Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study
This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic)...
Published in: | Izvestia of the Ural federal university. Series 2. Humanities and Arts |
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Language: | Russian |
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Ural Federal University Press
2023
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Online Access: | https://doi.org/10.15826/izv2.2023.25.2.034 https://doaj.org/article/fbcdea501c234d478a614642074bd28f |
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ftdoajarticles:oai:doaj.org/article:fbcdea501c234d478a614642074bd28f 2023-08-15T12:42:45+02:00 Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study Irina Sergeevna Astakhova Natalia Evgenyevna Plaksina 2023-07-01T00:00:00Z https://doi.org/10.15826/izv2.2023.25.2.034 https://doaj.org/article/fbcdea501c234d478a614642074bd28f RU rus Ural Federal University Press https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 https://doaj.org/toc/2227-2283 https://doaj.org/toc/2587-6929 2227-2283 2587-6929 doi:10.15826/izv2.2023.25.2.034 https://doaj.org/article/fbcdea501c234d478a614642074bd28f Известия Уральского федерального университета. Серия 2: Гуманитарные науки, Vol 25, Iss 2 (2023) старообрядчество великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь History (General) and history of Europe D Language and Literature P article 2023 ftdoajarticles https://doi.org/10.15826/izv2.2023.25.2.034 2023-07-23T00:34:42Z This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, ... Article in Journal/Newspaper Pechora Directory of Open Access Journals: DOAJ Articles Ochre ENVELOPE(166.550,166.550,-78.233,-78.233) Izvestia of the Ural federal university. Series 2. Humanities and Arts 25 2 226 236 |
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Directory of Open Access Journals: DOAJ Articles |
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topic |
старообрядчество великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь History (General) and history of Europe D Language and Literature P |
spellingShingle |
старообрядчество великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь History (General) and history of Europe D Language and Literature P Irina Sergeevna Astakhova Natalia Evgenyevna Plaksina Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
topic_facet |
старообрядчество великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь History (General) and history of Europe D Language and Literature P |
description |
This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, ... |
format |
Article in Journal/Newspaper |
author |
Irina Sergeevna Astakhova Natalia Evgenyevna Plaksina |
author_facet |
Irina Sergeevna Astakhova Natalia Evgenyevna Plaksina |
author_sort |
Irina Sergeevna Astakhova |
title |
Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
title_short |
Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
title_full |
Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
title_fullStr |
Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
title_full_unstemmed |
Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
title_sort |
paints of old believer carved icons of the lower pechora: technical, technological, historical, and archival aspects of study |
publisher |
Ural Federal University Press |
publishDate |
2023 |
url |
https://doi.org/10.15826/izv2.2023.25.2.034 https://doaj.org/article/fbcdea501c234d478a614642074bd28f |
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ENVELOPE(166.550,166.550,-78.233,-78.233) |
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Ochre |
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Ochre |
genre |
Pechora |
genre_facet |
Pechora |
op_source |
Известия Уральского федерального университета. Серия 2: Гуманитарные науки, Vol 25, Iss 2 (2023) |
op_relation |
https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 https://doaj.org/toc/2227-2283 https://doaj.org/toc/2587-6929 2227-2283 2587-6929 doi:10.15826/izv2.2023.25.2.034 https://doaj.org/article/fbcdea501c234d478a614642074bd28f |
op_doi |
https://doi.org/10.15826/izv2.2023.25.2.034 |
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Izvestia of the Ural federal university. Series 2. Humanities and Arts |
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25 |
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226 |
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