Страшный суд, или Второе страшное Христово пришествие
Last judgement, or The second advent of the Christ
история:
Сложная композиция Страшного Суда основана на текстах из Евангелия, Апокалипсиса (Откровение Иоанна Богослова), Слова Ефрема Сирина, Слова Палладия Мниха, Жития Василия Нового, Видения пророка Даниила, на русской духовной поэзии и других произведениях древнерусской и византийской литературы.
На Руси изображение Страшного Суда встречается на фресках 12 в.
Изображение включает в себя показ конца мира, сцен ада в виде геены огненной со страшным зверем, на котором сидит Сатана, а также картин рая и в нём счастливых праведников.

До XVII в. эта композиция располагалась на западной стене центрального храма. Первыми выносят её на западную галерею костромичи в ярославском храме Николы Надеина. Ярославские художники стали использовать этот приём лишь в самом конце XVII в.

“The Lord shall judge the people” (Book of Psalms 7:7-15), the good will go to Heaven, the bad will be dragged to Hell. "... at the end of time The angels will go out, and they will separate the wicked from the good, and throw them into the blazing furnace, where there will be wailing and grinding of teeth." (Matthew 13:49-50).

The Last Judgment is one of the most popular themes.
It has its sources in the texts of Old and New Testaments, apocrypha and various theological works, among which the sermons of Ephraem Syrus (4th c.) were of special significance.
This subject was already known in the monumental painting of Kiev Rus' in the 12th century (St Cyril's church in Kiev, the Dormition Cathedral of the Yeletsky monastery in Chernigov).
According to Byzantine tradition the Second Advent of Christ, or the Last Judgment, was represented according to a strict scheme in which each part of the composition was subordinated hieratically to the others.
автор:
Анджелико Ф.
Fra Angelico Бартоломео Ф. {6587}
Fra Bartolommeo

Босх Х.

Hieronymus Bosch Васнецов В.М. {4880}
Victor Vasnetzov

Вейден Р. ван дер

Rogir van der Weyden Корнелиус П. {5602}
Peter von Cornelius

Лохнер С.

Stefan Lochner Марков Л. {4973}
Leonty Markov

Матвеев М. {5047}

Mark Matveev

Мемлинг Х.

Hans Memling Микеланджело {1483}
Michelangelo

Нардо ди Чионе {3211}

Nardo di Cione

Тициан

Titian Торос Рослин {1448}
Toros Roslin

Феодосий {4296}

Theodosy

Христус П.

Petrus Christus Эйк Х. ван
Hubert van Eyck Эйк Я. ван
Jan van Eyck
название:
Ла Глориа
La Gloria
Триумф Св. Троицы
Triumph of the Trinity
место:
Бардева (Словакия): музей {3981}
Bardejov: Saris Museum

Берлин

Berlin Болгария {6631}
Bulgaria

Бон: музей

Beaune: Musee de l'Hotel Dieu Ватикан: капелла Сикстинская
Vatican: Sistine Chapel Вена: Академия изобразительного искусства
Vienna: Akademie der bildenden Kunste Владимир: монастырь Владимирский Княгинин Успенский
Vladimir: Dormition monastery of Vladimir Гданьск: музей Народный
Gdansk: Muzeum Narodowe Ереван: Матенадаран
Yerevan: Matenadaran Каппадокия
Cappadocia Кёльн: музей Вальраф-Рихарц
Cologne: Wallraf-Richartz Museum Кижи: музей-заповедник {6044}
Kizhy: museum

Кострома: музей-заповедник

Kostroma: History and architecture museum reserve "The Ipatyevsky monastery" Львов: ЛМУИ {3819}
Lviv: Lviv National Museum

Мадрид: музей Прадо

Madrid: Museo del Prado Москва
Moscow Муром: МИХМ {5472}
Murom: museum

Мюнхен

Munich Новгород: НИАМ {4495}
Novgorod: Museum of history, art and architecture

Нью-Йорк: Метрополитен

New York: MMA
Прага: собор св. Витта
Prague: cathedral of St Vitt
Рим
Rome Ростов: церковь Спаса на сенях
Rostov: church of Saviour Сан-Диего: Тимкен музей искусства {3824}
San Diego: Timken museum of Art

СПб

St.-Petersburg Стамбул (Константинополь): монастырь Хора
Istanbul (Constantinople): monastery Chora Торцелло: собор
Torcello: cathedral Тутаев: собор Воскресенский
Tutaev: cathedral of Resurrection Флоренция
Florence Ярославль: церковь св. Ильи Пророка
Yaroslavl: church of St Elias the Prophet
техника:
фреска {2440}
fresco
обитель:
монастырь Александро-Свирский
monastery of St Alexander Svirsky
монастырь Бачковский Успенский
Dormition monastery of Bachkovo
монастырь Вардзиа
Vardzia monastery
вид иконы:
диптих {2915}
diptych

иконостас

altarpiece
многочастник
multipartite icon
полиптих {4149}
polyptych

триптих

triptych
техника:
витраж
stained-glass window
миниатюра
miniature мозаика {3821}
mosaic

фреска

fresco
композиция:
The Judgement was only known to Early Christian art in the form of the separation of the sheep from the goats or of a group in which Christ is seated alone with apostles or saints.
The first approach to a representation of a Doom is in the miniature of the Vatican Cosmas.
In the typical Byzantine scheme Christ is seated upon a throne, below which are burning wheels and from whichissues a stream of fire descending to the lower right-hand corner, where the torments of the damned are depicted.
Beneath Our Lord is set the empty throne, on which lies the Bible, and round which are instruments of the Passion.
The preparation of the throne in the Judgement is mentioned by Ephraim Syrus ( - 378). The apologia against Constantine Copronymus, which refers to pictures of the Doom, makes no mention of this throne, nor do the accounts of a picture painted by a Greek artist for Boris I ( - - 888) of Bulgaria.
The Etimasia throne does not appear to have been added to the scene much before the 11th century. The earlist examples with some ofthe instruments of the Passijn are in the Paris Gospel (№74) and in the Paris and Vatican Psalters of the 11th century. The instruments had been represented earlier alone, e.g. mosaics of St Michele in Affricisco.
As assessors appear the twelve apostles on either side of the Judge, while Virgin and St John the Baptist intercede for mankind before Him (cf. Deesis).
The archangels stand by in an attitude of repose, while other angels and the company of the blessed complete this portion of the scene, prominent among them being those blowing the trumps.
Among the blessed in Paradise the seated figure of Abraham holding the soul of Lazarus in his bosom is occasionally seen.
The figure bearing a cross, which sometimes (as at Torcello) appears before the celestial gate, is that of the repentant thief, whose representation in art results from the Gospel of Nicodemus.
In the lower part of the scene the dead rise from their graves, while the wild beasts of the land and the great monsters of the deep each give up their dead.
The classification of the blessed and the damned according to their earhly rank or condition, kinds, bishops, laymen, &c., is a comparatively late addition.
It may be noted that the retributory angels are sometimes coloured red, as in the Paris Gospel (№74) of the 11th century; in Genesis pictures the angel who expels Adam and Eve from Paradise, e.g. the Greek Bible of the Laurentian Library , is coloured in the same way.
In Western Dooms uninfluenced by Byzantine models the Etimasia throne and the fiery stream are not found, while the Virgin and St John usually kneel as intercessors instead of standing.
On the other hand, the binding of the sinners in chains is peculiar to the art of Western Europe. The weighing of the souls by the archangel Michael has also been considered of Western origin, but it occurs on the walls of churches in Asia Minor, among the Copts, and in the Armenian churches of Jerusalem.
The Etimasia is not seen in the Utrecht Psalter, though there is an illustration of the very verse (Psalm ix. 8) in which the word occurs.
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