Icon of the Myrrh-Bearing Women: The Truth of the Resurrection of Christ. Myrrh-Bearing Women: who are they, what were their names and why did they go down in history?

In the third week after Easter, a holiday is celebrated, established in memory of women who, during the Savior’s earthly life, relentlessly followed Him, taking upon themselves all His everyday worries, and after burial, on the first day after the end of Saturday, early in the morning they came to where they were. the Holy Sepulcher, in order to anoint the body of the Savior with fragrant myrrh, according to Jewish custom. Here the happy news of His resurrection awaited them. It is these servants of God that are shown to us by the icon of the Myrrh-Bearing Women.

Who are these women who have forever left their memory in history, and in whose honor the Day of Myrrh-Bearing Women was established? Evangelists call different names, but based on the analysis of the texts they left and taking into account the Holy Tradition, which also tells about this event, it is customary to include the following names among them: Mary Magdalene, Mary of Cleopas, Salome, Joanna, Martha, Mary and Susanna. Let's take a closer look at each of the names. The icon of the “Myrrh-Bearing Woman” presents us only with a plot composition compiled on the basis of a gospel event. For more detailed details, let us turn to the Holy Scriptures and Holy Tradition.

Mary Magdalene, Martha and Mary

There is no consensus about Mary Magdalene. Some identify her with the famous biblical harlot who took the path of repentance, while others are inclined to consider her an ordinary woman from whom Jesus Christ cast out demons with his Divine power. It is known about her that after the Ascension of the Lord, she, contrary to the tradition that prohibited women from preaching, wandered through the cities, bringing the word of God to people. Lives compiled many years later tell contradictory stories about her death.

Information about Martha and Mary, the sisters of Lazarus resurrected by Jesus, is also quite limited. From the Gospel texts it is known that the Savior visited their home more than once, loved their family and spoke with the sisters about the Kingdom of God. From the further fate of these women, all that is known is that they followed their brother Lazarus to Cyprus, where he served as bishop.

Joanna and Maria Kleopova

Somewhat more extensive information is available about John. It is known that she was married to one of King Herod’s close associates and was a very rich woman. It is generally accepted that during Christ’s sermons she took upon herself the bulk of the expenses associated with His life and work. In addition, she has another important merit. It was Joanna who secretly buried the head of John the Baptist on Mount Elion, which Herodias threw into a landfill after desecration.

From the limited information about Mary of Cleopas, another glorious follower of Christ, who was included in the number of the Myrrh-Bearing Women, it is known that she was a relative of Jesus, but the opinions of researchers differ on the degree of relationship. According to one version, she was the wife of Cleopas? brother Joseph the Betrothed, and according to another, although less probable? sister of the Blessed Virgin Mary.

Maria Yakovleva and Susanna

Regarding the woman who is referred to in the Gospel as Mary of Jacob, there is an opinion that she was the youngest daughter of Joseph the Betrothed. It is also known from Sacred Tradition that being on the warmest terms with the Mother of God, she was Her closest friend for many years. Is it called Yakovlevka in honor of her son the Apostle James? the closest disciple and associate of Christ.

The least information is available about the Myrrh-Bearing Woman named Susanna. The text of the Gospel says about her only that she served Christ “from her property,” that is, from the material resources she had at her disposal. This makes it possible to conclude that she was a wealthy woman.

By naming these seven names, we act only in accordance with the Orthodox tradition, but not the established canon, since researchers have other points of view that also deserve attention. Often, but not always, the holy Myrrh-Bearing Women are depicted on icons in precisely this composition? seven humble figures.

Mother of God? first to receive the news of the Resurrection of the Son

And finally, speaking about the Myrrh-Bearing Wives, it is impossible not to mention the mother of Jesus Christ? Blessed Virgin Mary. Despite the fact that formally She is not one of them, according to many researchers, there is reason to believe that the names Mary of Jacob and the “other Mary” mean the mother of Jesus Christ.

The basis for this may be the fact that after the death of Joseph the Betrothed, Mary took charge of his children from his first marriage, and was quite legitimately considered the mother of his son Jacob. However, even if these assumptions are not true, the Most Holy Theotokos was the first to receive news of the resurrection of Her Son. According to Holy Tradition, she received this good news from the lips of an angel.

Orthodox Women's Day

Did the church establish a holiday in memory of these women? Day of the Myrrh-Bearing Women. This is a holiday of all Orthodox women, a kind of analogue of the generally accepted Women's Day - the Eighth of March. The only difference is that Clara Zetkin, in whose memory the official Women's Day was established, professed the very dubious principles of a revolutionary rebel and a reckless feminist, while those who early in the morning saw the Holy Sepulcher open carried within themselves a living faith and love? those very feelings that only women are capable of. This is where the principle “in weakness lies strength” is clearly demonstrated. The symbol of the holiday is the icon of the Myrrh-Bearing Woman.

Feast of the Myrrh-Bearing Women in iconography

This theme was widely reflected in Byzantine and later in Russian fine art. Almost all of the most famous icon painting schools left works based on this biblical story. However, compositionally many of them differ from each other. So, for example, the icon of the Myrrh-Bearing Woman, a photo of which is presented at the beginning of the article, depicts seven female figures, and the next one after her? three. This is explained precisely by the fact that in different texts their number is indicated differently, as noted above.

Folk traditions

The holiday of the Myrrh-Bearing Women has always been loved in Rus'. On this day, in addition to all the services established by the Church Canon, actions related to folk customs were widespread. A kind of bachelorette party was organized, in which married women also took part. According to tradition, the main treat at them was scrambled eggs. In the villages this day was revered as a woman's holiday and all women were considered birthday girls.

Names of the Myrrh-Bearing Women

Mary Magdalene, Martha and Mary

There is no consensus about Mary Magdalene. Some identify her with the famous biblical harlot who took the path of repentance, while others are inclined to consider her an ordinary woman from whom Jesus Christ cast out demons with his Divine power. It is known about her that later, contrary to the tradition that prohibited women from preaching, she wandered through the cities, bringing the word of God to people. Lives compiled many years later tell contradictory stories about her death.

Joanna and Maria Kleopova

Somewhat more extensive information is available about John. It is known that she was married to one of King Herod’s close associates and was a very rich woman. It is generally accepted that during Christ’s sermons she took upon herself the bulk of the expenses associated with His life and work. In addition, she has another important merit. It was Joanna who secretly buried on the Mount of Elions the head that Herodias had thrown into a landfill after desecration.

From the limited information about Mary of Cleopas, another glorious follower of Christ, who was among the Myrrh-Bearing Women, it is known that she was a relative of Jesus, but researchers have differing opinions about this. According to one version, she is Cleopas, the brother of Joseph the Betrothed, and according to another, although less probable, she is the sister of the Blessed Virgin Mary.

Maria Yakovleva and Susanna

Regarding the woman who is referred to in the Gospel as Mary of Jacob, there is an opinion that she was the youngest daughter of Joseph the Betrothed. It is also known from Sacred Tradition that being on the warmest terms with the Mother of God, she was Her closest friend for many years. It is named Yakovleva in honor of her son, the Apostle James, the closest disciple and associate of Christ.

The Mother of God is the first to receive the news of the Resurrection of the Son

And finally, speaking about the Myrrh-Bearing Wives, one cannot fail to mention the mother of Jesus Christ - the Most Holy Virgin Theotokos. Despite the fact that formally She is not one of them, according to many researchers, there is reason to believe that the names Mary of Jacob and the “other Mary” mean the mother of Jesus Christ.

Orthodox Women's Day

In memory of these women, the church established a holiday - the Day of Feast of All Orthodox Women, a kind of analogue of the generally accepted Women's Day - the Eighth of March. The only difference is that Clara Zetkin, in whose memory the official Women’s Day was established, professed the very dubious principles of a revolutionary rebel and a reckless feminist, while those who early in the morning saw the Holy Sepulcher open carried within themselves a living faith and love - the same feelings that only women are capable of. This is where the principle “in weakness is strength” is clearly demonstrated. The symbol of the holiday is the icon of the Myrrh-Bearing Woman.

Feast of the Myrrh-Bearing Women in iconography

This theme was widely reflected in Byzantine and later in Russian fine art. Almost all of the most famous icon painting schools left works based on this biblical story. However, compositionally many of them differ from each other. So, for example, the icon of the Myrrh-Bearing Woman, a photo of which is presented at the beginning of the article, depicts seven female figures, and the next one after it depicts three. This is explained precisely by the fact that in different texts their number is indicated differently, as noted above.

Folk traditions

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Hello everyone! I would like to introduce you more closely to other religious holidays of Orthodoxy, even if not as grandiose as the Twelveties, but no less revered.

For example, the Feast of the Myrrh-Bearing Women:

The Sunday of the Myrrh-Bearing Women is celebrated on the third Sunday after Easter. It serves as a reminder of such an important, but, alas, rare human quality - fidelity. Loyalty is not ostentatious, not “profitable,” but sincere, coming from the heart, transforming the whole nature of the lover. Warm. Hearty. Unconditional!

The Week (Sunday) of the Myrrh-Bearing Women in 2014 falls on May 11. On this day, the memory of the saints and faithful Mary Magdalene, Salome, Mary of Cleopas, Martha and Mary, Susanna, Joanna and others is honored.

We know very little about these women from the Gospels, and most of them are mentioned only once in connection with the burial and resurrection of Jesus.

Martha and Mary are known for the fact that their brother Lazarus was resurrected by Christ, and for the dialogue between Christ and Martha, sounding from the Gospel pages as a reminder of the true values of human life.

Martha was preparing a great meal for the Teacher in her house, was worried, fussed, and along the way she reproached her sister Mary for laziness and complained to Christ about her. But Jesus gently answered her that the main thing for a person is not in food and clothing, not in the external prestige of life, not in the dust thrown into the eyes of others: “Martha, Martha, you care and worry about many things... but you only need one thing!” Ev. Luke 10 41-42 art.

The most dramatic image of a woman revered on this day is image of Mary Magdalene . She appears before us in the Gospels, in the apocrypha, in church traditions. Always with a reverent attitude towards Christ, with gratitude to Him, turning our loyalty, devotion and love towards Him. But after what?

Many scholars of Holy Scripture believe that the failed trial of a woman caught in adultery, which unexpectedly ended with the departure of the accusers and judges after the words of Christ: “He who is without sin, throw the first stone at her.” was the "trial" of Mary Magdalene.

Her past as a harlot, subsequent justification and forgiveness by Christ formed the basis of many works of art: paintings, icons, songs, poems. The famous poem “Magdalene” by Boris Pasternak:

It’s a little night, my demon is right there, My retribution for the past. Memories of debauchery will come and suck my heart, When I was a slave to male whims, I was a demon-possessed fool And the street was my shelter.

The meeting with Christ, who forgave her all her many sins, forever and deeply changes her essence - she becomes devoted to Him, to Him alone...

One day, shortly before His death, Christ was invited to a rich house for dinner with representatives of the political and religious elite of Jewish society, who listened to Him, rather amused by the improbability of the doctrine of the resurrection and eternal life.

And suddenly a woman approached Christ, who was reclining at the table, with a vessel of precious, very expensive incense in those days, as indeed now. According to Jewish customs, they anointed the heads of priests and high priests with myrrh, and suddenly a woman pours it on the feet of Jesus Christ!

This act causes shock, anger, bewilderment, and envy of those who observe it. They begin to shout: “What is happening?”, “Why is this?”, “They could have sold the ointment and given the money to the poor, this is God’s commandment,” but all this is just the hypocrisy of people who tried to please God by formally observing the commandments, without personal faith and heartfelt love for Jesus.

Christ explained to the astonished table diners the reason for the behavior that came: “Whoever has been forgiven a lot loves a lot” Ev. Luke 7 47 art.

Marina Tsvetaeva expressed Christ’s assessment of her sincere, highest sacrifice of love, by accepting which He showed everyone that He extols the sincere participation of the heart over the most precious thing in this world:

- Myrrh-Bearer! Why do I need peace?

You washed me

Like a wave.

All women revered in Feast of the Myrrh-Bearing Women by name, in the Gospels they are found under the general word “women” or “wives,” because a woman without a man was absolutely powerless and helpless in the time of Christ.

What can we say if even in modern Hebrew, revived at the beginning of the 20th century, there is no phrase “husband and wife”, implying an equal union. There is “the master (lord) and his woman and his children.” In a thoroughly patriarchal society, the role of a woman was invisible and underestimated by many, almost everyone, but not by Christ!

The Gospels repeatedly and impartially illuminate the behavior of male disciples and female followers during the trial and crucifixion of Christ. It seems that women became the first witnesses to the resurrection of Jesus as a reward for their faithfulness.

Unlike today, in the ancient world a woman could not express herself in public life, take part in the expression of the will of the people, so the crowd shouting “Crucify!” consisted one hundred percent of men.

One of the disciples, Judas, became a traitor. The Gospel of Matthew in chapter 26 reports that immediately after the arrest of Jesus “ALL the disciples left Him and ran away” . Peter, out of cowardice, denied Christ three times before a servant, a woman whose opinion had neither weight nor value.

At the time of his execution, Jesus was left without disciples whom he asked to pray and support Him, but not alone! At the place of execution “there were many women watching from afar” Ev. Matthew 26. 55 art.

The great Russian writer Fyodor Dostoevsky once saw the painting “Dead Christ in the Tomb” by Hans Holbein the Younger in an art gallery in the German city of Basel and was very excited by its realism and the seeming irrevocability of the terrifying plot.

In the novel “The Idiot,” Dostoevsky, through the mouth of Prince Myshkin, says: “Yes, from this picture, someone’s faith may disappear!” What was it like for the loving followers of Jesus to see disfigured and dead the One Who said about Himself: "I am the resurrection and the Life" ...? Ev. John 11 ch. 25 Art.

Their loving hearts were torn with sorrow and pain because they were not constantly near Jesus, perhaps not hearing His promise to rise on the third day. Therefore, at dawn, the women went to the tomb of Jesus to, according to tradition, anoint His body with incense.

the myrrh-bearers are coming

Remaining faithful, they went to the tomb of the Teacher, who did not become a political leader, did not lead the fight against the Romans, as many expected.

Even his disciples abandoned Him, which means that no memory of Him and His teaching can be preserved in the future.

But women's hearts, filled with fidelity and love, are able, despite everything, to tenderly care for those they love.

This is exactly what the hearts of the Myrrh-Bearing Women were like; driven by love, they came... and were the first to see the empty tomb, the Angel who informed them that Christ had risen, and Christ himself, who greeted them with the greeting: “Peace be with you!”

God always rewards for faithfulness, look! The women were worried, they were present at the execution, participated in the burial of the Body, not knowing the upcoming joy of the resurrection, they mourned the Teacher who had left them forever. And He himself appeared to them, met and consoled them, showed them that life goes on, that their hope was not lost!

Oh miracle! Women run to inform the disciples and become a kind of apostles for future apostles. But! They don't believe it! The most famous unbeliever is Thomas, whom we remember in the first week of Easter.

However, divine teaching is far from quarreling between men and women, in order to exalt some and degrade others at the expense of facts. It is not without reason that on this day the memory of the saints and righteous Joseph of Arimathea and Nicodemus, who asked permission to remove the Body of Christ and bury it, is also revered.

Joseph purchased a new tomb for burial, in which the Body was laid. May the thoroughness of Divine attention be a joy to you.

Moreover, the theme of myrrh-bearing women has not become obsolete; it continues in modern art. In 2013, at a concert on the Day of Love, Family and Fidelity, the song of the Myrrh-Bearing Wife was performed by Katya Lel and Evgeny Kungurov.

Myrrh-Bearing Wives at the Tomb

“And thus, having resolved those who had been bound for centuries, He returned back - from death to life, paving the way for us to resurrection,” says St. John of Damascus. The icon of the “Myrrh-Bearing Woman at the Tomb” conveys this return from among the dead, the incomprehensible mystery of the Resurrection of Christ, in the same way as the Gospel, i.e., it shows what those who were at the tomb saw. The Gospel of Matthew, describing the Resurrection of Christ, makes it clear that the myrrh-bearing women who came to the tomb witnessed an earthquake, the descent of an angel who rolled away the stone from the door of the tomb, and the horror of the guards (see: Matthew 28:1-4). However, neither they, nor especially the guarding soldiers, witnessed the Resurrection of Christ itself. According to the Gospel, the angel who descended rolled away the stone from the door of the tomb not in order to enable the risen Lord to come out of it, as was necessary during the resurrection of Lazarus, “but, on the contrary, to show that He was no longer in the tomb (that the tomb was empty. – L.U.),“not here; rise” and to give those who are looking for “Jesus crucified” the opportunity to verify with their own eyes the emptiness of the tomb, looking at the place “where the Lord lies.” This means that the resurrection had already taken place before the descent of the angel, before the stone was rolled away - something inaccessible to all eyes and incomprehensible had happened.” According to the Gospel narrative, the icons depict a funeral cave in which there is an empty coffin with shrouds lying in it. Near him stands a group of Myrrh-Bearing Women, and on a stone nearby sit one or two angels in white robes, pointing the Myrrh-Bearing Women to the place where the body of Jesus lay. The composition of this icon is usually distinguished by its simplicity and, one might say, ordinariness, if not for the winged figures of angels in snow-white robes, which give it an expression of stern and calm solemnity. As you know, the evangelists speak differently about both the number of myrrh-bearing women and the number of angels.

Myrrh-Bearing Wives at the Holy Sepulcher. Russia. XVI century Castel de Wijenborg (Netherlands)

Therefore, depending on the gospel narrative on which the composition is based, the number of them on the icon also changes. These differences are by no means a contradiction. The Fathers of the Church, such as St. Gregory of Nyssa and St. Gregory Palamas, they believe that the myrrh-bearing women came to the tomb several times and their number was different each time, that each of the evangelists speaks of only one of these visits. In the Gospel of Luke their number is not indicated at all. On this basis, in some images the number of wives reaches five, six or even more. But still, in most images their number does not go beyond the narratives of Matthew and Mark, that is, two wives according to the first and three according to the second of these evangelists are depicted. Angels are also depicted either one - according to the Gospels of Matthew and Mark, or two - according to the Gospels of Luke and John: one at the head, and one at the foot, where the body of Jesus lay(John 20:12). In general, this Easter icon, conveying evidence of the Resurrection that has already taken place, is an exact reproduction of the Gospel stories, down to the details: the vestments are lying alone and the sir, who is on His head, is not lying with the vestments, but the individual is retinue in one place(John 20:6–7). This detail, seemingly insignificant at first glance, emphasizes the incomprehensibility of the event. It is by looking at the shrouds, another student<…>sight and belief(John 20:8). For the fact that they remained in the form in which they clothed the body of the Buried One, that is, bound, was immutable evidence that the body contained in them was not carried away (see: Matt. 28:13), but in an incomprehensible way left their.

The Resurrection of Christ occurred in the morning after the seventh day - Saturday, i.e. at the beginning of the first day of the week. Therefore, the first day of the week is celebrated by the Christian world as the beginning of a new life that has risen from the grave. The first Christians called this day not the first, but the eighth, “because it is the first among those following it and the eighth among those preceding it - a high day.” It serves not only as a remembrance of the day on which the Resurrection of Christ historically took place, but also as the beginning and image of future eternal life for the renewed creation, what the Church calls the eighth day of creation. For just as the first day of creation was the firstfruits of days in time, so the day of the Resurrection of Christ is the firstfruits of life outside of time, that is, an indication of the mystery of the future age, the Kingdom of the Holy Spirit, where God is all in all(1 Cor. 15:28).

Mid-Pentecost. Novgorod. XV century Temple Gallery London

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May 05, 2013

published in 2006

"> published in 2006

The Gospel tells that on the third day after the crucifixion, the wives bought aromatics and went to anoint the body of Christ. According to Jewish custom, before burial the deceased was wrapped in long linen cloth, and the body was anointed with incense. In the case of a hasty funeral (for example, on the eve of Saturday, and it was at this time that the Savior was buried), the deceased was placed wrapped in the tomb, and only after important days (Saturdays or Jewish holidays) did they come to the tomb again to pour liquid aromas on the funeral bed and wrapped in fabric body of the deceased [Sinelnikov V., priest. Christ and the image of the first century. M., 2003. S. 188-189.]. It was precisely because of the coming Saturday that the body of the Savior was buried without observing the established ritual, and after this day the myrrh-bearing women wanted to do everything as they should, but did not find the body of the Lord. They were met at the tomb by an angel who announced the Resurrection.

The article “On the iconography of the Resurrection of Christ” was first published in 2006

In Christian art, the depiction of the most incomprehensible and main moment of gospel history - the Resurrection of Christ - is usually absent. This miracle is inaccessible to human understanding - the holy evangelists do not describe it, and church hymns do not speak about it. Usually, icons of the “Resurrection of Christ” were those that depicted the descent into hell or the appearance of Christ after the Resurrection, as well as the appearance of an angel to the myrrh-bearers at the Holy Sepulcher.

The Gospel story of “The Myrrh-Bearing Woman at the Holy Sepulcher” was extremely popular in all types of art - both in monumental painting (mosaics and frescoes), and in book miniatures and applied art. The popularity of the plot is due to its significance in the entire gospel history - the Myrrh-Bearing Women, who found the Tomb empty, are the first witnesses of Christ's Resurrection.

The victory over death and the joy of what has happened, which the angel preaches to the myrrh-bearing women, is what attracted Christian artists and encouraged them to depict this event again.

One of the oldest monuments in which the scene of “The Myrrh-Bearing Woman at the Holy Sepulcher” is found is the painting of the walls of a house from 232 in Dura Europos (Northern Mesopotamia), adapted as a Christian chapel. One of the rooms served as a baptistery. The iconographic scheme of the scene that interests us is quite simple, the image is devoid of details. Three women head to the still closed sarcophagus, presented very conditionally. The artist showed, rather, the procession of the wives and the goal of their journey in the form of a still closed coffin, rather than the accomplished triumph of Christ over flesh and death. Perhaps this is an illustration of the verse of the Gospel of Matthew preceding the one in which the angel appears: “And when the Sabbath was past, at dawn of the first day of the week, Mary Magdalene and the other Mary came to see the tomb” (Matthew 28:1). The Gospel texts indicate different numbers of women who went to anoint the body of Christ. Thus, according to the text of the Gospel of Luke, it becomes clear that there were more than three of them, while not one, but two angels appear to him (Luke 24: 1-4). According to the text of the Gospel of John, only Mary Magdalene came to the Sepulcher, and two angels also appeared to her (John 20: 1, 12). In the Dura-Europos paintings, three women walk to the Tomb. Apparently, the artists followed the text of the Gospel of Mark, which says: “And when the Sabbath was past, Mary Magdalene and Mary of Jacob and Salome bought spices, that they might go to anoint Him” (Mark 16:1). The heads of the myrrh-bearers from Dura-Europos are covered, the wives themselves are dressed in long, flowing clothes. Each of them carries gifts in her left hand, bent at the elbow, which emphasizes the motif of the procession and offering.

Ascension of the Lord. Myrrh-Bearing Women at the Holy Sepulcher. Bamberg Avory; The Roman Empire. Rome; IV century; location: Germany. Munich. Bavarian National Museum; 11.6 x 18.7 cm; material: bone; technique: bone carving

On an ivory plaque kept in Munich (the so-called Bamberg Avorium, c. 400), the subject we are considering is located under the Ascension scene. Three holy wives are depicted in the lower right corner, in front of the Church of the Holy Sepulcher, standing on a pile of stones, on which sits an angel in the form of a young man without wings. The temple doors are closed. In general, the building goes back to ancient models - one can easily establish its connection with Roman mausoleums, the architecture of which influenced Christian centric temples and memorial buildings. There are two guards on either side of the temple. One of them is sleeping, leaning on the cornice of the temple, his face is not visible, the other guard in characteristic Roman clothing has a spear in his left hand, reminiscent of the piercing of the Savior’s rib after the crucifixion. In the background behind the temple there is a tree with two birds sitting on its thick branches pecking at its fruit. To convey the dialogue between the angel and the myrrh-bearers, the master of the Bamberg avoria resorted to an ancient speech gesture (a raised hand with two straight fingers).

Myrrh-Bearers at the Holy Sepulcher. Ampoule of Monza. VI century

The image of the myrrh-bearing women is often placed together not only with the Ascension, but also with other subjects illustrating the last events in the earthly life of Christ. For example, it is adjacent to other gospel scenes on the Monza ampoule (VI century) and on the reverse side of the painted reliquary lid from the Sancta Sanctorium (VI century, Vatican).

Myrrh-Bearing Women at the Holy Sepulcher. Fragment of a reliquary from the Sancta Sanctorum chapel. OK. 600 (Vatican Museum)

In both monuments, the myrrh-bearers do not stand in front of the cave where, according to the text of the Gospel, Joseph of Arimathea laid the body of Jesus; the burial place of the Savior is shown on the lid in the form of a rotunda, but on the ampulla of Monza - in the form of a rectangular temple with columns and a tent-like covering topped with a cross. The architecture of the rotunda depicted on the reliquary is complex - a row of windows is conventionally shown in the drum, and the inner surface of the dome is decorated with stars. Beneath it is a polygonal tomb with a gabled roof and rich marble lining. The myrrh-bearers and the angel are depicted with halos, and one of the wives is in the clothes of the Most Holy Theotokos. Her head is covered with a dark-colored maforium; stars are depicted on her forehead and shoulders, symbolizing the immaculate conception, the virgin birth of the Son and the purity of His birth. The inclusion of the Virgin Mary in the scene at the Holy Sepulcher is due to church tradition, which is reflected primarily in liturgical texts. Thus, one of the main Easter hymns speaks of the appeal of the herald of the Resurrection specifically to the Mother of God: “An angel crying with grace: pure Virgin, rejoice. And again, rejoice, your Son is risen three days from the grave...”. The presence of the Virgin Mary at the Tomb abandoned by the Lord is also found in some other monuments, including very late ones.

Myrrh-Bearing Women at the Holy Sepulcher. Fragment of the Milan diptych, 5th century

In the Milan diptych, which apparently represented the frame of a synodik, the scene in question is included in a larger cycle telling about the final events of the gospel story. The entire diptych is a sequential story about the events of Holy Week on one panel and about the appearances of the Risen Lord on the second. The first part of the diptych depicts “Washing the feet of the disciples”, “Betrayal of Judas”, “Taking into custody”, “Return of thirty pieces of silver by Judas”, Judas hanging on a tree and, finally, the closed Holy Sepulcher, which is guarded by four Roman guards in helmets, with shields and spears. This calm and non-narrative scene is further developed in the second part of the diptych. At the top there is an open Coffin (shown in the form of two cylindrical volumes placed on top of each other), a Roman guard looks out from behind it, the second guard, running away, looks back in fear. In front of the tomb is an angel with a halo sitting on a stone, addressing the two myrrh-bearers with the same gesture as at the Bamberg Avory. Below is “The Appearance of Christ to the Myrrh-Bearing Women.” The second part of the diptych ends with the scene “Assurance of Thomas”.

Trivulchi diptych. Ivory. End of the 4th century

Among the early monuments, the so-called Trivulci diptych from Munich (late 4th century) should also be noted. The field of the plaque is divided by a horizontal ornamental frame. The tomb depicted at the top is a rotunda with a dome on a rectangular base, above it is an angel and an ox - symbols of the evangelists Matthew and Luke, in the middle, in front of the tomb, are guards. At first glance, it seems that the warriors have fallen asleep, but their positions are too unnatural for sleep - one of them fell on his right knee, not leaning on a spear, and seems to be about to fall, the other has a cloak fluttering behind his back, but there is no movement in you don’t feel it - it’s as if time has stopped, frozen. The Gospel says about this: “The watchmen trembled and became like dead men” (Matthew 28:4). Below, near the slightly open double door, an angel sits on a stone, shown, as in the Bamberg Avoria, in the form of a young man without a halo and wings. The two myrrh-bearing women are depicted not going to the Tomb and not talking with an angel, but falling at the feet of the Messenger of God. Thanks to this, the composition is dynamic. Behind the back of one of the guards, against the background of the Church of the Holy Sepulcher, there is a branched tree with fruits. In this monument, the Resurrection of Christ is meaningfully connected with the resurrection of Lazarus, which is depicted in the upper panels of the doors of the Church of the Holy Sepulcher. According to legend, Christ raised Lazarus at the end of his earthly ministry, before entering Jerusalem, from which the events of Holy Week begin.

Myrrh-Bearers at the Holy Sepulcher. Ivory plaque. Avoriy IV-V centuries. British Museum, London.

An early monument from the 4th century also includes a plaque kept in the British Museum. The tomb is depicted as already abandoned by the Savior - one door leaf is open, from behind the unopened door, decorated with a lion’s head with a ring in its teeth, a sarcophagus is visible. Apparently, the holy women do not yet know about what has happened - their gently bowed heads and hands near their faces, reminiscent of the gestures of mourners, convey a feeling of sadness. Consequently, here the artist, as well as in Dura-Europos, showed the very fact of the women coming to the Tomb, but not their receipt of news from the angel. However, the viewer already knows that Christ has risen - he sees the doors ajar.

Myrrh-Bearers at the Holy Sepulcher. Mosaic. Church of St. Apollinaria, Ravenna, Italy. VI century

In the mosaic of the Church of San Apollinare Nuovo in Ravenna (VI century), characterized by laconicism and lack of details, the position of the figures is almost frontal, both myrrh-bearers are shown identically, the emphasis is on their large expressive eyes. An angel sitting on a stone holds a rod in his hands. The Holy Sepulcher is depicted again in the form of a rotunda, which corresponded to the historical realities of that time - there was indeed a centric temple above the burial place of Christ, which has not survived to this day. The temple depicted in this mosaic is circular in plan and has a dome supported by Corinthian columns and a circular base. The entrance to it is open.

Of course, the centric temple present on various monuments was not an exact representation of the temple on the site of the cave in which Jesus was buried. The rotundas in the scenes under consideration only indicated the scene of action and appealed to the famous pilgrimage temple - this is evidenced by the variety of its forms in various monuments. In connection with the analysis of the iconography of the scene “The Appearance of the Angel to the Myrrh-Bearers”, the question of the architecture of the Church of the Holy Sepulcher was touched upon in his monograph by N.V. Pokrovsky. N.D. Protasov’s book “Materials for the iconography of the Resurrection of the Savior: Images of the Holy Sepulcher” was entirely devoted to this same topic. In it, he criticizes the opinion existing in science that the Holy Sepulcher appearing in the Bamberg avorium corresponds to that described by Eusebius and that the master was in the Basilica of Constantine and took the appearance of the Church of the Holy Sepulcher “from life.” According to one of the assumptions, the plaque was made in Jerusalem by order of Empress Helena by one of the court artists sent to the Holy Land to work in the basilica under construction [ Protasov N. D. Materials for the iconography of the Resurrection of the Savior: Images of the Holy Sepulcher. Sergiev Posad, 1913. pp. 17-18.]. N.D. Protasov, in turn, considered Eusebius’ description inaccurate. The Church of the Holy Sepulcher, depicted on various monuments, consisted of two parts: a lower cube made of hewn stones and an upper rotunda-shaped building with a dome. The rotunda, depicted on the Bamberg plate, is richly decorated with architectural fragments, medallions, and its upper part is enclosed in an arcade of 12 columns assembled in pairs. Thus, neither from the architectural nor from the decorative side does the monument correspond to what is described by Eusebius, who does not mention its two-story structure and lavish decoration. Protasov is inclined to believe that the master of the Bamberg monument did not strive for accuracy and naturalness; his task was to depict the Resurrection of Christ and designate the Holy Sepulcher as the scene of action, recognizable in general terms. Similar images of the Coffin are also given by a bone plate from the British Museum (IV century) and the Trivulci diptych. They are based on ancient models, the architecture of Greek and Roman memorial buildings.

A completely different type of image of the Holy Sepulcher in form and style is found on the Monza ampoules. They were made directly in Jerusalem and lack an ancient basis.

Since the technique of their production is primitive, the images are conventional, devoid of background and details, there is no point in talking about artists copying the external appearance of the structure. The architecture of the Coffin on ampoules has various options, but in general it boils down to the fact that the structure was a rectangle close to a square with a triangular pediment, which is crowned with a cross. Sometimes it had antique columns with bases and capitals, sometimes the entrance to the Tomb was shown in the form of double doors with bars. In the memoirs of pilgrims to the Holy Land, which N.D. Protasov studied, there are references to the fact that the holy place of the Sepulcher was protected by a lattice - internal (cancelli interios) and external (cancelli exteriors) [ Protasov N. D. Materials for the iconography of the Resurrection of the Savior. P. 25.]. Apparently, the inner grille was located at the entrance to the Church of the Holy Sepulcher, and the outer one surrounded it, holding back pilgrims.

It is impossible to accurately establish the appearance of the Church of the Holy Sepulcher based on the memories of pilgrims of that time and art monuments; this requires serious archaeological research, bringing together various information and its critical analysis. Our task is to point out the diversity of his images in connection with the consideration of the gospel scene of “The Myrrh-Bearing Woman at the Tomb.”

In book illustration, the earliest example of the iconography of the Resurrection contains a manuscript in Syriac that did not belong to the Constantinople master, known as the Gospel of Rabula (586).

Crucifixion. Myrrh-bearing women at the Holy Sepulcher. Code of Rabula 586

The miniature is located under a multi-figure detailed Crucifix. The entire background of the miniature is covered with palm trees, which probably signify the garden of Joseph of Arimathea. In the center of the composition is a rotunda with antique columns and an ornate dome. From its half-open doors, three beams of light shine, striking the guards, two of whom lie on the ground, and the other falls. To the left of the Tomb, an angel with a golden halo, wings, and a light blue tunic sits on a certain rectangular low pedestal. One of the holy women with a halo holds a flask filled with aromas in her hands, the other (without a halo) holds a vessel in the form of a lamp in which a fire burns. To the right of the Tomb, two wives fall at the feet of Christ, who appeared to them after the Resurrection. N.V. Pokrovsky suggests that the first of the wives, marked with a halo, is similar to the Mother of God in the “Crucifixion” scene, and, apparently, She is [ Pokrovsky N.V. The Gospel in iconographic monuments. M., 2001. P. 486.]. We also note that the myrrh-bearer with a halo is highlighted in scale - her figure is larger and taller than the figure of the second holy wife. We have already encountered a similar image in the painting of the lid of the reliquary from Sancta Sanctorium.

Myrrh-Bearing Women at the Sepulchre. Miniature. Khludovskaya Psalter (Moscow, State Historical Museum). The image of King David prophesying the Resurrection of Christ refers to Ps. 43, 23: “Arise, why are you sleeping, Lord? Awake, do not cast off forever.” The scene of “The Myrrh-Bearer at the Tomb” refers to verse 24 of the same Psalm: “Rise up to help us and deliver us for the sake of your mercy.” Byzantium (Constantinople?). 840-50s

An interesting version of the scene is presented in a post-conoclastic manuscript - the Khludov Psalter (9th century). On the sheet with the text of the 43rd Psalm, a tomb is depicted in the form of a small rotunda, to the left of which is the Old Testament king and the prophet David, and to the right are two weeping holy wives. This is an illustration of the 24th verse of the psalm - “Rise up, write off everything, Lord, rise up and do not deny it to the end.” On the same sheet, next to the text of verse 27 (“Rise up, O Lord, help us and deliver us through Your name”), a tomb is once again depicted, next to which stand the myrrh-bearing women [ See: Shchepkina M.V. Miniatures of the Khludov Psalter. M., 1977.]. These scenes only illustrate the expectation of the Resurrection, the wives do not yet know about it, and the figure of the angel-evangelizer is absent. In meaning, this interpretation is close to the nature of the pre-Easter service of the Orthodox Church on Holy Saturday.

The interest in the dialogue of the characters in the monuments examined is due to its significance - God's messenger first preaches the Resurrection to the myrrh-bearers, sending them with this joyful news to the apostles and all people. In the Parma Gospel from the Palatine Library (late 11th century, Palat. 5) [ Lazarev V.N. History of Byzantine painting. T. 2. Ill. 246.] the sheet is divided by an ornamental frame into four cells, in which “Lamentation” (“Position in the Tomb”), “Appearance of an Angel to the Myrrh-Bearing Women”, “Ascension” and “Descent of the Holy Spirit on the Apostles” are located. It is interesting to note that the angel sits on a large marble rectangular seat, sitting to show the texture, pointing not to the shrouds of Christ visible in the cave, but to the small figures of trampled warriors. This small detail gives a different semantic emphasis.

Iconographically close to the Parma manuscript is a miniature from the synaxarion of Zechariah of Wallachia (first quarter of the 11th century, Institute of Manuscripts in Tbilisi), which shows not the Church of the Holy Sepulcher, but a cave. The angel sits on a high rectangular seat, shown in reverse perspective, and he addresses the wives, one of whom is looking at her companion.

Myrrh-Bearers at the Holy Sepulcher. Salary. Byzantium, XII century. Louvre, Paris.

An interesting monument is the Byzantine metal frame of the reliquary, stored in the Louvre and dating from the 12th century. The figure of an angel with a halo is inscribed in the silhouette of the mountain in which the cave is located; he points with his right hand to the burial shrouds. In his left hand he holds a staff. In general, the angel's posture, his wide wingspan and gesture will be repeated in his own way in Kintsvisi and Mileshevo, with the difference that the angel's staff will be in his right hand, since with his left he will point to the shrouds in the rectangular Tomb with a gable roof. On the frame, two holy wives stand to the left of the messenger of the Resurrection. The images of the fallen guards at the entrance are damaged and preserved in poor condition. The scene is accompanied by numerous Greek inscriptions - quotes from the Gospel and Octoechos, located in the frame, as well as above the heads of the angel and the myrrh-bearing women, above the shrouds and above the defeated warriors. The inscription above the angel is the 6th verse from the 28th chapter of the Gospel of Matthew: “He is not here - He has risen, as He said. Come, see the place where the Lord lay.”

Psalter of Queen Melisende: Resurrection and Appearance of the Archangel St. Myrrh-bearing wives. Jerusalem, 1131-43

A similar iconographic scheme is firmly established in miniature. It appears in the psalter of Queen Melisende (1135-1139, British Museum) [ The glory of Byzantium: Art and culture of the Middle Byzantine Era. A.D. 843-1261. Edited by Helen C. Evans and William D. Wixon. New York, 1997. P. 279.], in the Gospel of 1059 from the Dionysiates monastery on Athos (Cod. 587m., fol. 167v) [ The treasures of Mount Athos: Illuminated manuscripts. Vol. 1. Athos, 1974. Il. 274.].

Myrrh-Bearing Women at the Holy Sepulcher. Miniature from the Gospel and the Apostle. XI century (Ath. Dionys. 587m. Fol. 113v)

The plot appears twice more in the same manuscript. The initial "O" (fol. 113v) includes two wives at the Tomb, but they are not greeted by an angel. The opening of the cave and the edge of the sarcophagus are visible in the rock. Perhaps the figurine of an angel simply did not fit into the initial. Nevertheless, this is an interesting iconographic option, as well as another from the same Gospel - Mary Magdalene talks at the burial place of the Lord with two angels sitting at some distance from each other (fol. 171v). This plot is also found in the zenith of the vault of the Cathedral of San Marco in Venice between the domes with the “Ascension” and the “Descent of the Holy Spirit”.

So, in the monuments discussed above, dating from after the 10th century, it is not the rotunda of the Holy Sepulcher that is depicted, but the cave in which, according to the text of the Gospel, Joseph of Arimathea laid the body of the Savior.

Several factors may have influenced changes in the scene's iconography. This can be associated with the restructuring of the Aedicula after its destruction in 1009 - the Holy Sepulcher will no longer be depicted in antique architectural forms. Early Christian symbols—trees with birds, grapevines—are disappearing from the iconographic scheme familiar to early monuments.

Myrrh-Bearers at the Holy Sepulcher. The appearance of Christ to the myrrh-bearing women. Fresco of the Transfiguration Cathedral of the Mirozhsky Monastery, Pskov. 1140s

The well-preserved fresco ensemble of the Transfiguration Cathedral of the Mirozhsky Monastery in Pskov dates back to 1130-1140. The scene we are considering is located on the eastern wall of the northern arm of the domed cross. The frescoes of the northern arm of the cross are dedicated to Christ's passion. In the upper register in the lunettes there are scenes of the “Crucifixion” and “Mourning”, which dominate the rest of the paintings. The large-scale “Descent into Hell” is located above the “Myrrh-Bearing Women at the Holy Sepulcher.” The artist places two scenes in a single space - “The Appearance of an Angel at the Tomb” and “The Appearance of the Risen Christ”. The first composition is similar in many ways to the frame from the Louvre discussed above. The figure of an angel sitting on a high, almost square stone (the top serving as a seat is not shown, as it will be in Mileshevo), rises above two myrrh-bearers, in his left hand he holds a staff, with his right he points to the shrouds in the high rectangular Tomb (they are shown conditionally, cloth from the head - separately from the shroud) [ The Gospel of John says: “Simon Peter comes after him, and enters into the tomb, and sees only the linen cloths lying and the cloth that was on His head, not lying with the linen cloths, but especially rolled up in another place” (John 20, 6-7).]. His head is slightly tilted towards the wives, depicted without halos.

Myrrh-Bearing Women at the Holy Sepulcher. Kintsvisi, around 1207.

In the 13th century, this plot is found in the ensemble of paintings of the Georgian monastery of Kintsvisi (first half of the century) and in the famous paintings of Mileshevo (dating back to 1228). In the first monument, the style of the frescoes is more enthusiastic and emotional, while in Mileshevo the composition is balanced and majestically calm. Both of these moods convey the gospel joy of the Resurrection in different ways.

Fresco of the Church of the Ascension in Milesevo Monastery, Serbia. Before 1228

For the perception of Mileshev's frescoes, their huge size is decisive. The most amazing thing about them is that the figures of the myrrh-bearing women are shown smaller in comparison with the angel, who acts as the main character. This trend has already emerged in the Louvre frame, where attention is drawn to the impetuous flapping of the angel’s wings. The angel in Mileshevo addresses not the myrrh-bearers, but the viewer - the angel’s gaze and his gesture pointing to the shrouds are designed to perceive the fresco from the outside. It is interesting to note that in the monuments discussed above, the masters showed the angel’s gaze in different ways. Thus, in the psalter of Queen Melisende, the angel looks over the heads of the myrrh-bearers, past them, into the distance. And in a silver icon from Tbilisi, an angel looks down on the wives.

The shrouds in the Mileshevo fresco are shown differently than in the Transfiguration Cathedral. There is no division between the veil and the veil itself. The white shroud made of thin fabric is depicted twisted in a spiral. The myrrh-bearers look frightened - they stand somewhat at a distance, one hiding behind the other. Standing closer to the angel sitting on a large rectangular marble seat, she holds her clothes with an impetuous gesture. This realistic detail is very interesting, as is another - in her left hand Mary holds a vessel with a handle, in which were prepared aromas. The defeated warriors are depicted below the entire scene, as if in a different register of painting. The angel is shown with a beautiful ruddy face, neatly styled and bandaged hair. The large span of its wings gives the fresco a special dynamism. In a solemn and at the same time calm mood, the greatness of the accomplished event is conveyed, about which an angel in snow-white robes hastens to tell those in the Church of the Ascension in Mileshevo.

Starting from the frame of the Gospel in the Louvre and in further monuments (frescoes of Mirozh, Kintsvisi and Mileshevo), a single general iconographic scheme of this plot can be traced.

The masters focused attention primarily on God's messenger, increasing his size, and his gesture, which in these monuments pointed not to the Church of the Holy Sepulcher, not to the cave (except for the frame), but to the burial shrouds of Christ,

which serves as a direct illustration of the words of the angel: “With the dead, why are you seeking like a man? You see the grave clothes, and preach to the world that the Lord has risen...”

Various iconographic versions of this scene will be found later in Russian art. As already noted, the plot was no less popular, and is represented both in icon painting and in monumental painting, an interesting example of which is the fresco of the church on Volotovo Field in Novgorod. Probably due to the fact that not many early icons, both Byzantine and Russian, have survived, this plot is often found in later examples, especially those dating back to the 15th-16th centuries. The school of Andrei Rublev is credited with the icon now located in the Trinity-Sergius Lavra, dating from 1425-1427.

Myrrh-Bearing Women at the Holy Sepulcher. Icon of the festive rite of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra. OK. 1425

In connection with the development of the high iconostasis in Rus', the icon of the “Myrrh-Bearing Woman at the Sepulcher” was included in the extended festive rites, such as, for example, the icon from the Assumption Cathedral of the Kirillo-Belozersky Monastery (1497, Russian Museum).

Myrrh-Bearing Women at the Holy Sepulcher. Iconostasis of the Kirillo-Belozersky Monastery. Icon. 1497 Russian Museum, St. Petersburg. Photo by Ksenia Pronina

Interesting from the point of view of iconography is the icon stored in the Tretyakov Gallery (mid-15th century) - it depicts the appearance of two angels to the myrrh-bearers, one of whom, following the text of the Gospel, sits at the head of the tomb, and the second, with a scroll in his hands, sits at the head of the tomb. legs. In the 16th century, the scene we are considering is found in the form of a stamp on large-scale icons in the size of the Savior.

Myrrh-bearing women at the Holy Sepulcher. Russian icon of the early 16th century. State Tretyakov Gallery.

Myrrh-bearing women at the Holy Sepulcher; Russia. Moscow; XVI century; master: Makaryevskaya workshop; State Tretyakov Gallery;

Such marks are on the icon "Transfiguration" from the Church of the Intercession Monastery in Suzdal (first half of the 16th century, Russian Museum), on the icon of the mid-16th century, stored in the State Tretyakov Gallery, called "Smolensk Spas" (in the familiar scene of "Appearance of an Angel" "to the myrrh-bearers" an image of Christ appears, as if standing behind the hills) and on the icon "The Savior on the Throne" by Simeon Spiridonov-Kholmogorets (1670s - 1680s, Russian Museum).

Savior on the throne. Semyon Spiridonov Kholmogorets. OK. 1682 Yaroslavl.

The variety of monuments discussed above testifies to the popularity of the Gospel story about the myrrh-bearing women. Its spread was greatly facilitated by the pilgrimage to the Holy Sepulcher, as well as the fact that it brought Christians the great joy of the Resurrection of Christ. This theme has become a favorite in Orthodox art, especially in Rus'.

In monumental painting and other forms of art, the scene we are considering was usually located after the passionate cycle, signifying the joy of the Resurrection, followed by the appearance of Christ after the Resurrection to the Myrrh-Bearers, sometimes combined into a single pictorial space with the “Appearance of an Angel at the Tomb.” In expanded cycles, “Assurance of Thomas” and “Ascension” could follow.

The iconographic scheme of the scene “The Myrrh-Bearing Women at the Holy Sepulcher” was based on the compositional and semantic dominant of the place where the Savior was buried. Artists designated this place in early monuments in the form of the Church of the Holy Sepulcher (an antique rotunda on bone plaques, in book miniatures and mosaics, or a rectangle with columns and a pediment, as on the Monza ampoules). Since the 10th-11th centuries, turning to the Gospel as a source, artists have depicted a cave with shrouds, pointed to by an angel.

Other examples were demonstrated by ancient Russian monuments. The artists’ task was to tell about the Resurrection; it was solved in different ways.

Most often, the emphasis was placed on conveying the dialogue between God's messenger - an angel, who was depicted in early monuments as a young man without wings, and the visiting wives.

In all the monuments discussed above (except for the Athos Gospel, gr. 587), the myrrh-bearers are greeted by one angel, but according to the text of the Gospel there are two angels, one of whom sits at the head, and the other at the feet. The figure of the angel could have been increased in size compared to the figures of holy women and warriors (Louvre frame, frescoes of the Mirozh Monastery and Mileshev). The considered fresco by Mileshev is unique in that it evokes a dialogue with the viewer, to whom the White Angel, as he is called in Serbia, addresses.

The scene of the “Myrrh-Bearing Women at the Sepulcher” had both a simple design (Milan setting) and a more complex, multi-figured one, when in addition to the holy women, warriors were depicted, the number of which could vary - from two to four. Warriors might not be depicted at all, but more often artists placed small figures of guards in the right corner (Louvre frame) or below, as in the Mileshevsky monument.

As for the number of holy women depicted, it should be noted that for Christian artists this was not of fundamental importance. Of course, they used one or another source when depicting, but it was important for them to show the event that had taken place, recalling the Resurrection of Christ, and the wives, regardless of their number, acted as his witnesses, bringing this news to the whole world.

Myrrh-bearing women at the Holy Sepulcher. Fresco of the Church of St. Nicholas the Mokroy in Yaroslavl. 1673. (presumably the mural was made by the famous Volga master Guriy Nikitin “with his comrades”)

Of particular interest are cases when the Most Holy Theotokos is depicted among the myrrh-bearers or when only Mary Magdalene is depicted at the Tomb.

Appearance of Christ to Mary Magdalene. Painting of the catholicon of the Dionysiates monastery on Mount Athos. Ser. XVI century

The Resurrection of Christ is the central moment of the gospel story, a joyful event in the fulfillment of prophecies and omens. As if to confirm what had happened, the “Appearance of an Angel to the Wives” was supplemented in the monuments with scenes of the appearance of Christ to the wives or disciples and His Ascension.