Unlike other famous icon painters Ancient Russia, Theophanes the Greek and Andrei Rublev, biographical information about which is almost not preserved, Dionysius is a rare exception. And although the dates of his birth and death are very approximate, quite a lot is known about the master's work, his works and orders.
Exceptional fate, talent and high patrons - Grand Duke and higher spiritual persons - provided the most favorable conditions for the creativity of the master.
Dionysius received his first serious order between 1467 and 1477, when he was offered to take part in the murals of the Church of the Nativity. Holy Mother of God in the Pafnutyevo-Borovsky Monastery. Here he worked not yet completely independently, but under the supervision of the master Mitrofan, who is called his teacher. However, even then the individual handwriting and bright talent of the young icon painter appeared, since the documents mention both painters as "notorious<...>more than anyone else in this business."
In 1481, Dionysius received a new honorary order: together with three other masters, he was to make icons for the iconostasis of the Assumption Cathedral of the Moscow Kremlin, for the deesis, feast and prophetic rank (rows of the iconostasis). The fact that the young icon painter was highly valued is evidenced by a rare fact for those times: the customer, Bishop Vassian, even before the start of work paid the artists a deposit - 100 rubles. Then it was a significant amount. Researchers believe that the Deesis tier, that is, the most important part of the work, belonged to the brush of Dionysius.
This Deesis was "very miraculous" and glorified the name of Dionysius even more.
crucifixion |
In 1482, Dionysius painted for the Ascension Monastery of the Moscow Kremlin the icon of Our Lady Hodegetria. The master's favorite light golden background, purple maforium (robe) of the Mother of God, her solemn pose and glorifying angels created a general majestic structure of the image.
Many works were performed by Dionysius for the Joseph-Volokolamsky and Pavlo-Obnorsky monasteries. In particular, for the latter, he painted the "Crucifixion", which was placed in the iconostasis of the cathedral. The center of the icon board, emphasizing its verticality, was occupied by the image of the cross on which the Savior was crucified. The drooping head, like the corolla of a withered flower, arms spread out like stems, and a plastically curved body create a solemnly sad mood. Silently frozen figures of the upcoming
Ferapontov Monastery, Cathedral of the Nativity of the Virgin |
The most significant work of Dionysius was the monumental murals - the frescoes of the Cathedral of the Nativity of the Virgin of the Ferapontov Monastery (1495-96). Here the artist worked not alone, but with his sons and apprentices. The small church of the Nativity of the Virgin is painted with scenes from the earthly life of the Virgin Mary. At the entrance, worshipers are greeted by a portal fresco, which seems to protrude from the inside of the church onto the walls of the facade. Its composition is divided into three registers: the bottom row serves as a basis for the top ones and consists of "towels" - a kind of ornament that imitates fabric. Above, on the sides of the entrance, there are two figures of the archangels, Michael and Gabriel, the third register is occupied by scenes from the childhood of the Virgin Mary, and the deesis completes the composition. In the interior of the cathedral, a significant place is given to scenes from the Akathist to the Mother of God, created by the Byzantine poet of the 6th century. Roman the Sweet Singer. 25 hymns, the scenes of which, starting with the Annunciation, are deployed on the eastern, then on the western pillars and the western wall of the church, make up a genuine Mother of God suite. A bright, joyful mood unites all the frescoes glorifying the Virgin Mary and her intercession for people before the Lord ("Protection", "Cathedral of the Virgin", "Rejoices in You", "Last Judgment", etc.).
Pure and delicate colors with a predominance of greenish, golden and, most importantly, white color, which for the first time in ancient Russian art received an independent sound here, perfectly harmonize with the emotional structure of the images. The Ferapontov Monastery, located far to the north and rarely visited by pilgrims, was not rich, and therefore did not have the means to renovate painting. We owe this circumstance to the fact that the frescoes of Dionysius avoided later recordings, retained a color close to the original and made it possible to form a correct idea of the master’s manner of writing.
The hagiographic icons of Saints Cyril of Belozersky, Dimitry of Prilutsky and others were also painted by Dionisy. miraculous deeds of the righteous were widespread in ancient Russian painting.
Particularly famous are two paired hagiographic icons of Dionysius, depicting Metropolitans Peter and Alexy, made for the Assumption Cathedral in the Moscow Kremlin. The metropolitans are represented in full-length ceremonial vestments, the positions of their figures and gestures are almost symmetrical (perhaps the icons hung opposite each other in the cathedral and therefore overlapped compositionally), the figure of Metropolitan Peter is only slightly shifted to the left, and Metropolitan Alexy to the right. Majestic posture, colorful clothes, with a predominant white color, enhance the solemnity and monumentality of the images.
In the small pictures-stamps depicting episodes from the life of the saints, the real world was reflected, which was so close to Dionysius. Working on large orders with his sons and apprentices, the icon painter eventually created a circle of his students and followers. And although none of them managed to achieve the beauty and expressiveness of images that is characteristic of the works of the master, nevertheless, the works of the “circle”, or “school”, Dionysius are distinguished by high artistic merit. Among them are the works of the son of the famous icon painter, Theodosius, who in 1508 painted the walls of the Annunciation Cathedral of the Moscow Kremlin.
Years of life: c.1440-1502 (?)
Dionysius is one of the best icon painters of the Moscow school of the late 15th and early 16th centuries, a successor to the traditions of Andrei Rublev. His activities coincided with the wonderful era of the reign of Ivan 3, when Russia was freed from Mongolian yoke, expanded its territories, became one of the most powerful countries. This is the period of activity of the Italian architect Aristotle Fioravanti, whose cathedrals were painted by Dionysius. He created works that reflected the cultural upsurge of Russia during the formation of a centralized state. Dionysius worked during a period of spiritual upsurge, when active urban planning was going on, magnificent temples were erected, wonderful works of art were created that glorified the power of the country.
The main activities of Dionysius and their results.
- One of the directions The activities of Dionysius were the murals of temples - frescoes. He showed himself to be a talented artist, subtly feeling color, color scheme. Not everything has been preserved, it has come down to us. But even a small part of what Dionysius created is evidence of his individual, unique manner. The images of his works reflect spiritual harmony, ideas about the Kingdom of Heaven.
This activity steel mural:
- Cathedral of the Nativity of the Virgin in the Pafnutiev Borovsky Monastery (1467-1477)
- Assumption Cathedral in Moscow (1481)
- Work in the Joseph-Volokolamsk Monastery: painting of the Church of the Assumption of the Mother of God
(the frescoes have not been preserved since the cathedral was completely rebuilt in the 17th century)
- Frescoes and iconostasis of the Cathedral of the Nativity of the Theotokos at the Ferapontov Monastery (together with his sons Theodosius and Vladimir)
another direction activity of Dionysius was icon painting. He created both individual icons and entire iconostases. And here his features of the icon-painting traits appeared: the works were of a festive nature, even splendor, reflecting the heyday of Russia. The colors are bright, the figures are graceful, and the faces are beautiful. The images are pure, humble, calling for spiritual purification.
The result of this activity- a lot of icons created by the master. True, only they did not come down to us a large number of. Here are some of the icons.
- Descent into Hell, 1495-1504 Russian Museum.
- Crucifixion, 1500
- Metropolitan Alexy with Life (Tretyakov Gallery)
- Metropolitan Peter with Life (Moscow Kremlin Museums)
- Icon of the Apocalypse from the Assumption Cathedral of the Moscow Kremlin, 1492 (“Apocalypse or revelation of John the Theologian, vision of the end of the world and the Last Judgment”.
- "The Mother of God Hodegetria" from the Ascension Monastery in the Moscow Kremlin, 1482
In this way, Dionysius is one of the talented icon painters, artists of the heyday of the centralized state. His murals, icons are evidence of a unique, individual manner, which became a model for his followers. His creations are a song in colors, glorifying goodness and beauty. The idea of the greatness of Russia, the praise of her, the glorification of her history - all this made the works of Dionysius a real treasure of Russia and the whole world. It is no coincidence that the year 2002, when the 500th anniversary of the painting of the Nativity Cathedral of the Ferapontov Monastery, was celebrated, was declared the year of Dionysius by the SEESCO.
Material prepared: Melnikova Vera Aleksandrovna
The icon painter Dionysius is a famous Moscow master who created frescoes and icons in the 15th-16th centuries. Nowadays, he is considered one of the most talented followers of another famous domestic icon painter, Andrei Rublev.
Biography
Presumably, the icon painter Dionysius was born around 1440, there is no more exact date of his birth. But it is known for certain that his contemporaries called him a "cunning and graceful" icon painter, highly appreciating his talent and ability to notice vivid details in his works. The works of the hero of our article were valued on a par with the works of another famous master - Andrei Rublev, and this is perhaps the highest rating that an icon painter can deserve. At the same time, Dionysius did not come from the so-called "simple" as most artists of that time. He belonged to the rather noble class of the boyars, his parents were from the Kvashnin family.
Very little is known about the biography of the icon painter Dionysius. The first major project, in which he participated, is the painting of the Mother of God-Nativity Cathedral, located on the territory of the Pafnutiev Borovsky Monastery.
Comparing the icon painter Dionysius with Rublev, today many note that to late XIX century, the name of the first was practically forgotten, some superficial researchers even confused his name with Dionysius Glushitsky, who belonged to an earlier generation of icon painters.
Communication with Pafnuty Borovsky
While working in the monastery, Dionysius also found in it its founder, Paphnutius of Borovsky, an Orthodox saint, whose monastic feat lasted as much as 63 years. According to the legend describing short biography icon painter Dionysius, he twice experienced the miraculous power of his prayers.
First, the monk healed the hero of our article, when his legs ached for an unknown reason, and then, when he fell into an illness, violating the commandment established by Paphnutius himself. She obliged everyone who was on the territory of the monastery not to bring meat food into the monastery. Lay people were allowed to eat meat, but only outside the monastery. Dionysius dared to break this rule.
Apparently, he simply forgot about it, because he was very passionate and absorbed in his work. But as soon as he swallowed the very first piece of forbidden food on the territory of this monastery, he immediately remembered everything. Briefly describing the icon painter Dionysius, it should be noted that he was sincerely worried about what had happened. His body immediately became covered with a rash, only Pafnuty, having forgiven him, having read prayers, was able to help overcome this ailment.
Works of the icon painter
The earliest of the works of the icon painter Dionysius known to us is just the painting of the cathedral in the Pafnutiev Borovsky Monastery. The hero of our article worked on it for about ten years, from about 1467 to 1477.
In 1481, the artel, headed by Dionysius, received the right to paint the Assumption Church in the capital. This is one of the most famous works of the master. If you have not seen them live, you will be able to appreciate their beauty at least from the photo. The icon painter Dionysius worked together with assistants, the chronicle of that period reports that they were "priest Timothy, Horse and Yarets".
After 1486, Dionysius worked in the Joseph-Volokolamsk monastery. There he painted icons for the cathedral church, dedicated to the Dormition Mother of God. By that time, he finally entrenched himself at the head of the picturesque artel.
Frescoes in the Cathedral of the Nativity of the Virgin
Among the latest works, which can be said with certainty that they belong to the brush of Dionysius, one can note the wall paintings of the iconostasis in the Cathedral of the Nativity of the Virgin on the territory of the Ferapontov Monastery. He already performed them together with his sons, who often helped their father when they grew up.
The work of the icon painter Dionysius includes dozens of famous works. Researchers name among the most famous icons of life icons of Metropolitans Alexei and Peter, painted in 1462-1472, "Odegetria" of 1482, "Baptism of the Lord" of 1500, "Crucifixion" and "Savior in Power" of the same period, "Descent into hell".
The exact date of Dionysius' death has not been established. AT different sources 1503, 1508, or even after the 1520s are given.
The icons of the icon painter Dionysius are valued not only in Russia, but all over the world. That is why 2002 was declared the year of Dionysius by decision of UNESCO.
Lost Works
Researchers are very sorry for the fact that many of the famous works of Dionysius did not survive to our time. For example, we are talking about the Last Judgment icon. This fresco was located on the western wall of the Mother of God-Nativity Cathedral. Unfortunately, the figure of Jesus Christ, which was depicted on the fresco, was lost over time due to the desire of the later owners of the cathedral to make an additional window.
Significant for Dionysius was the acquaintance with the Monk Joseph Volotsky, which took place in the Pafnutiev Monastery. Having founded his monastery, Joseph persuaded the hero of our article to paint it too. So, in the inventory of the monastery property, which dates back to 1545, it is stated that Dionysius created a large deesis for the cathedral church, that is, a group of icons, in the center of which is Jesus Christ, and on the sides of him is John the Baptist and the Mother of God. The master also created prophetic and festive rows, decorated the royal doors, depicting on them the traditional biblical story of the Annunciation of the Most Holy Theotokos and the four evangelists. In total, according to the same inventory, 87 icons remained in the monastery, painted by Dionysius or the workers of his artel.
Icon painter frescoes
Many frescoes of Dionysius have not been preserved either. For example, those that he painted for the Pafnutiev Monastery, as well as icons for Joseph Volotsky himself. It is impossible now to see the iconostasis of the Assumption Cathedral of the Moscow Kremlin, painted by Dionysius. He specially created images for him.
Only a few works that have survived to this day can be confidently attributed to the icons painted by Dionysius. First of all, these are hagiographic icons of Saints Alexy and Peter.
Northern period of creativity
It is not possible to accurately describe the biography of Dionysius, since practically no documentary evidence has survived to our time. It can be said with certainty that after completing work in the Assumption Cathedral, he moved to live in Moscow for some time. There he had a large number of various orders.
In Moscow, Dionysius was already working together with his sons, who provided him with significant help and support. At that time, the hero of our article became close friends with the Monk Joseph Volotsky, who compiled for him the famous "Epistle to the icon painter."
"Belozersky" period
Acquaintance and communication with the Monk Joseph, who at that time was considered one of the most authoritative people in the theological respect, gave Dionysius a lot. This is especially noticeable in his works, which researchers attribute to the "Belozersk" period. According to art historians, its beginning can be attributed to the 1490s, but the latest icons that have come down to us are the so-called "northern letters" of Dionysius, which date back to 1500. Their icon painter painted for the Pavlo-Obnorsky Monastery, which is located not far from Vologda.
In 1502, Dionysius creates frescoes for the Mother of God-Nativity Cathedral, located on the territory of the Ferapontov Monastery. His sons help him with this. And now next year officially, many consider the year of his death, although there is reason to believe that he lived much longer.
Another interesting point about the fate of Dionysius. It is believed that shortly before his death, he took the tonsure as a monk, spending the rest of his days in the monastery, as they said in those distant times in contemplation and silence.
Today we can say with confidence that Dionysius was one of the most prominent personalities of that time period.
"Crucifixion"
One of the most famous icons of Dionysius is called "Crucifixion". It is attributed to 1500. It was written for the so-called festive row of the iconostasis of the Trinity Cathedral, which was located in the Pavlo-Obnorsky Monastery. This is the famous male Orthodox monastery in the Vologda region. It was founded in 1414 by a disciple of Sergius of Radonezh and is considered one of the largest and most ancient monasteries in the Russian north.
Researchers highly appreciate this icon, noting that it depicts both a comforting and mournful image, which is almost completely devoid of naturalism, which can be observed in the works of many Western masters of that and later periods.
Sons of Dionysius
Serious help and support to their father was provided by his sons, whose names were Theodosius and Vladimir. All painting at the turn of the 15th-16th centuries is characterized by the work of the hero of our article and his two sons. Interestingly, unlike many of his predecessors, who were themselves monks, while working in monasteries, Dionysius remained a layman. Perhaps he died in this status, although most biographers believe that he nevertheless took monastic vows before his death.
Dionysius himself taught his sons the unsurpassed art of icon painting, and together they worked in different parts of Russia. For example, together they painted the stone church of the Assumption of the Mother of God in the Joseph-Volokolomsky Monastery, founded in 1484, the next year it was consecrated. That same summer, Dionysius painted it with his sons.
His youngest son Theodosius, who in 1508 was invited by the Grand Duke Vasily III to paint the Cathedral of the Annunciation in the Moscow Kremlin. There you could see the faces of George the Victorious, Dmitry of Thessalonica, Byzantine empresses and emperors. All this symbolized the continuity of power of the Moscow princes.
Theodosius also became famous as a designer church books on biblical stories. It is with his name that many associate the appearance of an early printed ornament. But nothing is known about the work of the eldest son of Dionysius Vladimir. According to the most common version, he took monastic vows under the name of Vassian.
On August 6, 1502, Dionysius began painting the Ferapontov Monastery. The sources that mention Dionysius are full of admiration for his wisdom and talent. Last of the greatest icon painters Ancient Russia, a representative of the Golden Age of Russian icon painting.
Joyful suffering
"Crucifixion" - an icon of the festive rank. It contains not only death, suffering and horror, but also the trampling of this death, the joy of the future resurrection, the atonement for the sins of all people. This entire icon is a vertical movement, starting with the unusually elongated figure of Christ, a symbol of a breakthrough from the earthly sphere into the heavenly one. This breakthrough is made through the cross, which is one of the most important Christian symbols. The plane of the icon is mentally divided vertically into three zones: the lower, narrowest, means the underworld, the middle one is the human world on earth, the upper one is the sky. Two perspectives are combined here: traditional for painting (the whole world) and traditional for icon painting - the reverse (the figure of Christ). The main meaning of this icon is an incomprehensible miracle, the transformation of the humiliation and suffering of the God-man into his exaltation and glorification, his death into a symbol of immortality. Here is what Alpatov writes about the “Crucifixion” of Dionysius: “The Hanging Christ seems to be hovering... The Mother of God rises... And at the same time, time has stopped, nothing happens, everything exists as an expression of the eternal, unchanging laws of being.” Now this icon can be seen in the Tretyakov Gallery in Moscow.
Living for two
 |
 |
Dionisy is the first icon painter who “united” Metropolitan Peter and Metropolitan Alexy in one icon, although these saints were not connected either biographically or chronologically. In his time, Peter had long been revered as the first metropolitan of Moscow, and Alexy was canonized only recently and was considered a "new" miracle worker. But Dionysius "rhymes" their icons, creating in them many parallels to each other and echoes. The figures and gestures of the metropolitans seem to repeat each other, and the hallmarks of the icons echo: Dionysius omits the same moments from the lives of the saints and leaves it to one or another saint, forcing the viewer, who is familiar with the life, to look at both icons at once. In the hallmarks of the icon of Peter, the icon painter emphasizes the miraculous, the supernatural (the vision of Peter’s mother, the prediction of victory in Constantinople, the miracle when Peter’s body was transferred to the temple, and others), while in the hallmarks of the icon of Alexy, on the contrary, he removes the emphasis from such miracles, transferring it to miracles performed the saints themselves. With these techniques, Dionysius emphasizes the continuity of spiritual authority: from Peter to Alexy. The icon painting researcher M.V. Alpatov: “In terms of its pictorial skill, this icon is one of the peaks ancient Russian art. Limiting himself to Generalized silhouettes, Dionysius avoids sharp chiaroscuro and clear contour lines. Everything is built on the finest ratios of color spots... In the last stamps, which tells about the events after the death of Alexei, the colors acquire watercolor transparency... The whole icon looks not so much like a story, but like a panegyric in honor of the Moscow Metropolitan.
Royal beggars
The Cathedral of the Nativity of the Mother of God of the Ferapontov Monastery Dionysius and his two sons painted, already being a deep old man. Surprisingly, the frescoes, whose area is 600 square meters, have been preserved in their entirety and have never been updated. Nothing has disappeared from the painting of the monastery, and those praying in the Nativity Church in the 21st century see the same thing that they saw at the very beginning of the 16th century. An inscription has been preserved in the arch of the Northern entrance, which says that the painting of the temple was made by the icon painter Dionysius “with his children” in 1502, and that this painting took 34 days. The frescoes of Dionysius are distinguished by an extraordinary richness of tones, softness of colors, and harmonious harmony of proportions (including those with the proportions and shape of the temple). Murals adorn not only the interior, but also the facade of the temple, which depicts main plot- "Nativity of the Virgin". Thus, the story of the life of the Virgin begins at the entrance to the temple and continues inside it. Depicted by Dionysius and chants in honor of the Virgin Mary - "Rejoices over you", "Praise to the Virgin". All the frescoes of this temple are united by the theme of glorification. Mother of God, her mercy and majesty. Dionysius is a master of depicting figures, and even servants and beggars acquire a regal posture from him.
Strict queen
"Our Lady Hodegetria (Guide)". Strict and regal, even cold Mother of God with a baby, who is not touched and does not press the child to herself, but, as it were, reveals Him to the world. The golden border of her cape lies solemnly, almost completely hiding the dark blue headband. The break in its folds over the forehead of the Mother of God flashes like a golden star of embroidery and it seems as if this crown is crowning the forehead of Mary. Her hand, supporting the Baby, does not seem to be a caring hand of the Mother, but a kind of Royal throne ... And the lower border of the cape, falling from Mary's left hand, seems to form the foot of this throne. The gesture of the hand of the Mother of God, pointing to her Son, is interpreted in a different way: as a prayer addressed to Him. And Christ Himself addresses on this icon not to the beholder, but blesses His mother. All this serves to make the viewer feel the distance separating him and the Savior, and can turn to the Lord through His holy Mother as a mediator and "ladder".
Touch the miracle
The icon "Assurance of Thomas" of 1500 is based on a plot from the New Testament: Thomas, one of the twelve apostles, was absent at the first appearance of Christ after His Resurrection, he wants to be sure of this, to "touch" the miracle. Without opening the door, appearing in a miraculous way, Christ demanded that Thomas touch the wounds left on his body by spears. In response, Thomas proclaimed his confession of faith: "My Lord and my God!"
Reverence, fear, admiration - everything is conveyed in the gesture and posture of Thomas. His hand reached for the hand of Christ, and the silhouette of the back, as it were, continues the line, the beginning of which is the outline bent arm Christ. Thomas is under His hand, under His authority, under His merciful and understanding gaze. Behind the figure of Christ is a door through which he passed without opening it. This door also reminds the viewer of the words of the Savior: “I am the door, if anyone enters by me, he will be saved, and he will enter and go out and find pasture.” In the foreground on the left is the Apostle Thomas, stretching out his right hand to the Savior and touching His ribs, his figure is highlighted in the composition by a bright cinnabar cloak, contrasting with the restrained in tone clothes of the other depicted.
The victory of light over darkness
Icon "Descent into Hell". The plots of the descent into hell and the Resurrection are closely connected, and both of them are represented in this icon. Surrounded by heavenly forces, trampling the crossed gates of hell with his feet and as if hovering over its black open abyss, stands Christ. He brings Adam and Eve out of the open tombs with both hands. He stands on the cross - a symbol of martyrdom and victory, sorrow and joy at the same time. Light conquers darkness, this theme is developed in the icon in great detail, so that the icon is replete with inscriptions naming all the dark forces. Passion, decay, sorrow, despair, hatred, enmity, despair - these demons are trying to pierce the shining mandorla of the Savior with red spears. On both sides of the icon - risen from the dead. Above, between parted rocky mountains, there are angels raising and glorifying the Calvary cross. “We celebrate the mortification of death, the destruction of hell, the beginning of another eternal life,” is sung in the Colored Triodion. This icon celebrates the victory of life over death.
Many worlds in one
The icon "The Savior in Strength" by Dionysius hangs in the Tretyakov Gallery in the same room as the icon "The Savior in Strength" by Andrei Rublev. The composition of the icon by Dionysius almost repeats Rublevskaya, but still not completely: the position of the foot of the right foot, the proportions of the figure and the “glory” surrounding it, somewhat compressed by the frame of the ark, have been changed.
"The Savior in Strength" - the central icon in the iconostasis Orthodox church rich in symbolism. The longer the viewer peers into it, the more details, images and symbols he finds. For example, in this icon there is an allegorical image of the four evangelists in the form of a calf, an eagle, a lion and an angel (man). Squares and ovals different colors symbolize different worlds- earthly, the world of heavenly forces (they are depicted on the icon), the invisible world. In the left hand of the Savior is the Gospel with a quote in Church Slavonic: “Come to me, all who labor and are burdened, and I will give you rest: take my yoke upon you and learn from me, for I am meek and humble in heart.” This icon of the Savior is a real theological treatise in colors. Its plot is based mainly on the Revelation of John the Theologian, and the image shows Christ as He will appear at the end of time.
Catherine Oaro
Details Category: Art of Ancient Russia Posted on 18.01.2018 14:07 Views: 1253The painting of Dionysius is “the last great flapping of the wings of ancient Russian pictorial creativity” (L. Lyubimov “The Art of Ancient Russia”).
P.P. Muratov, a Russian writer and art historian, translator and publisher, believed that “after Dionysius, ancient Russian painting created many beautiful works, but the Dionysian dimension and harmony were never returned to it.”
About the artist (c. 1440-c. 1502)
There is almost no information about the life of Dionisy, as well as about the life of Andrei Rublev, but it is known that he achieved fame during his lifetime. He was a leading Moscow icon painter and master of frescoes of the late 15th and early 16th centuries. He is considered the successor of the traditions of Andrei Rublev.
Dionysius was assisted by his sons: Theodosius and Vladimir. They were both gifted artists. In addition, Dionysius created an icon-painting artel, in which talented painters also worked. In this regard, it is sometimes difficult to establish authorship, but in this case they rely on the artistic individuality of the master, and in Dionysius it appears so clearly that his hand is easily recognized. Experts know about ten cathedrals, in the painting of which Dionysius participated. Some of the artist's works have been irretrievably lost, some have been preserved thanks to restorers.
Creation
The earliest known work of Dionysius is considered to be the painting of the Cathedral of the Nativity of the Virgin in the Pafnutiev Borovsky Monastery (1467-1477).
Pafnutyevo-Borovsky Monastery. Cathedral of the Nativity of the Virgin
Cathedral of the Nativity of the Virgin in the Pafnutiev Borovsky Monastery
Dionisy completed the painting under the supervision of the elder Simonov Monastery - the icon painter Mitrofan. After 117 years, in 1586, the cathedral was almost completely dismantled, and a new, five-domed one was put in its place; but in the laying of its foundation, blocks with paintings of the 15th century were used. So fragments of the painting by Mitrofan and Dionisy have survived to our time and are now in the Andrei Rublev Museum of Ancient Russian Culture and Art in Moscow and the Borovsky branch of the Kaluga Regional Museum of Local Lore. During the restoration work of the 1960s, 194 white stone blocks were removed. Of these, 29 have preserved fragments of plot and decorative painting belonging to Dionysius. But after the rebuilding of the cathedral, Dionisy's wall-paintings in the Cathedral of the Nativity of the Virgin of the Pafnutyevo-Borovsky Monastery were not preserved.
Dionysius. Head of an unknown saint ((1467-1477). Borovsk Museum
Then Dionisy, with members of his artel, paints the Assumption Church in Moscow (most likely, the Assumption Cathedral).
Moscow Kremlin. Assumption Cathedral
The stone Moscow Assumption Cathedral was erected by the Italian master Aristotle Fioravanti in 1475-1479. It was conceived as the main cathedral church, the cathedral church of the independent autocrat of "All Russia" - the first Moscow sovereign Ivan III.
Russian sovereigns and tsars began to get married in this temple. The icons that were in the Assumption Cathedral became not only common Russian shrines, but also role models when painting new icons.
Dionysius (according to records in the chronicles) worked in the Assumption Cathedral in 1481. He was entrusted with the creation of a new iconostasis for the temple. Dionysius worked with an artel of craftsmen. Neither the iconostasis nor the altar deesis have been preserved.
In the 1480s, Dionysius painted two paired hagiographic icons of the Moscow metropolitans Peter and Alexy for the Assumption Cathedral.
Dionysius and workshop. Saint Metropolitan Peter with Life (1481). Assumption Cathedral of the Moscow Kremlin
Dionysius and workshop. Saint Metropolitan Alexy with his life. State Tretyakov Gallery (Moscow)
Dionysius created compositions in the lower tier of the walls of the altar rooms of the cathedral: the Peter and Paul and Pokhvalsky aisles. In the Pokhvalsky side-altar preserved top part compositions Cathedral of Our Lady "Adoration of the Magi". This is a multi-figure composition in a semicircle of an arch on the wall, painted in a fine and festive style. colors. On the southern wall, the upper part of the fresco of the Nativity of John the Baptist has been preserved.
On the southern wall of the Peter and Paul chapel, two scenes have also been preserved: “Apostle Peter heal the sick” and “Forty Martyrs of Sebaste” (only 24 figures survived).
Spaso-Stone Monastery. Transfiguration Cathedral
Spaso-Stone Monastery is a monastery in the Vologda region. It is located on a small island Kamenny on the Kubensky lake. One of the oldest monasteries in the Russian North, founded around 1260. The icons by Dionysius have not been preserved. But we provide a photo of this monastery to admire the ability of ancient architects to place architectural structures in the natural landscape.
Joseph-Volokolamsky Monastery. Assumption Cathedral
View of the Joseph-Volokalamsky Monastery
The monastery was founded in 1479 by the Monk Joseph Volotsky, who was tonsured a monk by the Monk Pafnuty of Borovsky and became his successor. After the death of Paphnutius, he tried to introduce a cenobitic charter in his monastery, but met with opposition from the brethren. Then Joseph went to wander around the monasteries, and in 1479 he returned and set up another male monastery.
First, a wooden church in honor of the Assumption of the Mother of God was laid here, and in 1484 a stone one. In 1486, a stone cathedral was built in the new monastery, in the painting of which Dionysius and his sons took part. The murals of Dionysius in the monastery were not preserved - in the 17th century. the cathedral was completely rebuilt.
Of the numerous works of Dionysius created for the monastery, one icon has been preserved - “Odegetria the Mother of God”. Currently, the icon is stored in the Andrei Rublev Central Museum of Ancient Russian Culture and Art in Moscow.
Dionysius "Our Lady Hodegetria" (after 1485)
Pavlo-Obnorsky Monastery. Trinity Cathedral
Pavlo-Obnorsky Monastery (photo from the beginning of the 20th century)
Founded in 1414 on the banks of the Nurma River ( Vologodskaya Oblast) a disciple of Sergius of Radonezh, St. Paul of Obnorsk. One of the most ancient and in the past large monasteries of the Russian North. Most of the buildings of the XVI-XVIII centuries. were destroyed by the Soviet authorities, the surviving buildings were used as Orphanage, pioneer camp. In 1994 it was returned to the church.
Several icons come from the Trinity Cathedral, including the work of Dionysius, at present they are in the collection of the Tretyakov Gallery, the Russian Museum, and the Vologda Museum-Reserve.
For the wooden Trinity Cathedral Dionysius in 1500 painted an iconostasis. Only 4 icons have been preserved: "The Savior in Strength", "Crucifixion", "Assurance of Thomas", "Assumption of the Mother of God".
Dionysius "The Savior in Strength" (1500). State Tretyakov Gallery (Moscow)
Dionysius "Crucifixion" (1500). State Tretyakov Gallery (Moscow)
Dionysius and the workshop "Assurance of Thomas" (1500). State Russian Museum (Petersburg)
Kirillo-Belozersky Monastery. Assumption Cathedral
The monastery was founded by St. Cyril of Belozersky, who came here together with St. Ferapont from the Moscow Simonov Monastery at the beginning of the 15th century. Kirill Belozersky was a widely educated person. The monastery founded by him became the most important cultural and religious center of Russia.
Kirillo-Belozersky Monastery is the largest monastery in Europe (an area of about 12 hectares). It accumulated and stored works artistic culture that were created here or came here from all over Russia.
The main temple of the monastery is the Assumption Cathedral (1497). The iconostasis of the temple is completed the best craftsmen Russia. Most of the icons have been preserved (about 60).
Dionysius and the workshop "Kirill Belozersky with his life" (beginning of the 16th century)
Dionysius and the artists of his workshop are credited with the surviving icons: “ Reverend Kirill Belozersky" and "Reverend Kirill Belozersky with his life". Both icons are in the Russian Museum.
Moscow Kremlin. Ascension Monastery. Ascension Cathedral
Ascension Monastery. Photo from the album N.A. Naidenov "Moscow. Cathedrals, monasteries and churches" (1882)
In 1482, a miraculous Byzantine icon of the Mother of God Hodegetria of the 14th century, brought from Constantinople, was burnt in the cathedral during a fire. The icon was restored by Dionysius. This restored icon survived during terrible fire 1547 "Our Lady Hodegetria" is in the State Tretyakov Gallery.
Dionysius "Our Lady Hodegetria" (1482)
Spaso-Prilutsky Monastery. Transfiguration Cathedral
The Spaso-Prilutsky Monastery was founded in 1371 not far from Vologda by Abbot Dimitry from Pereslavl-Zalessky, who was a student and associate St. Sergius Radonezh. Dmitry Prilutsky built here the first wooden church and near it wooden cells for monks. Until the sixteenth century all buildings in the monastery were wooden. Over time, the Spaso-Prilutsky monastery became a large, influential and rich monastery in northern Russia, and stone construction began here.
Dionysius and the workshop "St. Dmitry Prilutsky with his life"
Ferapontov Belozersky Monastery. Cathedral of the Nativity of the Virgin
The most famous (and last) works of Dionysius are the wall paintings and the iconostasis of the Cathedral of the Nativity of the Virgin of the Ferapontov Monastery, made by the artist together with his sons.
Cathedral of the Nativity of the Virgin
Known icons of Dionysius: Metropolitans Peter and Alexei (1462-1472), Our Lady Hodegetria (1482), Baptism of the Lord (1500), Savior in Strength and Crucifixion (1500), Descent into Hell.
Ceiling painting of Dionysius in the Cathedral of the Nativity of the Blessed Virgin Mary (Ferapontovo, Vologda region)
Dionysius. Frescoes of the Ferapontov Monastery
Fresco of the Church of the Nativity of the Virgin in the Ferapontov Monastery
The ensemble of the Ferapontov Monastery is unique in its beauty, harmony of architectural details of different centuries, uniting it into a single whole. The idea of the ensemble is to reveal the theme of the Incarnation in architectural and pictorial images.
Ensemble of the Ferapontov Monastery
Of particular importance for Russian and world culture is the Cathedral of the Nativity of the Virgin. The chronicle states that on the slope of the northern door the cathedral was painted by Dionysius and his sons in 1502.
The mural area of the cathedral is 600 m². And this is the only documented painting of the master. It vividly characterizes the individuality of Dionysius's work: soft colors, harmony of plots with architecture. It is very important for us that the murals of the cathedral have been completely preserved and have never been updated.
The monastery was founded in 1398 by St. Ferapont, who came from a boyar family. Ferapont took monastic vows in the Moscow Simonov Monastery, came to the North together with his friend and associate Saint Cyril of Belozersky, but did not stay with him, but founded his monastery 15 km from the Kirillo-Belozersky Monastery.
Here worked scribes, icon painters - in particular, Dionysius.
Dionysius. Father Abel. Fresco from the Nativity Cathedral of the Ferapontov Monastery
The frescoes and icons of the Ferapontov Monastery are considered the last major work of Dionysius.
Dionysius and the workshop "Apostle Paul"
The painting of Dionysius is the work of the leading master of the era. His iconic images are distinguished by their inner unity and sublimity, they help the spiritual mood. He embodied in his creations the experience of his predecessors, but also expressed the spiritual upsurge that manifested itself in public life end of the 15th century Thus, Dionysius largely determined the worldview of his contemporaries.
