Images of Archpriest Nicholas of Myra in Lycia with Selected Saints. Special Features of Russian Iconographic Versions. E.S. Smirnova (Moscow)

The distinctiveness of the Russian iconography of St Nicholas has already been discussed on the example of the existing cycles of the saints' lives (see notes 1 and 2.) The present article is devoted to certain variants of his depictions in a group with other saints, which go down to Byzantine roots but bear an evident local stamp acquired on Russian soil. The first of these is bust-length portraiture of St Nicholas surrounded by the figures of Christ, the Apostles, and the saints of varying degrees of holiness (see ill. 1.) In the Russian icon painting of the 12^th–13^th century (see ills 2–4) the role of St Nicholas the Miracle-maker is stressed as the most revered among the other saints in Russia, as a protector from the enemy, healer, and defender of all Christians. A comparison of various depictions of the Archpriest of Myra in Lycia with the Saintly Princes Boris and Gleb, repeatedly reproduced in the Russian iconography of the later Middle Ages is quite remarkable (see ills 5 and 6.) The importance of iconographic patterns from the early Middle Ages can be seen in the numerous icons of the 15^th and 16^th centuries in which on top of the bust-length impersonation of Archpriest Nicholas there is the Vernicle Image of the Savior and the various saints on both sides (ills 10–12.) In the later compositions the national motifs in the worship of the great Miracle-maker feature with particular clarity.

The second variety depicts St Nicholas in the company of outstanding Church figures, saints and priests. Such compositions in Russian icons were known already in the 13^th century and they were particularly widespread in the late Byzantine and late medieval periods. In some icons St Nicholas is portrayed with the Christian saints of different ranks, which are common to all confessions (ills 7, 8, 15) and thus the many aspects of his worship and that of other church figures can be established. In some cases the person commissioning the icon features prominently. Certain compositions present the Archpriest of Myra surrounded by Russian holy figures as a model to follow in their service as archpriests (ills 16 and 17.)