MAKING AN ICONOSTASIS

Our workshop "Northern Athos" is engaged in the production of turnkey iconostases from design to installation, painting of temples and also painting of temple icons. How much does it cost to order an iconostasis? What does the cost consist of? We will try to answer this and other similar questions in this article.
First you need to decide in what style it will be made. The style of the iconostasis, like other elements of the temple decoration, changed over time. Nowadays the following types of iconostases are usually ordered.
Wooden carved iconostasis.

A very common type of modern iconostasis. It is much cheaper to order than Baroque, but the beautifully stained wood, combined with well-painted icons, makes a strong impression. Such iconostases are often found in Greece, on Mount Athos. In Russia, until the 20th century, iconostases were usually gilded, but now wooden and carved items are becoming more common.
The approximate cost of manufacturing a wooden carved iconostasis, currently in Russia, is 40-60 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Baroque gilded iconostasis

Another common type of iconostasis is baroque, which developed in the 17th century. Its features are the abundance of gilded decorative elements. The making of the iconostasis occurs as follows. First, each element is cut out of wood by master carvers, then these elements are covered with gesso, after which the parts are gilded with polyment and polished to a mirror shine.
Ordering a baroque iconostasis is quite expensive. Perhaps this is the most expensive type of iconostasis. The cost is increased by both the high consumption of gold leaf and the complex and expensive work of gilders.
The approximate cost of manufacturing a baroque iconostasis in Russia currently ranges from 90 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Icon painting workshop "Northern Athos" 2016
carved wood, gilding

History of the iconostasis.

In the church, each temple icon occupies a strictly defined place. The central part of the temple is the iconostasis. Early Byzantine iconostases consisted of one row of icons and were usually made of stone. Over time, iconostases became more complex and new elements were added to them. The classic type of five-row iconostasis developed around the 15th century, and consisted of the following rows: Local Row, Deesis, Festive Row, Prophetic Row, Patriarchal Row.
In the center of the barrier above the royal doors there are images of the Deesis order. "Deesis" means "prayer" in Greek. The eternal and indestructible prayer of the Mother of God and John the Baptist addressed to Jesus Christ.
On Deesis icons these three figures are in the middle: in the center is the Savior, on the right is the Mother of God. on the left is John.
Initially they were painted on one board - this is what the earliest Russian Deesis icons look like. Gradually the composition became more complex.
The images began to be written on separate boards, and gradually new characters were added to them, sometimes scenes from the Gospel. By the end of the 14th century, the Deesis rank already consisted of seven figures. For example, the Serpukhov tier, created in 1380, includes, in addition to the three-figure central icon, images of the archangels Michael and Gabriel and the apostles Peter and Paul. And the Deesis rite of the Assumption Cathedral of the Kirillo-Belozersky Monastery (XV century) already includes twenty-one figures.
In the 15th century, a high iconostasis with very large icons appeared (nowhere else except the Russian church is there such a thing). The idea of ​​their creation apparently belongs to Theophanes the Greek and Andrei Rublev. The images of the Deesis order, painted by them at the beginning of the century, are now in the Moscow Annunciation Cathedral
The Deesis was now perceived as a procession of holy prayer books - primates for the human race before the Savior; therefore, the composition of the personalities could change. depending on the time and place of creation of the icons. It included canonized princes and hierarchs of the Church, locally revered saints. That. exactly how the figures were depicted depended on the central image. If the center of the composition was “Savior Almighty,” then the rest of the icons were half-length, and if “Savior on the Throne” or “Savior in Power,” then the figures were depicted in full growth.
Currently, iconostases are being created, both in the Russian tradition and according to ancient Byzantine models.

6. Installation of the iconostasis

The final stage is installation in the temple. Since wood is a material quite sensitive to changes in temperature and humidity, installation must be done in a room with already established temperature and humidity. All construction and plastering work in the temple must be completed.

Selected photographs of our workshop's work.

5. Gilding of iconostasis elements

In cases where the project has gold-plated elements, the next stage is gilding. We usually use gilding on mordan, but you can also gild on polyment (more expensive and complex gilding, in which the gold is polished with an agate tooth).
Of course, gilding with gold leaf is quite expensive, both due to the high cost of the material itself and the cost of the work. If it is not possible to order gilding with gold leaf, you can perform gilding with high-quality (non-oxidizing and subsequently non-greening) gold leaf.

3. Manufacturing of carved elements

The next stage is the production of carved elements. Elements are cut out on machines; in some cases (complex elements with internal threads) they are finished manually.

MANUFACTURING PROCESS

If you decide to order the production of an iconostasis in our workshop, the manufacturing process will include the following steps.

1.Creation of a preliminary design

In accordance with the architecture of the temple, a preliminary design is developed, which is approved by the customer. At this stage, it is possible to finalize the sketch in accordance with the wishes of the customer and, in the case of churches that are architectural monuments, to bring them into compliance with the requirements of the State Property Inspectorate.

2. Development of a 3D model.

At this stage, a 3D model is made. The model is necessary for the final clarification of all details, and is subsequently used for the manufacture of wood carving elements.

St. Nicholas Naval Cathedral in Kronstadt, 2012.

Stone iconostasis in Byzantine style. 19th century. Jerusalem

Modern stone iconostasis in Byzantine style. Balaam.

Iconostasis of the Church of St. Nicholas, Cyprus. Icon painting workshop Northern Athos 2007

Iconostasis with gilding

Nowadays, eclectic iconostases are becoming increasingly common, which are difficult to attribute to any particular style. There are several reasons for the spread. Firstly, a large number of churches built in the 19th century according to a standard design are now being restored, for which it is difficult to design an iconostasis that harmoniously combines with the architecture of the temple and at the same time meets strict stylistic canons.
Secondly, the production of such iconostases can be done within a relatively small budget, which is important for poor provincial parishes. At the same time, a well-designed iconostasis will look no worse than more expensive baroque or stone iconostases.
The approximate cost of manufacturing such iconostases in Russia currently amounts to 40-90 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Iconostasis of the Transfiguration Cathedral, Valaam, 2006
Icon painting workshop Northern Athos, together with other workshops

Iconostasis of the Transfiguration Cathedral, Valaam,
fragment.

Iconostasis of the Church of All Who Sorrow Joy, St. Petersburg, Icon Painting Workshop Northern Athos, 2008

Byzantine stone iconostasis.

This type of iconostasis developed in the first centuries of Christianity and was widespread in Byzantium. Has a low altar barrier. Consists of one or two tiers. The combination of white carved stone and large icons looks very elegant. At the same time, the iconostasis is not overloaded with decorative elements, and nothing distracts the attention of worshipers.
However, ordering a stone iconostasis is somewhat more difficult and expensive than a wooden iconostasis. The fact is that in Russia there are few workshops specializing in natural stone carving, and they price their work quite expensively.
As an alternative, you can order an iconostasis made of artificial stone. A good artificial stone is practically no different from the real thing, allows you to make ornaments of any complexity and is comparable in cost to a wooden carved iconostasis.
The approximate cost of manufacturing a stone Byzantine iconostasis, currently in Russia, is 70-90 thousand rubles per square meter. The cost of icons is usually negotiated separately. On a separate page of the site you can read how the cost of icons is formed.

St. Petersburg, Morskaya embankment. 37

So how much does an altar barrier cost?

Conversation with A.V. Vlezko, head of the workshop “Palekh Iconostasis”

- People always strive to find the optimal combination between price and quality...

And it is right. Everyone wants to get the most for the money they have. However, it is important not only to hear the price, but also to understand what exactly is included in it - the final cost is announced to you or an intermediate one, designed to interest you. It is not enough to make an iconostasis: it must be painted, trimmed with gold, delivered, mounted, icons painted, etc.

- How do you negotiate with the customer?

We immediately announce the final price. It includes everything: design, materials, manufacturing, delivery, and quality assurance. This can be compared to buying furniture: you buy, for example, a kitchen - and then it turns out that you have to pay extra for fittings, delivery, assembly - about another 30%. Many manufacturers of iconostasis do the same - and at first glance it seems that our work is more expensive. But we are not voicing some attractive intermediate price, but an honest final price. The most productive approach is when people immediately say: “We have such and such an amount, what can you offer us?” And they indicate the task: for example, we need an iconostasis in such and such a style with icons. And a joint creative search for the optimal solution begins.

- What if the customer himself does not know how much money he will end up with?

Then another question is asked: “Let’s dream: what would you like to see in the temple”? If the price turns out to be prohibitive, we look for options to reduce it. Altar barriers installed in an opening of the same size can have different areas. You can not cover the entire wall, but choose a one or two-tier altar barrier, or a triangular-shaped iconostasis with an upward-pointing center and low side parts. We work in different stylistic traditions, so the choice of options is widest.

- How to compare prices from different manufacturers so as not to make mistakes?

It is correct to compare prices for making an iconostasis only if you have a certain project and clearly know how and from what materials it should be made. For example: an iconostasis made of solid pine, beech finishing, hand carving, such and such an area, icons in the Old Russian style, delivery, installation. If the parameters are the same for everyone, I suspect that the price from different manufacturers will be approximately the same, maybe with a difference of 5-10%. The scope of work is the same, the material is the same.

- And what position will the “Palekh Iconostasis” be on the list: among those whose prices are more expensive or cheaper?

I suspect that our production costs today are one of the lowest in the country. We do not pay rent, since all premises and equipment are our property. We are on the periphery. Our people receive a decent salary, but it is lower than in Moscow and St. Petersburg. We purchase materials in Moscow - but the logistics are streamlined and delivery costs are minimized. We purchase lumber in the Kostroma and Vologda regions, linden in the Nizhny Novgorod region and further south.

- What does the price of an iconostasis consist of?

The frame can be made of solid wood or plywood, the carving can be machine or hand-made, the project can be individual or standard - or with a significant part of the general solutions, passing from one workshop job to another. When architects and artists work, this affects the cost.

- Why can two iconostasis of the same area, from the same materials, differ greatly in price?

They can have different carving densities and different numbers of icons. It is important how the icons are separated: columns or ordinary frames, what decorative elements are used, how many rows there are in the iconostasis. For example, is there a holiday row - there are small but expensive icons: multi-figured, complex. The style of the iconostasis affects the cost: tyablos, as a rule, are very rich in carvings, they have many icons - in fact, it is a wall of images separated by carved strips. The baroque iconostasis has voluminous carvings and is often covered with gilding - finishing is expensive here. Inexpensive solutions are iconostasis in the style of classicism: there are few carving elements, a lot of free space. A simple archaic iconostasis in the Old Russian or Byzantine style, decorated with basma, or resembling a stone altar barrier, is also economical. Basma also comes in different varieties. For example, in the 15th century, altar barriers were simply covered with metal with small embossed belts - and it looked interesting. And then they began to add more complex basma to the backgrounds of the icons.

- Can the finishing of the iconostasis be different?

Solid or fragmentary gilding, enamel painting, varnish. It all depends on the taste and capabilities of customers. You can work very interestingly with color, paint the details of the iconostasis in two or three colors, apply partial gilding - today this is in demand: it looks rich and is more affordable than solid gilding. It is important that the customer, on the one hand, trusts the experience and capabilities of the workshop, and on the other, takes part in the development of the project. This is the mustard seed from which everything grows. Next is a matter of technology.

- What is the service life of the iconostases that are created today?

If the base of the iconostasis is made of plywood, I assume that this period is fifty years, maybe a hundred, depending on the humidity and temperature conditions in the room. Plywood is layers of veneer glued together, so the question is how long the glue will last. A wooden iconostasis can last for four hundred years - such examples are known; it can be repaired. We do not make iconostases from plywood - we work with solid wood: it can be pine, beech, oak, mahogany, etc.

- The tree must be protected from rot and bugs - to ensure its durability...

Modern materials protect wood from rot, moisture, bugs, etc. We use them to treat the iconostasis from all sides: we paint it, cover it with impregnation, primer. Nowadays, most churches in which iconostases are installed are constantly heated during the cold season, so that the decoration does not suffer from humidity. Rather, on the contrary - due to excessive heating, the room becomes too hot and dry, ventilation is not provided everywhere - and the wood may crack. It is necessary to observe the optimal temperature and humidity in the temple - 16 - 18 degrees. The heat is harmful for both paintings and icons. Previously, ventilation occurred at least through windows - but today they are often made airtight. When we act as general contractors, we take all this into account.

- Do you do turnkey church interiors?

Yes. We can complete the entire interior of the temple - including plaster, floors, stained glass windows, etc. By the way, when ordering a set of works, we provide discounts. When starting to create an iconostasis, in any case, it is advisable to immediately design the entire decoration of the temple - at least in general terms: how the murals will be located, where the icon cases, benches, and lecterns will be placed. You can bring this project to life later, step by step, or not with us - but when creating an altar barrier, it is better to keep all this in mind so that the interior turns out harmonious.

- Can you give approximate prices for creating an iconostasis along with icons?

As the most economical option, you can focus on 100-110 thousand rubles per square meter - this includes the entire range of turnkey works, with delivery within 1000 km from the workshop. And the most expensive iconostases that we have ever made are a little over two hundred thousand per meter: rich gilded baroque carvings, a base made of solid mahogany, decorated with embossed icons in Fryazhian script. Well, the average price is 150 thousand. This is an iconostasis made of solid wood, tyablo or baroque, with quite rich carvings.

- How long does it take to create an iconostasis “from scratch”?

Let's take an area of ​​150 square meters as an example. Design work will take 2-3 months. It will take another 4-6 months to complete, depending on the finish. The icons will be painted simultaneously with the iconostasis itself. Installation is completed in 3-5 days.

- Let’s summarize what the customer gets by contacting the “Palekh Iconostasis”.

A unique, non-repetitive iconostasis at an average price, made with high quality and quickly from natural materials. Our capacity and twenty years of experience allow this.

Compiled report from the magazine "Blagoukrasitel" Interviewed by Alina Sergeychuk.

From time immemorial, the Orthodox faith has called man to purify his soul, to get rid of sins in order to achieve the Kingdom of Heaven. The symbolic gate between earthly space and the heavenly world is the church iconostasis. It visibly separates the altar from the place of general visiting, as if reminding a person that there is a certain line between him and the Almighty Creator. No one can cross this line without the godly mediation of the chosen righteous.

According to its structure, the Orthodox church iconostasis consists of three sections. In its center, opposite the throne, are the Royal Doors. Only clergy can enter the altar through them. For the eyes of parishioners, the Royal Doors are opened only on special occasions. Lattice doors with carved patterns are covered with a symbolic cover, which preserves the mystery of the Shrine and is raised only a few times a year. Only on a special day can believers fix their gaze on what is happening in the altar, absorbing with their eyes the process of transubstantiation of the Holy Gifts. According to the church canon, it is customary to place an icon depicting the Last Supper above the Royal Doors.

Along the edges of the Royal Doors are the Northern and Southern Gates. Unlike the double doors of the Tsar, they consist of a single door, and their decoration is inferior to the central entrance to the altar. Priests pass through the outer gate on ordinary days and during statutory services. On the side of the altar, behind the southern and northern gates, there is a deacon and an altar. The entire front part of the church iconostasis, facing the center of the temple, is crowned with images with the faces of the Holy Ones. Following the ancient church canons, when making the iconostasis, its multi-tier structure is strictly observed. Each of the five rows has its own sacred meaning, which is reflected in the icons placed on it.

Arrangement of tiers of the church iconostasis

At the very top of the iconostasis, in the Patriarchal Row, the most venerable place is occupied by icons with the faces of the Old Testament patriarchs. The “Holy Trinity” is placed in the center. Below is the Prophetic Row, symbolizing the Old Testament church. The central icon here is the “Sign”. It depicts the Heavenly Queen with a baby on her lap. The third row from the top is called the Festive row. Its name is characterized by the Shrines, symbolizing the main Orthodox holidays, from Christmas to Dormition. The Deesis row at its head places an icon of the “Savior”, supported on both sides by the faces of the Mother of God and John the Baptist, as well as a host of Saints. Symbolizes the Deesis row of the Heavenly Church of Christ.

The very last, bottom row of the church iconostasis is called Local. In it, the central faces of the Savior, the Virgin Mary and the temple icon are placed near the Royal Doors of the iconostasis. The rest of the space is reserved for images of a local nature, in other words, those most revered in the area where the temple was directly erected.

The mere fact that the most important Christian sacraments take place near the iconostasis, and that it itself symbolizes the church from its origins to the Last Judgment, tells us about the importance of this symbol for Orthodoxy. In its energy, supported by revered images, the church iconostasis is comparable to the strength of faith and purity of thoughts carried by the clergy and parishioners of the temple. He reveals a true close connection between the earthly world and the Heavenly Kingdom. Receiving Holy Communion from the hands of God's intermediaries and bowing his forehead in confession, a believer is under the invisible protection of faces and symbols erected on the Orthodox church iconostasis.

The iconostasis is an altar partition, more or less continuous. It consists of one row or several rows of icons, which are placed in an orderly manner and zonally separate the altar from the rest of the room. Translated from Greek, the word “iconostasis” means a stand for icons.

The icon connects the heavenly world and our world, therefore every Christian church has a large number of icons and a stand for them is simply necessary. Niche talented specialists make real masterpieces.

How did it arise?

The part with the altar had to be fenced off from the main part of the room, where parishioners and worshipers are located. For this purpose, a special altar barrier was created, symbolizing the separation of the Earthly principle from the Divine. Their essence is one, but the Divine part cannot be displayed by any earthly means, therefore the altar was symbolically separated with the help of an iconostasis.

It is worth noting that the iconostasis is a feature of Orthodox churches. Its use has only Russian roots. Greek churches also use it, but it originated there from Russia thanks to the famous Athos Monastery. After Christianity came to Greece, the custom of placing icons of Jesus Christ, the Mother of God and John the Baptist on the altar curtain appeared.

Experts claim that the iconostasis arose on Russian soil due to the fact that wall painting did not exist in wooden churches, and at the same time, the art of fresco flourished in Byzantium.

Homemade wooden option:

The iconostasis is installed not only in churches. Since ancient times in Russia, houses have created their own “red corner” with icons. The Church does not recommend placing icons in bookcases and shelves, covering them with worldly household items.

Structure:

In terms of its structure, the iconostasis is a structure that includes several rows of icons (usually four or five). At the bottom of the iconostasis there are three gates, and at the top there is a cross.

The icons act as a symbol of the union of the Earthly and Divine principles, and face those offering prayer. This allows parishioners to address directly the collection of celestial beings who are in the images in the sacrament. According to tradition, the Royal Doors are located in the central part, which are the exit for the holy power of Jesus Christ. If the Royal Doors are open, then the Kingdom of Heaven opens for Christians.

Bottom row:

It contains fundamental aspects of the Orthodox measure and features of local veneration of certain saints: a temple icon (a holiday or patron saint of the church); icon of the local row (the most revered saint); icons of the Annunciation, as well as the evangelists Mark, John, Matthew and Luke; icon "Last Supper"; icon of the Savior; Mother of God, Archangels Michael and Gabriel.

Second row of the iconostasis

In the Deesis row there are more icons, smaller in size, and they all symbolize the prayers of the Church to Christ. It contains the “Savior in Power”, the icon of John the Baptist, the icon of the Mother of God “Intercessor”, archangels, prophets and the most famous saints of the Holy Church of Christ.

Third row of the iconostasis

It is “festive”, as well as historical, because it personifies the events of the Gospel story: the icon of the Nativity of the Blessed Virgin Mary, the Entry into the Temple, the Annunciation, the icon of the Nativity of Christ, the Presentation, the Epiphany, the icon of the Transfiguration, then the Entry into Jerusalem, the Crucifixion, the Resurrection of Christ, the Ascension , then the Descent of the Holy Spirit and the Assumption.

Fourth row of the iconostasis

It is prophetic and includes images of the prophets who announced the future: the Messiah and the Virgin, the mother of Jesus Christ. In the center is the icon of the Mother of God “Oranta”.

Fifth row:

Forefathers row with images of forefathers, starting from Adam to Moses. In the central part is the “Old Testament Trinity”.

Corner iconostasis:

The 3Dekor company will create a product according to your individual order - the desired shape, size, color. You can also order a corner iconostasis. It will be located in the corner of the building and will allow for optimal use of space. Call!

Iconostasis in the temple

Iconostasis - (Greek eikonostasion, from eikon - “image, image” and stasis - “standing place”) - an altar partition separating the Holy of Holies from the rest of the temple. The iconostasis went through a long path of development before it appeared before us in its finished, familiar form. As a rule, the iconostasis includes several rows of icons, each of which has its own symbolic meaning and occupies a special place.

In Orthodox churches, the iconostasis is the central part of the temple.

How to choose

This section presents a wide selection of finished works from our manufacturer in various finishes: from ascetic to rich options. You can also choosebuy an iconostasis ready-made, so-called "standard" project. You can alsoorder an iconostasis for Your his temple , having discussed all individual wishes with a consultant.

All questions related toprices on making an iconostasis , suitable in size for your temple, you can ask our iconostasis consultant:

Ekaterina, mobile +7-920-737-03-37.

If it is not working hours, please write to us by email: .

Choosing the style and material formaking custom iconostasis - a delicate and complex matter, since the iconostasis is the center of any temple, it must fit into both the architectural style of the temple and the overall interior. Each church is individual - and the iconostasis in it is unique.

Symbolism

Iconostasis in an Orthodox church tells the entire history of Orthodox teaching - from prophecies about the Birth of the Son of God, to His Crucifixion and Resurrection. In addition, this barrier separating the altar from the church symbolizes the boundary between the earthly and the heavenly. But the order of rows in the iconostasis is deeply symbolic. It reflects the heavenly hierarchy, and the Royal Gates are a prototype of the entrance to Paradise.

Manufacturing materials, types of finishing and inserts

Make and buy an iconostasis for the temple can be made from a wide variety of materials: wood, marble, ceramics, metal and even fiberglass. But wooden iconostases are the most common. Wood is a natural, environmentally friendly material. For iconostases, wood of the highest quality, without flaws, is selected. If the wood for making the iconostasis is properly prepared, its service life will be very long.

The finishing of iconostases, as well as the materials for their manufacture, are extremely diverse:

• thread.Twisted ornaments created using the carving technique decorate many iconostases in Orthodox churches;

• silvering, gilding unusually decorates the iconostasis, making it sparkling and solemn;

• enamel.This finish, despite the external fragility of the material, is strong and durable, in addition, it does not require special care;

• Basma.It is often used when decorating iconostasis, since this technique allows you to create a complex ornament and easily repeat it for other details.