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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Format: | Article in Journal/Newspaper |
Language: | Russian |
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Уральский федеральный университет имени первого Президента России Б.Н. Ельцина
2023
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Online Access: | https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 https://doi.org/10.15826/izv2.2023.25.2.034 |
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fturalfunivojs:oai:journals.urfu.ru:article/6948 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 Краски старообрядческих резных икон Нижней Печоры: технико-технологические и историко-архивные аспекты изучения Astakhova, Irina Sergeevna Plaksina, Natalia Evgenyevna 2023-07-05 https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 https://doi.org/10.15826/izv2.2023.25.2.034 rus rus Уральский федеральный университет имени первого Президента России Б.Н. Ельцина https://journals.urfu.ru/index.php/Izvestia2/article/view/6948/5088 https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 doi:10.15826/izv2.2023.25.2.034 (c) 2023 Irina Sergeevna Astakhova, Natalia Evgenyevna Plaksina Izvestia. Ural Federal University Journal. Series 2. Humanities and Arts; Том 25, № 2; 226–236 Известия Уральского федерального университета. Серия 2. Гуманитарные науки; Том 25, № 2; 226–236 2587-6929 2227-2283 Fine Arts;Theory of Art History of Art Old Belief Velikopozhensky Skete ochre mineral pigments white lead minium Prussian blue изобразительное искусство теория искусства история искусства старообрядчество Великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2023 fturalfunivojs https://doi.org/10.15826/izv2.2023.25.2.034 2023-07-25T00:55:46Z 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 Ural Federal University: URFU Journal Systems 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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Open Polar |
collection |
Ural Federal University: URFU Journal Systems |
op_collection_id |
fturalfunivojs |
language |
Russian |
topic |
Fine Arts;Theory of Art History of Art Old Belief Velikopozhensky Skete ochre mineral pigments white lead minium Prussian blue изобразительное искусство теория искусства история искусства старообрядчество Великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь |
spellingShingle |
Fine Arts;Theory of Art History of Art Old Belief Velikopozhensky Skete ochre mineral pigments white lead minium Prussian blue изобразительное искусство теория искусства история искусства старообрядчество Великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь Astakhova, Irina Sergeevna Plaksina, Natalia Evgenyevna Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study |
topic_facet |
Fine Arts;Theory of Art History of Art Old Belief Velikopozhensky Skete ochre mineral pigments white lead minium Prussian blue изобразительное искусство теория искусства история искусства старообрядчество Великопоженский скит охры минеральные пигменты белила сурик берлинская лазурь |
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 |
Astakhova, Irina Sergeevna Plaksina, Natalia Evgenyevna |
author_facet |
Astakhova, Irina Sergeevna Plaksina, Natalia Evgenyevna |
author_sort |
Astakhova, Irina Sergeevna |
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 |
Уральский федеральный университет имени первого Президента России Б.Н. Ельцина |
publishDate |
2023 |
url |
https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 https://doi.org/10.15826/izv2.2023.25.2.034 |
long_lat |
ENVELOPE(166.550,166.550,-78.233,-78.233) |
geographic |
Ochre |
geographic_facet |
Ochre |
genre |
Pechora |
genre_facet |
Pechora |
op_source |
Izvestia. Ural Federal University Journal. Series 2. Humanities and Arts; Том 25, № 2; 226–236 Известия Уральского федерального университета. Серия 2. Гуманитарные науки; Том 25, № 2; 226–236 2587-6929 2227-2283 |
op_relation |
https://journals.urfu.ru/index.php/Izvestia2/article/view/6948/5088 https://journals.urfu.ru/index.php/Izvestia2/article/view/6948 doi:10.15826/izv2.2023.25.2.034 |
op_rights |
(c) 2023 Irina Sergeevna Astakhova, Natalia Evgenyevna Plaksina |
op_doi |
https://doi.org/10.15826/izv2.2023.25.2.034 |
container_title |
Izvestia of the Ural federal university. Series 2. Humanities and Arts |
container_volume |
25 |
container_issue |
2 |
container_start_page |
226 |
op_container_end_page |
236 |
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1774297282505605120 |