Exhibitions
Icons and Easter Eggs Of Imperial Russia, St Mary’s College of California, Moraga, 18 March – 30 April 1995
Russian Art of the Nineteenth Century: Icons and Easter Eggs. A Postmodern Perspective, Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, 16 April – 28 July 1996
Bibliography
A. Ruzhnikov, A. Harlow, Icons and Easter Eggs Of Imperial Russia, St Mary’s College of California, Moraga, 1995, no. 22, illustrated in colour p. 10;
C.L. Carter, Russian Art of the Nineteenth Century: Icons and Easter Eggs. A Postmodern Perspective, Milwaukee, 1996, no. 31, p. 55, illustrated in colour p. 25
The central panel depicts the double scene of the Resurrection and Descent into Hell and is surrounded by twelve major church festivals (from top left clockwise): the Nativity of the Virgin, the Presentation of the Virgin at the Temple, the Annunciation of the Virgin, the Nativity of Christ, the Baptism of Christ, the Transfiguration of Christ, the Elevation of the Cross, the Dormition of the Virgin, the Old Testament Trinity, the Ascension of Christ, the Entry into Jerusalem and the Presentation of the Christ at the Temple. The New Testament Trinity appears within a pink mandorla in the middle of the upper border, while the four evangelists (Matthew, Mark, Luke and John) are individually portrayed in the outside corners of the composition. The finely painted icon is encased in a silver-gilt engraved and repoussé oklad, which is decorated with а foliate pattern along its borders. Two enamel plaques inscribed ‘Resurrection of Christ’ in Cyrillic appear in the icon’s upper part.
