Panel Painting
Icon
The Resurrection
Object number
LDSAL500
Artist/Designer/Maker
Palekh School - Artist
Production date
Post 1820
Production place
Palekh
Material
wood
Egg Tempera
Egg Tempera
Technique
Tempera on panel
Dimensions
height: 533mm
Width: 445mm
Depth: 30mm
Width: 445mm
Depth: 30mm
Location
Burlington House -
Content description
The largest central scene shows the Anastasis (Resurrection of Christ) in the upper portion with the 'Harrowing of Hell' below. The sixteen images surrounding this represent other major feasts of the Christian calendar. (from left to right):
1. The Birth of the Virgin
2. The Presentation of the Virgin in the Temple
3. The Old Testament Trinity
4. The Annunciation
5. The Nativity and epiphany
6. The Presentation of Christ in the Temple
7. The Baptism of Christ
8. The Entry into Jerusalem
9. The Transfiguration of Christ
10. The Ascension of Christ
11. The Dormition of the Virgin
12. The Raising of Lazarus
13. The Beheading of St John the Baptist
14. The Crucifixion
15. The Ascent of the Prophet Elijah
16. The Elevation of the Cross
1. The Birth of the Virgin
2. The Presentation of the Virgin in the Temple
3. The Old Testament Trinity
4. The Annunciation
5. The Nativity and epiphany
6. The Presentation of Christ in the Temple
7. The Baptism of Christ
8. The Entry into Jerusalem
9. The Transfiguration of Christ
10. The Ascension of Christ
11. The Dormition of the Virgin
12. The Raising of Lazarus
13. The Beheading of St John the Baptist
14. The Crucifixion
15. The Ascent of the Prophet Elijah
16. The Elevation of the Cross
Inscriptions
Inscription content
Rozhdestvo Presvyatyya Bogoroditsy (‘Nativity of the most holy Mother of God’)
Vvedenie Presvyatyya Bogoroditsy (‘Presentation of the most holy Mother of God’)
Svyataya Troitsa (‘Holy Trinity’)
Blagoveshchenie Khristovo (‘Nativity of Christ’)
Vvedenie Presvyatyya Bogoroditsy (‘Presentation of the most holy Mother of God’)
Svyataya Troitsa (‘Holy Trinity’)
Blagoveshchenie Khristovo (‘Nativity of Christ’)
Inscription content
Sretenie Gospodnie (‘Presentation of the Lord’)
Vkhod vo Ierusalim Gospoda (‘Entry of the Lord into Jerusalem’)
Voznesenie Gospodne (‘Ascension’)
Lazoreve voskresenie (‘Resurrection of Lazarus’)
Vkhod vo Ierusalim Gospoda (‘Entry of the Lord into Jerusalem’)
Voznesenie Gospodne (‘Ascension’)
Lazoreve voskresenie (‘Resurrection of Lazarus’)
Inscription content
Bogoyavlenie Gospodne (‘Epiphany’)
Preobrazhenie Gospodne (‘Transfiguration’)
Uspenie Presvyatyya Bogoroditsy (‘Assumption’)
Vozdvizhenie chestnago kresta Gospodnya (‘Elevation of the holy Cross of the Lord’)
Preobrazhenie Gospodne (‘Transfiguration’)
Uspenie Presvyatyya Bogoroditsy (‘Assumption’)
Vozdvizhenie chestnago kresta Gospodnya (‘Elevation of the holy Cross of the Lord’)
Inscription content
Useknovenie chestnyya glavy svyatago Ioanna Predtecha (‘Beheading of St John the Forerunner’)
Raspyatie Gospodne (‘Crucifixion of the Lord’)
Ognennoe voskhozhdenie svayatago proroka Ilii (‘The fiery ascent of the holy prophet Elijah’)
Raspyatie Gospodne (‘Crucifixion of the Lord’)
Ognennoe voskhozhdenie svayatago proroka Ilii (‘The fiery ascent of the holy prophet Elijah’)
Inscription content
'The Resurrection of our Lord Jesus Christ’
Tempera on panel painting; Russian icon. The icon is split into numerous zones, with the largest central scene showing the Anastasis (Resurrection of Christ) in the upper portion with the 'Harrowing of Hell' below.
Presented to the Society by Frederick Ouvry, FSA in the name of the Hon. John Kennedy on 1 April 1852
This panel tells the story of the Resurrection of Christ (Anastasis) and the 'Harrowing of Hell', commemorating the events of the major Christian festival of Easter. Both narratives share the central image; at the lower part Christ is depicted as descending into Hell (represented as a beast's gaping mouth) while the upper section shows the risen Christ above the tomb. The sixteen smaller scenes surrounding this represent other major feasts of the Christian calendar.
Painted in tempera (pigments mixed with egg-yolk emulsion) with gold on wood, this icon was probably made in the first half of the 19th century at Palekh, an urban settlement located between Moscow and Novgorod, Russia. The Palekh school was the largest and most succesful of the centres to continue the traditions of icon painting after the 17th century. Their style of using intricate designs and jewel-like palettes, which can be see in the Society's icon, allowed the school to flourish until the early 20th century.
Display label text from SAL Meeting Room temp display
Display label text from SAL Meeting Room temp display
This panel tells the story of the Resurrection of Christ (Anastasis) and the 'Harrowing of Hell', commemorating the events of the major Christian festival of Easter. Both narratives share the central image; at the lower part Christ is depicted as descending into Hell (represented as a beast's gaping mouth) while the upper section shows the risen Christ above the tomb. The sixteen smaller scenes surrounding this represent other major feasts of the Christian calendar.
Painted in tempera (pigments mixed with egg-yolk emulsion) with gold on wood, this icon was probably made in the first half of the 19th century at Palekh, an urban settlement located between Moscow and Novgorod, Russia. The Palekh school was the largest and most successful of the centres to continue the traditions of icon painting after the 17th century. Their style of using intricate designs and jewel-like palettes, which can be see in the Society's icon, allowed the school to flourish until the early 20th century.
Painted in tempera (pigments mixed with egg-yolk emulsion) with gold on wood, this icon was probably made in the first half of the 19th century at Palekh, an urban settlement located between Moscow and Novgorod, Russia. The Palekh school was the largest and most successful of the centres to continue the traditions of icon painting after the 17th century. Their style of using intricate designs and jewel-like palettes, which can be see in the Society's icon, allowed the school to flourish until the early 20th century.