Where to order the iconostasis. So how much does the altar fence cost? Increasing the height of the iconostases
Manufacturing of iconostases- one of the activities of our workshop. The first 3 iconostases were created by us back in 1988-90 in a three-aisled church in Abdulino, Orenburg region.
Since then, we have created several dozen different Orthodox iconostases of various styles in different parts of Russia.
When developing a project and making an iconostasis, we never repeat ourselves, each iconostasis made in our workshop is unique in its own way. Even if the bishop or rector of the church chooses an iconostasis that has already been made by us as a model, the new iconostasis, while retaining the basic style, will differ in form from the previous one. The iconostasis is designed based on the architectural style of this temple, taking into account the details of the entire interior of the temple. For approval, several options for the project of the iconostasis are offered to choose from.
The entire team of the workshop is working on the production of the iconostasis: designers, process engineers, carpenters, sculptors, painters, gilders and icon painters. The workshop mainly employs graduates of the Samara Art School and Samara state academy culture and arts.
Basically, the iconostasis made in our workshop consists of modules, carefully fitted to each other, which are made in a workshop in Samara (the base is separate, decorative details - columns, capitals, etc. separately) and assembled on site in the church in a few days ... Various materials are used to make the iconostasis. The base of the iconostasis is made of pine beams and MDF or precious woods. The iconostasis can be painted like porcelain, under any wood or stone, or carved details, or cast from high-strength gypsum or fiberglass, pasted over with foil under gold or gold leaf, partially or completely. Imported primers, paints and varnishes are used for painting.
The iconostasis is the main element of the decoration of the temple, just like the throne. Without them, it is impossible to conduct services in the temple. Therefore, already at the stage of the construction of the temple, it is necessary to take care of the project of the iconostasis. Since the iconostasis must organically fit into the space of the temple, it must be designed taking into account the rest of the church utensils and in combination with the future painting of the walls of the temple. During the heyday of church art, an architect often supervised the style and decoration projects in the church. Modern architects very often do not know the basic principles of temple design. Therefore, for example, they are building a temple with a small apse, where not only the iconostasis cannot fit with the deacon's doors, but there is nowhere to put the throne. The priests who approve such projects are poorly guided by the scale of the schemes. Several times I came across such cases when the artist, when submitting the project of the iconostasis for competitive consideration, shows, for example, a reduced iconostasis for the existing temple, the project of the iconostasis of the Cathedral of Christ the Savior, into the door of which, after making it, you will have to crawl sideways. And the commission of several people does not immediately pay attention to this. An artist who decides to make his own iconostasis must have extensive experience in this area under the guidance of an experienced craftsman.
Iconostasis fragment Kazan-Theotokos Church Bugulma Tatarstan
The history of the development of the iconostasis.
The Orthodox iconostasis has been transformed and changed over the centuries. In the earliest Christian churches, the Altar was always separated from the main premises of the temple by a curtain or partition in the form of a low wall. Eusebius of Caesarea wrote that in the 4th century in the temple built in Tire, the Altar was separated from the rest of the temple space by a carved partition (the prototype of the carved iconostasis). Woven curtains were also used (iconostases on the fabric are sometimes found in our time).
Byzantine altar barriers (iconostases) previously consisted of marble columns, with an architrave - a template and decorated with a cross. A curtain (catapetasma) was hung from the altar side. The Cross was depicted on the catapetasm. Currently, there are a lot of gold embroidery workshops that can make a curtain for every taste. Basically, the curtain is made of brocade. The main thing is for the curtain to easily move away without getting stuck in the mechanism, therefore, if the opening with the Royal Doors is large, it is better to make the curtain lightweight of thin material. During the service, an invisible connection takes place between the priest singing prayers in the Altar and the believers who are in the central part of the temple, anxiously capturing the words of the prayer. Therefore, the iconostasis must be designed in such a way as not to obscure the space between the Altar and the common temple. If the iconostasis covers the entire eastern wall, large openings must be left in the iconostasis above the Royal Doors and the deacon's doors. If this is not possible, due to the design of the project, then the iconostasis can be moved some distance from the eastern wall, allowing the sounds of prayer to pass into the domed part of the temple and there, reflecting from the sphere, reach the ears of the worshipers.
After the iconoclastic period ended, from the beginning of the 9th century, icons began to be installed everywhere on the templon, as a result of which the partition turned into an iconostasis. Icons were installed in the free space between the columns of the iconostasis. The Byzantine iconostasis was two and three rows. In Russia, such iconostases are called tyablovy. The tyabla iconostasis consists of several rows of icons installed on beams (tyabla) and separated by thin strips. Beams and planks are covered with threaded plates. Typically, the decor of the tyablovo iconostasis has a shallow carving. Later, basma was used to make a heavy iconostasis. Basmen's iconostasis consisted of strips with stamped decor on silver or brass plates. The most sophisticated master of basma iconostases was considered the master who had more stamps with decor. The decor was nailed with small carnations to the wooden base of the iconostasis. Many craftsmen combine carving with elements from basma. The tyabla iconostasis is still widespread in Greece and Cyprus. At the present time, along with other directions in the making of the iconostasis, in many iconostasis workshops that have grown in great numbers throughout Russia, the tyablo iconostasis has become widespread. The production of a tyablovo iconostasis does not require such large expenditures as the production of a classical iconostasis.
The Byzantine iconostasis came to Orthodox Russia in the 11th century, where it underwent major changes, turning into a tall Russian iconostasis. There are two types of iconostases in Russian churches. The first type of iconostasis is located across the entire width of the temple, occupying almost the entire eastern wall. The second type of iconostasis occupies only the space inside the opening to the Altar. When choosing the type of iconostasis, it was necessary to take into account the size and acoustic capabilities of the temple. And naturally, the size of the iconostasis was influenced by the material capabilities of this parish. Later, three-tiered iconostases appeared, which became widespread in Russia.
The very first three-tiered iconostasis was made in Moscow in the 15th century. The icons for this iconostasis were painted by the famous icon painter Theophanes the Greek. After some time, an iconostasis with a fourth prophetic row was made in the icon-painting workshop of Andrei Rublev.
Modern historians associate the emergence of the high iconostasis with the specifics of worship in Russia according to the Jerusalem Rite.
another forefather row appeared in the Russian iconostasis in the 16th century. Usually, the icons in this row depicted waist-length icons. By this time, an inextricable connection of holy scripture from the Old to the New Testament had formed on the iconostasis. The classic five-tiered type of the Russian iconostasis was formed.
One of the reasons for the emergence of the high Russian iconostasis was that many built churches did not have paintings on the walls. As a result, in the future, the number of rows on the iconostasis continued to grow.
In the 17th century, another row of the iconostasis with images of angels - seraphim and cherubim - appeared above the forefather row. Often they are depicted on the iconostasis as carved, crowning the icons of the upper row of the iconostasis. Later, a pyadnichny row was sometimes added to the iconostasis (small icons equal in size between the thumb and forefinger - a span). These icons, brought to the church by parishioners, began to be placed on the iconostasis for general lightning. In many temples you can see various icons hanging in disarray on the walls of the temple. In different parts of the church, there can be many icons with the image of the Savior or the Kazan Mother of God and other saints, different not only in style and literacy of writing, but also in preservation. Sometimes icons occupy the entire space of the temple, almost from floor to ceiling. And each parishioner came to pray to his icon. And if an old icon was placed in storage, a scandal occurred. Therefore, all these icons began to be installed on the iconostasis. At the end of the 17th century, icons depicting the Passion of Christ began to be installed in the iconostasis: the Beating of Christ, Carrying the Cross, the Crucifixion of Christ, Descent from the Cross, Entombment, so another row of passion appeared. At the very top of the iconostasis in many churches, they began to install a large Cross with the Crucifixion of Jesus Christ. On some iconostases, the Cross with the Crucifixion was depicted with the forthcoming Mother of God and John the Theologian. Basically, the Crucifixion of Christ was picturesque and was decorated along the contour of the Cross with gilded carving or engraving with gilding and enamels. At the beginning of the 18th century, iconostases began to be decorated with intricate carvings, gilded with gold leaf or gold leaf. Birds of paradise, all sorts of animals, grapes and paradise fruits and flowers were present in the carvings on the iconostases. Especially often on the old iconostases one can see twisted pillars entwined with vines, symbolizing the Blood of Christ. The rich carved iconostases made by Russian craftsmen had a great influence on the development of the iconostasis art of Athos and Greece.
In Russia, most often the classic iconostasis was five-row.
In each church, believers tried to erect an iconostasis, striking in its splendor. In the 19th century, iconostases made of marble and ceramics developed, designed not only to decorate the temple and glorify Christ, but also to stand forever.
Today, iconostases of a wide variety of styles are made in Russian churches. In our time, artists have enormous opportunities for freedom of creativity in the manufacture of the iconostasis. Our workshop has a wealth of experience in the development of various versions of the iconostasis. We will gladly work on the development of the project of the iconostasis and its manufacture in the style that is suitable specifically for your church and in accordance with the requirements of our time. In this difficult matter, it is better to trust real professionals.
MAKING THE ICONOSTASIS
Our workshop " North Athos"is engaged in the manufacture of" turnkey "iconostases from design to installation, painting temples and writing temple icons. How much does it cost to order an iconostasis? What is the cost. We will try to answer this and other similar questions in this article.
First you need to decide in what style it will be performed. The style of the iconostasis, like other elements of the decoration of the temple, has changed over time. Now the following types of iconostases are usually ordered.
Carved wooden iconostasis.
A very common type of modern iconostasis. It is much cheaper to order than a baroque one, while the beautifully toned wood, combined with well-written icons, makes a strong impression. Such iconostases are often found in Greece, on Athos. In Russia, until the 20th century, iconostases were usually gilded, but now wooden, carved products are found more and more often.
The approximate cost of making a carved wooden iconostasis, currently in Russia is 40-60 thousand rubles per square meter. The cost of icons is usually negotiated separately.
Baroque gilded iconostasis
Another widespread type of iconostasis is Baroque, formed in the 17th century. Its features are an abundance of gilded decorative elements. The iconostasis is made as follows. First, each element is carved out of wood by master carvers, then these elements are covered with gesso, after which the details are gilded with polymer and polished to a mirror shine.
It is quite expensive to order a baroque iconostasis. Perhaps this is the most expensive type of iconostasis. The cost is increased by both the high consumption of gold leaf and the complex and expensive work of the gilding masters.
The approximate cost of making a baroque iconostasis, currently in Russia, is from 90 thousand rubles per square meter. The cost of icons is usually negotiated separately.
Icon painting workshop "North Athos" 2016
carved wood, gilding
History of the iconostasis.
In the church, each temple icon occupies a strictly defined place. The central part of the temple is the iconostasis. Early Byzantine iconostases consisted of one row of icons and were usually made of stone. Over time, the iconostases became more complicated, new elements were added to them. The classic type of the five-row iconostasis took shape around the 15th century, and consisted of the following rows: Local row, Deesis, Festive row, Prophetic row, Forefather row.
In the center of the barrier above the royal gates there are images of the Deesis order. "Deesis" in Greek means "prayer". Eternal and indestructible prayer of the Mother of God and John the Forerunner, addressed to Jesus Christ.
On the Deesis icons, these three figures are in the middle: the Savior is in the center, the Mother of God is on the right. on the left is John.
Initially, they were written on the same board - this is how the earliest Russian Deesis icons look like. Gradually the composition became more complicated.
They began to write the images on separate boards, gradually new characters were added to them, sometimes scenes from the Gospel. By the end of the XIV century, the Deesis order already consisted of seven figures. For example, the Serpukhov rite, created in 1380, includes, in addition to the three-figure central icon, images of the archangels Michael and Gabriel and the apostles Peter and Paul. And the Deisis tier of the Assumption Cathedral of the Kirillo-Belozersky Monastery (15th century) already includes twenty-one figures.
In the 15th century, a high iconostasis with icons of a very large size also appears (nowhere, except for the Russian church, is there such a thing). The idea of their creation belongs, apparently, to Theophanes the Greek and Andrei Rublev. The images of the Deesis tier, written by them at the beginning of the century, are now in the Moscow Cathedral of the Annunciation.
Deesis was now perceived as a procession of holy prayer-books - primates for the human race before the Savior; therefore, the composition of the personalities could change. depending on the time and place of creation of the icons. It included canonized princes and hierarchs of the Church, locally revered saints. That. exactly how the figures were depicted depended on the central image. If the center of the composition was "Savior the Almighty", then the rest of the icons were half-length, and if "Savior on the throne" or "Savior in Strength" - then the figures were depicted full height.
Currently, iconostases are being created, both in the Russian tradition and according to ancient Byzantine models.
6. Installation of the iconostasis
The final stage is installation in the temple. So wood is a material that is quite sensitive to changes in temperature and humidity, installation must be done in a room with already formed temperature and humidity. All construction and plastering work must be completed in the temple.
Selected photographs of the works of our workshop.
5. Gilding the elements of the iconostasis
In cases where there are gilded elements in the project, the next step is gilding. Usually we use gilding on Mordan, but you can also gilding on polyment (more expensive and complex gilding, in which gold is polished with an agate tooth).
Of course, gilding with gold leaf is quite expensive, both due to the high cost of the material itself and the cost of the work. If it is not possible to order gilding with gold leaf, you can perform gilding with high-quality (non-oxidizing, and subsequently not greening) gold leaf.
3. Manufacturing of carved elements
The next stage is the manufacture of carved elements. Elements are cut on machines, in some cases (complex elements with internal thread) they are brought manually.
MANUFACTURING PROCESS
If you decide to order the production of an iconostasis in our workshop, then the manufacturing process will include the following stages.
1.Creating a draft design
In accordance with the architecture of the temple, a draft design is developed, which is approved by the customer. At this stage, it is possible to revise the sketch in accordance with the wishes of the customer and, in the case of churches that are an architectural monument, to bring it into compliance with the requirements of the State Institute of Environmental Protection.
2. Development of a 3D model.
At this stage, a 3D model is made. The model is necessary for the final clarification of all the details, and is further used for the manufacture of wood carving elements.
Nikolsky Naval Cathedral in Kronstadt, 2012
Stone iconostasis in the Byzantine style. 19th century. Jerusalem
Modern stone iconostasis in the Byzantine style. Balaam.
Iconostasis of the Church of St. Nicholas, Cyprus. Icon painting workshop North Athos 2007
Iconostasis with gilding
Nowadays, more and more often there are eclectic iconostases, which are difficult to attribute to any particular style. There are several reasons for the spread. First, a large number of churches are being restored, built in the 19th century according to a standard design, for which it is difficult to design an iconostasis that harmoniously combines with the architecture of the temple and at the same time meets strict stylistic canons.
Secondly, in the manufacture of such iconostases, one can keep within a relatively small budget, which is important for poor provincial parishes. At the same time, a well-designed iconostasis will look no worse than more expensive baroque or stone iconostases.
The approximate cost of making such iconostases, currently in Russia, is 40-90 thousand rubles per square meter. The cost of icons is usually negotiated separately.
Iconostasis of the Transfiguration Cathedral, Valaam, 2006
Icon painting workshop North Athos, together with other workshops
Iconostasis of the Transfiguration Cathedral, Valaam,
fragment.
Iconostasis of the Temple of Joy of All Who Sorrow, St. Petersburg, North Athos Icon Painting Workshop, 2008
Byzantine stone iconostasis.
This type of iconostasis took shape in the first centuries of Christianity and was widespread in Byzantium. Has a low altar barrier. Consists of one or two tiers. The combination of white carved stone and large icons looks very elegant. At the same time, the iconostasis is not overloaded with decorative elements, and nothing distracts the attention of the worshipers.
However, ordering a stone iconostasis is somewhat more difficult and more expensive than a wooden iconostasis. The fact is that in Russia there are few workshops specializing in natural stone carving, and they value their work quite dearly.
Alternatively, you can order the iconostasis made of artificial stone. A good artificial stone practically does not differ from the real one, it allows you to make ornaments of any complexity and is comparable in cost to a carved wooden iconostasis.
The approximate cost of making a stone Byzantine iconostasis, currently in Russia is 70-90 thousand rubles per square meter. The cost of icons is usually negotiated separately. On separate page site, you can read how the cost of icons is formed.
St. Petersburg, Morskaya nab. 37
From time immemorial, the Orthodox faith has called a person to purify his soul, to get rid of sins in order to achieve the Kingdom of Heaven. The church iconostasis is the symbolic gateway between the earthly space and the heavenly world. It visually separates the altar from the place of general visit, as if reminding a person that there is a certain line between him and the Supreme Creator. No one can cross this line without the godly mediation of the chosen righteous.
According to its structure, the Orthodox church iconostasis consists of three sections. In its center, opposite the throne, is the Royal Doors. Only clergymen can enter the altar through them. For the eyes of parishioners, the Royal Doors open exclusively on special occasions. The lattice doors with carved patterns are hung with a symbolic veil that keeps the sacrament of the Shrine and is lifted only a few times a year. Only on a special day can believers look at what is happening in the altar, absorbing with their eyes the process of transubstantiation of the Holy Gifts. Above the Royal Doors, according to the church canon, it is customary to place an icon depicting the Last Supper.
North and South gates are arranged along the edges of the Royal Doors. Unlike the bivalve Royal ones, they consist of a single wing, and their decoration is inferior to the central entrance to the altar. Priests pass through the outer gates on ordinary days and during statutory divine services. On the side of the altar, behind the southern and northern gates, there is a deacon and an altar. The entire front part of the church iconostasis, facing the center of the church, is crowned with images with the faces of the Holy Ones. Following the ancient church canons, in the manufacture of the iconostasis, its multi-tiered structure is strictly observed. Each of the five rows has its own sacred meaning, which is reflected in the icons placed on it.
Arrangement of tiers of the church iconostasis
At the very top of the iconostasis, in the Forefather's row, the most revered place is occupied by icons with the faces of the Old Testament patriarchs. In the center is the "Holy Trinity". Below is the Prophetic row, symbolizing the Old Testament church. The central icon here is "The Sign". It depicts the Heavenly Queen with a baby on her knees. The third row from the top is called Festive. Its name is characterized by Shrines, symbolizing the main Orthodox holidays, from Christmas to the Assumption. The Deesis row at its head places the icon of the "Savior", supported on both sides by the faces of the Mother of God and John the Baptist, as well as by the host of Saints. It symbolizes the Deesis row of the Heavenly Church of Christ.
The very last, lower row of the church iconostasis is called Local. In it, the central faces of the Savior, the Virgin Mary and the temple icon are placed near the Royal Doors of the iconostasis. The rest of the space is reserved for images of a local character, in other words, the most revered in the area where the temple was directly erected.
The fact that the most important Christian sacraments are held near the iconostasis, and that it symbolizes the church from its origins to the Last Judgment, tells us about the importance of this symbol for Orthodoxy. In terms of its energy, supported by revered images, the church iconostasis is comparable to the power of faith and purity of thoughts that the clergy and parishioners of the church carry within themselves. He reveals the true close connection between the earthly world and the Heavenly Kingdom. Taking the Holy Communion from the hands of God's intermediaries and bowing his brow in confession, the believer is under the invisible protection of the faces and symbols erected on the Orthodox church iconostasis.
The iconostasis (Greek εκονοστάσιον) is an altar partition with gates, located from the northern to the southern walls of the temple, consisting of one or more rows of orderly placed icons, separating the altar part of the Orthodox church from the rest of the room.
Our work
Iconostasis in the chapel at the medical center in Vladivostok
Iconostasis in the Smolensk region
Iconostasis of Kamensk-Shakhtinsky
Iconostasis of Kubinka Moscow Region Right border
Iconostasis of the town of Kubinka Moscow Region Left border
Iconostasis of Moscow
How to order an iconostasis?
Ordering the iconostasis- a complex and responsible business, because you need to take into account not only the proportions, the location of the icons, but also to work out all the details: carving, decorative elements, approve the carving, choose the right color for the iconostasis.
The iconostasis is by far the most important piece of church interior design. This is the face of the temple. It creates a certain prayer mood, solemn, taking upward or, conversely, warm, intimate, which is often found in small temples or side-altars. The iconostasis usually echoes the architectural structure of the temple and, along with the aesthetic, carries a very important semantic load, which lies in the icon-painting part. Therefore, the work on the iconostasis is the work of an architect, an icon painter, and an engineer-technologist in the case of complex constructive solutions, and a carver-sculpture, and a cabinetmaker or stone specialist, as well as carpenters and gilders. The creative team "Sobor" unites all these specialists, because making iconostases is one of the most important areas of his activity. If you want to order an iconostasis, just contact us.
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The iconostasis in combination with light festive painting forms a solemn architectural and artistic ensemble. The iconostasis was made using the rarest technique of using hot and cold enamels. The busy and complex iconostasis dissolves into the interior of the temple, becoming transparent and light, which creates the feeling of an unearthly space - is this not a Miracle?
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Made in a classic style for the existing painting and interior to maintain the integrity and harmony of the interior space.
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Project author: Oleg Romanenko. Iconography: Svetlana Rzhanitsyna, Alexander Golyshev, Sergei Cherny, Ekaterina Lukanina, Ekaterina Myts, Alexei Koshevoy, Irina Kolbneva. Artistic supervision of the carving: Andrey Vlasov.
The iconostasis, which is unique in artistic and performing terms, organically fits into the temple architecture. The light background, shading the exquisite gilded carvings, lends lightness and airiness to the overall architectural solution of the iconostasis.
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Project author: Oleg Romanenko. Iconography: Svetlana Rzhanitsyna, Vyacheslav Simakov, Irina Kolbneva, Alexander Golyshev, Olga Spiridonova, Alexey Litovkin. Artistic supervision of carving and basma works: Andrey Vlasov.
The architecturally remarkable church of St. Elijah the Prophet in the village. Dydyldino is an interesting object for the masters of church art. The main hall for the creators of the iconostasis is to ensure the integrity of the temple space with the richness and variety of artistic techniques and materials. The iconostasis organically blended into the interior of the temple and forms a single whole with the paintings of the temple, made by the "LiK" workshop.
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Gothic forms organically adapted for the Orthodox tradition are the main architectural idea of the iconostasis. The plastic techniques of Russian Art Nouveau at the beginning of the twentieth century are also actively used. The iconostasis not only fits perfectly into the high architecture of the temple, but also enriches it a lot.
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Project author: Oleg Romanenko. Iconography: Alexei Koshevoy, Ekaterina Lukanina, Ekaterina Myts, Olga Spiridonova, Alexander Golyshev, Andrey Zharov, Alexandra Zakhvatkina. Artistic supervision of carving and basma works: Andrey Vlasov.
Architect Oleg Romanenko developed the idea of an iconostasis previously embodied by the Sobor workshop in the Transfiguration Church in Igrim in the Khanty-Mansi Autonomous Okrug. Here she was enriched in the central iconostasis with a relief plan, larger carvings and architectural finds that emphasize the beauty of icons, which have no less artistic significance than in Igrim, since the same team of icon painters worked here, only in a more expanded composition. More laconic side iconostases are no less interesting and expressive.
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The original architectural solution of the iconostasis and the delicate unobtrusive decor in the form of carving and basma framing favorably emphasize the beauty of the icons, the authors of which, famous Moscow masters, especially showed a creative and soulful approach in their creation. The festive row in terms of integrity and brevity, as well as the skill of writing, is an architectural and pictorial frieze that unites the entire pictorial solution of the icons of the iconostasis. The silhouette rhythms of local images are very expressive.
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The iconostasis is made of American walnut with basma inserts in the Art Nouveau style.
Deep carving with elements of the Garden of Eden and animals is the author's development of the motives of the carved iconostases of the beginning of the last century. The hagiographic icons of St. Alexander Nevsky and Dimitry Donskoy - also creative and independent development of icon painters. The same can be said about the rest of the icon painting. Each image of the iconostasis is the result of a long and careful work of the artist, a creative approach and interesting solutions.
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Iconography: Svetlana Rzhanitsyna, Ekaterina Myts, Aleksey Koshevoy, Ekaterina Lukanina, Olga Spiridonova, Aleksey Litovkin.
The project of the basma iconostasis was enriched with carved gilded inserts with delicate colored backgrounds. The icons, painted by some of the best Moscow artists, are set against light backgrounds that emphasize the airiness and lightness of the temple space.
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The iconostasis of a significant church in Moscow (Bulgarian courtyard) is not an exact reconstruction of the pre-revolutionary iconostasis. It is focused on the more ancient architecture of the temple, built in the best traditions of temple construction of the 17th century. Materials - oak and basma with carved gilded inserts, were also used in the destroyed old iconostasis.
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The iconostasis of the lower church, sufficiently brightly lit, is deliberately conceived with an abundance of gold, which makes it a semantic dominant in the simple and clear temple architecture and emphasizes the warmth of the sacred space.
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Icon painting under the direction of A. Sokolov.
The restoration of the iconostasis in the Trinity Church of Trinity-Lykov, a unique historical monument in the Naryshkin Baroque style, is one of the most interesting and most important works of the Sobor workshop. And if in the reconstruction of the carving the restoration problem was solved exactly, which did not limit at all the creative possibilities of the carvers, who showed their skills with vivid force, then in icon painting the artists surprisingly preserved their faces with stylistic correspondence, which is undoubtedly very important and theologically justified when creating an image.
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This iconostasis was created for the harsh north of the Khanty-Mansiysk Territory, where nature rarely gives people sunlight and warmth. That is why there is so much color, ornamental carvings and gilding in it. The icon painters were faced with a rather difficult task - to make sure that the images were not lost in the abundance of color and gold, so that such an architecturally complex and bold iconostasis did not turn into another "carving station". Whether they coped with this task - the answer to this question is ambiguous. But it is precisely the ambiguity of this iconostasis that makes it a significant phenomenon of ecclesiastical art of that time, setting next tasks for church artists and stimulating the search for ways to solve them.