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This icon was painted by Simon Ushakov specifically for the Trinity Church. The temple was painted between 1628 and 1653. Below you can even see the inscription, which testifies to the authorship of Ushakov. The conception of the board and the inscription occurred in the 19th century. This is the earliest image of the Savior, which has come down to our time. Already here you can see the characteristic techniques that predetermined all the work of this painter. On the icon, the features of the face are transferred as naturally as possible.
To simulate the required volume, a combination of color and shadow is used. It is created by a whole system of characteristic floats with the obligatory alternation of dark and light tones. In order to soften these transitions as much as possible, they are attenuated at the final stage of work on this icon.
The face is illuminated, but this is not motivated in any way by any genuine light sources. Highlights are traditionally located. Such techniques can be traced back to the 14th century. Ushakov found landmarks in the history of this image in terms of aesthetics and ideas. This image was mentioned in his treatise by Joseph Vladimirov. He was a companion and friend of Ushakov.
According to this ttaktat, Christ is portrayed in the carnal plane. This appearance, which Simon Ushakov managed to capture, became the main subject of icon painting. It is important to convey it as accurately as possible, skillfully using light and shadow and trying to make it as lively as possible. The miraculous image of Christ was sanctified by tradition itself. It was he who became the model for any icon painter. It was necessary to follow generally accepted patterns as accurately as possible. This idea was formulated in the 17th century.
In the master’s icons, she connected with a great desire to depict Christ as vividly as possible in order to maintain the perfect accuracy of transmission. This served as an incentive to search for the face of Christ, which would become a true ideal. Ushakov sought to find a specific new canon. He laid the foundation for a series of images of a later period.