Icon of Sophia the wisdom of God. Sophia, the wisdom of God Prayer of Sophia the wisdom of God of Kiev with pillars

The icon “Sophia the Wisdom of God” is extremely rare and difficult to find, although there are several churches where this image rests in one of the most honorable places.

Description and meaning

The image “The Wisdom of God Sophia” contains the idea of ​​​​the reincarnation of the Mother of God, allowing one to contemplate Her wisdom. The image of Wisdom on this icon belongs to Jesus, who gave his life for the salvation of people, since that is what he is called in the apostolic epistles. In addition to the Mother of God Sophia, John the Baptist is depicted next to the Son of the Lord, who accompanied the Savior throughout His earthly life. Christ is surrounded by disciples listening to his sermons.

The Mother of God is dressed in a beautiful tunic, her head is covered, and she stretches her palms forward. Seven winged archangels are visible above Virgo standing on the crescent moon. Each of the seven light essences holds one of the symbols of holiness in their hands:

• Michael has a sword with a flame instead of a blade;
• Uriel has a lightning bolt pointing downward;
• Raphael has alabaster (an alabaster vessel for storing incense, in this case, myrrh);
• Gabriel has a blossoming lily flower;
• Selaphiel has a rosary;
• Jehudiel has a royal crown;
• Barachiel has flowers, and he himself is located on a white board.

The face of God the Father and the Holy Spirit are visible above all. You can also read the words “I established Her feet” coming from the mouth of God the Father, apparently addressed to the image of Sophia (Wisdom).

Under the feet of the Mother of God there is a church where secret Old Testament records are kept. The icon has an ambo (raise in front of the iconostasis), which includes seven steps with inscriptions that carry the deepest meaning for every believer:

1. Purity of thoughts;
2. Glory;
3. Nobility;
4. Humility before the Lord;
5. Love;
6. Hope;
7. Faith.

“Sophia” was even mentioned in the book of Solomon, where it was noted that the main purpose of the image is to remind all Christians for what purpose the Savior came to people and from whom He was born.

The entire icon is supplemented with the inscription “Create Wisdom for Yourself a House and establish seven pillars.”

From the history of writing icons

The original purpose of writing was to explain the idea of ​​the trinity of God, his ability to appear in three persons at once: the Father, the Son and the Holy Spirit.

According to some historians, the choice of name for this image was not accidental, since it most accurately matches its meaning. The first of the meanings given by the name Sophia is “Wisdom”, and when translating the word from Greek to French it turns out to be “Trinity”.

The source of the image was previously kept in the temple of Constantinople, but in our time no one can say anything reliably about it, although for many years archaeologists have carried out excavations trying to find this particular icon. Information about its iconographic sources was also not found.

In addition, many believers are still trying to figure out for themselves why a female figure was chosen to depict the Divine Wisdom symbolized by Jesus. But the answer is still not found.

According to Athanasius of Alexandria, the image of Wisdom is applicable not only to the Virgin Mary, but also to other manifestations of spiritual life. In particular, this may refer to the church, saints, or even imply the human soul, which is the guardian of the Wisdom given by God.

Archbishop Ignatius of Voronezh noted that the Temple of Sophia, like Divine Wisdom, resides in the heavenly palace along with God and his angels. But he also spoke about the presence of Wisdom in all worlds visible and invisible to man, in human souls, the church, on earth and in heaven equally.

It is extremely difficult for a person to understand, let alone accept, such ambiguity. But only through this can one comprehend the mysteries of spiritual life. That is why so many pilgrims flock specifically to the images of Sophia.

Copies of icons

In Rus' there were very few editions of Sophia; now there are a little more of them, but two of them have retained their significance for Orthodox people for several centuries.

Kyiv

One of the most ancient lists of icons is the Kiev Icon "Sophia the Wisdom of God". The image originally came from the Byzantine Church of Justinian, and is now located in the famous St. Sophia Cathedral.

The meaning of “Sophia” of Kyiv differs to a certain extent from the generally accepted one. Here there is a symbolic image of the path between the earthly and heavenly worlds. In addition to the archangels, there is an image of the forefathers of the human race.

On both sides of the seven steps there are biblical heroes:

• Moses (on his tablets there is a command to honor the Word of God);
• Aaron (brother of Moses, first Jewish high priest);
• King David;
• prophet Isaiah;
• prophet Jeremiah;
• prophet Ezekiel;
• Prophet Daniel.

In the image, one can clearly see the repeated emphasis on the symbolism of the seven. For this reason, the second name of the icon is “Seven Pillars”. The prototype of the Mother of God here is Oranta - the patroness and protector. As for the images on the pillars, they themselves and their symbolic meaning were drawn from the book of the Apocalypse.

Novgorodskaya

Another image, similar to the Kyiv one, is located in Novgorod and also has its own differences. Its peculiarity lies in the fact that the Mother of God and John the Baptist pray on it, standing before the Savior. Therefore, the type of Novgorod edition is defined as Deesis.

This wooden frame is framed with a gilded silver chasuble. The central figure of the composition on it is not the Blessed Virgin, but the Lord Pantocrator, dressed in royal robes (podir), a crown and a jeweled belt. His right hand (right hand) clutches a scepter crowned with a cross, and with his left palm he presses a scroll to his chest. Wings of fire are visible from behind God’s back, and he himself sits on a golden throne supported by seven pillars.

In the hands of the Forerunner there is also an unrolled scroll, on which is written “I testify.” Above the fiery-winged Almighty is the Savior, raising his hand in a blessing gesture.

At the very top of the image you can see a throne made of gold, on top of which lies an open book, symbolizing the presence of God. On both sides of him are kneeling angels (three on the left and on the right).

The background of the icon is blue, it should symbolize the firmament decorated with stars. The Novgorod copy of “Sophia” is revered as miraculous. The beneficial power of the image has documentary evidence in the form of historical records. According to them, already in 1542, a woman suffering from an eye disease received forgiveness and healing from the “Wisdom of God.”

It is interesting that “Sofia” first appeared in Novgorod only in the 15th century, although the Novgorod church dedicated to it was rebuilt back in 989 (and the Kyiv church in 1037).

Every year on the day of the Dormition of the Most Holy Theotokos, the Novgorod and Kiev icons attract thousands of Christians, hoping to receive help in business or healing from illnesses from the wise Heavenly Queen.

What to pray for

Presence Icons "Sophia the Wisdom of God" It will have a place in any home, as it helps preserve family well-being. You can pray to her at any time your soul desires.

It would be good if there was a special holy corner with a lamp and candles for “Sophia” and other images. Most often this face of the Mother of God is addressed to:

• resolve disputes;
• save the family from problems and troubles;
• protect the house from the arrival of spiteful critics and call into it well-meaning people with pure thoughts.

According to all those praying in front of the icon “Sophia the Wisdom of God,” the Blessed Mary does not leave a single request unattended; each one receives an answer in the form of a sign, an event, or simply a resolution to the situation.

To address the icon “Sophia the Wisdom of God,” you can learn a special prayer, but then you must know it accurately and read it correctly. This prayer is an appeal both to our patroness and intercessor, the Mother of God, and to the Lord God. With the right attitude, the person praying can gain the wisdom needed to make the right decision. The benefit of the Blessed Virgin will help smooth out not only family conflicts, but also resolve work problems.

When asking for help, you should not wait for a “voice from heaven”; most likely, knowledge will come as if from within; you just need to learn to hear and understand what you hear.

In prayer to the Blessed Virgin, one can ask not only for one’s well-being, but also to wish health and happiness to any Orthodox believer who strives to fulfill the commandments and knowledge of the teachings of Jesus, who wants to gain a little wisdom.

Days of veneration:

• “Sophia – the Wisdom of God” (Novgorod) – August 28/15 (new/old style);
• “Sofia – the Wisdom of God” (Kiev) – September 21/8.

In the Russian Orthodox Church there are many icons with the image of Sophia, the Most Wisdom of God. to her, - for example, in Ki-e-ve, Nov-go-ro-de, Vo-log-de, To-bol-sk, in Moscow, in Tro-i-tse-Ser-gi- e-howl lav-re and other places. All of them, depicting the Mother of God and embodying from Her the Hypostatic Pre-wisdom - the Son of God, you-ra- they share one main idea. Under Pre-wisdom, or So-fi-ey, they understand the Son of God on the basis of Chapter IX of the book of Proverbs of So-lo -mo-new-vykh, where it says: “Most-wisdom built Her own house and established the seven pillars.” These words contain a reference to Christ, the Son of God, Who is mentioned in the Epistles of the Apostles -va-et-sya with God’s power and “God’s Pre-wisdom”; and in the word “house” there is an indication of the Most Holy Virgin Mary, who served the incarnation of the Son God. On the basis of these words, the image of the icons of St. Sophia, the Most Wisdom of God, is built.

The oldest of these icons is the image of Sophia, the Most Wisdom of God, who lives in, in. This icon, borrowed from the Church of Yus-ti-ni-a-na in Byzantium, depicts the unity of the Church see Heavenly and earthly through the incarnation of the Son of God - the Most Wisdom of God. On it there is a picture of a house or a temple and in it there is a standing Mother of God in a hi-tone, with a covering on her head, under the canopy, under-live-va-e-my table-pa-mi. Her hands and arms are spread out, and Her feet are established on the grey-shaped moon. On the per-syakh of Bo-go-ma-te-ri po-ko-it-sya the Pre-eternal Baby, with the right hand of the b-word-la-y-y, and in the left-handed country. On the ledge are the words of the book of Proverbs: “Wisdom has built Her own house and established the seven pillars.” Above the canopy in the middle there is a picture of the Holy Spirit surrounded by a ray of light, and a little higher, also surrounded by a si-ya-ni -I am, God the Father, who has a holder in his left hand, and a blessing in his right hand; From His lips come the words: “I have established Her feet.” On both sides, in the image of God the Father and the Holy Spirit, seven ar-khan-ge-lovs with races were presented -you erased your wings and with the knowledge of your service in your hands: from the right side, Mi-ha-il from the plan- with a small sword, Uri-il with lightning lowered down, and Ra-fa-il with the ala-vastre of the world; from the left side Gav-ri-il with a li-ly flower, Se-la-fi-il with evens, Jehu-di-il with a royal crown and Vara-hi-il with a bunch of flowers on a white board.

Under the ob-la-com with the gray-shaped moon, the servant under-the-no-life of Bo-go-ma-te-ri, the image-bra-wives of the am-von with the se -mew stu-pe-nya-mi, image-bra-zha-y-church of God on earth with the vet-ho-behind the vet-us secret-but-see-the-lya -mi incarnation of the Pre-wisdom of the great-from-tsa-mi and pro-ro-ka-mi. On the right side, on the fourth step from the top, there is a picture of Mo-i-sei with skri-zha-la-mi, on which to the damn words: “Rejoice, scream of God, on it is the Father’s finger on the word of God.” . Behind Mo-i-se-em, on the next step, in the lower-row, there are icons: Aaron in the mitre as a front- a priest and with a chilly staff and Da-vid in a crown, a royal robe and with a ark of Za-ve-ta. On the left side opposite Mo-i-Sei, on the same step with him, stands the prophet Is-a-iyah, hanging from the left-hand side. on the shoulder of the har-ti-ey, on which there is a view of the inscription: “Behold, the Virgin in her womb receives and gives birth to the Son.” Yes, Jeremiah stands with a scroll, E-ze-ki-il with the gates behind the creation, and Da-ni-il with a stone in his hands . In addition, for each of the seven steps of this am-in-hell, there is one word: faith, on -day, love, cleanliness, peace, goodness and glory. Seven steps are waiting to be established on the seven tables, on which are taken from Apo-ka-lip-si -sa pictures and their explanations. On the first pillar there are 7 combs with over-pi-sue: gift of co-ve-ta; on the second - se-mi-candle-nick with above-pi-sue: gift of ra-zu-ma; on the third - a book with 7 pri-ve-shen-ny pe-cha-cha-mi and above-pi-sue: the gift of wisdom. On the left side, on the first outermost table, there are 7 pipes and an inscription: gift of the Lord; on the second - the right hand with 7 stars and above-pi-sue: the gift of ve-de-niya; on the third - 7 smokes and the inscription: the gift of goodness; on the fourth and the next table - 7 streams of lightning with an over-pi-sue: the gift of the fear of God. In this way, on this icon, with the exception of Bo-go-ma-te-ri and St. Trinity, all persons and things are capable of the seventh number and have a similar meaning -what. This is the image of the Kiev icon of Sophia - the Most Wisdom of God.

Not all the images of Sophia are the same as the Most Wisdom of God. The New City icon of Sophia in the Sophia so-bo-re is the genus De-i-su-sa, or more correctly De-i-si-sa (Greek the Czech word “de-i-sis” means prayer; that’s the name of the icons depicting the Spa. -la, and in front of him is the Mother of God and John the Pre-te-chu in prayer). This icon depicts the Lord Almighty in royal attire, with fiery wings on a fiery throne , I'm waiting to be established on this table. All around is a blue sky, covered with stars. According to us, the images of the Mother of God and John the Forerunner are the closest witnesses of the incarnation of the Word of God -zhia. At the top is an image of the Savior in a fiery circle, on which there is an inscription: “The Wisdom of God.” Above this image, but again there is a blue starry sky and here on the golden pre-st-hundred lies the Evan-he-lie, in front there are six angels (three from each side) who are clinging to the place.

The New City icon of Sophia is considered miraculously creative. The co-preserved-niv-she-e-xia is-to-ri-che-skoe news says that from this icon in 1542 it was -targeting one woman who suffered from sore eyes. All the images of Sophia - the Most Wisdom of God - express the thought of Ma-te-ri of God, by serving the living We are the weapons for the incarnation of the hypo-status Pre-wisdom - the Son of God. For this reason, the celebration of the icon of Sophia is with the right-glorious church on the days of God and before property for the Birth of the Bo-go-ro-di-tsy, as in Ki-e-ve, or for the Dormition of the Most Holy Bo-go-ro-di- tsy, as in Novgorod, Vologda, Tobolsk, Moscow and other places where there are icons of Sophia - the Most Wise God's growth.

One of the oldest icons, it appeared as a temple icon in the St. Sophia Cathedral of ancient Novgorod, founded in the middle of the 11th century. Among the many icons common in Rus', with its unusual appearance it always brought some confusion into the minds and made us think about many things.

Why did it cause fierce controversy among clergy and philosophers? And why were some even almost anathematized because of her?

Looking at the icon “Sophia the Wisdom of God,” you immediately ask the question: “Next to whom are the Mother of God and John the Baptist standing in such reverent respect?” It is difficult to answer this question, because the Church rejected the knowledge of the early Christians, who were called Gnostics, as heretical. It was Father Pavel Florensky who was accused of Gnosticism, who in the 19th century glorified the image of Sophia. And the philosopher Vladimir Solovyov dedicated the following quatrain to her:

Know this: Eternal Femininity is now

In an incorruptible body he goes to earth.

In the unfading light of the new goddess

The sky merged with the abyss of water.

Some priests agreed with them, to whom the secret of this icon was revealed.
However, the bulk of the clergy tried to find a different explanation, declaring the figure on the throne to be simply an Angel carrying the Word of Christ! So the icon, which found life in other churches of Rus', began to acquire new features, according to this interpretation. The most famous version is from Kyiv. It has a completely different internal meaning. The incomprehensible things that violate the accepted dogmas of the Church have been eliminated. And it does not arouse excessive curiosity.

Let's take a look at Pavel Florensky's work “The Pillar and Statement of Truth”:

“The central figure of the composition is an angel-shaped figure in a royal dalmatic, with barmas and an omophorion. Her long hair is not curly, but falls on her shoulders. Her face and hands are fiery in color, behind her back are two large fire-like wings, and on her head is a golden crown in the form of a battlement. In her right hand is a golden caduceus, in her left is a closed list, pressed to her heart; near the head there is a golden halo, above the ears there are toroki or “rumors”. This is Sofia. She is represented sitting on a double mutaka, which lies on a magnificent golden throne with four legs and supported by seven fire-shaped pillars. Sofia's feet rest on a large stone.

The entire throne is located in a golden octagonal star, located against a background of blue or greenish concentric rings, dotted with golden stars. Sometimes, however, there is no eight-pointed star at all. On the sides of Sophia, on separate pedestals, stand reverently: on the right is the Mother of God, on the left is John the Baptist. Both of them have halos, but not gold, but greenish-blue. The Mother of God supports with her hands a greenish sphere with stars, in which is the Infant Savior, surrounded by a hexagonal star. In his left hand the Savior holds a scroll, and with his right hand he makes an oratorical gesture - something that was previously taken for a nominal blessing. The Forerunner also makes the same movement with his right hand, while his left hand holds an unfolded scroll with the inscription: “Repent...”. Above Sofia is the All-Merciful Savior, waist-length, with a cross-shaped halo. And this figure is placed in a hexagonal star surrounded by a starry background. Even higher is a star rainbow like a ribbon. In the middle of it there is a four-legged golden throne with instruments of the Lord’s passion and a book - the so-called “preparation of the throne.” On its sides are kneeling Angels, six in number, three on each side. Sometimes there are only four Angels; but then above the throne is depicted God the Father, sitting with raised hands on a throne with a semi-cylindrical back.

The head of God the Father is surrounded by an octagonal halo, the corners of which are alternately red and green. On the sides of this throne there are then two more kneeling Angels. Before giving a final interpretation of the described icon, I will note some particulars that suggest an explanation.

Wings of Sofia- a clear indication of some special closeness to the heavenly world. The fiery nature of the wings and body is an indication of spirituality, the fullness of spirituality. The caduceus in the right hand is an indication of theurgic power, psychopompia, mysterious power over souls. A rolled up scroll in a shuitz, pressed to the organ of higher knowledge - to the heart - is an indication of the knowledge of unknown secrets. Royal decoration and throne are an indication of royal power.

Crown in the form of a city wall- a common sign of Mother Earth in her various modifications, perhaps expressing her patronage of humanity as a collective whole, as a city, as civitas. A stone underfoot is an indication of firmness of support, steadfastness. Toroki or “hearings” behind the ears, that is, a ribbon that supports the hair and frees the ears for better hearing - an indication of the sensitivity of perceptions, of Openness to suggestions from above: toroki is an iconographic symbol to designate the organ of Divine hearing.

Finally, the celestial spheres surrounding Sofia, filled with stars, - an indication of the cosmic power of Sophia, her rule over the entire universe, her cosmocracy. The turquoise-blue color of this environment symbolizes the air, then the sky, and then the spiritual sky, the heavenly world, in the center of which Sophia lives. After all, the blue color tunes the soul to contemplation, to detachment from earthly things, to quiet sadness about peace and purity. The blueness of the sky - this projection of light onto darkness, this border between light and darkness - it is a deep image of the heavenly creature, that is, the image of the border between Light, rich in being, and Darkness-Nothing, - the image of the Smart World. That is why blue is the color that naturally belongs to Sophia and, through Her, to the Bearer of Sophia, the Ever-Virgin.

Further, in the composition under consideration, attention is paid to: firstly, the clear distinction between the personalities of the Savior, Sophia and the Mother of God; secondly, Sophia is under the Savior, that is, in a subordinate position, and the Mother of God is before Sophia, that is, again in a subordinate position. So, the Savior, Sophia and the Mother of God are in consistent hierarchical subordination. The same inequality between them is indicated by the difference in their halos.”

This rather large passage explains much of what may be incomprehensible to people less knowledgeable in the intricacies of iconography.

The famous priest Father Sergius Bulgakov adhered to approximately the same interpretation of the Sofia-Novgorod icon. For his philosophical writings about the essence of Sophia as correlating with the nature of the Holy Trinity, which manifests precisely the nature of the Holy Spirit, he was condemned by the Decree of the Moscow Patriarchate of August 24, 1935. He was ordered to abandon such sermons.

A lot of time has passed since then, and today it is possible to understand what was still unknown and not revealed in the recent past.

Let's look at the statements about Sofia by some famous people.

Aristotle called Sophia - “The Primordial Soul of the World.”

King David in one of his psalms, even a thousand years before Christianity, he placed all hopes for eradicating the machinations of Satan on Sophia the Wise: “Oh, Wisdom of God Sophia! Great and Wise are Your plans! Reign, Sophia! Humanity believes: You are the only key to victory over the wisdom of Satan."

Maximilian Voloshin, Admired by the work of blurring the smeared ancient icon of Sophia the Wise, he wrote the following lines:

From under vestments and pious scabs

You showed your true face,

The bright face of the Wisdom of Sophia,

A ray of hope in a sad fate,

And in the future - the face of Russia itself.

And here is what researcher V.I. Simonenkov writes about Sofia:

“The Apostle John (John the Theologian) recognized Sophia as the Mother of God. Among the codices found in Nag Hammadi were three apocrypha of the Apostle John, along with Berlin papyrus No. 8502; it was possible to reconstruct one, which had the effect of an exploding bomb. The Apostle John claimed the incredible that he had a manifestation of the Most High Essence, from which it was revealed to him that the creation of our world was carried out by Archon Sophia the Wise.

The Virgin Mary, just like the Mother of God, is Sophia incarnate... In Bethany, in the house of Lazarus, Mary Magdalene, as a representative of the royal family of Benjamin, performed the traditional sacred ritual of anointing Jesus as the messiah. In accordance with Jewish traditions, it was a woman of royal blood who performed the rite of anointing for the kingdom, at the same time becoming his wife-queen.

According to the book "Dead Sea Scrolls", anointing for the kingdom can only be carried out by a representative of the family of priests - messiahs who issue spiritual labels for the kingdom. So just royal blood is not enough here. But the royal blood, together with the incarnated Sophia, is the woman who can “give the kingdom into her hands.”

Let us now return to the icon. Let us pay attention to two points: in Sophia’s hands there is a certain rolled up scroll, and at the very top - above the LORD Himself! - golden throne with the Book!

It is likely that this is the Book of the Destiny of the World. In the hands of Jesus we also see the Book. It can be assumed that the scroll contains information for people that will be revealed in due time.

So, let's try to decipher what was revealed in this icon.

It is known that in iconography everything is subject to strict laws: the sizes of figures, angles, colors of clothing and all other details of the image. We see that on the throne there is a female figure, larger than the Virgin Mary and John. This speaks about the status of this Woman. The throne, wings and halo reveal Her belonging to both the earthly world and the Heavenly world. We can say that this is the Goddess embodied in the physical world! Just like Jesus was incarnated in his time. And the scroll in the hands of the Goddess says that She will bring people Knowledge from the Creator. And this Knowledge will help people on their way to the divine world and paradise!

This is such a complex icon, the harbinger of the Epoch we have entered - the Era of the Mother of the World, brought to the planet by the Divine Woman. She is the one at whom the entire Divine world looks reverently. The one who looks and sees each of us. The one we should set our sights on.

I. The first temple in the name of the Wisdom of God was erected in Constantinople by Constantine himself. But it was consecrated only under Constantius, in 360. It is not clear who gave the name to the temple. Socrates, our most ancient witness, expresses himself unclearly: “now called Sophia” (II, 43). In any case, in the time of Socrates, this temple was called Sophia. And it is not difficult to say how Christians of that time understood this name. This was the name of Christ, the Son of God, under this name foretold in the Old Testament (primarily in the book of Proverbs); this biblical name is repeated by the Apostle Paul (1 Cor. I:24). In the 4th century. they talked and argued a lot about Divine Wisdom, especially in connection with the famous verse Proverbs 8:22 “I created me to be the beginning of my ways...” This was the main exegetical topic in the disputes between Orthodox and Arians; and both disputing parties agreed that the Divine Wisdom spoken of in the biblical book is the Son of God. This was the theological tradition. Even Origen sharply emphasized that only the name of Wisdom is the primary and proper name of the Son (see Comm. in Johann. I. 22). In the famous symbol of Gregory the Wonderworker, Christ is called Word and Wisdom and Power... There can hardly be any doubt that erected in the 4th century. The Temple of Wisdom was dedicated to Christ, the Incarnate Word. And it is in vain to guess whether temples were not dedicated to abstract ideas then... Justinian had no reason to change the dedication when he erected a new one instead of the burnt old temple. In his time, during intense Christological debates, it was again most appropriate to dedicate the “great church” precisely to Christ, Wisdom and the Word. In any case, subsequently in Byzantium they always and invariably considered Sophia of Constantinople to be the Temple of the Word. In this regard, the well-known legend about the construction of Justinian's temple is especially characteristic. It expresses just the current, generally accepted understanding. It tells about the appearance of an Angel, “the guardian of the temple,” who swore by the name of Sophia, “and therefore received the name of the temple: St. Sophia, which means: the Word of God” (ed. Preger, p. 74) ... One should not ask on what day A “throne feast” was celebrated in Justinian’s Sophia. And much later than Justinian, there were no patronal or temple holidays in the modern sense. The very dedication of the temples was not yet strictly demarcated, especially the dedication of the Lord's and the Mother of God's churches. They were dedicated to Christ or the Mother of God, but at the same time no one specific holiday day was singled out from the general annual circle, unless there were occasions for this in some historical memories or in current events, for example, in signs or wonders. In general, the annual holiday of each temple was celebrated on the day of the “opening of the gates,” on the anniversary of the consecration or “renewal” of the temple - this order was preserved even in the time of Simeon of Thessalonica. In Sophia of Constantinople, the feast of renewal was celebrated on the eve of Christmas Eve, December 23, since the temple was consecrated for the first time on December 25 (537) and renewed after the restoration of the dome on December 24 (563). The Christmas days for these celebrations were hardly chosen by chance. In the service for the day of renewal according to the Typical of the Great Church of the 10th century, published by A. Dmitrievsky, we do not find any features that would point specifically to the St. Sophia Church, to its specific dedication. The service is performed rather about the protection of the reigning city in general. Over time, Byzantium seems to have forgotten about the special dedication of the Great Temple, which became a national sanctuary and shrine. For the Byzantines it became the Temple in general, the Temple par excellence, the focus of all prayerful memories and memories. And at the same time it became a symbol of the kingdom, a symbol of royal dignity and power - “the mother of our kingdom,” Justinian already spoke about Sophia... Following the example of the reigning city, Sophia churches were erected in many places. And remarkably, almost always great, cathedral or metropolitan churches turn out to be Sofia. The only exception is the Sophia Church in Jerusalem. Suffice it to remember: Sofia in Thessaloniki, in Nicaea, in Serdika (or in Sofia), in Ohrid, in Trebizond, in Mystras, in Arta, in Sliven, in Viza... Maybe in Korsun, or Chersonese. Of particular note is the St. Sophia Church in Benevente, late 8th century. In Nicosia in Cyprus, the St. Sophia Cathedral was built already under the Lusignans, at the end of the 12th century. Finally, it is necessary to name the Sophia churches in ancient Rus': in Kyiv, in Novgorod, in Polotsk... In a certain sense, the name “Sophia” becomes, as it were, a common noun to designate “great” or main churches. One must think that often the St. Sophia churches were erected more for national or political reasons than for strictly religious reasons - as evidence of national or church independence. At the same time, the theological understanding of the name did not change: until the 15th century. By the name of Wisdom they meant Christ, the Word of God (cf., for example, Patr. Philotheus. Three speeches to Bishop Ignatius with an explanation of the saying of the Proverbs: Wisdom has created a house for herself... Published by Bishop Arseny. Novgorod, 1898). We encounter the same understanding among Western authors, who often leave the Greek name Sophia untranslated.

II. In Russian St. Sophia churches, the patronal feast has long been celebrated on the Days of the Theotokos: in Kyiv on the day of the Nativity of the Virgin Mary, in Novgorod on the day of the Assumption. The question is how and when such a custom was established. It is difficult to admit that pre-Mongol Kyiv or Novgorod deliberately deviated from the Byzantine example. On the contrary, they sought to preserve and reproduce the liturgical orders of the Great Church. And in Rus' they knew well that the Sophia of Constantinople is the temple of the Word, “which is the Wisdom of the Ever-Essential Word,” notes Anthony of Novgorod, who was in Constantinople at the beginning of the 13th century. According to the ancient Russian month books, we know that for a long time in the St. Sophia churches, according to the Byzantine rule, the anniversary of the consecration was celebrated: in Novgorod on August 5, in Kyiv on November 4 (see month books under the Mstislav Gospel). In the most ancient Russian monuments we more than once encounter the traditional explanation: Wisdom is Christ... By a happy accident, we can determine exactly when the solemn celebration of Dormition Day was established in Novgorod. G.D. Filimonov also published a manuscript from the 16th century. two interesting legends: “The legend is known that Sophia is the Wisdom of God” and another legend directly related to it; “for which, for the sake of guilt, the feast of the Dormition of the Holy Mother of God was counted among the twelve Sovereign feasts” (Bulletin of the Society of Ancient Russian Art at the Moscow Public Museum. T. 1. 1874-1876). The manuscripts do not contain the author's name. There is an assumption that these legends were compiled by the famous Zinovy ​​​​of Otensky. In any case, they were compiled in the first half of the 16th century. And the author writes with great enthusiasm and strength. The second legend is especially interesting. The author answers the thematic question briefly: “The apostles saw the last of Christ without being separated from their bodies.” In other words, the Feast of the Assumption is the Feast of the Epiphany and therefore the “Sovereign” Feast,” the author relies on the well-known legend about the appearance of Christ at the Assumption. And then he continues: “Genadiy, Archbishop, decided to celebrate one of the twelve holidays, and commanded the Dormition of the Mother of God. Before this, all the twelve lordly feasts, according to ancient tradition, were celebrated in numerous numbers at the Church of St. Sophia, and this is what I heard in Novegrad from old men, just as in Kyiv from the beginning to the present day, according to the rules of ancient times, they perform. This is quite enough for those who have a mind to know about this. Stop saying, brethren, that the meaning of Sophia, the Wisdom of God, is unknown.” We have before us evidence of exceptional importance. We learn that before Gennady (who became the Novgorod archbishop from the Chudov archimandrites in 1484), in Novgorod Sophia, “according to ancient custom,” only the general celebration of the twelve lord’s holidays was carried out; in other words, there was no special throne day. And only Gennady established a special celebration of Assumption Day. This new order gave rise to bewilderment and speculation: “what is Sophia, the Wisdom of God, and in whose name is this church erected, and in whom is praise sanctified”... The thought arose whether Sophia was sanctified “in the name of the Most Pure Mother of God”... Others refused to explain: “ that this name is not known here in Rus', below wisdom it is powerful to understand this”... The author resolutely replies: “all theologians have thought of the post of the Son: Sopheus, who said wisdom, Logos, that is, the word, the Power of God and the like... But the Mother of God did not add names in any way “... And then it reminds us of the well-known legend about the construction of the Justinian Temple... We do not know for what reasons Gennady established the Assumption Feast. It is most likely to see here a reflection of the new Greek order, in connection with the general transition to the Jerusalem Charter. In the Everhatid Typica (12th century), the feast of the Assumption is sharply highlighted: ™ortѕ g¦r ™ortwn ka€ pan»gurij twn panhgЪriwn њstai... Gennady generally cared about the ordering of worship, collected liturgical material from everywhere... One can also allow direct imitation of Moscow with its cathedral Church of the Assumption, - Gennady was a Moscow protege... However, all this still does not explain the conclusions that were drawn in Novgorod. For the celebration of the Dormition in Byzantium was not at all connected with the name of Sophia. This connection is established only in Novgorod. And they install very firmly. In the sixteenth century. New St. Sophia churches are being built in the north: in Vologda (founded in 1568) and in Tobolsk (founded in 1587). Both churches turn out to be Dormition churches. Here, of course, the direct influence of the Novgorod example is felt. Vologda has always been connected with Novgorod, and in Tobolsk the first rulers were from Novgorod. Later and, obviously, following the Tobolsk example, in the name of St. Sophia, the Wisdom of God, the first Russian church was built for Russian Polenniki in Beijing, consecrated in 1695; however, it was usually called Nikolskaya, after the image of St. Nicholas revered in it. And soon it was replaced by the Assumption Church (in 1732)... In Kyiv, the custom of celebrating the Nativity of the Virgin Mary was established completely independently. We can’t say exactly when. But it is unlikely not only since the time of Peter Mogila, when Kiev Sophia was restored after a long period of neglect. In any case, it was at Mogila that the feast of the Nativity of the Virgin Mary was established as a patronal feast day in the Tithe Church.

III. In Byzantine iconography, two independent plots can be distinguished. First, Christ, Wisdom and the Word, under the guise of the “Angel of the great council” (“according to Isaiah’s prophecy,” Isaiah 9:6). And secondly, the personification of Wisdom, Divine or human, according to the type of ancient personifications, in a female form... The first theme relates primarily to the famous fresco in the Alexandrian catacombs in Karmuz (approx. V-VII centuries). Here a life-size winged angel with a halo was depicted. Caption: SOFIA IS CS. This is an image of Christ in the Old Testament likeness. God often appeared to the Old Testament righteous men and patriarchs in the form of an angel (for example, to Abraham at the oak of Mamre). And according to the ancient Christian interpretation, it was God the Word, the Son of God, who appeared. Therefore, ancient writers and Church Fathers usually call Christ, among other things, an Angel or Archangel, and even the Archangel, as the messenger of the will of God. Already the author of the book “The Shepherd” contemplates the Son of God as a “glorious Angel” (end of the 2nd century); It is curious that he almost identifies the Son of God with the Archangel Michael. The name of Angel is also applied to Christ by the fathers of the 4th century; and even later, the author Areopagitik, to whom late Byzantine icon painters so often refer, emphasizes that Christ, as the God of revelation, is called the Angel of the great council (de coel. hier., cap. IV). Thus, the image of the Son of God in the guise of an angel is fully explained from ancient Christian ideas. However, this theme could not be widely developed in iconography. Old Testament and symbolic images did not correspond to the main trend of Byzantine icon painting, as it developed since the time of the iconoclastic turmoil. The historical (or, better to say, historical-hieratic) type of Christ is formed and established. In Byzantine iconography, transformed evangelical realism prevails. In this regard, the well-known rule of the Trullo Council is very characteristic, proposing to depict Christ “in His human form” - “in a reminder of His life in the flesh.” And the council contrasted the “gospel truth” with the already abolished Old Testament “symbols” and “types” (Trull. 82). This rule is very understandable after the Christological struggle experienced, when it was necessary to defend and explain the completeness and consubstantiality of human nature in Christ. At the same time, the depiction of Christ in an angelic image could arouse ambiguous guesses: whether Christ was an angel (not only in service, but also in nature). Some Gnostics had similar thoughts; Subsequently, Zigavin denounces the Bogomils for identifying the Son of God with Arch. Michael, precisely as the Angel of the great council (Panopl., tit. XXVII, cap. 8). Of course, among the Bogomils this was an archaic motive. In any case, it is quite understandable why images of the Angel of the Great Council are very rare in early Byzantine monuments. Such images existed, but they caused temptation, they were considered contrary to the tradition of the Church (cf. St. Theodore the Studite. Letters, I, 15). Therefore, one can hardly see the Angel of the Great Council in the famous fresco of the Sophia of Constantinople. Most likely, the Archangel, the “guardian of the temple”, whose appearance is described in the famous legend, was depicted here. It is not clear from anywhere that the Byzantines called the one to whom the temple was dedicated “guardian of the temple”; in any case, this is hardly possible in relation to the Lord’s temples... In miniatures we sometimes see an image of Wisdom in an angelic form, but also not often (see the curious miniature in the Ladder, handicraft of the Sinai Monastery, No. 418, 12th century; from later monuments cf. the Front Slavic Psalter of 1397, in the collection of the Society of Lovers of Ancient Writing; cf. the interesting miniature of the Barberine Psalter, No. 202, 12th century: basile...a twn cristianwn) ... Image of the Angel the great council comes to life in iconography only in the late Byzantine era, during the time of the Palaiologans, when in general the symbolic current in iconography intensified. An interesting fresco in the church of St. Stephen in Soletto dates back to this time; An angel in snow-white robes, with a baptized halo; in the hand there is a cup, probably Eucharistic (perhaps in connection with Proverbs 9:2, usually attributed to the Eucharist; cf. the canon of Kosmas Mayumsky on Holy Thursday). Inscription: HAG SOFIA O LOGOS. This image is part of a complex combination in which Western influences are clearly evident: the image of the so-called “Apostolic symbol”, not accepted in the East, on the scrolls of the apostles... Late painting, late 14th century. ... This fresco is, apparently, the only indisputable case of depicting the Wisdom-Angel at this time. True, images of the Angel of the Great Council generally become frequent and common - see, for example, in the Athos paintings. And subsequently Dionysius Furnagrafiot indicates that they should be written in the apse of the side aisle or in the side dome. However, one should not see the image of Wisdom in every image of the Angel of the Great Council. It is hardly correct to think that Christ, under the guise of an Angel, is portrayed precisely as Wisdom. The name of Wisdom is called and written rather simply as one of the names of the Second Hypostasis, and therefore always together with the name of the Word... From this biblical theme it is necessary to distinguish another, ancient theme - the personification of wisdom. First of all, we need to note the image of the painting of the baths in Gaza, 6th century, known to us only from the modern description of John of Gaza. Atlas carries a flaming ball, the rising sun. He is supported by two maidens: Sofia and Arete. Sophia in a silver robe, like the goddess of the moon... We subsequently encounter a similar image of wisdom in miniatures to the Psalter: David among two maidens, Sofia and Profhteia (see in the Paris Psalter, 10th century, No. 139, and in others; the image goes back, apparently, to an earlier example)... The biblical motif is subsequently added to the ancient motif. In this regard, the vision of Constantine the Philosopher is very interesting. He saw many maidens in a dream, and among them he noticed and chose one, “the most beautiful of all, with a luminous face, adorned with many golden monists, and pearls, and ornaments”... “Her name was: Sophia,” that is, wisdom... Cf. Wisdom 8:2 “I loved her and sought her from my youth, and desired to take her as my bride, and became a lover of her beauty”... A similar, but somewhat different type of personification includes the controversial female figure in the images of the evangelists. For the first time we encounter such an image in the Rossan purple copy of the Gospel, under the Evangelist Mark: a female figure with a halo stands in front of the evangelist and points to his scroll. It is most correct to see in it the personification of inspiration or wisdom, by analogy with similar images in the manuscripts of ancient authors. Compare, for example, the famous miniature in the Vienna manuscript of Dioscorides, where the female figure facing the author is inscribed: ›uresij - it is curious that the later medieval restorer made an explanatory note on the margin: sofia... Christian miniaturists understood “inspiration” as a gift of the “spirit of wisdom and reason” (Isaiah 11:2). In the later Slavic (Serbian) Gospels of the XIV-XV centuries. the female figure is already depicted in front of all the evangelists. In the Athonohilandar Gospel No. 572 there is also an inscription: Wisdom... At the same time, we find similar images in the paintings (Ravanica Church in Serbia, 1381; Assumption on Volotovo Field in Novgorod)... Finally, we should note the famous mosaic in the painting of the Cathedral in Montreal . Here Wisdom is depicted as an oranta, in the royal table and in a crown on top of the veil, with outstretched arms. Caption: Sapientia Dei... This image is included in the cycle of days of creation; obviously in connection with Proverbs 8:30 “then I was an artist with Him” (cf. Wisdom 7:21 “Wisdom, the artist of everything...”)... We find similar images in Western monuments. Of particular note is the depiction of wisdom and the seven arts (for example, in the famous Lyon manuscript of Prudentius: Sancta Sophia and septem artes) ... It is hardly possible to unravel a certain religious idea behind these personifications.

IV. The famous Novgorod icon of St. Sophia is a kind of Deisis: a Fiery Angel on the throne with those present, the Mother of God and the Forerunner. Above the head of the Angel in the medallion is a bust-length image of the Savior. Above is etomasia. The angel is dressed in royal robes, has a crown on his head, and holds a staff and a scroll in his hands. The throne is strengthened on seven pillars... In the fiery Angel you need to see the Angel of the great council, the Son of God - here the ancient iconographic plot comes to life. But it is complicated by new, apocalyptic features. The seer saw the Son of God, “clothed with a robe and girded around the chest with a golden girdle” (Rev 1:13); “His eyes are like a flame of fire, and on His head are many crowns” (19:12); “And His face was like the sun shining in its strength” (1:16). Wed. also the vision of Daniel (chapter 10) ... This interpretation is not hindered by the presence of a second image of Christ. Such dittography is not uncommon in symbolic compositions. In this case, the doubling of the image could mean the duality of natures in Christ (this is how the Likhud brothers later explained it). Sometimes those present are also depicted with wings: the Forerunner, obviously in connection with the prophecy of Malachi (see 3:1), attributed in the Gospels to the Baptist: “Behold, I send My angel before You” (Matthew 11:10; Mark 1: 2; Luke 7:27); The Mother of God as an apocalyptic Wife, according to Rev. 12:14 “and the woman was given two wings of a great eagle”... In general, it should be noted that the Deisis is an eschatological composition, - “an artistic synecdoche of the Last Judgment,” according to the apt remark of A.I. Kirpichnikov... It’s difficult to be precise say when the Novgorod composition took shape. In any case, it is unknown in the Greek monuments. At the Moscow Council of 1554, the testimony of some Svyatogorsk elders about the Icon of Sophia in the Panteleimon Monastery on Athos was cited against Deacon Viskovaty; but we don’t know at all what kind of icon it was. Hardly the Novgorod Deisis. More like a separate image of an Angel. We find the first mention of the Novgorod icon in the IV Novgorod Chronicle under 1510 (7018): Vel. Prince Vasily III, passing through Novgorod, “ordered an unquenchable candle before Sophia the Wisdom of God day and night, according to the old days, as it was before” (PSRL, IV, 137; cf. 287). This probably refers to the icon of St. Sophia in the iconostasis of the Novgorod Cathedral, revered as miraculous. But the iconostasis (“deesis”) was erected only in 1509 (PSRL, IV, 136). We don’t know which icon the unquenchable candle glowed before. The iconostasis icon bears traces of later renovation. The painting of the altar, in which Sophia is depicted on a high place, also dates back only to the 16th century. By the way, note that the painting of the conch is clearly of apocalyptic content, based on the text of Rev. 11:15, which is written on the ledge of the vault: “The kingdom of peace of our Lord and of His Christ will be, and it will reign forever and ever”... On the outer wall, above the western gate, the image of Sophia is written only in 1528, under architect. Macarius; “and before this it was written in the same place, but only one image of the Almighty to the waist” (PSRL, VI, 286) ... In Novgorod paintings of the XIV-XV centuries. We don’t see the image of Sophia, but it has been common since the 16th century. In Moscow, it became known only from the time of renovation of the Kremlin cathedrals after the fires of the 50s, during the reign of Grozny, when Novgorod and Pskov icon painters worked here. Most of the known lists of the Novgorod icon even date back to the 17th century. And no older than the very end of the 16th century. Russian icon painting original, in which the Novgorod composition is described in detail... Before us, undoubtedly, is a relatively new composition. It is very curious that in Russian monuments, starting from the 16th century, the image of the Lord Almighty with wings generally becomes frequent (primarily in images of the creation of the world - in miniatures and in paintings); Deacon Viskovaty sharply objected to this. Particular mention should be made of a very confusing composition: “Thou art a priest forever”... Maxim the Greek and Zinovy ​​Otensky objected to this icon. Diak Viskovaty saw in her “Latin wisdom.” Anyway, this is a Western composition. It contains two undeniable Western motifs, unknown in Byzantine iconography. Firstly, the Crucifixion in the arms of the Fathers (the actual image of the Trinity, the so-called Gnadenstuhl) is a typically Western composition, especially common in the 15th century. in Germany (cf. Dürer; for the first time, it seems, in the stained glass windows of St. Denis, late 12th century, the so-called Quadriga Aminadab). Secondly, Christ on the cross in the form of a white seraphim (“the soul of Jesus,” as explained by Pskov icon painters); I involuntarily recall the vision of Francis of Assisi on the mountain of stigmata. Christus sub specie seraph is a constant theme of Western masters, starting from Giotto, and also frequent in 15th-century engravings. (see also Dürer)... Here was a new reason to depict Christ under an angelic image... The Novgorod icon of St. Sophia belongs to those new symbolic compositions that have become common in Russian icon painting since the middle of the 16th century. In a certain sense, this predominance of symbolism meant the collapse of icon writing. The icon becomes too literary, it begins to depict not so much faces as ideas. The icon too often becomes a kind of illustration for literary texts, sometimes biblical, sometimes hagiographic and apocryphal. This new literary symbolism has very strong Western motifs; the direct influence of Western (German and Flemish) engravings is beyond dispute - in the 17th century. entire churches are painted according to the famous Piscator Bible. Among biblical themes, themes from the book of Proverbs, from the Wisdom of Solomon are very common... This change in icon painting was correctly felt by Deacon Viskovaty: “and I saw that icons in the human image of Christ our God were taken down, and which I had not seen the writings of, they put up, I was horrified I am and was afraid of flattery and all malice”... Viskovaty’s objections to the new icons were determined not so much by his “conservatism” or inert predilection for “ancient models”. He was worried about the very idea of ​​​​the new icon painting. He saw in it a kind of retreat into the Old Testament, a return to “images” and “canopy.” He proceeded from the Trullan rule: “imagine according to carnal vision.” And he reminded: “It is inappropriate to honor an image more than the truth”... Therefore, he was not reassured by the answer that Christ is written in an angelic image “according to Isaiah’s prophecy” and the two wings of the scarlet are described according to the Great Dionysius. For the prophecies were fulfilled in the Gospel, and Christ must be written according to the truth of the Gospel, and not according to prophetic predictions, “so that the glory of the carnal education of our Lord Jesus Christ may not be diminished.” Viskovaty's objections reveal to us the religious meaning of Russian disputes about new icons. Here two religious worldviews collided: traditional Christological realism and an excited religious imagination. It was precisely against the play of imagination that the demands to write “from workshop samples” were directed - this demand had not only a technical, but also a religious meaning. Dmitry Gerasimov conveys the words of Maxim the Greek: “and whoever wants to take lines from scripture and write images, and he can create countless images”... From the combination of texts, Russian symbolic icons of the 16th century arose for the most part. This also includes icons of Wisdom... It is very characteristic that, although the Novgorod icon of St. Sophia becomes one of the most widespread in the 17th century, disputes about it do not stop. He sharply objected to it already at the end of the 17th century. the famous inquiry officer, the Chudov monk Euthymius, - and for the same reasons that Viskovaty had. He demands historicism, objects to “fictitious likenesses”... “But it seems more fitting to write Saint Sophia, like Wisdom, the Incarnate Christ God, just as the perfect man is written, like he was,” - “and His holy saints... like everyone who walked on earth” ( Questions and answers from monk Euthymius. Ed. Filimonov in “Bulletin of the Society of Old Russian Art”, vol. 1). A special service on Dormition Day with the canon of St. Sophia appears only at the beginning of the 17th century; It was compiled by Prince Semyon Shakhovskoy.

V. In the iconographic originals there is a special article about the Novgorod icon. This “legend about the image of Sophia, the Wisdom of God” is also found separately, in various collections of mixed content of the 16th-17th centuries, in particular in the Explanatory Apocalypses, which is very typical. It is curious that it was inserted (with an obvious violation of the communication of speech) into the lengthy edition of the message of the patriarch. Luke of Chrysoverg to Andrei Bogolyubsky (according to the Nikon Chronicle). In general, this “legend” is found in manuscripts very often. Unfortunately, individual lists have not yet been compared, and the literary history of the “legend” remains unclear. Apparently, it was compiled to explain the newly painted icon - most likely in Novgorod. This is precisely the “interpretation” of the icon... The icon of Sophia is explained as an image of virginity. “The image of the Wisdom of God, Sophia, demonstrates the purity of the Most Holy Theotokos of unspeakable virginity; to have virginity on the fiery face of a maiden”... “The Legend” sees in the Angel a symbol of virginity, - “as virgin life is equal to that of the angels”... “The fiery face shows how virginity is considered worthy of God as the receptacle of being; fire is God”... Those who are to come show examples of virginity, and above all the Mother of God. “The virgins keep their virginity and are like the Most Holy Theotokos. Just as she gave birth to the Son of the Word of God, so those who maintain virginity give birth to productive words, that is, more often to virtue”... Buslaev also successfully called this legend “a poem about the virgin life”... The question arises about the sources of this legend. With good reason one can assume Western influence here. The apotheosis of virginity can be associated with that peculiar ascetic-erotic movement that flared up with particular force in German mysticism of the 14th century. In any case, it is very significant that this movement was associated with the symbol or image of Wisdom. Here, first of all, it is necessary to name Suso, one of the most remarkable mystics of the late Middle Ages, who had an extremely strong influence in his time. Suso usually called himself “the servant of Eternal Wisdom,” and one of his books was written in the form of a dialogue with Wisdom (“Büchlein der ewigen Wishet” or, in the Latin version, Horоlogium Sapientiae). Suso founded the “Brotherhood of Wisdom” and compiled a special prayer rule for it; he then composed a special service for Wisdom. Wisdom for Suso is Christ, the Son of God. But he contemplates Wisdom under a female image, as the Beloved, als ein lutseligъ minnerin. Of course, this was the biblical image of Wisdom. But in Suso it gets a special edge. Suso is called “the last Minnesinger.” And, indeed, in his mysticism all the eroticism of Minnesang is repeated. Wisdom speaks tenderly to the human heart in order to attract it to itself in a female form, und redet zartlich im fröwlichen bilde... For Suso, symbols become visions. Suso described his first vision in this way in his life: “She soared high above him, sitting on a throne in the clouds. She shone like the morning star. She was like the sun in all its brilliance. She had eternity as her crown... And then it seemed to him that he saw the Beautiful Virgin before him, then it was a noble young man... So er iez wande haben ein schön jungfrowen, geschwind van er einen stolzen jungherren... Then she spoke to him like a wise mentor , then like a beloved”... Suzo sketched his visions. Even in his youth, he made an image of Wisdom on parchment “in tender beauty and beloved form” (in minnenklicher Schonheit und lieplicher Gestalt), and never parted with this image. Subsequently, he decorates the manuscript of his autobiography with miniatures. These miniatures are repeated in the copies of his life and go into the first printed editions of his works (see Augsburg editions of 1432, Ant. Sorg. and 1512 Hans Othmar); they are also known in individual engravings. He depicts Wisdom in royal robes and a crown, an orb in her hands, stars shining on her chest... Sometimes in the form of an angel... The image of Wisdom in Suso is double. This is both Christ and the Mother of God. He combines the mysticism of Wisdom with the cult of the name of Jesus. He carves this sacred name on his chest: IHS, and bears these “sores of love” with joy. By the way, note that Suso also saw Christ in the form of a crucified seraphim. He saw his soul in the arms of Christ. He read on the head of the Infant God the sweet name: Herzetrut, “friend of the heart”... And at the same time he was completely overwhelmed with delight before the “tender Queen of heaven.” He especially solemnly celebrates the day of the Assumption - “then there is special joy in the heavenly court”... The image of Wisdom becomes for Suso a symbol of purity and virginity, a symbol of ethereal and virgin marriage, a symbol of a “loving soul” (“minnende Seele”)... Suso’s books were in XV century favorite reading in German and Flemish monasteries; they were read even more than the book “On the Imitation of Christ”... And it would not be surprising if Pskov icon painters learned about his visions. Novgorod and Pskov were in constant and close ties with the West. These were not only trade relations. Otherwise, it would be incomprehensible how the Dominican monk Benjamin (“Slavic by birth, Latin by faith”) could end up in Novgorod at the end of the 15th century, under Gennady, in the role of chief reference officer of biblical books. The biblical text in Novgorod at this time was ruled according to the Vulgate. At the same time and somewhat later, a number of translations from Latin (and German) appear here - and they were made “in the house of the archbishop” and by order of the lord. He translated the explanatory Psalter of Brunon of Würzburg, and the Rationale divinorum officiorum of Wilhelm Durantius, and the polemical “against the God-marked Jews” works of Nicholas De-Lear and Samuel the Jew. In any case, Western books were neither rare nor unusual here... Therefore, the rapprochement of the Novgorod “legend” about Sophia with Western mysticism is hardly forced. The new interpretation lies on top of the old one. The traditional image of the Angel of the Great Council is revealed in a new light. A dispute arises, “what is Sophia, the Wisdom of God”... In Novgorod, at the end of the 15th century, after the ruin of Moscow, the mood was very heightened and restless. In addition, the “seven thousand” years were ending, and they were waiting for the Second Coming. It was a very favorable time for apocalyptic visions. It is no coincidence that from now on the Apocalypse has become almost a reference book in Russian everyday life. Religious thought emerges from the clear boundaries of Byzantine dogmatism into the realm of enthusiastic and excited insights and contemplations... And it must be added that the topic of virginity was also of apocalyptic origin; Wed visions of Revelation 14 (14:4): “These are they who have not defiled themselves with women, for they are virgins; these are the ones who follow the Lamb wherever He goes. They are redeemed from among men, as the firstborn of God and the Lamb”... The Western mysticism of the “loving soul” completely coincided with this apocalyptic motif...

VI. The Kyiv icon of St. Sophia has clear Western features. It is no older than the very end of the 17th century. In any case, Pavel of Aleppo, who passed through Kyiv in 1654, had not yet seen the current icon. In the iconostasis there was another icon of Wisdom: “in the middle of the icon is a church with columns<…> above the church is Christ, and His Holy Spirit descends upon it in radiance...” The current icon was painted and erected, obviously, only during the last restoration of the Kyiv Sophia, under Metropolitans Gideon and Varlaam Yasinsky, in the late 80s and even in the 90s. The Tobolsk icon of St. dates back to the same time. Sofia. These are icons of the Mother of God. The Mother of God is depicted here under the guise of the Apocalyptic Wife, with the wings of a great eagle. She stands on the clouds, on the crescent moon. In the hands of a cross and a staff. The Tobolsk icon also has a crown of 12 stars. Two angels hold a crown over their heads (cf. Rev. 12:1,14)... This is a characteristic Western plot, completely alien to Eastern iconography. In the West it has become known since the end of the 14th century. And very early it receives a certain theological meaning, it becomes a symbolic image of the Immaculate Conception, Immaculata Conceptio. This is a theological opinion, raised to the level of dogma in the Roman Church only in the 19th century, already from the 14th century. persistently preached by Franciscan theologians, approved at the Council of Basel and subsequently spread with particular zeal by the Jesuits. The literature of the 16th and 17th centuries devoted to this topic is difficult to discern. However, it is quite monotonous. And we constantly meet in these Marian books the image of the Apocalyptic Wife, usually in very intricate symbolic compositions. This image becomes a symbol of eternal virginity. And when, after the Council of Trent, the question arose whether it was possible to “write the sacrament of the Immaculate Conception” and how it should be depicted, they usually answered by pointing to the image of the Woman clothed with the sun, crowned and revered by angels (cf., for example, Molani J. De historia imaginum et picturarum. Ed. princ. Lovanii, 1570; F. K. Borromacus. Ed. The title engraving in the book Clihtovii J. De puritate Sanctae Virginis was usually pointed out as an example. Editio princeps, 1513. Already in the 15th century. a similar image is usually in manuscripts and then goes on to engraving. It is very interesting that often in these images a reference is made to Proverbs 8:22, - a verse about Wisdom (already in 1492 by C. Grivelli, in the London National Gallery, 906 (The Virgin in Eсstasy), - “ut in mente Dei ab initio concepta fui, ita et facta sum”; cf. engraving in Heures a l’usage du diocise d’Angers, par Simin Vostré, 1510, the inscription “Nec dum erant abyssi, et ego concepta eram”...) It was connected, of course, with the fact that very early (maybe already from the 12th century) at the service on the day of the Conception of the Mother of God, December 8, there was a “reading” from the book of Proverbs 8:22-30... This predisposed to see the Mother of God in Wisdom, - “the final goal of the eternal council,” termino fisso d'eterno consiglio, as Dante put it (Paradiso, 33, 3). Luther was also indignant at how the biblical text is violated when the texts about Wisdom are attributed to the Mother of God. Theologians in this interpretation usually saw only the “application” of biblical texts (adaptatio or asmodatio). But the mystics and preachers were bolder. In the sixteenth and seventeenth centuries. This explanation is becoming almost universal. It is enough to name P. Canisius and Cornelius a Lapide, who, in his interpretations of the Holy Scriptures, sums up all previous exegesis... From these current Catholic ideas, it is quite clear how the symbolic icon of the Immaculate Conception could turn out to be the icon of Sophia... It is well known how generally accepted the Catholic opinion about The Immaculate Conception of the Virgin Mary among Kiev theologians of the 17th century. It is defended and developed by Anthony Radivilovsky in his “Vegetable Garden of the Mother of God” (cf. Hortulus reginae by I. Meffret), Ianniky Galatovsky in “The New Heaven” - in the title place of the first, Chernigov edition of this book (1677) the Mother of God is depicted surrounded by angels , in the starry sky... We need to call St. Demetrius of Rostov... It is curious that the student congregation of the Kiev-Mohyla Academy celebrated its annual holiday on the day of the Conception, and the members of the congregation had to confess and affirm that “Mary is not only without actual mortal or venial sin, but also without the firstborn”... All this makes one think that the Kiev icon of St. Sophia is nothing more than an image of the Immaculate Conception. It is curious that in one of his poems Skovoroda directly calls an icon similar to the Kyiv one (in the “theological school” in Kharkov) “the image of the conception of the Most Pure Mother of God” and concludes: “Victory this! Christ will dwell in you. Be pure like a virgin: wisdom cannot be found in sweets,” - vivere in impuro corde Sophia nequit...

Holidays feast and celebration of celebrations (Greek); Wed Irmos 8 songs of the canon of Easter Matins. - Ed.

Kingdom of Christians - Ed.

Christ in the form of a seraphim (lat.) - Ed.

For in the mind of God I was born from the beginning, and so I became. - Ed.

I was born when there were no deeps (Proverbs 8:24). - Ed.

Sofia cannot live in an unclean heart - Ed.

Icons in the Orthodox world have great significance and a history that goes back to the deep past. The Icon of the Mother of God “Sophia - the Wisdom of God” is miraculous and is especially revered among Christians.

The first icon of the Mother of God “Sophia - the Wisdom of God” appeared in the fifteenth century in Novgorod, while the first temple consecrated in her honor was built in 989. In the Orthodox world there are two icons, one of which is called Novgorod, and the second Kyiv.

History of the icon

The miraculous icon is of great importance in the Orthodox world and is an exact copy of a Greek original from a church in the city of Constantinople. The holy image became famous for many miraculous manifestations, including the power of healing. According to surviving legends from the Novgorod chronicle, the icon healed a woman suffering from an eye disease. She humbly prayed to the Mother of God to gain health, and found it by believing in the Heavenly power of the Mother of God.

Where is the miraculous image located?

This icon can be found in many hamas and churches throughout Russia. In Moscow, Novgorod, St. Petersburg and other cities and villages. This image became widespread back in the 15th century, when a copy of the original was made. This icon became widespread both for the significance of the image present on it and for its miraculous abilities to heal, support and help all Orthodox Christians who turn to it.

Description of the icon

The image of the Kyiv Icon depicts the Mother of God with the incarnate Son of God, who is called Wisdom or Sophia. It is named after the parable of Solomon, in which he said: “Wisdom created for herself a House and established seven pillars”. This is a direct indication of the fulfillment of Divine prophecy, in which He is incarnated in the womb of the Virgin Mary and comes into the world of people. The Mother of God is on a dais in the temple, to which seven steps lead with written prophecies from the Apocalypse. The Eternal Child is depicted with his right hand raised in a gesture of blessing, and in his left hand there is an orb. God is located on top of the Mother of God. On both sides are archangels with symbols of their divine service. The whole picture rearranges the greatness of the prophecies of the Lord and his appearance, foreshadowing changes in the Orthodox world. A skillful icon is painted according to the canons and brings spiritual awe to everyone who venerates it.

The Novgorod icon is different from its sister. It depicts the Savior, in front of whom are the Mother of God and John the Baptist. Both offer prayers to the Lord. The Savior has skillfully painted royal robes, and fiery wings are located behind his back. The Lord sits on a throne supported by seven pillars of eternal wisdom.

How does a miraculous image help?

Anyone can pray in front of the icon whenever the soul requires it, and at any time. The clergy call on every Orthodox Christian to light a lamp or candle in front of the icon during home prayers, a symbol of the inextinguishable fire of true faith and the triumph of Orthodoxy. Prayers in front of the image can pacify raging emotions, prevent quarrels and conflicts between people, unite their thoughts and guide people on the true path, in which there is no place for evil and aggression.

Also, people suffering from various ailments resort to prayers in front of the image in the hope of healing, ask the Mother of God and the Savior for protection and protection from the negativity of the outside world, repent of what they have done and humbly ask for forgiveness of sins. Also, prayers in front of the image help people make the right and important decision if they find it difficult to stand at a fork in the road and don’t know what to do to achieve well-being and happiness.

You can offer prayers not only for yourself, but also for your relatives, as well as for all people living on earth. Words coming from the heart help heal spiritual wounds, fight the evil of temptation and other sins that try to block the path to the Lord for Orthodox Christians.

Prayers before the miraculous image

“The majestic and wise Mother of God, protector and patroness of the entire human race. Do not leave us, sinners, without divine protection and patronage. Grant us wisdom not to follow the shaky path that leads us into the abyss of depravity. Calm our souls that are in confusion. Do not let us, called Sophia, succumb to the temptations of the devil, but establish in our hearts God’s Will, in which You have established yourself with joy and humility, recognizing the Great Power and Grace of God. Amen".

“We magnify You, Eternal One, filled with Wisdom. You, who have let the Lord into your soul and into your womb, be glorified throughout the ages! We offer prayers to You with humility and ask You for protection, protection and healing of our souls and bodies walking on the mortal earth. As we all will come before the eyes of the Lord, let us answer for our sins. With repentance, we ask you to forgive us all our sins, committed voluntarily and involuntarily. Amen".

Dates of celebration of the icon

September 21 (8) marks the date of the celebration of the Kyiv Icon of the Mother of God. August 28 (15) marks the date of the celebration of the Novgorod Icon.

Righteous faith and sincere prayers will help everyone get rid of heavy thoughts and confusion. On the website you will find Orthodoxy">descriptions of other icons of the Mother of God that will help you solve pressing problems, guide you on the true path and become guides to the Christian world, where there is no place for anger and malice. We wish you happiness, and do not forget to press the buttons and