes sheep. According to legend, Maria was riding on a donkey. Vola Joseph took with him to help out money to pay taxes (for this the family set off on the road). Allegorically, a donkey means perseverance, and an ox means hard work.
- A star shines over the cave. Usually depicted in a beam of light. The cave illuminated by light is a symbol of the fact that Christmas has enlightened humanity, which until then was in darkness.
- There are plots around that complement the overall picture: Joseph bowing in prayer, the wise men, angels, shepherds, the scene of the Baby's bathing.
With the help of the basic elements, the masters create an image without going beyond the canonical interpretation. The Church developed the full doctrine of the Incarnation after the 7th Ecumenical Council. Then the icon painters were able to fully express what had already been formulated in words. The canonical icon not only reminds of the holiday, it serves as a refutation of heresies (for example, Monophysitism).
The appearance of Christ in the flesh is the main event in human history. According to some philosophers, this is also its main meaning, which is clearly expressed in the icon "The Nativity of Christ."
Why is the Mother of God looking not at the Son, but to the side? She turns her gaze to the sages who brought precious gifts to the Lord. The pagans, who were the wise men, symbolize all of humanity. Anyone who wants to give their life to God will be met favorably. The scene showing the Baby's bathing appeared later. She probably recalls the baptism of infants adopted in Orthodoxy.
Fresco by Andrey Rublev
There is such a plot among the works of the icon painter A. Rublev. At the hand of the master, even paints have become means of expressiveness - he creates space in such a way that it is filled with airy weightlessness, as if all nature is throwing off the shackles of materiality.
After Christmas, the very meaning human life has changed. People have become children of God in the full sense. The King of Heaven took on a perishable shell. Christ became the second Adam. The earth is no longer a vale of sorrow - after all, the Lord Himself settled on it, who then death on the cross will also open the way to heaven. That is why Angels sing about peace on earth and kindness to people.
Rublev painted the icon of the Nativity of Christ during the decoration of the Annunciation Cathedral. Much later they began to make it as an independent one, to put it in churches and houses. The image is made in Byzantine traditions. They allow painters to depict several events that occurred at different times on one canvas. After all, God has no time limits.
- The angels, who are usually in the upper corner of the composition, in this case worship God right next to the manger. They even show with all their appearance their readiness to take him into their arms. Of course, the angels at that moment were invisible to the human eye.
- The opinions of researchers differ on the opinion of who is depicted in the icon of the Nativity near the righteous Joseph. Some believe that this is a shepherd, some call the devil, who is trying to sow doubt. However, Joseph's doubts were dispelled even before the journey began by the Angel who appeared to him in a dream. Most likely, this is just one of the shepherds who have been rewarded with an invitation to the newborn Savior.
How the holy image helps
The saturation of the characters of the icon of the Nativity of Christ should not be confusing - this is an image and a holiday of the Lord. How does He help? Every believer should firmly know that God can do anything. This is the heavenly Father, the intercessor who gave His life for human sins. Looking at the image, the believer must mentally go all the way from the Bethlehem cave to Calvary and, first of all, thank the Lord for the gift of eternal life. It was from Christmas that the restoration of relations between God and people began.
Every day one should confess sins in personal prayer, ask for deliverance from them. The composition of the icon of the Nativity of Christ is built so that it is possible to assess the entire scale of the event - it is truly universal. After all, it is not for nothing that the action takes place not only on earth, but a whole angelic army descends from heaven.
The story of the evangelists demonstrates that Christmas affected representatives of various classes - both kings and the top of the clergy, sages from other countries, ordinary shepherds. Even the animals did not stand aside. The entire depth of the meaning of the feast of the Nativity of Christ is expressed in the icon, it helps to understand the measure of Divine love. This little helpless man, lying in swaddling clothes, after a short time will become an atoning sacrifice.
But almighty God does not at all instill in us a feeling of guilt - He simply shows His love, waits for conversion, repentance. Through Him, one can find peace of mind, the assurance of salvation. When spiritual affairs are adjusted, a person will be able to put things in order in earthly life. May everyone be able to open their hearts to receive the Christ Child!
Exaltation of the Nativity of Christ
We magnify Thee, the Life-Giving Christ, for the sake of us now in the flesh of the Born from the Brideless and Most Pure Virgin Mary.
Troparion to the Nativity of Christ
Thy Christmas, Christ our God, ascend the worldly light of reason: in it he serves the stars, I learn as a star, bow down to the Sun of righteousness, and guide you from the height of the East: Lord, glory to Thee.
Kontakion, voice 3rd
The Virgin today gives birth to the Most Substantial, and the earth brings a nativity scene to the Inaccessible; Angels glorify with shepherds, while magic travels with a star; We are for the sake of being born Otrocha is young, the eternal God.
What you need to know about the icon of the Nativity of Christ
Icon of the Nativity of Christ - description, meaning, what helps was last modified: July 8th, 2017 by Bogolub
Century: XV
Iconographic information: On the reverse, an almost invisible and barely distinguishable ancient ink inscription, apparently simultaneous to the icon .: "The image of the letter of Peter (?) Steplnov ..." and Moscow monuments.
Stylistic reference: Vivid stylistic features make it possible to associate the icon with the art of ancient Suzdal, which was characterized by such pure and sonorous combinations of dense enamel paints. The aristocratic and sublime art of Suzdal, preserving the contemplation and prayer mood of the images in the icons, combined them with the exquisite grace of small figures, the spontaneity of poses, the liveliness of expressions, plastically sculpted reliefs of the faces - the pictorial qualities that a published work, made by an outstanding master of the late 15th century, possesses. Such small tray (gift), analogion or cell images became especially widespread in Suzdal, as evidenced by many works that have come down to his monastery sacristy. The ancient inscription on the back of the icon, which preserved the master's autograph, is unique for the end of the 15th century. The text that has gone out and is almost invisible to the eye does not allow us to confidently name his name, which can presumably be read as "Peter Stepanov".
Century: XV
Storage location: Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve
Iconographic information: In the center of the composition, the Mother of God is represented on a cinnabar bed. Behind Her in a dark cave are depicted a manger with a Baby and an ox and a donkey bowing to Him. Angels and shepherds worshiping the Child are standing near the cave. In the upper left corner of the icon there are three magi galloping on horses. Joseph, reflecting on the miraculous birth of the Savior, and the old shepherd standing in front of him are depicted at the bottom left. To their right, two maids are preparing to bathe the Baby. The iconography is based on the texts of the Gospel of Matthew (I, 18-23; II, 1-12) and Luke (II, 7-20), as well as apocryphal works, including the Proto-Gospel of Jacob (XVII-XXI). The iconography of the Nativity of Christ began to take shape in early Christian times and was finally formed by the 8th century. The icon from the Assumption Cathedral follows the iconographic scheme that was formed in the Moscow art of the early 15th century on the basis of Byzantine designs. Its distinctive feature is the two-fold depiction of angels - they not only preach the gospel to the shepherds, but also worship the Savior who came into the world (in earlier versions of "Christmas", as a rule, two symmetrical scenes of the gospel to the shepherds and the adoration of the Magi were depicted)
Century: XV
Storage location: Novgorod State United Historical, Architectural and Art Museum-Reserve
Fragment
Fragment
Fragment
Fragment
Nativity of Christ (with selected saints)
Century: XV
Iconographic information: The source of the iconography of the Nativity of Christ is the Gospels of Matthew and Luke and the apocryphal books. In the lower part of the icon there are half-figures of five saints who were especially venerated in Pskov. The central images of St. Nicholas the Wonderworker, Hieromartyr Clement, Pope of Rome, and the Prophet Elijah are depicted frontally, and the healers Cosmas and Damian, who complete the row, are three-fourths. Compared with the iconographic schemes of the Nativity of Christ common in ancient Russian art of the 15th century, the composition of the icon has a number of unusual details. Inside the Bethlehem cave, where Jesus was born, there are not only a manger with the Christ Child, but also the Mother of God, reclining on the bed. Other characters and episodes, traditional for the plot, are compositionally isolated from each other and are sometimes found in places unusual for this iconography. So, Joseph sitting on a stone is represented to the right of the Bethlehem cave. Usually he was depicted in the lower left corner of the centerpiece, where a scene is placed on the Pskov icon with an angel announcing the birth of the Divine Child. To the left of the cave, three horsemen are depicted. These are the Magi, guided by the Star of Bethlehem, who arrived from the east to welcome the birth of the King of the Jews (Matt. II, 1-12). A rare feature of the icon is the inscriptions with their names known from apocryphal sources: Naspar (Kaspar), Malfion (Melchior) and Saltasar (Belshazzar). The scene of the adoration of the Magi of the Mother of God with the Child, seated on the throne, is depicted in the lower right corner of the composition. According to legend, the Magi presented Christ with gifts that had a prophetic meaning: gold was brought to Him as King, incense - as God, and myrrh - as a mortal person who is to suffer for the salvation of the world. Unlike most works of the 15th century, where the Adoration of the Magi was combined with the image of the Nativity, this plot is presented here separately. In the center of the lower part of the icon there is a scene of the washing of the Child. Christ sits in the arms of the midwife Salome, and the maid (in the inscription she is called "slave") pours water into the font. According to legend, the first to know about the birth of the Savior were the shepherds who came to Bethlehem to see the Child (Luke II, 9-12, 16-17). On the icon, two shepherds are depicted behind the galloping magi and seated Joseph. The third figure is located in the upper part of the icon, to the right of the host of angels glorifying the miracle. The images of eight singing angels in the upper part of the composition, on the sides of the star of Bethlehem, are unusual for Russian icon painting. This scene is an almost literal transmission of the story of the Gospel of Luke about evangelism to the shepherds: "And suddenly there appeared with the Angel a multitude of heavenly hosts, glorifying God and crying: glory to God in the highest, and on earth peace, good will in men" (Luke II, 13, fourteen).
Stylistic information: Compared with the iconographic schemes of the Nativity of Christ common in ancient Russian art of the 15th century, the composition of the Pskov icon has a number of unusual details. Inside the Bethlehem cave, where Jesus was born, there are not only a manger with the Christ Child, but also the Mother of God reclining on a bed. The compositional freedom of placing individual subjects in the icon resembles the structure of some verses of liturgical hymns for Christmas: "Great, my soul, the most honest and glorious of the high armies, the Most Pure Theotokos"; "Great, my soul, from the virgin God to the flesh born"; "Great, my soul, from the wise men of God who is worshiped"; "Magnify, my soul, from the star announced by the sorcerer" (refrains of the 9th song of the festive canon of Kosma Mayumsky). A similar "glorification" of individual events and characters associated with the Nativity of Christ occurs in the Pskov icon. At the same time, the composition is not a literal illustration of the hymnographic text, but rather reproduces its abrupt rhythm, which gives the monument a deep originality. Among the Russian icons of the Nativity of the 15th-16th centuries, there are no direct analogies to the icon from Opochka. Probably, its iconography was based on complex, multi-part compositions that became widespread in Byzantine monumental painting of the 14th - early 15th centuries (see, for example, a fresco from the Church of Our Lady of Perivepte in Mystra, executed around 1360-1370s).
Fragment. Magi
Fragment. Shepherd
Fragment. Shepherd with a Trumpet
Fragment. Ablution
Nativity of Christ (with three saints)
Century: XV
Storage location: State Tretyakov Gallery, Moscow
Fragment. Slides
Fragment. Slides and shepherd boy
Fragment. Tempter
Fragment. Joseph
Century: XVI
Iconographic reference: Two main ideas of the Christmas holiday - the joy of the whole world caused by the appearance of Almighty God in the world, and the "exhaustion" of God for the sake of saving people, His "humiliation" - permeate the entire Christmas service. Above the Child, like a high canopy, the black abyss of the Bethlehem cave loomed. Its black color and the shining whiteness of Christ's robe remind of "a world afflicted with sin through the fault of man, in which the Sun of Truth shone." The womb of the cave, as an image of the giving birth Earth, is here likened to the birth womb of the Mother of God. This juxtaposition runs through the entire festive service: "The Virgin today gives birth to the Most Substantial, and the earth brings a nativity scene to the Inaccessible." At the same time, the cave is also a symbol of the treasury, in which lies the "heavenly Pearl" - Christ. But it is also the resting place of Christ: His dead body was laid in it after death. Therefore, the white clothes of the Infant and His manger remind at the same time of burial shroud and a stone coffin. The ox and the donkey as "pure" sacrificial animals of the Old Testament bowed over the New Testament Sacrifice - Christ. The theme of worship is continued in the depiction of three kneeling figures of angels, whose covered hands express their readiness to accept the shrine. According to the Christmas stichera "what we will bring, Christ," they bring singing to the Savior. This is a rather rare iconographic detail that goes back to the icons of the Rublev circle. Above on the right, an angel preaches the gospel to the shepherd about the miracle that had happened (Luke 2: 10,11). According to legend, the flocks grazing on the road from Bethlehem to Jerusalem were intended for temple sacrifices. Therefore, the shepherds of the sacrificial animals were the first among people to learn about the birth of the Messiah, who "took upon himself all the sins of the world." The scene with the shepherd boy playing the flute and gathering obedient sheep around him seems to be isolated from other compositions: there is no worship, no "surprise and fear" of what happened. At the same time, his red robes, repeating the color of the bed of the Mother of God, impart to him "a strange and glorious mystery." Listening to the evangelizing angel, the shepherd, as if fills the entire work with quiet music, informing about the great joy of renewing the entire "created" world, which the "incarnate Word" leads to a state of bliss and peace. The icon is divided into several spatial zones. The farthest from the center is the Bethlehem Cave. Here, in a reduced scale compared to other scenes, a group of horsemen-magi is represented, to whom, according to apocryphal texts, a star appeared in the East at the moment of Christ's conception. The Magi were considered pagan kings (Is. 60: 3; Ps. 71: 10), representatives of the three ages of human life and the three races of the Earth. Above the top of the mountain, along which the Magi are in a hurry, three rays emanate from the segment of the sky, directed at the Child. They symbolize the light of the guiding star of Bethlehem, which stood over the place of Christ's birth. The movement of the horsemen is echoed by the energetic gesture of an angel pointing to the star, the image of which probably goes back to the words of John Chrysostom that under the guise of a star that guided the Magi was the Angel of the Lord. The star was generally associated with the coming to Earth of the Messiah - Christ. It is indicated in the prophecy of Balaam: "A star rises from Jacob" (Num. 24: 17), as well as in Revelation (22: 16), where Christ is called "The bright and morning star" that illuminated the earth with the light of the Gospel day.
Stylistic reference: The joyful character of the great Christian holiday conveys the bright festive color of the icon. Scattered with ladders and overgrown with graceful grasses and trees, scattering hills evoke associations with poetic images of chants: "Have fun, righteous heavens, rejoice, leap up, mountains, Christ is born" (stichera of Andrew of Jerusalem).
Century: XVI
Storage location: State Russian Museum
Iconographic information: The plot is based on the gospel story about the birth of the Infant Christ by the Virgin Mary (Mt 1: 18-23; 2: 1-12; Luke 2: 6-20) and a number of apocryphal works, including the Proto-Gospel of Jacob. The creation of the composition was also influenced by the texts of the Christmas service and the chants dedicated to this holiday. The iconography of the scene took shape in Palaeologic art in the 14th century. In Russia, with the advent of the festive rows of the iconostasis, several versions of "Christmas" are being developed. They differ in the detail of the retelling of the event, the location and scale of all parts of the composition, its artistic interpretation, the poses and gestures of the characters. There are Moscow and Novgorod versions, but both are rare in their pure form. In the center of the composition, against the background of the Bethlehem Cave, on a diagonally elongated bright red bed, is the graceful figure of the Mother of God. Next to Her, the swaddled Infant looks emphatically defenseless, "having belittled a man for his own sake." In hymns and "Words" for the feast of the Nativity of Christ, Mary is called "a vast place of immense nature", "an immeasurable plowed field of the heavenly ear." The green shroud of Christ, merging with the green of the manger, is probably also inspired by these words. His subtle body is likened to an ear, a sprout that sprouted on the "heavenly arable land" and brings purification and renewal to the world. To their left are three wise men with gifts. Seeing the "star of Bethlehem" that appeared on the night of Christ's birth, they "rejoiced with very great joy" and came from distant countries to worship the Child, "and opening their treasures, brought him gifts: gold, incense and myrrh." The bent Magi solemnly froze in silent silence. Their postures and gestures are echoed by the figures of three praising angels standing over them. All together they form a harmonious choir, as if filling the icon with light music and singing. Images of two shepherds, people "purified by solitude and silence," are placed here according to the gospel story. The traditional scenes of the washing of the Baby and Joseph sitting on a stone represent the earthly world, but it is also full of harmony and peace. The reverently bowed figures of a servant pouring water into Salome's hand and an elder who came to Joseph complete the compositions, giving them the character of a sacred ritual. Joseph's doubts about the miraculous birth of his son are removed by the symbolic scene of ablution, understood in the Middle Ages as a sign of spiritual purity. The Gospel does not mention an old man in sheep's clothing who, leaning on a staff, turns to Mary's betrothed with some kind of speech. The image is interpreted in different ways. Some see him as a tempting spirit, others - the prophet Isaiah. Russian icon-painting originals call him "the shepherd". The Gospel texts also do not report on the washing of a newborn baby. It is believed that this scene was transferred here from the icons of the Nativity of Our Lady and reproduces late antique images. The icon was part of the festive row of an unknown iconostasis, close in size to the iconostasis of the Assumption Cathedral of the Kirillo-Belozersky Monastery.
Stylistic reference: Amazing proportion and thoughtfulness of the composition, musical rhythm in the alternation of colors and lines, close connection with literary sources allow us to speak about the work of a great master. The joyful coloring, consonant with the light character of the holiday and the chants dedicated to it, the figurative-symbolic language of the work, the special solemnity and uplifting of the created mood bring it closer to the icons and frescoes of Dionysius.
Century: XVI
Storage location: State Russian Museum, St. Petersburg
Iconographic information: On a small plane of the icon, the Stroganov master reproduces in detail the main events accompanying the birth of Christ. The predestination of Christ's appearance in the world is reminded of the image of the prophet Isaiah standing at the head of Mary's bed next to the cave where the newborn Infant lies. In His hands is a scroll on which the words of the prophecy about the future incarnation of God and the birth of the Savior are written: "Behold, the Virgin in her womb will receive and give birth to a Son, and they will call His name Immanuel, which means: God is with us." This prophecy in connection with the birth of Christ is mentioned in the Gospel of Matthew (1:23) and sounds in the text of the Christmas service.
Fragment. Angel and Magi
Century: XVI
Iconographic information: On the front side of the icon there is an image of the holiday, on the back - the most revered saints of the church year.
Stylistic reference: Dense brown lettering of faces, rigid, black outline, strengthening of the role of linear drawing, acquiring a calligraphic character, wide use of ornaments, coloring dominated by dark ocher and dull green and brown tones, characteristic features of writing of the second half of the 16th century.
Century: XVI
Storage location: Pskov State United Historical, Architectural and Art Museum-Reserve
Century: XVI
Storage location: Pskov State United Historical, Architectural and Art Museum-Reserve
Stylistic information: The iconography of this icon is based on a version widespread in Byzantine and Old Russian art. The compositional construction of the Lyubov icon testifies to the artists' acquaintance with the Moscow icon-painting tradition and, at the same time, to the preservation of the local iconographic scheme.
Century: XVI
Storage location: Collection of E. A. Terletskiy
Iconographic information: It was included in the festive rite of the iconostasis, which was distinguished by an unusually elongated format of boards. The icon closely repeats the "Rublev" depiction of the scene that took shape in Moscow art at the beginning of the 15th century (holidays from the Annunciation Cathedral of the Moscow Kremlin, the Assumption Cathedral of Vladimir, the Nativity Church in Zvenigorod, State Tretyakov Gallery). Thanks to the format of the board, the lower mise-en-scenes are noticeably enlarged in scale and brought closer to the foreground.
Stylistic reference: The icon has bright individual stylistic features. Soft muted coloring, built on a combination of ocher, pink and green-brown colors of different shades, leisurely movements of characters, panoramic, almost cosmic nature of the image stretched over the entire surface of the board, with magi climbing up, slides, trees create a kind of artistic image, unlike famous icons of this time. Some of the icon painter's techniques are unusual, for example, the nature of his writing of gentle hills, completed with bizarre flakes, ornamental bleaching cuts with red-orange shadows and unexpected cinnabar flashes. A soft green-brown sankir shines through in the faces, slightly muffled by transparent ocher and highlights - a technique characteristic of painting of the early 16th century. The poetry and restraint of the images allows the monument to be attributed to one of the Central Russian centers, and the unusual character of the color resembles icons painted in the Upper Volga lands or in the Novgorod-Tver borderlands. It is especially close to the works of the Vesyegonsk masters.
Century: XVII
Storage location: Branch of the State Historical Museum "Novodevichy Convent"
Iconographic information: The new edition of the iconography of the holiday, where the Mother of God sits on a throne with a straight back and on pillows, pointing at the Child in a manger surrounded by angels and magi, was influenced by engravings from Western European illustrated Bibles and was widely used by icon painters of the Armory.
Stylistic reference: Inscription in whitewash on the ground below: g (o) year (S) WRITTEN Serpy Kostr (o) m Rozhkov Sergei Vasiliev (died 1688) - Kostromich, since 1668 the honored icon painter of the Armory Chamber. Known as a miniaturist.
Fragment
Century: XVII
Century: XVII
Storage location: Veliky Ustyug Historical, Architectural and Art Museum-Reserve
Century: XVII
Storage location: Cherepovets Museum Association
Century: XVII
Storage location: Yaroslavl State Historical, Architectural and Art Museum-Reserve
Iconographic information: A complex of festive icons, six of them have survived, which also includes the icon "The Nativity of Christ" comes from the side-altar of Varlaam Khutynsky - the home chapel of the Skripins temple builders, which later served as a sacristy. The icons were not rigidly tied to a specific place in the side-altar and moved freely in the temple , were also used as a lectern. In the iconography of the icon "Nativity of Christ", one can trace an orientation towards Western European engraved samples. The complex is notable for the detail of the plots, which is rare for holiday icons. Their layout traces the principles characteristic of the murals of the Kostroma masters.
Stylistic information: The painting of icons is distinguished by the highest artistic level, which testifies to their creation by one of the best Kostroma miniaturists who served in the icon-painting workshop of the Armory. Most researchers attribute the icons to the works of the circle of Guriy Nikitin.
Century: XVII
Storage location: Church of the Resurrection on Debra in Kostroma
Iconographic information: The icon uses an expanded version of the iconography of the Nativity of Christ, which appeared in Russian icon painting in the second half of the 16th century. In the middle of the 17th century, under the influence of Western European printing graphics, this scheme was supplemented with a scene of the Adoration of the Magi. The image of the beating of infants in Bethlehem is also becoming mandatory. This version of the scheme was extremely popular in the Volga region, and in some regions there was a local tradition of its interpretation. All the plots that became part of the expanded composition of the Nativity by the second half of the 17th century are present in the published monument. The icon is the earliest example of such a scheme in Kostroma icon painting. The distribution and iconography of individual subjects inherent in it were further entrenched in the local tradition.
Century: XVII
Place of origin: Russia
Stylistic information: The artistic language of the icon is monumental; Its composition is easy to read due to the strict ordering of the scene placement. The large-headed figures have generalized, simple outlines.
Century: XVII
Storage location: Entered the museum in 1929.
Stylistic reference: The icon from the festive row of the Rostov Church of John the Baptist was written quite archaically for the art of the mid-17th century. All the important details of the plot are in front of it, but at the same time there is no overload or excessive detail of the images. The icon is distinguished by the elongation of the proportions of the figures, the general brownish-ocher color tone, complemented by cinnabar and dark green colors. The faces are painted on green sankir with ocher with a slight browning.
Century: XVII
Storage location: State Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve
Iconographic information: This icon is characterized by the rejection of some additional scenes traditionally included in the iconography of the holiday, and the emphasis on the central composition depicting the worship of the Child. The Mother of God is depicted kneeling near the manger and twisting a swaddled Infant with a red ribbon. The adoration of the Magi and the three shepherds are depicted symmetrically. There are some similarities in the interpretation of the cave and the hill, the elaborate multi-faceted landscape, the figures of three shepherds in the background, a host of angels in the clouds, in the isolated image of a star in the side of the composition with an engraving of the Gospel of Natalis.
Stylistic reference: The icon is distinguished by the subtle "lively" letter of the icon, harmonious coloring, grace of poses and gestures of the characters. The icon is characterized by thoughtful construction and balanced composition., Careful development of the surroundings of Bethlehem.
Century: XVII
Storage location: Pskov State United Historical, Architectural and Art Museum-Reserve
Century: XVIII
Fragment. Massacre of babies in Bethlehem
Fragment. Adoration of the Magi
Fragment. The Magi head to the cave with the Christ Child
Fragment. Bethlehem Shepherds
Fragment. Flight to Egypt
Iconographic information: The peculiarity of this iconographic edition consists in a large number of details dating back to the Apocrypha (for example, to the non-canonical "Proto Gospel of Jacob"). The semantic center of the composition is the Nativity scene itself - the Mother of God sits against the background of a cave near a manger with the Christ Child, to whom an ox and a donkey bowed (symbolizing the Jewish people and pagans). Three angels praise the birth of the Savior. On the left is the scene of the Ablution of the Infant. An angel hovers over the cave with the manger, holding a disk with the Star of Bethlehem in his hands. Shepherds, surrounded by grazing animals, look at the star. The following plots are presented below: 1. The Magi see the light of the shining star 2. The Magi go to the cave with the Child 3. The Adoration of the Magi 4. The Dream of the Magi, during which they were given the revelation not to return to King Herod, but to preach the faith of Christ in their countries 5 Doubt of Joseph 6. The dream of Joseph and the appearance of an angel in his dream 7. Flight to Egypt 8. King Herod and the scribes 9. Massacre of infants in Bethlehem 10. Lamentations of wives in Bethlehem 11. Righteous Elizabeth with her son John, the future baptist of the Lord takes refuge in cave, fleeing persecution. 12. Murder of the prophet Zechariah, the father of St. John
Century: XVIII
Storage location: Private collection
Century: XVIII
Storage location: Museum-reserve "Shchelykovo"
Iconographic information: Iconography goes back to the Western European model. The Nativity of Christ is presented in the form of the Adoration of Angels.
Stylistic reference: The style of the icon is characteristic of the Soligalich icon-painting trend associated with the manor culture.
Century: XIX
Storage location: State Museum-Reserve "Kolomenskoye", Moscow
Icon mullion
Iconographic information: In the corners of the icon are depicted the Old Testament prophets: King David, King Solomon, Daniel and Elijah, who in their prophecies testified about the future birth of the Savior. On the side margins of the icon there are images of the holy prince Alexander Nevsky and the prophetess Anna. They could be patronizing in relation to the customers of the icon. The ornamentation of the background and margins of the work imitates a gold and niello frame, decorated with precious enamels.
The Nativity of Christ, the day when the Savior appeared in our world, is a great event for every Christian. The church service of the holiday and the numerous icons of the Nativity of Christ, which have repeatedly become the subject of attention of researchers, theologians and art critics, and the theme for art exhibitions, are filled with a feeling of joy and exultation.
The iconography of the Nativity of Christ took shape gradually, like the divine service of the holiday, however, its main features were already outlined in the early Christian period. The main sources of iconography were the Gospel and church tradition, including the apocryphal Proto-Gospel of James.
Noteworthy is the depiction of the Nativity on the famous throne of Maximian, the former archbishop of Ravenna in the middle of the 6th century. The throne is decorated with a large number of carved ivory plates. On one of them, the Baby lies on a bed made of stone blocks, next to him are an ox, a donkey and Joseph the Betrothed, above the Star of Bethlehem. The Mother of God is reclining in front of the bed, to whom the woman addresses, showing her right hand. The plot goes back to chapter 20 of the proto-Gospel of Jacob, which tells about Salome, who doubted the purity of the Mother of God. After that, the hand with which she touched the Blessed Virgin dried up. Salome received healing from touching the Savior.
The rectangular stone bed, on which the Child lies in the scene on the throne of Maximian, as well as on the reliquary of the Sancta Sanctorium (Vatican) and the miniature from the Rabula Gospel, according to the famous researcher of Byzantine art K. Weizman, is an altar with a niche in the center for storage relics. The image of Christ on the altar is connected with the theme of the Eucharist and can be interpreted as a prototype of the iconographic scheme of melismos, which has become widespread in Byzantine art, in which the Infant is depicted on the throne as a Eucharistic sacrifice.
On one of the ampoules (VI-VII centuries), which served the pilgrims for the transfer of St. water or oil, now known as the ampoules of Monza, the Nativity of Christ is represented in the center, among other holidays. This monument reflects the important features of Byzantine iconography in comparison with early Christian - the canopy is no longer depicted, the exit from the cave is visible in the background, the star is located in the center at the top. Joseph sits at the manger in a thoughtful pose, the Mother of God lies. From now on, She will always be depicted with a halo.In general, the iconography of the Nativity of Christ took shape by the 7th century. After the iconoclastic period, the plot will often be depicted in icon painting, miniature and decorative and applied art based on a general scheme. Permanent elements compositions will be a cave and the star of Bethlehem, which led the Magi to Christ.
The first to mention the birth of the Savior in the cave was St. Justin Martyr, and at the time of Origen they already showed the cave in which the Savior was born. After the end of the persecution of Christians, the emperor Constantine the Great built a temple over this cave, about which the ancient historian Eusebius wrote. Thus, in the Eastern Christian tradition, the idea of the Nativity of the Lord in a cave was firmly entrenched, which influenced the images. In a symbolic interpretation, the mountain in which the cave of the Nativity was located began to correlate with the Mother of God herself, and the cave - with her womb, the seat of the Incompatible God. According to another interpretation, the cave is understood as a dark place, meaning the fallen world, in which the Sun of righteousness, Jesus Christ, shone. As for the Star of Bethlehem, then, according to the explanation of the holy fathers, it was the embodiment of angelic power. Perhaps that is why on some late Russian icons and frescoes (for example, on a 1680 fresco from the Church of Elijah the Prophet in Yaroslavl), the Nativity scene is crowned with the figure of a flying angel with a star in his hands. However, in the earliest monuments, primarily Byzantine, the star is depicted above the manger, and a sheaf of light descends on the Infant, as, for example, in the mosaic of the Palatine Chapel in Palermo of the 12th century.The main composition of the Nativity (the image of a swaddled Child in a manger in a cave, animals at a manger, a reclining Mother of God and a seated Joseph) in various monuments will be complemented by an image of angels praising the Lord, a scene of the Annunciation to the shepherds, scenes of the journey and worship of the Magi and the Ablution of the Child.
The image of angels in the upper part of the icons of the Nativity of Christ became widespread from the 8th-9th centuries, and in the next centuries their number grew steadily - if at first two or three figures were depicted, then in later Russian monuments we already see a whole heavenly army praising the Lord. The number of shepherds who come to worship the Baby is also different. It is interesting to note the figure of a shepherd dating from the 11th century, rejoicing at the event and playing the horn. This detail directly correlates with the service of Christmas at Vespers: "To the Lord Jesus I am born of the Holy Virgin, I am enlightened in every way: as a shepherd who is swirling (that is, playing the pipe), and worshiping a magician, an angel singing, Herod is reeling, as if God appeared in the flesh ..."If angels, shepherds and sorcerers are told in the Gospel (Matthew 2, 1-12; Luke 2, 6-20), then the written source that the artists were guided by when creating the scene of the Ablution of the Infant Christ is not established. It is only known for certain that this later became permanent detail of the iconography of the Nativity is found in the Christian art of the Western world and is present in the oratorio of Pope John VII in Rome (the turn of the 7th-8th centuries). The first examples of the depiction of the Ablution in the art of Byzantium are book miniatures of the 8th-9th centuries, for example, the Armenian manuscript of San Lazaro in Venice and the Chludov Psalter.
Very rarely in the icons of the Nativity of Christ there is an image of St. the prophet Isaiah, who predicted the birth of the Savior from the Virgin. So, in the XI century manuscript, originating from the Esphigmen monastery on Mount Athos, in the illustration to the text of the Word of St. John of Damascus at Christmas on one of the miniatures next to the Savior's manger is the prophet Isaiah. And on the icon of the Nativity of Christ by the Stroganov master Mikhail of the late 16th century from the Russian Museum in St. Petersburg, the prophet is depicted at the head of the Mother of God. In his hands he holds a scroll with the text of the prophecy: "Behold the Virgin will receive in her womb, and will give birth to a Son ..." (Isa. 7, 14)
Among the characters encountered in the Christmas scene, the researchers are puzzled by the mysterious figure of an old man in skins talking with Joseph. N.V. Pokrovsky believed that this was one of the shepherds who came to worship Christ. There is also an opinion that this is the son of Joseph, Jacob, who, according to legend, accompanied the holy family on the way to Bethlehem. However, he could not be portrayed as an old man, since he was a young man and in other monuments he was presented without a beard. According to another version, which is shared by E. Lukovnikova, the devil is depicted in the image of an old man in skins tempting Joseph about the virginity of the Mother of God. Most often, the elder leans on a stick or staff, sometimes wearing a headdress in the form of a hat. On very rare occasions, he talks not with Joseph, but with the Mother of God herself, as, for example, on the tablet icon from the Sergiev Posad Museum-Reserve. |
In Russia, images of Christmas were extremely popular. Of course, Russian icon painters followed the Byzantine iconographic scheme, but supplemented it with various details and details. Already in the 11th-12th centuries, the Christmas cycle was almost always presented in an expanded version, which included, for example, not only the worship of the Magi, but also their journey with the star. Thus, equestrian images of Eastern sages are present in the monumental painting of the Cathedral of the Anthony Monastery in Novgorod, the Cathedral of the Mirozhsky Monastery in Pskov, the Borisoglebsk Church in Kideksha and the Church of St. Cyril in Kiev (all 12th century), while in Greek mosaics and frescoes of this time such examples are rare.
In connection with the review of the monumental ensembles, it should be noted that in Byzantine and Russian painting, the subject we are considering was given a special place. Most often, the Nativity of Christ was depicted in tandem with the Assumption of the Mother of God - the plots were opposite each other, for example, on the southern and northern walls. This symbolic juxtaposition of birth in the flesh and new birth after death for life in heaven was emphasized by similar iconographic motives. At Christmas, the Savior in swaddling clothes lies in a manger, and in the Assumption, Christ holds in his hands the soul of the Mother of God, represented in the form of a swaddled baby. Just as the Lord entrusted Himself to the Blessed Virgin at Christmas, the Mother of God entrusted her soul to Christ in the Assumption. A clear comparison in the temple space of these plots is significant because they illustrate the beginning and end of the history of salvation - from the Incarnation to the ascension of the incorruptible flesh of the Mother of God. Examples of such a solution to the program of painting temples exist in various regions of the former Byzantine world - in Cyprus, Bulgaria, Serbia, Greece and Russia.
Icons depicting the Cathedral of Our Lady were especially popular in Russia. This holiday is celebrated the next day after the Nativity of Christ, and is closely connected with it in the meaning and nature of the service. On December 26 (new style - January 8) Christians honor the Blessed Virgin as the Mother of the Son of God, who served as the mystery of the Incarnation.
The iconography of the Cathedral of Our Lady took shape gradually, on the basis of the actual iconography of the Nativity, with changes under the influence of the text of the Christmas stichera: “What shall we bring, Christ, as if Thou didst appear on earth, as a man for our sake: thanksgiving to You from You former creatures: angels singing, heaven is a star, gifts of magic, shepherd's wonder, earth is a nativity scene, a desert is a manger, but we, the Virgin Mother ... ”.
The center of the composition is the image of the Mother of God on the throne with the Child on her knees; behind the throne, the Savior's manger can be depicted. The Mother of God is worshiped by magi and shepherds, in the lower part the human race and personifications of the Earth and the Desert are depicted in the form of women, one of whom, according to the text of the stichera, brings a nativity scene, a cave, and the other - a manger. In the human crowd praising the Mother of God, hymnographers usually stood out, the authors of the Christmas service - Sts. John of Damascus and Cosmas of Mayum, as well as other saints, kings and queens. The Balkan frescoes depicted historical characters, the artist's contemporaries.
The earliest illustration of a Christmas stichera in Russia is an icon created in Pskov at the beginning of the 15th century, and now stored in the State Tretyakov Gallery. Particular attention is drawn to the color of the icon, and three figures in white robes that stand out against its background. It can be assumed that here are represented the wise men who worshiped the Infant, and later, according to legend, received holy baptism. White robes, thus, symbolize their cleansing from original sin.Other examples of the iconography of the "Cathedral of Our Lady" in Russia are the fresco of the Pokhvalsky side-altar of the Assumption Cathedral of the Moscow Kremlin, the icon "What We Will Bring You" from the collection of P.D. Corina. In the 16th century, the composition of the plot was complicated by the introduction of numerous additional characters, especially a large number of saints who were coming to the Child and His Mother.
The only examples of the iconography of the Nativity of Christ that we have considered show how reverently the icon painters treated these images, how important it was for them not only to present the Gospel scene “historically”, in accordance with church tradition, but also to fill it with the deep symbolic content inherent in the icon. Comprehending the numerous details of iconography and understanding their meaning is important for comprehending the depicted event, which is the beginning of our salvation.
Events from the history of the iconThe Nativity of Christ fell on the time of the reign of Emperor Octavian Augustus. Octavian ordered a complete census of the population in his empire, which included Palestine. According to the tradition of the Jews, the census was carried out in those places where the tribes, clans and tribes of the Jews came from. Since Bethlehem was a city of David, both the Mother of God and Saint Joseph, descended from the dynasty of David, had to appear in Bethlehem for the census so that they would be included in the lists, and they would not remain outside the state, which means they were outside the law.
But in Bethlehem, crowded with citizens of the same kind, there was no place for them in the inns. No one accepted into the house, it was since then that Christians, especially Westerners, have preserved the custom - to put a candle in the window at Christmas - so that the Mother of God could see that in this house Her and Her Baby will have a haven, unlike the times when He should was born. But then He was born in a cave (in Greek - nativity scene), which was intended for a stable of livestock. On the armfuls of hay and straw for his feed, the Savior was born, Who was then placed in a rough manger, from which the cattle were fed. And the bright star of Bethlehem shone over the city, signifying the place where He came into the world, Whom the world was waiting for, and Who henceforth changed the fate of mankind, giving it a different, exalted and deep meaning of brotherhood with Him (Matt. 1: 18-25; Matt. 2, 1; Luke 2: 1-20). In the cave with the holy family there were an ox, which Saint Joseph brought as a tribute for the census, and a donkey - Mary, awaiting the Firstborn, rode on a donkey, according to Isaiah's prophecy (Isaiah 1, 3).
These animals warmed the cave with their breath in the cold, snowy winter. This cave was already shown in the 3rd century as the birthplace of Christ, and in the 4th century the Equal-to-the-Apostles Empress Helena, who at the request of her son Constantine the Great found many memorable places associated with the earthly life of the Lord, laid a temple over this place.
But the very concept of a cave - a den, where the Lord was born, began to be symbolically compared with the womb of the Mother of God herself, which contained God himself. Otherwise, it is interpreted as a place of sorrow and darkness - our world, where the Sun of Truth shone - Jesus. And the first to see him were not the Pharisees and not high-ranking Jews, but simple shepherds, to whom the Angel appeared and told about the One who came into the world. And they appeared to worship him (Luke 2, 10-11). This event also has deep symbolism - not for the sake of special, privileged citizens, He was sent by the Father, but for the salvation of everyone, even the lowest and the poor, for their sake - first of all, for they were given special humility.
The Magi, who saw the star of Bethlehem, are Eastern experts in science and sages, who also hastened to worship Him, symbolize the Eastern world, which had already bowed before the Savior. In their journey to Bethlehem, they brought gold to His manger - a sign of His royal power, incense - His spiritual supremacy, myrrh - this substance was usually used in preparation for burial, and here it was a sign of the prophecy of His death in the flesh as atonement for the sins of the world ( Matthew 2:11). The images of the Magi usually correspond to three age archetypes: an old man, a mature husband, a young man. This emphasizes that "revelation is given to people regardless of age and life experience." According to legend, one of them was from Persia, the other from the Arab lands, the third from Ethiopia, their names were Gaspar, Melchior and Belshazzar. Later, they received Baptism - they were baptized by the Apostle Thomas and also preached the name of Christ. Their holy relics were found in the 3rd century. They rest in the Cologne Cathedral in Germany.
The gifts of the Magi were partially preserved in Athos in the form of 28 square and triangular plates 5x7 cm in size, they are used to consecrate water. They are covered with ornaments. Also incense and myrrh - fragrant dark balls, similar to olives. There are about seventy such fragrant beads. The gifts of the Magi have the ability to drive out demons; they are very rarely taken out of Athos.
On the eighth day after his Nativity, Jesus Christ, according to the Old Testament law, accepted the circumcision established for all male infants as a sign of the Covenant of God with the forefather Abraham and his descendants (Gen. 17: 11-14). When performing this rite, the Divine Child was given the name Jesus (Savior), announced by the Archangel Gabriel on the day of the Annunciation to the Blessed Virgin Mary. According to theological interpretations, the Savior did not need an external sign of union with God, since He and the Father are one. By His circumcision, Jesus Christ teaches us to fulfill the commandments of God, without seeking excuses to violate them and without justifying his deviation from their fulfillment. In honor of this event, the holiday "Circumcision of the Lord" was established, celebrated Orthodox Church January 14. The times of the Old Testament have passed, circumcision was abolished, and in its place the Sacrament of Holy Baptism was established - spiritual circumcision, consisting in cutting off the fleshly passions from the soul.
According to legend, King Herod, who ruled in Bethlehem, learned that the One who would be the cause of his overthrow and death was born and ordered to find and kill in Bethlehem all babies up to a year. This terrible night went down in history as the Night of Bethlehem. However, the Holy Virgin and Saint Joseph were warned by the Angel and left the city, and the Magi, called to the court of Herod in order to find out where Christ and His Mother were, left the city in a different way than they entered, so that Herod's spies would not track down the place where the Child was. He was saved, but Herod perished, cast into hell.
This story from century to century in later times, approximately from the Middle Ages, began to be played out by wandering puppeteers-nativity scenes, who went from house to house with their nativity scene at Christmas and played out this simple, but wonderful story. And what is interesting - centuries pass, and everyone who happens to see these short, naive performances, every time they watch them with exciting interest. Nowadays, festivals of nativity scenes are held, where this biblical story is shown in different interpretations, which has the same scenario, and the audience each time freezes with delight, seeing the Star of Bethlehem in a variety of performances, horrified by the treachery, and then the terrible death of Herod.
Holiday iconography
The oldest images are attributed to the fourth century, in the catacomb churches they find drawings of the Baby in a manger and His Mother, reclining next to her loose hair. The nimbus over the head of the Most Pure One began to be depicted only in the 6th-7th centuries, by which time the iconography of the holiday had finally taken shape in the Byzantine tradition.
By the 12th century, the entire cycle of images associated with Christmas includes not only the worship of the Magi and shepherds, but also the journey of the Magi with a star, which lasted two years - they calculated the position of the Star of Bethlehem at the time of Christmas in advance and set out on their difficult journey.
Often the Nativity of Christ in churches is depicted on the southern wall, and the Assumption of the Mother of God - on the north. This pairing indicates the close connection of both phenomena - His birth in the flesh and Her resurrection for Eternal life... In the image of the Nativity, Christ the Infant lies in swaddling clothes in a manger, and in the Assumption he often holds the swaddled soul of the Mother of God. They have entrusted Themselves to each other forever - He is in Christmas, She is in the Assumption. In this mutual trust is the continuity of all being going into Eternity from the beginning of time. The connection between Christ and the Most Pure, the Son and the Mother is also emphasized by the fact that the day after Christmas, January 8 BC. Art., we celebrate the day of the Cathedral of Our Lady.
What a miracle happened
The main miracle that happened is on the icon itself. The miracle of the Incarnation, which made a miracle for all of us. This is a miracle of proof of the deification of man through God, who has found earthly incarnation. The one who suffered, slept on the ground, ate poor food, was tired, but healed, consoled, taught, worked miracles, but only with words of praise to the Father on his lips. He loved us all and, in the end, died on the cross alone, surrounded by criminals, Himself accused as a criminal, misunderstood and rejected during his lifetime, calling from the cross, "Father, Father, why have left me!" in order to atone for our sins, past and present, with the pure, divine blood of the Lamb. Is this not a miracle of the God of love for us, who loved us so much that, as it is said, he sent his only begotten son to save everyone who came into this world from its creation? This miracle is worth thinking about in front of this icon. And when we understand and accept this miracle, and instill in our hearts gratitude to the Father, the Savior, and the Mother of God, Whose feat is indescribable, because She knew everything from the beginning: is not that why Her face, bowed over the Baby Jesus, is always so mournful? - Then the miracle of the fulfillment of everything that we pray to him about will happen - with love and gratitude for the sacrifice in the name of God's universal love for people.
The meaning of the icon
The icon depicts the Nativity of Christ. This event is special. For the first time in the history of mankind, God became inseparable from man in a completely literal sense. In the Old Testament, Paradise was separated from hell by an insurmountable abyss. Anyone who did not go to God after passing away was doomed to eternal torment. With the Incarnation, the abyss between the Kingdom of Heaven and Gehena was already potentially abolished for all who followed Him, for Christmas itself became the pledge of the future Easter of Christ. He defended, admonished, taught, showed his presence and, nevertheless, was somehow there and we were all here... So He was here, among us, and among the most poor, outcast, lonely, His Mother did not find shelter to give birth to Him in the house, like the poorest of the ordinary residents of Bethlehem, no one helped Her to take birth. Almost immediately after the Nativity of the Savior, His family was persecuted by the danger of killing the Child. But, as Metropolitan Anthony of Sourozh says in one of his Christmas sermons, He became one of the persecuted, destitute precisely so that, seeing the persecuted and destitute in his life, they would accept him as they would accept Christ Himself. Why did the saints in the majority, becoming like Him, abandon everything we pursue in material life and cannot imagine our existence without this - such is the world? Because they, like Him, wanted those who had lost everything to come to them first. They wished that those who cling too much to the earthly would see that yes, it is needed, take it as much as you like, if you cannot otherwise, but it is nothing compared to the love between everyone whom He loved. The Savior cast aside all boundaries between Him and us. He was born - for us. And he died - for our sake. And he ascended - for our sake. And he returned - for our sake, in order to go back to the Father before the beginning of new times, but to remain until then in us and between us - "in the midst of us there is and will be."
And one more thing - the Incarnation - and the church fathers spoke about this more than once, its reverse side is the deification of man, raising his significance to incredible heights, for he is a man, capable of containing God, which we see in the example of the reverend of our saints ... If we realize this for the most part, then this is our saving path, since a person will finally realize that measure of trust and responsibility for the whole world that God has entrusted to him. Maybe then we will be able to turn our vale of sorrow to the Kingdom of Heaven, for the sake of life in which we, in general, are called - live.
So the icon of the Nativity itself - and that of the icon painter Yuri Kuznetsov, it is exactly that - joyful, lively, bright, despite the apparent sadness of the biblical plot, this is a reason, first of all, to love and thank everyone - God, the Most Holy Virgin, who is especially called in these festive days, singing Her feat at festive divine services, and each other, for He is in us, we must open our heart to Him in love for our neighbor. And the days of Christmas - the triumph of the light of the star of Bethlehem shining over the whole world - is the most suitable time for this.