The Catalog of Good Deeds

Perhaps the last of the Medieval Old Masters of Russian art, Dionysius (also known as Dionisius the Wise, Dionisii or Dionisy) grew up in the tradition of the Novgorod school of icon painting before later being called to Moscow by John III where he became the leading figure of the early Moscow school of painting at the end of the 15th century. His greatest works include his monumental mural painting created for the Virgin Nativity Cathedral at the Ferapontov Monastery, Novgorod; his Deesis for the Cathedral of the Dormition in Moscow; and the icon painting he completed for the Joseph Volokolamsky monastery. These devotional panel paintings along with his frescoes are regarded as the high point of the classical style in Russianreligious art.

Novgorod School of Icon Painting

There is a very marked difference in approach between the Christian art of Dionysius, the third great Russian icon-painter of the Novgorod school, and that of his great predecessor Andrei Rublev (c.1360-1430). It should probably be ascribed to the interest which later 15th century Novgorodian painters began to take in composition. Whereas Rublev and his contemporaries worked contentedly in the old iconographic tradition, unconscious of any constraint, Dionysius and certain of his contemporaries deliberately experimented with balance and composition. Their preoccupation with these problems is clearly reflected in their works. A fine icon of the Beheading of St. John the Baptist, for instance, reveals the lines their thoughts were following. The saint is shown against Cubist-style mountains rising steeply one above the other. Their towering verticality is emphasized on the one side by a narrow, upright chapel, on the other by a very straight tree. In contrast, the upper part of the saint's body is bent forward at right angles, and this horizontal line is repeated by the sword poised to strike at his neck. The use of such horizontal lines in an otherwise wholly vertical composition marks a new departure in this form of painting, for it introduces a dramatic spirit derived from composition instead of the customary pose and content. Fifteenth-century icons acquired a new pictorial quality from such experiments.

Whereas Rublev was a primitive in the best sense of the term, Dionysius was agitated by the questioning spirit which precedes all periods of rapid development and reform, especially in art. In this case the arrival in Moscow of a group of Early Renaissance artists from Italy acted as a powerful stimulant for evolution, and Dionysius's palette and style reveal how deeply the Italians affected his art. His colours are softer and certainly less exciting, though perhaps as insidious as those in previous Novgorodian painting, whilst his figures are even more elongated than was usual at Novgorod.

Early Works

Dionysius's earliest recorded works are the wall-paintings in the church of the Parfuntiev Monastery at Borovsk, 60 miles south-west of Moscow, which are dated to 1467-70. They were probably painted when he was still quite a young man, since he was employed there as assistant to the painter Mitrofan. Ten years later, however, his own sons were acting as his assistants, from which Grabar deduces that Dionysius must have been born in the 1440s.

Fresco Murals at Ferapontov Monastery

Again, as with Theophanes and Rublev, virtually nothing is known of Dionysius's life. His death is presumed to have occurred in 1505. His finestfresco paintings are to be seen in the Ferapontov Monastery situated in the extreme north of Novgorodian territory, not far from Kirilov on the shore of the White Lake: see, for instance, The Meeting of Mary and Elizabeth(c.1480). They rank with the finest masterpieces of Novgorodian painting, and are the last mural decorations which Dionysius executed for Novgorod. All his later paintings were carried out for Moscow. Both cities thus vie in claiming him, Novgorod as the last of its great masters, Moscow as the finest of her medieval artists, working during the closing period of the Middel Ages. The Ferapontov Monastery rises from amidst gentle hillocks and fine forests. Its church is dedicated to the Virgin, and the landscape in which it stands forms a delightful setting for its wall-paintings, all of which depict scenes drawn from the cycle of the Virgin's life. All of them were the work of Dionysius, but he was assisted by his sons. Although these particular religious paintings may lack something of the intensity of earlier Novgorodian work, they make their own appeal, and their soft color pigments, mainly turquoises, pinks and lilacs, are delicately blended and balanced, whilst their impressionist brushwork conveys intense animation. They constitute the happiest stepping-stone between two periods, for they retain the best of Novgorodian painting and to a certain extent foreshadow the later Stroganov school.

Personal Style

Dionysius's personal style of Byzantine art - nicknamed "Muscovite Mannerism" - was characterized most obviously by his mastery of colour in painting. His colours are delicate and transparent, producing a range of harmonious chords, notably in solemn scenes populated with large numbers of figures. And while his figures are even more elongated than was customary in Novgorod, he escaped both artificiality and effeminacy. His drapery is moulded with a classic touch, which adds forcefulness to the whole, and the curiously coloured hills and architectural features in his backgrounds possess a fresh vitality. The perfect spacing of his figures and the highly successful disposition of each scene are not the least of his achievements, since their presence, whether on pendentive or arch, is so satisfactory that it is apt to be taken for granted. A master of numerous mediums including encaustic as well as tempera painting, Dionysius arguably had an even greater impact upon contemporary Russian artists than his predecessor Rublev: indeed, the lyrical effect of his colour schemes permeated much of the art of the early 16th century. His style was continued by numerous followers including his sons Feodosy and Vladimir, who decorated the Annunciation Cathedral in the Kremlin in 1508.

Icon Painting (1482-1502)

In 1482 John III summoned Dionysius to Moscow to paint the superb Deesis on the iconostasis in the Cathedral of the Dormition: (note: a deesis is a representation of Christ seated, with the Virgin on his right and John the Baptist on his left, both trying to intercede for mankind). He also decorated two of the cathedral's chapels with murals. After this, Dionysius and his sons were set the task of providing the Joseph Volokolamsky Monastery with a hundred icons. Dionysius must have enjoyed this assignment, for he devoted the remainder of his life to religious panel painting. This makes it all the more regrettable that so few of his icons have as yet been discovered. Of the hundred painted for Volokolamsk only eighty-seven are mentioned in its inventory, and several still await cleaning. Until they are restored to their original condition no exhaustive opinion can be formed of Dionysius as an icon-painter, and for the present at least his reputation must rest on the superb work which he executed for the Ferapontov Monastery and with his Moscow Deesis. These, however, suffice as proof of his exceptional skill.

Source: http://www.visual-arts-cork.com/old-masters/dionysius-icon-painter.htm

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Where does the orthodox tradition on wearing black long cassocks come from and what is their purpose? Here is a wonderful article that discusses this matter:

"People have sometimes approached me and asked why Orthodox priests (as well as deacons, monks and bishops) traditionally wear black cassocks. In the earliest Church, it does not seem that clergy wore any distinctive garb, except of course liturgical vestments, which in some cases also were worn outside the Divine services. For example, sometimes bishops and priests wore the phelonion like regular clothing, as did the deacons with the sticharion (in the West dalmatic).

It seems reasonable to assume this was at least partly due to the facts that 1) Christians were frequently persecuted during the first centuries, and self-identifying marks like clerical garb would therefore in some cases be tantamount to suicide; and 2) there was, at that time, no pressing need to alter their standard wear. The early priesthood was in many ways understood in the context of the Levitical priesthood inherited from the Jewish tradition by the early Church, and standard (non-liturgical) wear for them was not always identifiably different from that of others.

So for the first three centuries, priests wore more or less the same clothes as ordinary people. The tunics were normal clothes. But when it became fashionable to wear shorter robes, most priests kept the longer more conservative tunics, and thus they stood out from other people. As fashions changed in the Roman Empire, it seemed right for the ordained clergy not to follow the vain changes of worldly styles.

The Council of Braga in Portugal (572) seem to be one of the first synods to mandate that clergy wear a tunic reaching to the feet.

The Quinisext Council (692, i.e. the conclusion of the Sixth Ecumenical Council) stated: “None of those who are in the catalogue of the clergy shall wear clothes unsuited to them, either while still living in town or when on a journey: but they shall wear such clothes as are assigned to those who belong to the clergy.” (Canon XXVII)

Responding to reports of laxity in Britain, Pope John VIII (c. 875) admonished the Archbishops of Canterbury and York to ensure that their clergy wore proper attire, particularly long tunics.

The English word “cassock” derives from the early French casaque, meaning “a long coat.” The Russian word for the cassock is подрясник (podryasnik), and the Greek is αντερί (anteri) or ράσον (rason).

The color black indicates spiritual poverty – it is historically the easiest and cheapest color to dye fabric with. Moreover, black is a color of mourning and death for the priest, the symbolism is dying to oneself to rise and serve the Lord as well as giving witness of the Kingdom yet to come. Black is associated with sorrow but in the case of priestly robe this color has another symbolic meaning. A black cassock is to remind a priest that he ‘dies to the world’ every day and immerses in eternity. Blackness also symbolizes giving up bright colors and thus giving up what the world brings, its glittering, honors and entertainment. Also, as an Archpriest once pointed out to me, stains are readily visible on black, reminding the priest that he is held to a higher standard. His sins and failings will be more visible and judged harsher, than those of other people. In our very secular world, the wearing of the cassock continues to be a visible sign of belief and of the consecration of one’s life to the service of the Lord and His Church."

By Fr. Andreas Blom

Source: http://www.stgabrielashland.org/why-do-you-wear-that-black-cassock/

What is life? This question is quite easy, but at the same time, it is difficult to answer it. The sunlight coming through the window in the morning, our relatives and friends, week-days and week-ends, challenges and enjoyments – all of these make up our life. In other words, it’s everything we encounter in our everyday lives. However, that’s not all. It’s important what’s in our hearts. Do they tend to good and purity? Do they reach for other people?

Only those of us, whose heart is open for light and love, truly live. Days pass like the cars of a leaving train. Childhood, youth, family life, children… Problems and further joy. These things seem natural to us. How could it be otherwise indeed?

There are people who live close to us but whose paths are completely different. Their society is limited to the territory of the Psycho-neurological hospital №3. Some of them have found themselves here in a twist of fate, but the others have been there for whole their lives. They cannot enjoy the simplest life’s pleasures. What is trivial and casual for us, is unknown for them. When we look at them from where we sit, we may think they are totally deprived people. That is not true. Sure, they cannot live at our usual pace, but that doesn’t mean their souls are poor. The brothers and sisters who visit the hospital say these people are extremely sincere and sensitive. They will never betray or lie, because they just do not know how to.

Another their feature, which surprises the outsiders, is their ability to feel God. They attend divine service in the home church and take the sacrament with pleasure. Despite the fact they cannot get some things with their mind, their hearts understand everything.

The inhabitants of the hospital are free to deal with some terrestrial arts too. Some of them sing, and the others like dancing. There are even local “stars” – a creative team “The Joyful Hearts”. It was created by the late Novice Tamara, the inhabitant of our Convent. She poured her heart and soul into the artists. They’ve managed to become a big creative family for many years. Nun Sofia (Demyanova) leads the team at present time.

– None of them has musical education, but they can sing with their souls. – tells Mother Sofia. – They can not only sing, but dance and play the spoons as well. And they are really good with words!

The members of the team got here for various reasons and in different life periods. But their reluctance to depress and desire to find themselves is what unites them.

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Andrew Natalchuk, the soloist of the choir, is blind and can’t see this world, but he can perceive it with his heart. So he tries to express all his feelings in songs.

– Each song is favorite for me, – he says. – How could a song be less favorite? Each has its soul and each is beautiful in its way. I like the songs by Yuri Antonov and songs from films. They’re quite spiritual.

Elena Zaharevskaya is another soloist. She has never got musical education, but her nice and pure voice will inevitably touch your heart. She’s a very artistic person, who enjoys life no matter what.

– I tried to sing when I was a kid. But I have been singing with the choir for more than a month. At the rehearsals we try to support each other, when, for example, someone forgot the words, and this unites us. We rehearse three times a week, we choose and learn new songs. I like to be on the stage, and people like our concerts and applaud us. I’d like to go to France very much! To see the Eiffel Tower, to go it up and to observe the city from height! And it would be interesting for me to talk to the people living there. Each trip gifts us new memories, new acquaintances, and new moments!

“The Joyful Hearts” give concerts not only in the hospital. They have performed several times in Russia and Europe in terms of charity projects. Their plans for the near future include a tour to France. All these can be possible due to the donation of those, who is not indifferent to their fate. So we all hope, that with God’s help the collection box of their performances will be enriched with one more successful concert.