Central Museum of Ancient Russian Culture and Art. Andrey Rublev

Central Museum ancient Russian culture and art named after Andrei Rublev - the only special museum in Russia dedicated to the Russian artistic culture middle ages. The museum is located within the walls of the Spaso-Andronikov Monastery, where the great Russian icon painter Rev. Andrei Rublev lived, worked and was buried.

On the territory of the monastery, the oldest stone church in Moscow, the Spassky Cathedral, built during the life of Andrei Rublev in the first quarter of the 15th century, has been preserved.

The museum's collection has been collected over the past 50 years and includes about 10 thousand works. ancient Russian art. It gives a comprehensive view of artistic life Ancient Rus'. Its main core is made up of works of fine art: monuments of icon painting of the XIII-XVII centuries, book miniature, monumental painting(fragments of paintings taken from the walls, as well as copies of frescoes).

The icon painting collection includes monuments of all directions and schools from antiquity to the late Middle Ages (Moscow, Rostov, Novgorod, Pskov, Tver, the Volga region). The pride of the museum collection is the works of the masters of the circle Andrei Rublev and Dionisy, their closest followers, images created by special order of Ivan the Terrible, signature works of the iconographers of the Armory.

The museum's collection includes a variety of works of decorative and applied art of the 11th-19th centuries: facial sewing, wooden sculpture, small plastic, enamels, products from precious metals. The collection of manuscripts and early printed books includes liturgical and secular compositions, singing books of the 15th-19th centuries.

The museum offers visitors a variety of sightseeing and thematic tours, as well as special programs for children and adults.

Highly qualified specialists of the museum conduct an examination of works of ancient Russian art.

History of the Andrey Rublev Museum

The Andrei Rublev Museum was established by a government decree on December 10, 1947. The initiator of the creation of the museum was Pyotr Dmitrievich Baranovsky (1892-1984), a famous restorer architect who did a lot to preserve the ancient Russian artistic heritage. The organization of the museum saved the architectural ensemble of the Spaso-Andronikov Monastery from destruction, within whose walls the great icon painter Andrey Rublev worked and was buried. The founding of the museum was timed to coincide with the celebration of the 800th anniversary of Moscow.

The first director of the museum in 1949 was David Ilyich Arsenishvili (1905-1963), museum enthusiast, founder of the Theater and Literary museums in Tbilisi, and the first researcher was Natalya Alekseevna Demina (1904-1990), one of the outstanding researchers of ancient Russian art, an expert on the work of Andrei Rublev.

In the early 1950s, a young art critic, Irina Aleksandrovna Ivanova, came to the museum. Through the efforts of these people, the first scientific expeditions were organized, and the formation of the museum's collections began. Its employees often saved works of ancient Russian art from destruction, taking them out of churches and some peripheral local history museums, which did not know how and were afraid to store works that were dubious from the point of view of the ideology of that time. The first receipts in the museum were several icons of the XVI-XVII centuries. from Vladimirsky local history museum and an iconostasis complex from the Cathedral of the Spaso-Evfimiev Monastery in Suzdal, created in the 1660s.

At the same time, research was carried out scientific restoration architectural ensemble monastery, primarily the white-stone Spassky Cathedral of the early 15th century - the oldest surviving monument of architecture in Moscow, as well as other monastic buildings.

The museum was opened to visitors on September 21, 1960. This year was declared by UNESCO as the year of celebrating the 600th anniversary of Andrei Rublev, and the opening of the museum became one of major events anniversary days. At that time, the museum collection consisted of only 317 monuments. Today, thanks to numerous expeditions, acquisitions, as well as valuable offerings, the museum has about 10 thousand icons, works of arts and crafts, originals and copies of frescoes, manuscripts and early printed books, archeological monuments.

Museum named after Andrei Rublev took a special place among others Russian museums. It has become the only museum of fine arts of the Russian Middle Ages in the country, covering a huge stage of history spanning more than seven centuries. Since its opening, the museum has been a real informal cultural center, where the Moscow intelligentsia flocked, discovering the previously unknown world of ancient Russian fine art. In the 1960s, a new generation of researchers came to the museum, among them G.V. Popov, who is now its director, as well as K.G. Tikhomirova, V.V. Kirichenko, A.S. Loginova, V.N. Sergeev, L.M. Evseeva, I.A. Kochetkov. At that time, the museum carried out especially numerous expeditions, thanks to which museum collection expanded significantly. The collection was replenished with the help of purchases from private owners, collectors, in antique and second-hand bookshops. A lot of works detained while trying to illegally export abroad were transferred to the museum government organizations: customs, internal affairs and state security agencies. Friends of the museum, private collectors also made an active contribution to the replenishment of the museum collection with their generous gifts. Among them G.D. Kostaki and artist V.Ya. Sitnikov

A valuable collection of icon painting of the 13th-17th centuries brought to the Andrei Rublev Museum world fame. In 1991, it was included in the list of especially valuable objects. cultural heritage peoples Russian Federation.

In 2001, the first director of the museum D.I. Arsenishvili and the first researcher N.A. Demina in the museum, on the wall of the Rector's building, commemorative plaques by Zurab Tsereteli and Viktor Surovtsev were installed.

Expositions of the Andrey Rublev Museum

The permanent exhibition of the Museum is deployed in architectural complex Church of the Archangel Michael and the refectory. It includes the most significant works museum collection, giving a holistic view of the history and development of Russian icon painting from the 12th to early XVI II century.

The exposition is organized chronologically and is divided into two large sections dedicated to Russian fine arts antiquity (Painting of the 12th - early 16th centuries) and the late Middle Ages ( Painting XVI - early XVIII century). Within the sections of the exposition, separate art centers are distinguished (plans-schemes of the expositions of the first and second floors).

The section of the exhibition Paintings of the 12th - early 16th centuries is located on the second floor. In the premises of the Church of the Archangel Michael are presented ancient icons collections and monuments of icon painting of Peter I by the boyar Lev Naryshkin in his estate near Moscow and is a vivid example of architecture of the so-called Naryshkin style (or baroque). It is distinguished by the use of a plan solution that is unconventional for ancient Russian architecture and volumetric composition, orientation to European samples in white stone carving.

The Church has altars in summer and winter temples. The upper, summer, in the name of the Savior Not Made by Hands, has almost completely retained the original decoration of the interior. The gilded carving of the iconostasis, choirs and the royal box was made by the best Moscow carvers. Icons for the iconostasis are painted outstanding artists from among the royal masters of the Armory Chamber, Kirill Ulanov and Karp Zolotarev. The interior of the lower, Pokrovskaya, church was repeatedly updated during the 18th-19th centuries.

Address: Moscow, st. Novozavodskaya, d. 6, metro: "Fili"

The Andrei Rublev Central Museum of Ancient Russian Culture and Art is the only state specialized museum of Russian church art of the Middle Ages and Modern times.

The museum is located within the walls of the famous Spaso-Andronikov Monastery, where the great icon painter Andrei Rublev painted the Cathedral of the Savior, now the oldest temple in Moscow. The museum has a rich collection of iconography from the 12th to early 20th centuries. In 2017, the museum celebrates the 70th anniversary of its foundation.

In 1947, in the wake of the post-war patriotic upsurge, in the year of the celebration of the 800th anniversary of Moscow, the Museum named after A.I. Andrei Rublev. Its first director was D.I. Arsenishvili (1905-1963), the first researcher - an outstanding expert on the work of St. Andrey Rublev N.A. Demina (1904–1990).

By the time the Museum was founded, the monastery was completely ruined, the museum collection was collected literally bit by bit, in an environment of extremely negative attitude of the state towards the national religious heritage. Collected Works often required careful and many years of restoration.

Nevertheless, 13 years later, on September 21, 1960, the Museum was opened and presented to the visitors in a hall with dozens of icons opened from late recordings and dirt, murals and works of arts and crafts taken from the walls of destroyed temples. Collecting activities and restoration work continue to this day and are an integral part of everyday museum life.

Now the exposition occupies all the rooms of the refectory chamber and the Church of the Archangel Michael, restored and accessible for inspection. An exhibition hall is located in the Rector's building.

Working mode:

• Monday, Tuesday and Thursday from 14:00 to 21:00;
• Friday, Saturday and Sunday from 11:00 to 18:00;
• Wednesday is a day off.

The territory of the Museum is open daily from 9:00 to 21:00.

Ticket price:

permanent exhibition

• for foreign citizens - 400 rubles;
• for citizens of the Russian Federation and CIS countries - 299 rubles;
• reduced ticket - 150 rubles.

Temporary exhibitions

Tickets for temporary exhibitions are sold separately, the cost may vary depending on the exhibition.

Monthly calendar in icons from the collection of the Andrei Rublev Museum Equal-to-the-Apostles TSAR KONSTANTINE AND QUEEN ELENA Around 1853. Moscow Wood, oil; 125 x 89 cm KP 2825 Upper Savior Church of the Church of the Intercession at Fili Flavius ​​Valerius Aurelius Constantine (between 270-275 - 337) was a Roman emperor known as Constantine the Great. He is revered by the Church as Equal-to-the-Apostles thanks to the Edict of Milan adopted in 313, which legalized Christianity in the Roman Empire. This happened after the victory of Constantine over the troops of Maxentius in 312, on the eve of which, according to legend, the emperor saw a Cross in the sky with the inscription: “Sim you will conquer.” In 325, he initiated the convocation of the Council of Nicaea, at which the Arian heresy was condemned. The emperor accepted baptism on the eve of his death. The life of the mother of Emperor Constantine, Equal-to-the-Apostles Empress Helena (250s-330s) is known mainly from the work of Eusebius of Caesarea "The Life of the Blessed Basil Constantine". Elena converted to Christianity at the age of about 60 and at the end of her life undertook a pilgrimage to Jerusalem, where, at her will, a successful search for Golgotha, the cave of the burial of Christ and the Cross of the Crucifixion was carried out. The cross was found along with four nails and a tablet with a brief inscription: "Jesus the Nazarene King of the Jews." Queen Elena established the veneration of the acquired relics and erected a temple over the cave of the Holy Sepulcher in honor of the Resurrection of Christ. Equal-to-the-Apostles Constantine and Helena are traditionally depicted together on either side of the large Cross. The icon, located in the western vestibule of the upper temple of the Church of the Intercession in Fili, was executed around 1853, when work was carried out in the interior to reorganize the decoration of the vestibules at the expense of the merchant I.P. Gladilina.

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Classes 132

In 1922, mass seizures of church valuables in churches and monasteries of Moscow took place as part of the declared fight against mass starvation. In the Andronikov Monastery, confiscations began on March 22 - from the shrine that stood in the Spassky Cathedral with the relics of the first abbots, St. Andronicus and Savva, more than 7 pounds of silver (more than 114 kg) were torn off. In April, silver chasubles were removed from icons, 625 diamonds, 125 diamonds, 2 silver crosses with pearls weighing more than 6 pounds (more than 2700 g) were confiscated. Soon after the closing of the monastery, all other valuables were looted, scattered, and taken away. The Andrei Rublev Museum was created in 1947 without a single exhibit - not a single icon, manuscript, ancient monument Andronikov Monastery was not there, the necropolis was ruined, and the Cathedral of the Savior needed urgent emergency work and restoration. In the photo of the beginning of the 20th century - the interior of the Spassky Cathedral and a view of the shrine with the relics of the first abbots, which stood in the aisle.

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Classes 84

Today our museum took part in the #MuseumUnity campaign on Facebook. One of our publications was devoted to the most significant list of the Kazan - Moscow Kazan Icon of the Mother of God. We present it to your attention. MOSCOW KAZAN ICON OF THE MOTHER OF GOD. In 1611, near Moscow, occupied by the Poles, from Kazan, with the Kazan militia, a list of the Manifested Kazan Icon was brought, and not the icon itself. This important conclusion was made by historians on the basis of chronicle evidence. With the icon brought from Kazan, in a heavy battle with Hetman A. Khodkevich, the militia of the cities of the Lower Volga and the Cossacks took the Novodevichy Convent, after which this icon began to be revered as miraculous. According to the text “The Tale of the Coming of the Miraculous Image of the Most Pure Mother of God of Kazan under the Reigning City of Moscow, When the Apostates and Destroyers of the Orthodox Faith of the Lithuanian People Always Rapture It”, the icon was brought to Moscow on July 22, 1611 and placed in the stone Church of the Annunciation in the village of Vorontsovo (now st. . Vorontsovo Pole). In late August-early September 1611, a Kazan wooden church was built in Moscow, where the icon was transferred. Due to the difficult situation near Moscow, she stayed here until the beginning of winter, after which she was sent to Yaroslavl with the Kazan archpriest. In the spring of 1612, the militia of Kuzma Minin and Prince Dimitry Pozharsky came to Yaroslavl, and the icon, already famous for miracles, was taken to the regiments, and to Kazan, with the Kazan archpriest and part of the Kazan militia, they sent a list decorated with salary. The Moscow Kazan icon became a regimental one. On October 22, 1612, it was with her that Kitay-Gorod was taken by attack, and soon the Poles surrendered the Kremlin. October 22 (November 4, according to a new style) became the day of the liberation of Russia from the invaders. On the first Sunday after the liberation of the Kremlin, regiments of Russian soldiers converged at Execution Ground on the square called "Fire" (as Red Square used to be called), where the meeting of two miraculous icons took place Mother of God- Kazan and Vladimir, taken out of the Frolovsky (now Spassky) gates of the Kremlin by Archbishop Arseny Elassonsky. After the liberation of the capital, the Moscow Kazan Icon stood in the parish Church of the Presentation of Prince Pozharsky, until 1617 a chapel was built here in honor of the Kazan Icon of the Mother of God, where Tsar Mikhail Feodorovich listened to Mass. In 1625, by order of the tsar and with the blessing of Patriarch Filaret miraculous icon was decorated with "many utensils" by Prince Pozharsky according to his vow. In 1632, a wooden church was built in Moscow in honor of the Kazan Icon of the Mother of God “near the wall” of Kitay-gorod, between the Ilyinsky and Nikolsky gates. It was equal in status to the Kremlin cathedrals. In 1634, this temple burned down, and during the construction of a stone cathedral on this site, it was in the Vvedensky "Golden-domed" temple of Kitay-gorod. After the consecration of the stone Kazan Cathedral on Red Square in Moscow on October 16, 1636, the icon was kept here. She was called "Kazanskaya, which is on the "Fire"". The Moscow Kazan icon belonged to late XVI or early XVII V. A photograph of the icon without a salary has been preserved. In the photograph, the icon looks after the renovations of the 17th-18th centuries, which are evidenced by 2 inscriptions on the bottom field. The icon painter Mikhail Milyutin (Malyutin), who restored the icon of the sovereign, was one of the most gifted students of Simon Ushakov. He was entrusted with the restoration of ancient icons. In 1812, the icon was taken out of the Kazan Cathedral and saved, but without the precious setting taken by the French. By October 22, 1824, at the expense of Moscow merchants D. Lepeshkin and N. Tikhomirov, a new salary was created for the Moscow Kazan Icon, which in 1850-1853. received additional decorations and crowns. At the same time, the icon was placed in a silver kiot (worth 2735 rubles in silver) with figures of soaring angels on the doors and with cherubs on top. In 1918, the Moscow Kazan icon in a precious setting was stolen from the Kazan Cathedral, and its whereabouts are currently unknown. The closest surviving list of the Moscow Kazan icon is the Kazan icon, which is now the most revered in Moscow, in the Cathedral of the Epiphany Elokhov Cathedral, which, as is commonly believed, comes from the Kazan Cathedral on Red Square. The icon was painted at the turn of the 17th and 18th centuries. in the tradition of lifelikeness. On the lower field of the Kazan icon, under the salary, there is an inscription: "The true image of the gloomy Kazan icon of the Mother of God that is in the Kazan Moscow Cathedral." Comparison of the Moscow Kazan icon and the "Elokhovskaya" without salaries suggests that these are different icons. Photo from pravenc.ru

The oldest building in Moscow is not the Kremlin at all, as many are sure, but the Spaso-Andronikov Monastery. The cathedral itself is, and even more. He is very handsome and is known for saving Moscow more than once. Andrei Rublev also lived here as a monk. The fate of the monastery and the famous icon painter are inextricably intertwined. The holy monastery gave shelter and spiritual food to Rublev, and the icon painter himself became the unwitting savior of the cathedral centuries after his death.

History of the A. Rublev Museum

The monastery was founded in 1356, many heroes are buried in it Kulikovo field. Here the icon shone Holy Mother of God Vladimirskaya, it is believed that it was she who saved Moscow from Tamerlane's raid. The cathedral is well fortified with massive walls, behind which the townspeople took refuge more than once during the onset of enemies.

In the XVIII century, a bell tower was built in the monastery, the second highest after the Kremlin Ivan the Great, but it was blown up in the 30s, when they decided to fight the churches. Approximately the same fate awaited the monastery itself, but quite unexpectedly, scientists found frescoes by Andrei Rublev on the walls of the cathedral. They were badly damaged, as it turned out later, during the raid of Napoleon, a significant part of them was lost forever. But even what was left was enough to save the cathedral from demolition - this is how the icon painter helped the monastery that sheltered him. In 1947, on the rise of patriotism that reigned after the war, it was decided to create a museum of Andrey Rublev. In the Andronikov Monastery, the exposition began to work only in 1960, on the 600th anniversary of Andrei Rublev.

Museum exposition

Now the Andrei Rublev Museum is the largest icon painting museum in the world. For many centuries, the image of the Savior Not Made by Hands has been considered the main shrine in the Andronikov Monastery. This icon is priceless, it has been in the cathedral almost from the very foundation of the church. The next most important exhibit is Andrei Rublev's masterpiece, the icon of John the Baptist. The figure of the saint is filled with unearthly sadness and tranquility. The viewer gets the impression that the prophet knows about the fate prepared for him. The icon is written with such talent that even time could not reduce its impact on the viewer. The Prophet is eye-catching despite the cracked wood plank and faded paint.

The Rublev Museum also has exact copy famous Rublev's "Trinity". A non-specialist will not be able to distinguish a copy from the original. There are many icons on the theme of the Trinity. Rublev wrote a popular plot like no other. This can be seen by comparing with other icons, some of them are even more early period. The museum contains works by other masters, not only icons, but also frescoes, objects of applied church art, and wooden sculptures.

All church festivities are solemnly celebrated in museums, lectures are given on the culture of Ancient Rus' and Byzantium, and on Sundays there are concerts of instrumental and sacred music. Admirers of the talent of the icon painter, lovers of ancient Russian and Byzantine history, Orthodox Christians and simply inquisitive people will be interested in visiting the Andrey Rublev Museum.

The Museum of Old Russian Culture and Art is located on the territory of the Spaso-Andronikov Monastery (I will talk about the monastery in a separate post), founded in the middle of the 14th century and associated with the Battle of Kulikovo and other events of Russian history and culture.
In ancient architectural monument Moscow, the Spassky Cathedral (20s of the XV century), in the window openings of the altar, frescoes by Andrei Rublev, the great icon painter of Ancient Rus', have been preserved. In this monastery he was a monk and here in 1430 he was buried. His grave has not survived. The most important works of Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophan the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow in 1547.
In the beginning, the museum had only copies and photographs, then they began to bring icons, decommissioned from decay, frescoes taken from the walls. Now there are more than 5 thousand icons in the museum, and among them there are works by Dionysius.
The Andrei Rublev Museum was established on December 10, 1947, and opened to the public on September 21, 1960. The initiator of the creation of the museum was Pyotr Dmitrievich Baranovsky (1892-1984), a famous restorer and architect.
A valuable collection of iconography of the 13th-17th centuries brought world fame to the Andrei Rublev Museum. In 1991, it was included in the list of especially valuable objects of cultural heritage of the peoples of the Russian Federation.

Christ Almighty 1685

Renovation of the Church of the Resurrection of Christ, 17th century.

Volga region from the village of Nikolskoye, Borisoglebsky district, Yaroslavl region

The Mother of God with the Child on the Throne.
Late 17th century
Karp Zolotorev. Moscow, gold-painting workshop of the Ambassadorial order.

Our Lady of Vladimir
About 1676
Armory, Moscow. From the Pokhvalskaya church in the village of Orel, Berezniki district, Perm region.

Our Lady of the Burning Bush
17th century. Volga region.
From the Trinity Makariev Monastery in Kalyazin

Christ Almighty
1703
Filatiev. Armory, Moscow. From the Cathedral of the Archangel in Bronnitsy, Moscow Region.

Royal Doors and gate canopy
Middle of the 17th century. Volga region. From the Church of the Sign in the village of Pyleva, Tver Region.

Saint Alexis is a man of God and Reverend Mary Egyptian
Mid 17th century. Moscow. From the Cathedral of the Sretensky Monastery.

Nativity of Our Lady
First half of the 17th century. Volga region.
From the Church of the Nativity of the Virgin in the village of Dryutskovo, Tver Region

Forefather Benjamin and Forefather Neffalin
From the ancestral row of the iconostasis of the Transfiguration Cathedral of the Solovetsky Monastery.

Archangel Michael. Trinity. Archangel Gabriel
First half of the 17th century.
Workshop of the Trinity-Sergius Monastery in the Klimentovskaya Sloboda. From the iconostasis of the Epiphany Church in the village of Semenovskoye, Moscow Region.

royal doors
Second half of the 16th century. Russian north.
From the Church of the Assumption in the village of Varzuga, Murmansk Region.

Archangel Michael, with deeds
16th century Great Ustyug.
From the Church of the Assumption in Lyalsk, Kirov Region.

Martyr Paraskeva Friday
16th century Novgorod.

Holy Blessed Prince Peter of Murom and Holy Blessed Princess Fevronia of Murom
End of the 16th century. Moore.
From the Transfiguration Cathedral of the Spassky Monastery in Murom, Vladimir Region.

Saints John Chrysostom and Basil the Great
Fragment of the royal doors. 16th century Yaroslavl.

Our Lady of Tikhvin
1550s. Moscow.

Saint Nicholas of Myra
1550s. Moscow.
From the Assumption Cathedral in Dmitrov, Moscow Region.

Royal Doors
16th century Novgorod province

Our Lady

Savior in power
End of the 15th century. Rostov school.
From the church in the village of Chernokulova near Yuryev-Polsky
(Gift by Yu.M. Repin)

Position in the coffin
1497. From the Assumption Cathedral of the Kirillo-Belozersky Monastery.

Conception of John the Baptist (Meeting at the Golden Gates)
15th century Novgorod.

Great Martyr Paraskeva Pyatnitsa with Stigmas of Life
16th century Tver.
comes from the church of the village of Porechye, Bezhetsky district, Tver region.

Saint Nicholas the Wonderworker
End of 17th century. Tree.

Rev. Nil Stolobensky
Second half of the 19th century. Tver province.