Manufacturing of iconostases. Order an iconostasis, making an iconostasis to order in the icon-painting workshop northern athos. Iconostasis of Kubinka Moscow Region Right border

The appearance, style and height of the iconostasis are determined by the temple of its construction, since the iconostasis is an integral part of it. Before proceeding with the creation of the iconostasis, it is necessary to study the architecture, history and style of the temple where it is planned to be placed. It should be proportionate to the scale and proportions of the temple and correspond to its general style. In ancient times, special church architects were involved in the design of the iconostasis. Currently, this profession has been supplemented modern technologies allowing you to create even more sophisticated projects.

Iconostasis made of "Botticino" marble.

So, in the company ISAKIDIS, architects with a church education and designers with many years of experience and specializing in the design of church decoration are engaged in the design of the iconostasis. And the used 3D modeling technology allows you to recreate a model of the future project, thanks to which you can preliminarily estimate what the final look will be for the church work. After agreeing on the model, our specialists proceed to the next stages of the iconostasis implementation.

As for history, the first mentions of the iconostasis date back to the 4th century. At that time, various barriers and curtains began to separate the altar from the rest of the temple. The iconostasis originates from Byzantine temples, where the iconostases were created from stone. At that time, they were presented in the form of a combination of parapets, columns and stone beams, which were called "templon". In the center there was a cross, and on the sides there were images of Jesus and the Mother of God. Gradually, the structure became more complicated and the number of icons presented was added. On Ancient Rus temples in their decoration in many respects repeated the Byzantine predecessors. But often this was not always possible, since most of the churches in Russia were wooden, on the walls of which no painting was applied, and decoration and luxury were achieved by increasing the number of images in the iconostasis. So at the beginning of the 17th century from Byzantine prototypes in 2-3 tiers and a classic high Russian iconostasis appeared, consisting of 5 levels.

Iconostases of the 15-17th centuries have the simplest structure and are called tyablovy (it comes from the Russian "tyablo", which means timber, or even earlier from the Latin "tabula", which translates as a board, or from the distorted Greek word "templon"). In such iconostases, icons are placed between horizontal beams, which, in turn, are either painted with floral ornaments themselves, or covered with painted boards. These beams are fixed in the recesses intended for this in the northern and southern parts of the temple. This is considered the most ancient type of iconostasis, the decoration of which has become more and more rich over time. And by the 17th century, most of these iconostases had sculptural decorations and gilded carvings. It should be noted that initially the church did not approve of this phenomenon. However, today not only iconostases, but also all church utensils are distinguished by special luxury.

Limestone iconostasis.

In the process of such transformations, a more complex type arose - a carved iconostasis, which, from the 17th century, almost completely replaced the tyabla iconostases. The peculiarity of the carved iconostasis is that it is already a rather complex system of horizontal and vertical division, richly decorated with carved elements, cast plates, stucco, etc. Architraves, inter-tiered cornices, carved friezes are placed horizontally. Various columns, pilasters, semi-columns with intricate carved elements are located vertically.

In the 17-18th century, the Boroque style exerted its influence on the decoration of the iconostasis, which leads to an even greater complication of its decor. Now, gilding and silver are applied to carvings in different techniques, polished and matte surfaces are alternated, colored varnishes are used to highlight gilded and silver-plated elements.

By the 19th century, these techniques had already become widespread and the decoration of the friezes was added to the decoration of the iconostases. precious stones various colors and cuts.

The classicist temple of the 18-19th century is characterized by the use of both the high iconostasis and the open space of the upper part of the altar. It is noteworthy that in this period the iconostasis is an architectural structure in the form of triumphal arches, porticos, or looks like a "temple in a temple", while characteristic feature is a minimalistic number of icons.

For the most part, the structure of the iconostases has several rows (they are also called tiers or ranks), the number of which depends on the traditional characteristics of the region and the categorical nature of the temple itself.

In the period of the 15th century, the iconostases had a three-tiered structure, in the 16th century there were already 4 tiers, and at the end of the 17th century their number sometimes even reached 7 (further the "number of storeys" ceased to grow). But still the most widespread are the design solutions of 5 tiers.

At its core, the iconostasis embodies the history of the creation of the world and each row has its own special name and symbolic meaning.

One-tier iconostases

1. The first rank (below) is called "local", with the royal gates. It received this name because of the location on this level of icons either depicting saints who are especially revered in the area, or symbolizing an important local holiday.

At this level, some icons are always present, regardless of the temple.

On the right side of the Royal Doors, the icon of the Savior is necessarily located, and on the left - the image of the Virgin. This location is not accidental and personifies the meeting of each Christ and the Virgin Mary before the gates and escort to the Kingdom of Heaven. On the gates themselves are depicted the image of 4 Evangelists (Matthew , Mark, Luke and John) and the plot of the Annunciation. Above the gates on top of the second row is the "Last Supper".

The icon on the right side of the Savior is called a "temple icon" and depicts a saint or event on which the construction of this church is dedicated. On the left side of the Mother of God, a "local row icon" is placed with the image of a saint especially revered in the region.

The archangels Michael and Gabriel or the archdeacons Stephen and Lavrenty, respectively, are most often depicted on the southern doors (to the right of the praying person) and northern (to the left), but sometimes other variations are also used.

All other images in the local row are occupied by saints highly revered in the area.

The one-level iconostasis is attributed to the Byzantine style and is usually installed today in small churches or, if necessary, to make altar barrier part of the space of the temple, without blocking the view of the painting of the altar itself.

Two-tiered iconostases

2. The second order is located above the local one and is called "festive". This level consists of 12 holidays (Ascension, Christmas, Transfiguration and other events significant from the point of view of the Church). And in the center of the entire composition of this level is the "Last Supper" icon.

It is noteworthy that in earlier periods this level was above the Deesis, at the third level, but later it was shifted lower so that parishioners could better study the festive icons.

Two-tiered iconostases, as well as single-tiered ones, are created according to the Byzantine model. Their construction is often due to the architectural features of the temple. For example, when it becomes necessary to emphasize the half-dome of the altar apse.

Three-tiered iconostases

3. The third order is considered the most important, central and is called "Deesis". In the central part of this row there is an icon "Savior in Strength", depicting Jesus as a judge, and (on the sides of the prophets) saints are displayed on both sides who turn to Christ with prayers. That is why this tier has such a name, derived from the Greek "deisis" which means "Prayer".

The three-level iconostasis is quite common (compared to the one- and two-level) and, like the previous two types, is created according to the Byzantine prototype. Due to its height, it organically fits into the temple space, recreating a single composition with wall frescoes.

Four-tiered iconostases

4. The fourth order is called "prophetic". While the third row with its icons refers the believers to the New Testament, this tier carries over to the times of the Old Testament, when the birth of Christ was predicted by the prophets. In the central part, the Mother of God is depicted with the child on the throne, and the prophets are placed on the sides.

The four-level iconostasis appeared for the first time in Russia, when it was believed that the entire church history it would be appropriate to display on a structure that would separate the altar from the rest of the temple.

Five-tiered iconostases

5. The fifth order is called "forefather" and refers the believers to even more ancient events. At this level, the forefathers are depicted on the sides - from Adam to Moses. In the central part, the "Old Testament Trinity" is depicted, symbolizing the pre-eternal counsel of the Holy Trinity on the self-sacrifice of God in the name of atonement for the sinful fall of man. The iconostasis is crowned with a crucifixion.

The five-tiered iconostasis belongs to the classic high Russian iconostasis, which is the most common variation of the altar separation from the rest of the church today. This type of iconostasis makes it possible to realize the concept of "temple within a temple", when the iconostasis itself acts as a separate temple, which contains a holy place.

Six-tier and seven-tier iconostases

6-7. Sometimes the sixth and seventh ranks, which are called "passionate", are placed above the forefather row. The sixth tier is dedicated to the Passion of Christ, which depicts the torment of Jesus during the week before the crucifixion and Resurrection. The seventh tier is dedicated to the Apostolic Passion.

In any case, no matter what iconostasis you choose, professional work of real specialists is required to implement the project at a high level. The company "Isakidis" offers to make iconostases for the temple from natural stone... On the basis of the draft design, Isakidis architects develop working drawings, and artists work on the design of the iconostasis. In the design process, computer modeling and 3D technologies are actively used. Modern high-precision Italian equipment makes it possible to translate the most complex products into reality.

You can choose any material you like in our stone catalog and order a project. By contacting ISAKIDIS you no longer have to worry about anything - our specialists will do the rest for you.

Inlaid iconostasis

At the request of the customer, any model can be decorated with semi-precious and precious stones. For example, iconostases made of marble are graceful and unique, and have a special spirituality - after all, nature itself worked on the creation of the stone. Natural marble with its unusual pattern provides a wide range of choices and gives the finished product individuality and grandeur. And decoration with semiprecious and precious stones allows you to give a truly luxurious look.

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 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.

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 makes up 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

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.

• 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?

• Made in a classic style for the existing painting and interior to maintain the integrity and harmony of the interior space.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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.

• 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 the creative possibilities of the carvers, who showed their skill 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.

• 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 are not lost in the abundance of color and gold, so that such an architecturally complex and bold iconostasis does 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.

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