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The Four-Section Icon

Creation period
First half of the 19th century
Dimensions
45,7x38,4 cm
45.7×38.4×3 cm
Technique
Wood, metal icon-setting, tempera
0
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#1
The Four-Section Icon
Unknown author
#2
Four-section icons appeared in Russia 5 centuries after the Christianization. They were most often used for home worship services and consisted of four holy pictures with different subjects. All of them were painted on one wood panel and could be combined on various principles. 

For instance, the four-section icon The Motherhood was combined of four holy pictures of the Virgin Mary: the Virgin Mary Orant with a holy picture of the unborn Baby Jesus; the Virgin Mary Hodigitria with Baby Jesus in her left arm; the Virgin Mary of Tenderness (‘Glykophilousa’) with Baby Jesus cheek-to-cheek with his Mother; and the Virgin Mary of Nurture with Jesus the Youth. Those holy pictures symbolized all the stages of maternity: from the conception to the adolescence of the child. Four-section icons could also combine holy pictures of the saints and subjects of feasts that were particularly hallowed in a certain area.
#3

The icon

#4
The icon exhibited in the State Museum of Fine Arts of Khanty-Mansiysk was painted in the Volga region in the first half of the 19th century. The upper part of the icon shows the Archistratigus Michael with a trumpet riding a red horse. In the Orthodoxy, the ‘Archistratigus’ means the Head Angel in charge of the army of angels. Michael is holding the Gospels in his left hand and an incensory and a spear in his right hand. That iconographic image was called Michael the Battlemaster; as a rule, a prostrated dragon or devil was painted at his feet.

To the right of the Archangel there is an icon ‘The Fiery Ascension of Elijah the Prophet to Heaven’. As a rule, that icon contained several hagiographic subjects of the life of the Prophet: his staying in the cave, the appearance of an angel to Elijah in his sleep, the ascension in a fiery chariot. Also, his disciple Elisha was painted to catch Elijah’s falling mantle (a symbol of the God’s grace), together with an episode when Elisha hit the water of the river Jordan with the mantle and the water disparted. The icon exhibited in the State Museum of Fine Arts of Khanty-Mansiysk contains only three subjects: Elijah in the cave, Elisha with the falling mantle, and the chariot.
#5
At the bottom, the Volga painters placed a picture of the Virgin Mary Hodigitria (‘the Guide’) of Shuya and Smolensk. The picture shows the Holy Mother with Baby Jesus in the left arm, her head is bowed to him. The iconographic type of Shuya and Smolensk is distinguished with showing Jesus holding himself by the heel.

Next to the Hodigitria there is an image of one of the most worshipped saints in Russia: St. Nicholas the Wondermaker.
#6
A special setting was made for the icon: an ornamental overlay of a light alloy. It covered all the surface of the icon except the holy pictures. Impression on the setting replicated the image of the icon itself. The frame was decorated with a floral ornament.
The ikon was kept in the collection of the St. Petersburg philanthropist Viktor Samsonov. In 1996 the icon was purchased by the Generations Fund of the Khanty-Mansi Autonomous District for its gallery ‘Rarities and Art Treasures’. 15 years later, the icon was handed over to the State Museum of Fine Arts of Khanty-Mansiysk.
#7
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The Four-Section Icon

Creation period
First half of the 19th century
Dimensions
45,7x38,4 cm
45.7×38.4×3 cm
Technique
Wood, metal icon-setting, tempera
0
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To see AR mode in action:
  1. Install ARTEFACT app for 
  2. iOS or Android;
  3. Find and download the «Paintings in Details» exhibition
  4. Push the «Augmented reality» button and point your phone's camera at the painting;
  5. Watch what happens on your phone screen whilst you flip through the pictures.
 
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