Message about the Russian icon. Tikhvin Icon of the Mother of God. Pochaev Icon of the Mother of God

The small main icon of the Archangel Gabriel (GRM), called the "Angel of Golden Hair", was once part of the Deesis tier. The large, occupying almost the entire space of the icon, the face of the archangel with even more enlarged eyes gives the impression of clarity and tranquility. At the same time, this image is characterized by a special lyricism and subtle emotionality, inherited from Komnenos' art and closely perceived in Russia.

The Assumption Cathedral in Moscow houses a small Novgorod icon of the Mother of God of the late 12th-early 13th century. Its iconography is unusual. The Christ Child touches the Mother with her cheeks, as in the iconographic type Tenderness, and holds a scroll in her right hand, which is typical for the Hodegetria type. The left hand of the Savior is folded in a blessing gesture. On the head of the Mother of God, on top of the maphorium, there is another dark board. The intimacy of the icon is combined with a tendency to a clear monumental image, as in the icons of the beginning of the century. The State Tretyakov Gallery houses the Novgorod icon of the Assumption of the Virgin, created at the beginning of the 13th century.

Vladimir-Suzdal Principality

Bogolyubskaya icon of the Mother of God. XII century. Knyaginin Monastery in Vladimir

The iconography of the Vladimir-Suzdal principality stands apart. The heyday of his culture is associated with Andrei Bogolyubsky.

In 1155, Andrei Bogolyubsky left Vyshgorod, taking with him the revered icon of the Mother of God, and settled in Vladimir on the Klyazma. The icon he brought, which received the name of Vladimir, became the palladium of the principality, and later of the whole of Russia. The Byzantine image, beautiful in its penetration and classicism, served as a kind of measure of artistic quality for the icon painters who worked here. Luxurious white-stone churches of Andrei Bogolyubsky and his brother Vsevolod, who ruled after him, were painted by the best masters. It is possible that artists were invited from Thessaloniki, where Vsevolod spent his youth, who painted the Assumption Cathedral and built not far from
It is the Dmitrovsky Cathedral, consecrated in honor of the heavenly patron Vsevolod, the Great Martyr Demetrius of Thessalonica. Here was kept the brought tomb of St. Demetrius, on which his icon was painted (at present in the Assumption Cathedral of the Moscow Kremlin with painting of the 17th century). Icon of Our Lady of Bogolyubskaya was commissioned
Prince Andrei for his palace church in Bogolyubovo. On it, the Mother of God is shown full-length in a spread, praying to Christ. Icon painting has suffered greatly during its existence. Currently icon
kept in the Cathedral of the Knyaginin Monastery in Vladimir. Vladimir iconography includes two icons kept in the Assumption Cathedral in Moscow. The first shows the appearance of the Archangel Michael to Joshua. Tradition associates with
Moscow Prince Mikhail Khorobrit (1238-1248), but the style of the icon dates back to the turn of the 12th-13th centuries. Second
icon - "Savior Golden hair" - shoulder image of the Savior. The icon was also painted at the turn of the century and belongs to the princely court culture. Its author, an icon painter focused on the classics, at the same time surrounded the face of Christ with gold ornaments. The gold of the hair enhances the decorative motif in the icon. Two horizontal icons were originally part of the altar barriers of unknown churches (they were in the Assumption Cathedral in Moscow, now in the State Tretyakov Gallery).

Saved Emmanuel with the archangels. End of the XII century. GTG.

On one of them Spas Emmanuel with two archangels is represented. The image of the young Christ is full of Divine majesty and power. Here He is depicted as a Sacrifice, eternally prepared for the salvation of people. The faces of the worshiping archangels express quiet grief. The deep concentrated structure of images with subtle shades of feelings is perfectly conveyed by means of the late Komnenos style.

The second icon is a shoulder deesis. In the images of Christ, the Mother of God and John the Baptist, features characteristic of the beginning of the 13th century appeared - the rhythm was enlarged, the details were generalized, the silhouettes acquired smoothness, and the images became especially sincere.

First half of the 13th century.

Saint Demetrius of Thessalonica. Icon. About 1212. GTG

Our Lady of Oranta from Yaroslavl. Around 1224. GTG.

If Kyiv by the end of the XII century completely loses its former significance, then North-Eastern Russia at the beginning of the XIII century
is at its peak. Vladimir was its center, a large icon-painting workshop worked at the episcopal court in the ancient city of Rostov, other cities, such as Yaroslavl, also became artistic centers. Large icon of the Great Martyr Demetrius of Thessalonica from the city of Dmitrov (TG),
was ordered by Prince Vsevolod the Big Nest, who bore this name in baptism. The iconography of the icon is rare - the saint solemnly sits on the throne, sheathing his sword. Here there is both the moment of glorification of the saint himself, as if resting after the battle, and the theme of investiture: the saint patronizes the prince, handing him a sword as a sign of power. In Yaroslavl in 1210-20. Assumption Cathedral and the Cathedral of the Transfiguration of the Spassky Monastery are under construction. For
the last of them is written a huge magnificent icon, called the "Yaroslavl Oranta" (TG). The image has a complex iconographic content. The Mother of God is shown full-length, frontally as Oranta, that is, with her hands raised in prayer. On the chest of the Mother of God is placed a medallion with the image of the Savior Emmanuel blessing as a bishop with both hands. In the upper corners of the icon are two medallions with archangels in court vestments. This image combines the themes of the prayerful help of the Mother of God to people, the incarnation of Christ and His ministry as a Victim and at the same time as a High Priest. The presence of the archangels serving Christ is similar to their depiction in the deesis with the Savior Emmanuel of the end of the 12th century from the State Tretyakov Gallery. Both icons, based on the heritage of the XII century, have a special monumentality. Their frontal compositions are simple and solemn. Enlargement and generalization of forms, smoothness of lines are characteristic
for Byzantine art of the early 13th century. In the finely executed faces on the icon of the Mother of God, one can feel the legacy of the 12th century, the image is majestic and deep. At the same time, it resembles a mosaic of the 11th century in the St. Sophia Cathedral in Kyiv. Abundantly laid gold fills the folds of clothes in wide stripes. The icon is distinguished by an abundance of decorative details. This feature will especially increase in the iconography of the end of the 13th century.

Belozerskaya icon of the Mother of God. XIII century. Timing.

Apostles Peter and Paul. Icon of the middle of the XIII century. Timing.

The small half-length icon of Christ the Almighty, mid-13th century, which was in the Assumption Cathedral of Yaroslavl, and now in the Yaroslavl Museum, belongs to the old aristocratic milieu of princely court art. From Novgorod comes a large icon of the Assumption (TG), which has a very developed iconography - the so-called "Cloudy Assumption". It depicts the apostles carried on clouds by angels from all over the world to Jerusalem to the bed of the Mother of God. This iconography goes back to the Constantinople model and was used in Russia in the painting of the Dormition Cathedral of the Kiev Caves Monastery. The mourners, the apostles who surrounded the bed, are striking, not noticing Christ, who appeared to receive the soul of the Mother. Not a single pose or gesture is literally repeated, all those gathered are endowed with an individual appearance, and their movements and facial expressions reflect a deep experience of what happened. The icon resembles not only the best works of the Byzantines, but also ancient tomb reliefs. In the 2nd quarter of the 13th century, on the eve of the Mongol invasion, two icons were created, found in Belozersk. They are partly similar to the icons of northeastern Russia, but are also associated with Novgorod. The icon of the Mother of God of Belozerskaya (GRM) is iconographically close to the Vladimir icon, there is also a relationship in the character of the image. However, the artistic techniques of this icon go beyond the classical, pro-Byzantine line of icon painting. Bright colors and sharp contours add sharpness to the image, making it look like monuments of Romanesque painting in Europe. The icon of the Apostles Peter and Paul (RM) looks more simplified. The apostles are depicted in the same poses, their images are designed for faster and more direct perception. the only
the icon associated with southern Russia is the image of the Mother of God of the Caves, dating from the middle of the century (TG). The icon depicting the Mother of God on the throne and the upcoming Saints Anthony and Theodosius of the Kiev Caves comes from the Svensky Monastery near Bryansk. This is a list from the image, which was in the Kiev-Pechersk monastery.

Mongol invasion and icon painting of the middle - second half of the XIII century.

Nikola Lipny. Alex Petrov. 1294. Novgorod Museum.

Unusual huge temple icon Nicholas the Wonderworker from Church of St. Nicholas on Lipno. The inscription preserved at the bottom of the icon mentions the name of the icon painter, Alex Petrov, and the year the icon was created, 1294. The saint is depicted waist-deep, surrounded by many saints in the margins. On either side of the head of St. Nicholas, the Savior and the Mother of God are depicted, holding out to him the Gospel and the omophorion (an illustration of the so-called Nicene miracle that occurred on First Ecumenical Council). The figure of the saint is painted flat, but the face is carefully worked out with subtle tonal transitions. The abundance of ornaments on clothes and a halo is surprising. In addition, the icon has a connection with the Western European tradition. Novgorod really had a lot of contact with neighboring European countries.

Northeast Russia

"Archangel Michael". Around 1299-1300 GTG.

Trinity with Abraham and Sarah. Second quarter of the 14th century.

Saved the Bright Eye. Middle - second quarter of the XIV century.

In northeastern Russia, the former significance of Rostov was preserved. Already from the end of the 13th century, Tver was actively developing, but in the first quarter of the 14th century, Moscow intercepted the championship, which became the seat of the Russian metropolitan since 1325.In the early icons of the 14th century, the influence of the unfinished Palaiologan renaissance, but the "heavy" monumental Byzantine style of the XIII century. He was more in tune with Russian art.In the last years of the life of Metropolitan Maxim (between 1299-1305), a full-length icon of the Mother of God Maximovskaya(Kept at his tomb in the Assumption Cathedral of Vladimir, now in the Vladimir-Suzdal Museum-Reserve). The icon has a unique iconography associated with the personality of Metropolitan Maxim. The saint is depicted below the icon, standing on the tower and receiving the hierarch's omophorion from the Mother of God. The figures of the Virgin and Christ have volume and heaviness. The spatiality of the composition is emphasized by the movement of the Infant, which has turned towards the saint.In the Assumption Cathedral of Moscow there is a large shoulder icon of the Savior of the first third of the century. It has a noticeable Byzantine influence, especially in the smooth modeling of the face with gliding light. Russian features appeared in chiseled, somewhat schematic forms. The image, which is typical for Russian icon painting, has a greater openness, which is combined here with Byzantine contemplation.Here in the Moscow Kremlin there is a large icon of the Trinity of the second quarter of the century, unknown
origin. Although the painting is still hidden by the renovation of 1700, two cleared fragments - the face of the right angel and the figure of Sarah - show that the composition of the 14th century was exactly repeated.Later, the second, kept here, shoulder icon of Christ was created - “Savior the Fiery Eye”. She is distinguished by a special dramatic tension caused by sharp forehead wrinkles and contrasts of thick shadows and bright flashes of light.

Novgorod.

Nicholas the Wonderworker in his life with Saints Cosmas and Damian. Icon from the Ozerevo churchyard. First half of the 14th century.

Throughout the 14th century, Novgorodians retained the “archaizing” features of icon painting of the late 13th century that were close to them. They were expressed in a rich layer of folk iconography associated with the vast Novgorod provinces. However, the active work of the Novgorod archbishops contributed to the development of the arts and the assimilation of the features of Paleologian art.Vivid examples of Byzantinized icon painting are the face of St. George the Victorious, renewed on an old full-length icon of the 12th century (TG) and the figure of Christ in a miniature of the Khludov Psalter of the second quarter of the 14th century (SHM, not to be confused with the Byzantine Psalter of the 9th century). The face of George acquired a sculptural volume. The image of the saint is endowed with strong-willed determination, characteristic of Novgorod icons. The figure of Christ in the miniature "The Appearance of Christ to the Myrrh-bearing Women" differs from other images in the same manuscript. His free pose and especially finely executed face are clearly
created by an artist who knows contemporary Byzantine art.Under Archbishop Vasily (he held the chair in
1330-52) whole groups of Greek artists are already working in Novgorod, their works influence local masters. Around 1341, visiting masters or their students performed a festive rite for the iconostasis of St. Sophia Cathedral. His icons have complex spatial compositions, various angles of figures and rich colors.In the workshops of Archbishop Basil, gates decorated with numerous images were made using the technique of gold guiding on copper. These include the entrance gate of the St. Sophia Cathedral of 1336, which came to Alexandrov in the 16th century.The icons of the archaizing layer include the icons “St. Nicholas with
Kosma and Damian in their lives" from the churchyard of Ozerevo, " Miracle of George about the snake» with life and others.In the second half of the century, the Novgorod icon painters adopted many qualities of the Paleologian art, which did not prevent their works from possessing a bright Novgorod expressiveness. Such is the large icon of the Annunciation with a small patronal figurine of St. Theodore Tyrone, placed directly between the main figures in the middle of the icon (Novgorod Museum). Unusual is the mobile figure of the Archangel Gabriel, which occupies more than half of the board. The icon of Boris and Gleb on horseback (from the church dedicated to them in Plotniki, Novgorod Museum), on the contrary, is distinguished by strict poise and solemnity. Another large temple icon, also kept in the Novgorod Museum, is the Intercession of The animal of the monastery(around 1399). The faces on these icons are written in dark green sankir with bright red
lips and bright whitening engines. If the images of Boris and Gleb are distinguished by their strength of spirit, then the faces on the icon “The Intercession” are executed with a subtle, delicate characteristic.The work of the Novgorod school of icon painting was the first monument of Russian icon painting that was studied by scientists. In 1724, a book by a German researcher was published Johann-Alexander Doderlein(On him.), which became the first study of the Russian icon in world history.

Pskov

An icon is a picturesque image of God Himself, the Mother of God, Saints or scenes from Holy Scripture. The image of the icon is sprinkled with holy water, and then special prayers are read. Only after the rite of consecration does the icon acquire fertile energy and spiritual recognition.
The icon is a conductor between God and man. Any prayer will be heard by the Lord, just thanks to the icon, it will ascend to him much faster.

"The Almighty Savior" occupies the dominant image in Orthodox icon painting, therefore it is always placed in the central dome of each Orthodox church - in the most honorable place. The icon depicts the son of God Jesus Christ in the form of a judge and the Heavenly King, therefore the icon is also called “Pantocrator”, which is translated from Greek as “ruler of everything”. The main healer of souls and bodies, who knows everything. It is to the Almighty that our prayers should be directed in the first place. Sometimes despondency and despair penetrate the very heart, but the Savior always gives a helping hand, and faith and hope come to life again.
In Russia, the icon appeared around the 12th century and served as a prayer icon for Russian princes. The icons of the "Savior Almighty" often streamed myrrh and cured many diseases.

Icon "Holy Trinity" (Old Testament)

The icon of the Holy Trinity is valued as one of the most important images that must be present in every Orthodox Church. The Trinity is the greatest and most mysterious icon of humanity. The picturesque image was painted according to all the canons of icon painting in the workshop at the temple. He talks about the unity of God the Father, God the Son and God the Holy Spirit. The icon "Trinity" was created so that every believer could visualize the three-sunshine light of Orthodoxy. The Lord is one in three persons - this is difficult to comprehend and understand, but one must sincerely believe in this, taking it for granted. For Russia, the image of the Trinity is confessional, and before it they repent of the forgiveness of their sins.

One of the key shrines of the Russian Orthodox Church is the miraculous Vladimir Icon of the Mother of God. Through this image, the Lord sends help to all believers in strengthening their faith, in healing spiritual and bodily suffering, in softening evil hearts, in liberation from enemy invasions, in reconciliation of the warring and in preserving the unity of Russia.
According to pious tradition, this image was painted by the Evangelist Luke during the life of the Virgin. The shrine was brought to Russia from Byzantium as a gift to Yuri Dolgoruky. The icon has been glorified more than once for its miracles. For example, while in Kyiv, she more than once left her place in church and found herself hanging in the air. She healed and even resurrected many times. Generals and warriors turned to her for help before important battles. And she did not leave them, showing her miracles in the most hopeless situations. Once, after a battle won against Bulgaria, when a thanksgiving service was served to the Theotokos, a light shone from her icon, illuminating the entire astonished regiment. Another wonderful story with this icon happened immediately after bringing it to Moscow to protect the city from the invasion of Tamerlane. It was on the very day when the icon was delivered to the city that Tamerlane unexpectedly ordered his army to retreat.

This miraculous icon of the Mother of God appeared after a fire in Kazan in the 16th century in a rather mysterious way. The Mother of God appeared to the nine-year-old girl Matrona in a dream, telling her to find her icon in the ashes. This dream was repeated over and over until the girl decided to go in search of the icon with her mother. Indeed, the shrine was found there.
This image of the Mother of God is the most revered and beloved, he is the "Great Intercessor of Russia." The icon helped the people more than once in the most difficult times. With her appearance, she symbolizes the victory over the Time of Troubles. It is she who is thanked for delivering Moscow from the invasion of the Poles. Before the Battle of Poltava, Peter the Great with his army prayed to the image of the Kazan Mother of God. The icon was the main patroness of the Romanov dynasty. During the Great Patriotic War, this icon was the spiritual leader of the Russian people.
Starting from Baptism, all the most significant events in life take place with her. She gives a blessing to marriage, helps in work, in everyday problems.

Icon of Nicholas the Wonderworker (Pleasant)

Saint Nicholas the Wonderworker, or otherwise Nicholas the Pleasant, as they began to call him in baptized Russia, in Orthodoxy is perhaps the most revered saint after the Mother of God. The fate of this saint was not easy, perhaps it was thanks to life's trials and difficulties that he chose the religious path. As a child, he was already fond of reading the Divine Scriptures, and, having matured, he became an archbishop. Then Nicholas began to be called the Miracle Worker. Throughout his life, many miracles and deeds were attributed to him. According to one of the legends, he resurrected a sailor who fell from the mast, according to another, he saved three young girls, whose beauty was “sold” by their own father as the only way to pay off numerous debts. And there are countless stories like this. Nicholas has always been the personification of justice and nobility.
Before the icon of St. Nicholas, they pray for any, it would seem, even the most insoluble problems. He helps strangers, sailors, women in childbirth, and even students. The icon is able to heal from any ailments, protect from adverse events and ill-wishers, protect from temptations and work real miracles. Turning to Nicholas with sincerity and faith, people noticed more than once that in their lives everything happened exactly as they asked.

The "seven-shooter" icon is the most powerful protector of the house and its inhabitants. The Mother of God depicted on this icon is pierced with seven swords, symbolizing the anguish of the heart, which the Saint knew during her lifetime. Seven swords are the main mortal human sins that bring mental suffering to the Mother of God.
The icon first appeared in the 17th century. One day, a peasant who was sick with lameness and longing for recovery from this disease, in a dream, the Divine voice ordered to find a wonderful image in the nearest monastery and pray with faith in front of this image. It turned out that a wooden board with the face of the Virgin served as a step of the stairs leading to the bell tower. After the image was washed and restored, a prayer service was served for her, after which the peasant was completely healed.
The icon of the Most Holy Mother of God of the Seven Arrows is of great importance in the life of every believer. Before this strong icon, they pray for the protection of their home, from ill-wishers, from quarrels within the family, for softening the heart. The icon is usually placed in front of the front door so that the Seven Arrows could see the eyes of those entering. Before you place the icon, you need to read a prayer. If one of your relatives or friends stopped visiting you, then we can conclude that his thoughts were not pure in relation to the living members of this house. Thus, the Blessed Mother of God of Seven Arrows gives birth to mercy and kindness in the souls of believers.

The image of the Iberian Mother of God is also considered one of the most revered in Orthodoxy. and his appearance is completely entangled with mysticism.
In the 19th century, when the persecution of Orthodox icons began, a pious widow secretly kept the icon of the Mother of God. But soldiers once burst into her house and, one of them, seeing the image of the Mother of God, pierced it with a spear. But then, in front of the frightened eyewitnesses, blood poured from the cheeks of the Mother of God. Distraught with fear, the soldiers, falling on their knees, began to beg for forgiveness for their sin, and then, saving the shrine, let them go on the waves. And then a miracle happened again. The icon stood up and floated. Some time later, the guests of the Iversky Monastery noticed a luminous pillar above the sea. Approaching it, they discovered the holy image of the Virgin, floating on the water and emitting a glow. It was decided to place the icon in the chapel, but in the morning it was found above the monastery gates. Attempts to take her to her former place each time were in vain, until one day in a dream Elder Gabriel had a vision of the Blessed Virgin, who said that she did not want to be protected, she herself should be the Guardian. So, for many years the icon was placed above the gates of the monastery, and began to be called the Goalkeeper. She miraculously saved the monks many times from fires, enemies and hunger.
The Most Holy Theotokos of Iverskaya and to this day shows her miracles to people. Before her icon, they pray for repentance for sins, for healing from ailments, for deliverance from sorrows and sorrows. The Mother of God of Iverskaya keeps the family hearth, patronizes all women and is an intercessor before the Almighty. With the help of this icon, the “crown of celibacy” is also removed.

The Holy Blessed Matrona is the most revered Moscow saint. Matronushka, as many people affectionately call her, lived a hard life full of hardships. She was born into a poor peasant family and was completely blind from birth. From the age of eight, she began to predict and treat all those who suffer, and with the onset of 18 years, she lost the ability to walk. During the revolutionary years, she had to wander around Moscow a lot, not having her own roof over her head.
All her life she helped those in need. It was she who predicted the beginning of the Great Patriotic War, and said that the Russian people would win. She predicted her death three days in advance, but continued to receive people. Matronushka even today helps all believers who turn to her with prayers in healing from ailments, in financial matters, in preserving the family, in the well-being of children, and much more.
The whole life of this strong woman has become an example of a great spiritual feat of love, patience, and self-denial.

Xenia of Petersburg is one of the most beloved Russian saints. An icon with her image is not uncommon in an Orthodox home. The gift of foresight and healing came to her after the death of her husband. Early widowed, Xenia fell into deep despair. She gave away all her property to the poor, gave a house to her friend, put on the clothes of her late husband and began to call herself by his name. These oddities are by no means connected with the loss of reason, Ksenia simply decided to devote herself completely to serving God, protecting herself from earthly joys and blessings. The years of wandering began. She spent most of her time near churches. She spent the night in the open air in fervent prayers addressed to God, deliberately not wearing warm clothes, causing her body to suffer from a cold. At first, people laughed at Xenia, but soon they began to notice that after communicating with her, even fleetingly, their life began to change for the better. Local merchants tried to treat her with edibles, then all the goods were quickly sold out. If the Blessed One kissed children, then they grew up healthy. For her righteousness, Xenia gained the gift of foresight. She predicted the death of Elizabeth I the day before her death. She once sent her friend to the cemetery, saying that she would have a child there. She, frightened, ran to the indicated place and on the way she saw how the pregnant woman was knocked down by a horse. The woman in labor died, but managed to give birth to a baby, who was adopted by Xenia's friend. And there were a great many such cases of foresight. Even after her death, she appeared in visions to people who were in difficult life circumstances, warning them of danger. Prayer addressed to her always resonates and helps even in the most difficult task.

"Angel" from the Greek language is translated as a messenger, messenger. Serving as a conductor between man and the Lord, the Guardian Angel is called to express God's unconditional love for people through his care. Church ministers assure that a person receives his Angel only after the sacrament of Baptism. So a person has his own protector, who is always there. The more faith in a person, the closer the Guardian Angel is to him.
Each element of the icon depicting an angel has its own symbolism. The slightly inclined head of the Saint means the readiness to help his ward at any moment, the green tunic and pink shirt - serving people in the name of good, the sword and cross - the ability to see and warn of danger, wings - the ability to move from the real world to the divine.
Miraculous salvation of people who survived catastrophes, intuitive insights or prophetic dreams - this is how Angels invisibly take part in people's lives, protecting each of their wards.
The icon of the Guardian Angel must be kept in the house; you need to pray in front of it in a secluded place with sincerity in your heart. People turn to this image when they need spiritual strength to overcome difficult periods in their lives. A prayer appeal to the Guardian Angel should always be done when you leave your home, so that God's Messenger saves you from unexpected misfortune and the evil intent of people.

The fate of miraculous icons is often difficult. Some were lost in the hard times, others, fortunately, survived. To them, as many centuries ago, people go with a bow.

1. Vladimir Icon of the Mother of God

2. Kazan Icon of the Mother of God

In 1904, the icon was stolen from the Bogoroditsky Monastery, after which it was burned by an intruder. The riza was sold, according to some versions, to the Old Believers.
Several lists from the icon have come down to us. The most revered of them is kept in St. Petersburg in the Kazan Cathedral. The icon was delivered to the new capital in 1721 by decree of Peter.

3. Smolensk Icon of the Mother of God

The Smolensk icon "Hodegetria" is asked for protection along the way and a cure

In 1941, during the occupation, the icon was taken by the Germans from the Dormition Church. Currently, the most revered lists from the icon are in Moscow in the Novodevichy Convent, as well as in Smolensk. People go to them to ask for help in making a difficult decision, curing diseases, resolving family troubles and protecting them along the way.

4. Don Icon of the Mother of God

5. Tikhvin Icon of the Mother of God

6. Kursk Root Icon of the Mother of God

7. Iberian Icon of the Mother of God

She was brought to the temple, placed in a place of honor, but in the morning she was above the gate. According to legend, several times they tried to return it to the monastery itself, but invariably the shrine turned out to be outside its walls, above the gates. She was given the name Gatekeeper. Now it is still in storage in the Iberian Monastery on Athos. The list came to Russia in 1648.

8. Pochaev Icon of the Mother of God

9. Pskov-Pechersk icon "Tenderness"