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St. Adrian the Wonderworker of Poshekhonye

Creation period
The first half of the 19th century
Dimensions
31.2х26.2 cm
Technique
Wood, tempera
2
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#1
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St. Adrian the Wonderworker of Poshekhonye with an Icon of the Dormition of the Virgin Mary
#2
Adrian of Poshekhonye took the monastic vows in the Monastery of Cornelius of Komel near Vologda. When his spiritual mentor died, Adrian took an icon of the Dormition of the Virgin Mary and, together with the novitiate Leonid, left the monastery. In 1540 Adrian established a monastery near today’s Poshekhonye, and three years later, with blessing of Metropolitan Macarius, became a Father Superior of a new monastery, the Monastery of Adrian of Poshekhonye. 

However, local people were prejudiced against monks. One day, they took up arms and decided to rob the monastery: Adrian intended to build a new cathedral and was believed to have a large amount of money. However, the robbers found only a few coins. They tortured the Venerable for a long time: cut him with knives and burnt him with fire, then choked him to death. The monks testified that before he died, Adrian of Poshekhonye was praying God to forgive his torturers, saying: Forgive the sins of these people, as they do not know what they are doing. The Russian Orthodox Church venerates St. Adrian of Poshekhonye as a venerable martyr — that is how monks who were martyrs are titled.
#3
The iconography of St. Adrian of Poshekhonye is based on the legend about the establishment of the monastery. It is believed that when Adrian was at the bank of the river Vokhta, before entering the woods in search of food, he left the icon of the Dormition of the Virgin Mary in a tree. Fishermen who were fishing nearby wanted to collect the icon but were pushed away by invisible force. Villagers believed it to be a God’s sign and put some bread and fish at the tree as gifts.
#4
In icons, St. Adrian was painted full length, holding a scroll or a Gospel Book in his hands. On the left side, they usually depicted a tree with an icon in it and with the fishermen’s gifts at its roots. In iconography, the flatbread is a symbol of a prosphora, i.e. a communion bread, and the fish is supposed to remind of Jesus Christ. In Greek, the word fish is spelled as ΙΧΘΥΣ, which is an acronym of ‘Jesus Christ, the Son of God, the Savior’.
#5

About icon

#6
The icon of the collection of the Rybinsk Museum Reserve is painted in exactly the same iconographic tradition. It is believed to be painted by craftsmen of the St. Adrian of Poshekhonye Monastery in early 19th century. The technique of the icon is simple and laconic; it resembles cheap popular prints that were widespread at that time. 
 
The icon base is two wood panels fastened together. They had been polished, and to avoid deformation with time, they were strengthened with two narrow splines at the back. The wood panels were coated with a thin cloth and a primer, i.e., a mix of chalk and glue; and the characters were painted with tempera, i.e. paints based on egg yolk. 
 
Before the revolution the icon was kept at the Petrovskoye estate of the nobility family of the Mikhalkovs. In the 1920s the icon was brought from the vacated estate to the Rybinsk Museum Reserve.
#7
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St. Adrian the Wonderworker of Poshekhonye

Creation period
The first half of the 19th century
Dimensions
31.2х26.2 cm
Technique
Wood, tempera
2
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