Vasilisa Yaviks is an intelligent search engine. already here tomorrow! Strukov, Nikolay Dmitrievich
Of great interest and scientific discussion was the presentation through the means of mass media in 2000, an icon of Christ found on the slope of a mountain range near the village of Nizhny Arkhyz, Karachay-Cherkessia. This icon, called the "Arkhyz Face", was devoted to many television and newspaper reports. Alas, as is often the case in such cases, instead of objective information, a lot of myths and conjectures appeared around the acquired icon. So, already in the first ORT television report (October 2000) it was said about some kind of "collapsed rock", as a result of which, allegedly, the appearance of the face became possible. In the same row (under the characteristic heading "Sensation") is the statement of the newspaper "Sovershenno sekretno" (December 2000) about the numerous monastic cells around the Arkhyz face.
Much less fortunate for this unique icon scientific research, which would help answer many obscure questions, and first of all, the question of the time of its creation. That is why I read with great interest the article by L.L. Dolechek "Rock Icon in the Arkhyz Gorge", published in No. 1 of the Living Antiquity magazine for 2002. This article, at first glance, differed from the newspaper reports in a more detailed and correct approach, all the more so because at the end of the article the author notes that "perhaps our assumption about the author of Arkhyzsky Lik" is not yet sufficiently substantiated. Having become acquainted with the arguments that Dolechek L.L. cites to prove his hypothesis, one can, perhaps, agree with such an assessment, since a number of obvious errors and inaccuracies were made in these arguments.
Thus, the author claims that the letters IC preserved on the icon "are not Greek, but Church Slavonic, and the title above them is not straight with limiters, but curved, in the form of a" poker ". Therefore, the image was made not by a Byzantine, but by a Russian icon painter." This is an obvious stretch, since neither Byzantine nor Russian icon painting had a specifically Greek or Church Slavonic form of inscription of these letters. To be convinced of this, it is enough to look at the Byzantine icons, on which this part of the name and the title above it are absolutely identical to the "Arkhyz face" - for example, the mosaic icons "Christ on the Throne" (end of the 9th century, St. Sophia Cathedral, Constantinople), " Christ Pantocrator" (XI century, Church of the Assumption of Our Lady, Nicaea) and the Sinai icon "Our Lady of Bematarissa", written by a Byzantine iconographer in the late Comneno style ( early XIII in.).
So the shape of the letters IC, which were part of the naming of the icon of Jesus Christ, in this case can in no way serve as a "determinant of nationality" of the icon painter.
It seems too categorical and such a statement by LL Dolechek: "Undoubtedly, the painter's work is one-time. There are no additions or corrections." But computer analysis Lika's photograph made it possible to detect 2 areas on it, which were distinguished by the intensity of their color. Further studies, in particular microprobe analysis of transverse sections from these areas, showed the presence of two layers of paint on them, in contrast to the main image applied in one layer. The study of the colors of the upper layer allows us to speak of later (not earlier than the second half of XIX c.) renovations of these sections of the icon, while the main image is made with the help of dyes that have been used since ancient times.
By the way, the presence of the later renovations of the Lik can also explain the fact that the icon has a bristle from a brush that has dried into a smear of white paint.
An undoubted mistake is the fact that L.L. Dolechek calls the "Arkhyz Face" a rock fresco. Experts in fresco painting, who examined the icon, unanimously assert that this is not a fresco, also because there is no artificial underlying layer (ground) under the paint. The paint is applied directly to the surface of the rock, and some parts of the Lik are left completely unpainted, and their color is due to the color shades of natural mineral formations on the surface of the rock. Having studied the nature of paint shedding, the same experts expressed the opinion that the "Arkhyz Face" was made in the icon tempera technique.
As the author himself notes, the most compelling argument confirming his hypothesis "is the history of landscape watercolors of the Alexander Nevsky Zelenchukskaya hermitage", which, as he assumes, belongs to the brush of the artist D.M. Strukov. But this statement is also unfounded, since such a watercolor is unknown to any of the researchers (including L.L. Dolechek). There is only lithography general view monastery, published in 1904 in Odessa (the model for which, according to the author, was made by Strukov). Many researchers worked with the archive of D.M. Strukov, located in Moscow and St. Petersburg. It has been reliably established that it does not contain a general view watercolor of the Zelenchuk Monastery, which could have become a model for a 1904 lithograph. errors (thus, contrary to the statement of L.L. Dolechek that "until now, 1886 was considered the only date for Strukov's stay in Arkhyz", in the works of the American professor L. Zgusta and the Russian archaeologist V.A. Kuznetsov, another date is indicated settlements - 1888).
However, in order not to bore the reader with a list of numerous errors and inaccuracies, let's get better acquainted with short biography interesting person- artist, archaeologist and church historian Dmitry Mikhailovich Strukov. This acquaintance will help us to answer main question- could Strukov be the author of the layout for the lithograph of the general view of the monastery and the "Arkhyz Face".
The name of this man, who did a lot for the good of Orthodoxy and Russia, is now, unfortunately, almost forgotten. Dmitry Mikhailovich was born in Moscow in 1827. Since childhood, he was fond of drawing, and already in his mature years he became a staff artist of the Moscow Armory, where he worked almost until his death. His other hobbies were church archeology and history. Being one of the founders of the Moscow Archaeological Society in the 1860s, he was elected a corresponding member of this society. In 1868, Strukov for the first time, on behalf of the MAO, went to archaeological excavations in the Crimea, and since then he fell ill with Tauris. The Crimean excavations of 1871 were especially fruitful for Dmitry Mikhailovich. This year he made a magnificent archaeological discovery by excavating the foundation of an ancient basilica in the town of Partenit (near Ayu-Dag). Near its altar, Strukov found a stone slab with a Greek inscription, which mentioned the name of the "pillar of Taurida Orthodoxy" John of Gotha. And already in 1872, his book "On Ancient Christian Monuments in the Crimea" was published in Moscow, in which Strukov describes in detail the results of his research.
Being engaged in church history in parallel, in the 1870s he wrote the book "Lives of the Holy Taurian Wonderworkers", which went through several editions (which is why some Moscow newspapers called Strukov "the singer of Orthodox Taurida"). In the same years, Dmitry Mikhailovich was elected a member of the Simferopol Orthodox Alexander Nevsky Brotherhood.
In the early 1880s, Strukov became seriously interested in the Christian antiquities of the Caucasus. And so, in 1886, again on the instructions of the archaeological society, a tireless explorer goes to North Caucasus, where in a remote mountain gorge there were ruins of ancient Christian temples, until then little known. But in 1886, the construction of a monastery began at the temples, the founder of which was the Russian hieromonk Father Seraphim (Titov), a native of Athos. Having lived in Arkhyz all autumn, Dmitry Mikhailovich worked hard, with the help of monks, cleaning the walls of the Zelenchuk churches from the soot of fires and dust. The remnants of ancient frescoes revealed at the same time were carefully redrawn by him and subsequently made up a whole album (architect No. 273). Returning to Moscow, Strukov at the congress of the Archaeological Society made a report "On the ancient churches on the Bolshoi Zelenchuk River in the North Caucasus."
Once visiting this amazing place, Dmitry Mikhailovich took a liking to him with all his heart, and in 1888 he made a second trip here. Its result was an even more impressive album with sketches of frescoes and views of the monastery (case 339) and a description of it with a historical introduction (subsequently, on its basis, Strukov wrote an article "On Christianity in the area of the former Tmutarakan Principality", published in 1888 in "Moscow Diocesan Gazette").
In addition to his other works, Dmitry Mikhailovich wrote for the reviving monastery a copy from the miraculous icon of the Mother of God of Grebnevskaya (the Grebnevskaya icon was presented to Dmitry Donskoy, who was returning with a victory after the battle on the Kulikovo field, the Cossacks of the city of Grebnev, this icon was considered the patroness of the mountains). It was consecrated on September 24, 1888 in Moscow, in the Assumption Church. An unknown donor adorned the icon with a silver riza with finely crafted enamel in the ancient style. The icon was delivered to the Zelenchuk Hermitage on November 10, 1889 and eventually became one of the main shrines of the monastery.
But the years took their toll, and the artist, who was not distinguished by good health, found it more and more difficult to make long-distance expeditions. He made the last of them in 1892, visiting the Crimea he loved so much. After that, Strukov lived in Moscow without a break, working in the Armory. He was often ill and died quietly on February 1, 1899, at the age of 72. Dmitry Mikhailovich was buried in the cemetery of the Donskoy Monastery.
Now the Simferopol diocese is republishing Strukov's book "The Lives of St. Tauride Miracle Workers", there is hope that the name of this ascetic will not be forgotten in Russia either!
From the biography of D.M. Strukov it absolutely definitely follows that he made his last trip to the Zelenchuksky monastery in 1888, and after 1892 he did not leave Moscow at all. So what about the "most compelling argument of the author" - a lithograph of 1904, which depicts a renovated active Middle Church. After all, it is reliably known that its discovery took place in 1897, which is evidenced by the inscription on the slab, originally mounted in the western facade of the temple (the slab was discovered by archaeologist V.A. Kuznetsov in 1971). At the same time, the specified lithograph does not contain the largest building of the monastery - the hospitable house (for some reason the author calls it a strange parish house), completely completed by 1904. Therefore, the time of the creation of the lithograph model can be dated to the period 1897 - 1904.
These facts reliably testify that D.M. didn't have.
So the author’s conclusion that “In the early autumn of 1890 ... a watercolor of the general view of the monastery was written (the same one that served as the basis for printing copies), and together with it, as we assume, the “Arkhyz Face”, should also be considered completely arbitrary.
Nevertheless, the article by L.L. Dolechek in the journal "Live Antiquity" is undoubtedly useful, because it again draws the attention of all interested researchers to unraveling the mystery of the "Arkhyz Face". But attempts at this solution, in our opinion, should be carried out only on the basis of reliable historical and archival sources, with the involvement of data from modern scientific research.
Additional Information. Some nobles of the late 19th century with this surname. At the end of the line - the province and county to which they are assigned. Some are described below.
Strukov, Aldr Pet. Yekaterinoslav province.
Yekaterinoslav county.
Strukov, Anan. Pet. Yekaterinoslav. Yekaterinoslav province. Alexandrovsky district. Nobles owning real estate.
Strukov, Ananiy Pet., kmrg., dss., Yekaterinoslav, part 1. Yekaterinoslav province. Yekaterinoslav county.
Strukov, Dm. Vas., engineer. tech., member county zemstvo Council, Zemlyansk. Voronezh province. Zemlyansky county. Included in the genealogical book.
Strukov, Mitrof. Iv., Prch. Kharkov province. Starobelsky district. gg. nobles who have the right to vote.
Strukov, Mod. Iv. Kharkov province. Starobelsky district. gg. nobles who have the right to vote.
Strukov, Nikl. Dm., architect, Moscow, M. Bronnaya, Girsh village, Moscow province.
Strukov, Nikl. Iv., cr. Kharkov province. Starobelsky district. gg. nobles who have the right to vote.
Strukov, Pav. Philip., cr. Voronezh province. Nizhnedevitsky district. Included in the genealogical book.
Strukov, Pet. You, Mr., member. provincial zemstvo councils of the city of Voronezh, Bogoyavlenskaya, the village of Griboedova. Voronezh province. Zemlyansky county. Included in the genealogical book.
Strukov, Pet. Step., p. Trubetchino, Turkovsk. ox. Saratov province. Balashovsky district.
Strukov, Yak. Iv., cr., honorary. world. judge and deputy yard., Zemlyansk. Voronezh province. Zemlyansky county. Included in the genealogical book.
Strukova, Aldra Yak., wife of the company. Voronezh province. Zemlyansky county. Included in the genealogical book.
Born in Moscow in the family of Mikhail Danilovich Strukov, from the age of twelve he studied with one of the best tailors - Gusev. In 1830, during cholera, the family moved to Nizhny Novgorod, and five years later to Verkhoturye, then to Nizhny Tagil. Upon returning to Moscow, in 1840, Dmitry Strukov entered the drawing school (later - the famous Stroganov School). In the fourth grade of the school, at the invitation of the headman of the village of Lyubertsy, he painted images in the iconostasis of the local church and a pencil portrait of the headman himself; I drew a lot from nature.
In 1849, with his help, a drawing school was opened at the Trinity-Sergius Lavra, which later became a famous school of icon painting. In the same year, D. M. Strukov compiled the "Guide to the Moscow shrine" - a detailed guide to Orthodox Moscow, where information about Moscow Orthodox shrines was collected and systematized, compiled full list miraculous icons
In 1850, D. M. Strukov was invited by the rector of the Sarov Hermitage to paint the monuments of this monastery. He took part in the opening of the drawing school at the Diveevo convent. Since that time, he began to travel a lot around Russia, sketching the temples and monasteries of Nizhny Novgorod, Vladimir, Murom, and the western provinces; was in the Caucasus, in the Crimea.
In 1853, at the end of the course of study, he received the title of non-class artist in portrait watercolor painting. At the same time, he made a copy of the Grebnevskaya Icon of the Mother of God from the Grebnevskaya Church on Myasnitskaya, which was presented to the emperor and the artist was rewarded with a ring with diamonds and an open certificate for drawing antiquities in monasteries and churches.
Since 1858, he began to publish the journal "School of Drawing", in which he placed drawings from ancient letters (initial letters) and screensavers (miniatures, polytypes) and other monuments with short articles about ancient Russian art. The magazine was published by him until 1863; the debt formed from the publication, Strukov then paid for almost 25 years.
In 1859 he was invited to the Armory to copy museum monuments; since 1860 he was approved by the artist of the Armory. In this position, he restored 13 ancient banners from the museum's funds. At the same time, Strukov was dismantling the collection of P. I. Sevastyanov, transferred to the Rumyantsev Museum.
D. M. Strukov was forced to teach a lot in various educational institutions: At the Sergius School at the Moscow Committee of the Imperial Philanthropic Society (1870s - 1880s), Moscow University (1873), at the 3rd Women's Gymnasium, Moscow Commercial School. He developed a special teaching method that made it possible to quickly teach any person to draw; in the form of experience, they trained 200 soldiers of the Pernovsky regiment in a short time. for this method he was awarded silver medal at the All-Russian Exhibition in Moscow and was soon elected a member of the French Academy of Fine Arts.
In 1860 he participated in the restoration of the cathedral of the New Jerusalem Monastery.
At the invitation of the church authorities, he recorded in the drawings such an Orthodox celebration as the discovery in 1861 of the relics of St. Tikhon in Zadonsk.
He was buried in the cemetery of the Donskoy Monastery. The grave is lost, but one of the surviving tombstones with completely lost inscriptions could belong to him, assuming that the monument was erected by his architect son.
Dmitry Mikhailovich Strukov(1828 - 1899) - Russian artist-restorer and archaeologist.
Biography
Born in Moscow in the family of Mikhail Danilovich Strukov, from the age of twelve he studied with one of the best tailors - Gusev. In 1830, during cholera, the family moved to Nizhny Novgorod, and five years later to Verkhoturye, then to Nizhny Tagil. Upon returning to Moscow, in 1840, Dmitry Strukov entered the drawing school (later - the famous Stroganov School). In the fourth grade of the school, at the invitation of the headman of the village of Lyubertsy, he painted images in the iconostasis of the local church and a pencil portrait of the headman himself; I drew a lot from nature.
In 1849, with his help, a drawing school was opened at the Trinity-Sergius Lavra, which later became a famous school of icon painting. In the same year, D. M. Strukov compiled the “Guide to the Moscow shrine” - a detailed guide to Orthodox Moscow, where information about Moscow Orthodox shrines was collected and systematized, a complete list of miraculous icons was compiled
In 1850, D. M. Strukov was invited by the rector of the Sarov Hermitage to paint the monuments of this monastery. He took part in the opening of the drawing school at the Diveevo convent. Since that time, he began to travel a lot around Russia, sketching the temples and monasteries of Nizhny Novgorod, Vladimir, Murom, and the western provinces; was in the Caucasus, in the Crimea.
In 1853, at the end of the course of study, he received the title of non-class artist in portrait watercolor painting. At the same time, he made a copy of the Grebnevskaya Icon of the Mother of God from the Grebnevskaya Church on Myasnitskaya, which was presented to the emperor and the artist was rewarded with a ring with diamonds and an open certificate for drawing antiquities in monasteries and churches.
Since 1858, he began to publish the journal "School of Drawing", in which he placed drawings from ancient letters (drop caps) and headpieces (miniatures, polytypes) and other monuments with brief articles about ancient Russian art. The magazine was published by him until 1863; the debt formed from the publication, Strukov then paid for almost 25 years.
In 1859 he was invited to the Armory to copy museum monuments; since 1860 he was approved by the artist of the Armory. In this position, he restored 13 ancient banners from the museum's funds. At the same time, Strukov was dismantling the collection of P. I. Sevastyanov, transferred to the Rumyantsev Museum.
D. M. Strukov was forced to teach a lot at various educational institutions: at the Sergiev School at the Moscow Committee of the Imperial Humanitarian Society (1870s - 1880s), Moscow University (1873), at the 3rd Women's Gymnasium, Moscow Commercial School. He developed a special teaching method that made it possible to quickly teach any person to draw; in the form of experience, they trained 200 soldiers of the Pernovsky regiment in a short time. for this method, he was awarded a silver medal at the All-Russian Exhibition in Moscow and was soon elected a member of the French Academy of Fine Arts.
In 1860 he participated in the restoration of the cathedral of the New Jerusalem Monastery.
At the invitation of the church authorities, he recorded in the drawings such an Orthodox celebration as the discovery in 1861 of the relics of St. Tikhon in Zadonsk.
When in the 1880s his son, N. D. Strukov, was instructed to recreate the Kutuzov izba, which burned down in 1867, Dmitry Mikhailovich was invited to restore its interiors. At the same time, D. M. Strukov organized his own workshop for the production of icons and church utensils in the Old Russian style.
He was buried in the cemetery of the Donskoy Monastery. The grave is lost, but one of the surviving tombstones with completely lost inscriptions could belong to him, assuming that the monument was erected by his architect son.
Awards
Gallery
Mogilev. Church of the Intercession of the Holy Mother of God.
Nikolay Strukov
Nikolai Dmitrievich Strukov (1859 - after 1926) - architect.
Nikolai Strukov was born in 1859 in the family of an artist-restorer, the founder of the icon-painting school in the Trinity-Sergius Lavra D.M. Strukov. At the age of fifteen he entered MUZhVZ. In 1882, Strukov graduated from the College with a small gold medal, receiving the title of non-class artist of architecture.
In the second half of the 1890s, being the owner of a design and construction office, Nikolai Strukov began an active architectural career. Most of buildings created by the architect - multi-apartment tenement houses and mansions, made in the Art Nouveau style. According to experts, he managed to work in all stylistic directions of the late XIX - early XX centuries. from eclecticism to neoclassicism.
But in 1913 his successful career came to an abrupt end. There was a construction disaster. Early in the morning in the center of the city, with a terrible roar, the wall of the merchant Titov's seven-story apartment building, which was being built in a hurry, collapsed. There were no casualties. Not particularly understanding who was to blame, the court fined Titov 100 rubles (namely, he directly supervised the construction, saving on everything and for the sake of this, unacceptably deviating from the project documentation), and the author of the project, N.D. Strukov, sentenced to one and a half months' arrest.
Strukov did not build more. Since 1914, he was a member of the commission for the inspection and study of monuments of church antiquity. After 1917 he taught construction.
Strukov's houses in Moscow
- Arbat, 11 . Apartment building of the joint-stock company "Private pawnshop". N.D. Strukov, 1910-1911. Built on in 1933.
- Bronnaya M., 2 . The Golitsyn Manor - Profitable possessions of Romanov and the Society for the benefit of needy students of the Moscow Imperial University. Zagorsky, 1870-1890s; N.D. Strukov, 1900s.
- Bronnaya M., 4 C2 . Income holdings of Romanov. N.D. Strukov, 1900s.
- Vorontsovskaya, 6 (left). Reconstruction of the building to house the City College. N.D. Strukov, 1912.
- Vorontsovskaya, 23. Apartment building. N.D. Strukov, 1890.
- Newspaper, 9 C3. Shop building. N.D. Strukov, 1910. Rebuilt in the 1990s.
- Gnezdnikovsky B., 7. Martynova's apartment building. Strukov, 1889; Rosen, 1911; rebuilt in the 1990s.
- Money, 19. Change of the facade and expansion of the Slonov's mansion. N.D. Strukov, 1898.
- Zubovsky boulevard passage, 13. House of Chepelevskaya. N.D. Strukov, 1902.
- Kazakova, 23. Outbuilding in the possession of the Bronnitsa merchant Demin. N.D. Strukov, 1892.
- Kalashny, 2. Titov's apartment building - Multi-storey residential "House of Mosselprom". N.D. Strukov, 1911-1913. The building collapsed during construction. Completed by architects Kogan, Loleit, Tsvetaev, 1920-1923.
- Kaloshin, 4. Apartment building with shops. N.D. Strukov, 1897.
- Kolobovsky 1st, 17. Apartment building. N.D. Strukov, 1909.
- Kutuzovsky proezd, 3. Chapel of Michael at the "Kutuzovsky hut". N.D. Strukov together with Litvinov, 1912.
- Leningradsky, 5. Buildings in the possession of Yurasov. N.D. Strukov, 1899.
- Lubyansky, 7 . The property of Eliseev - Nekrasov. Skomoroshenko, 1876; N.D. Strukov, 1890s.
- Mamonovsky, 42. Factory building in the possession of Shablykin. N.D. Strukov, 1911.
- Merzlyakovsky, 15. Ensemble of apartment buildings Elkind. N.D. Strukov and Zeidler, 1901-1903.
- Molchanovka B., 18 . Tenement house Tikhomirovs. N.D. Strukov, 1904. Gilyarovsky's essays "Newspaper Moscow" are devoted to evenings in this house.
- Molchanovka M., 6 . V.B. Kazakov. N.D. Strukov, 1909.
- Obydensky 2nd, 6. The complex of buildings of the Temple of Elijah the Prophet Ordinary. Sokolov, 1818-1819; Kaminsky, 1865-1868; N.D. Strukov, 1900s.
- Ozerkovsky, 9. Apartment building Shukhardina. N.D. Strukov, 1911.
- Ordynka M., 35 . Sotnikov's mansion. N.D. Strukov, 1891.
- Armory, 43. Changing the facade of the Lobozev apartment building. N.D. Strukov, 1903.
- Ostozhenka, 42 Restructuring of the apartment building of the breeder-rabbit breeder S.E. Golubitsky. N.D. Strukov, 1900, 1910-1911.
- Povarskaya, 8 . Apartment house. N.D. Strukov, 1893.
- Pokrovka, 29 . Babushkin's apartment building. Kekushev, 1897; N.D. Strukov, 1909.
- Polikarpova, 19-21. Three-story officer corps at the Nikolaevsky (Khodynsky) barracks. N.D. Strukov, 1901.
- Cannon, 4 (in the yard). Reconstruction of the O.A. Turkestanova. N.D. Strukov, 1888.
- Pyatnitskaya, 18 C3. Apartment house. N.D. Strukov, 1913.
- Pyatnitskaya, 57 C2. Apartment house. N.D. Strukov, 1904.
- Radishchevskaya V., 14. Reconstruction of the main house of the Popov-Simonov estate. N.D. Strukov, 1908.
- Sadovaya-Kudrinskaya, 18. Kapkanshchikova's mansion. N.D. Strukov with the participation of N.G. Lazareva, 1911-1912.
- Sadovaya-Kudrinskaya, 20. Renovation of an apartment building. N.D. Strukov, 1900s.
- Sadovnicheskaya, 9. Expansion of the cellars of Privalov's house. N.D. Strukov, 1907.