Read the annals. Facial annalistic set. The obverse annalistic collection is a source of truth

The Facial Chronicle is a source of blasphemy and lies

(review of the book "The earthly life of our Lord Jesus Christ")

"Front Chronicle Code - Source of Truth"
"The Front Chronicle Code frees the soul from heresy"
German Sterligov (chairman of OLDP)

Before starting to study this book, go to the website of the Akteon publishing house (the publishing house that distributes the commercial version of LLS) and see if it is there. There is no such book there. The title of the book "The Earthly Life of Our Lord Jesus Christ" and its layout is a product of the OLDP. Why this is important to note will be explained below.

We start reading.
The beginning of the book, page 4: “… and Alexander died” (Macedonian) “And then 4 subordinates of Alexander reigned. And Arridaeus, the brother of Alexander, took Macedonia, who was called Philip, and he reigned in Macedonia. Antipater reigned in Europe; in Egypt, Ptolemy, the son of Lag, that is, the Hare ………… .. "

P. 10 “And Romun Ermilai, the king of Rome, took up Byzantium and began to love her very much because of her beauty, - he was good and clever himself, ……………… ..”

P. 16 “Reign 4 in Egypt. Then reigned 4 Ptolemy Everget of the Loving Father, 25 years old, during which the Jewish people, captive, went to Egypt ……………… .. "

P. 25 “Nicanor Seleucus, as soon as he defeated Antigonus Poliorkter, began to create many cities. He began to build first by the Syrian sea, and came to the sea ………………. "

P. 35 “Reign 7th in Syria. After Seleucus, Demetrius of Seleucia reigned. Reign 8th in Syria. After Demetrius, Alexander Valas reigned. Reign 9th in Syria. After Alexander ………………… "

We remind you that you are reading the book "The earthly life of our Lord Jesus Christ."

P. 45 “The evil was revealed - the coming of Antiochus. He ordered after the victory …………. "
P. 55 “And Antiochus came to Jerusalem, and he had 20,000 horsemen and 100,000 infantry ……………”
P. 65 “Reign 22 in Syria. After Antiochus, the grandson of Grip, Antiochus Everget reigned …………. "
P. 75 "And having learned about this, the Roman nobles appointed a strong second governor, named Scipio …………."
P. 85 “Reign 26 in Syria. And all this was owned by this Antiochus for 9 years …………………. "

And only on page 129 we finally came to the declared topic: "The word of the Holy Father Epiphanius about the life of the Holy Mother of God of our Lord Jesus Christ." And the fun begins ...

P. 140 “Mary was in Jerusalem in the temple of the Lord. And she was 14 years old, when a woman's weak nature manifests itself ... ". A very important clarification for the upbringing of children (and it is stated that LLS was created specifically for the upbringing of children) clarification. So I see a father in a stupor, to whom a young son or daughter asks a question about "a woman's weak nature." Besides. Everything that concerns God and the Most Holy Theotokos should be permeated with reverence and sacred awe, and I personally deeply doubt that Saint Epiphanius would have written exactly as it is written in this "source of truth."

Further more.
P. 140 “... So this explains the words of the Holy Virgin, spoken to the archangel Gabriel. He said to her after greeting: "Conceive the Son and call His name Jesus, and the Lord God will give Him the throne of your father's David." etc".
We open the Elisavetgrad Gospel (also donated by the OLDP) and compare. The Gospel of Luke: “And the angel came in to Her to speak: Rejoice, the rejoicing Lord is with You. Blessed are You in wives. But when she saw, she was embarrassed about his word and pondered what this kiss would be like. And the angel speaks to her: do not be afraid of Miriam. Received more grace from God. And behold, you conceive in your womb and bear a Son, and call His name Jesus. This one will be great and the Son of the Most High will be called. And the Lord God will give Him the throne of His father David. "

Before that in Z.M.I.Kh. a third of the book told us about the Roman kings, about how they lived, whom they loved and whom they hated, whom and how they killed. For Jesus Christ and His Most Pure Mother, not much was found in the "source of truth." Therefore, we are given a mocking snippet of the great moment of the Gospel and conclude it with savory spitting "and so on." By the way, let's remember this mocking “and so on”. In the process of studying LLS, we will encounter it more than once.

"Conceive the Son and call His name Jesus"- The earthly life of Jesus Christ
"And behold you conceive in your womb and bear a Son, and call His name Jesus"- The Gospel.

Again we are convinced that the "source of truth" is as compressed as possible, because he needs to somehow be able to convey to us several thousand "highly artistic miniatures", the chronology of palace intrigues and coups different centuries, pagan tales from Troy, "The Jewish War" by Josephus Flavius ​​and many other things that are very important for an Orthodox Christian and the upbringing of Orthodox children. Therefore, “give birth to the Son” can be omitted and the name of the Child can be made from the moment of conception.

“… And the Lord God will give him the throne of David your father» - The earthly life of Jesus Christ
“And the Lord God will give him the throne of David, his father " - Gospel
The Society of Lovers of Ancient Writing distributes both of these books.

We read on.
The chapter "On the Annunciation". Finally. Now we will touch the great moment of the beginning of our salvation and read a wonderful passage from the Gospel. “In the year 5499 and in the 36th year of the reign of Augustus, the month of Dustra on the 25th day, on Sunday, at the ninth hour of the day, the Most Holy Theotokos prayed, and at that hour the Archangel Gabriel was sent to her to her to the city of Nazareth, and told her everything secret about the Only Begotten Son of God, as stated in the Gospel (as stated in the Gospel ... "and so on" if in short - AK). And no one knew what happened from Joseph's household, and the Mother of God did not tell anyone, not Joseph himself, until she saw her Son ascending into Heaven. Therefore, the Evangelist Matthew says: "And without thinking that, continue to give birth to your Son, the Firstborn", that is, they did not know the mystery of God in her, nor the innermost depths about her, nor what had happened ”.

The last two sentences are such nonsense that it's time to grab your head. The first tells us that the Mother of God hid the moment of the great Gospel from everyone, until the moment of the Ascension of the Lord. I thought about the second sentence for a long time and remembered where the Apostle Matthew wrote this. I didn’t guess right away, because the fragment didn’t fit in any way. We open the Gospel, compare.

"And without thinking that, until you give birth to your Son, your Firstborn"- Z.M.I.Kh.
“And he is pleased with his own wife. And not knowing Her until she gave birth to her Firstborn Son "- Elisavetgrad Gospel. (a small digression from the topic. I personally would very much like to check the phrase « And not knowing her dondeje " and the presence of the word "Firstborn" in the Gospels not distributed by the OLDP and older versions).

So, a complete inconsistency. Semantic dissonance, stupor. If we accept that a lie is in the Gospel, or that something has been written out of the subject, then we get “no one understood that (the great moment of the Gospel), until the Mother of God gave birth to the Firstborn ”. But wait. Is it not on the line above that: “and the Mother of God did not tell anyone, not Joseph himself, until she saw her Son ascending into Heaven ”? It turns out that the second line immediately contradicts the first. The circle is complete. The Elisavetgrad Gospel contains a line that does not correspond to the meaning of Z.M.I.Kh., Z.M.I.Kh. contradicts itself. A complete impasse for the OLDP. They distribute both of these books.

The further story about the great moment of the Annunciation of the Most Holy Theotokos leads to the idea that it was written either by a completely insane person (then it is not clear how he was allowed to do such an important matter), or an outspoken enemy. We read.

“And the Virgin Mary said to the Angel:“ What will it be like, I don’t know my husband before? ” As it was said before, there is some other sense - in order not to return to what was said earlier - in what it means “I don’t know my husband”, that is: “I don’t want, I have no attraction to my husband, I don’t know the lust of the flesh”. For the virginity of the Mother of God was not due to abstinence or because of feat, as a woman's adornment, and not because of diligence in chastity, but the virginity of the Virgin was "From nature fairly, a hedgehog is to all wives, and strange human nature." It is said in the prophet Ezekiel (a book that is not in the "Biblical History" OLDP - A.K.): "There will be a gate, a hedgehog to the east, shut, and no one can pass through, only the Lord God of Israel: That one will enter and go out and the gates will be closed. " And all the prophets and apostles testify, and our fathers testify, and the bright teachers of the Catholic and Apostolic Church also agree.

Therefore, the great Dionysius the Areopagite said about Christ that He "More than a man is human soda, and the Maid of the Nativity, who exists without disease, will obey"(what is it for? - A.K.) Athanasius of Alexandria and Leo of Rome said about the Mother of God that she "The desire of a man is not known." All holy Orthodox cathedrals also testify to this. And Jacob the Jew (who is this? - A.K.), who then lived, wrote about her like this: "So that he may be changed to countries, and Who is born in front of everyone, and touched by a woman, acquired by the Virgin, as before the Nativity of the Virgin." Reuben the priest (Old Testament Reuben? - A.K.) also testifies : "We will receive a notification from the woman"(?! - A.K). And some other very nice things learning,(?! - A.K) said: "Fairly, a hedgehog to find, nature."(?! - A.K) And others echoed: "More than the charter, nature is fast."(?! - A.K)

I'm 36 years old. From the teachings of the Church, I know that the Most Holy Theotokos was a Virgin even before Christmas and remained a Virgin after Christmas. All the blasphemous opinions of heretics have long been anathematized and they have long been burning in hell for their blasphemy against the Theotokos and God. This information is enough for me. Children need even less.

Tell me, why for the second time in this thin book with the loud title "The Earthly Life of Our Lord Jesus Christ" to raise the topic of the virginity of the Most Holy Theotokos? And with clear signs of savoring. Why is this? This topic is intimate and even just an ordinary girl, even if she has lived chastely all her life, it will be embarrassing if someone would talk about it with praise. Here we are told about the Most Holy Theotokos and the great event of her Annunciation and the Incarnation of the Savior. Instead of telling us about the Great Sacrament as reverently and with sacred trepidation as possible, they give us some incoherent blasphemous nonsense, which you cannot understand even if you read it 100 times. With references to Dionysius the Areopagite, the quotation of which, of course, needs to be checked, and which, it is not clear in what direction, approaches this topic. With reference to some Jewish Jacob who lived then. Who is this? Apostle James? Well, why then was it not called that? With reference to Reuben with his confusing "testimony"? And only an eyewitness can testify. Who are we talking about?

- but the virginity of the Virgin was "From nature fairly, a hedgehog is to all wives, and strange human nature";
- "So that he may be changed to countries, and Who is born before all, and be touched by a woman, acquired by the Virgin, as before the Nativity of the Virgin";
- "We will receive a notification from the woman";
- "Fairly, hedgehog to find, nature";
- "More than the charter, the nature was quicker."
We are advised to teach this to children ...

It will be interesting to consider the miniature of the moment of the Annunciation. The Most Holy Theotokos is depicted on it as an elderly sad woman, although again in the same book, in describing the life of the Roman kings, we can observe miniatures with young smiling girls. It is interesting to pay attention to the strange blessing of the Angel.

Further. P. 145. “And three months passed, and Mary went to Galilee, to the house of Joseph, and was meek in word and disposition, and holy in image. The time has come, and her belly has grown. And immediately Joseph, seeing the saint and not knowing what the sacraments were about Her, was saddened (in the original, "she fell into labor" - A.K.), and planned kick out(in the original, "drive her out" - AK) Secretly from her house.
We open the Elisavetgrad Gospel. From Matthew. “Joseph is her righteous husband, and not even to expose her to her delight, let it go. "

OLDP distributes both of these books. And it is very strange that in this blasphemous book with a loud title it is not written like this: "And immediately Joseph, seeing this outrage, wanted to grab this adulteress by the hair, take her out of the city and stone her." ZMIH introduces Joseph as an indignant husband, who, for some unknown reason, SECRETLY, - just wanted to EXECUTE. The Gospel tells us about a meek and humble man who, having learned about the secret pregnancy of his wife (i.e., in his opinion, the accomplished fact of adultery), did not want to expose Her, but simply wanted to let Her go secretly.

Here's another very interesting place from the book for parenting.
P. 149-150. About the Magi.

In the year 5502, Herod, the local ruler, that is, the king of Judah, began to find out that a little time had passed from the Nativity of Christ, and the Magi came from Persia to the Judean land, as messengers from the southeast, on the left side of Jerusalem, for Persia borders there. with a Jew. "The star is not byashe, like other stars, but above the earth not according to custom, as if you did not walk according to custom and, at some insistence, never appeared," he said Great Basil... And John Chrysostom says: “Idezhe purely and inexpressibly was the Birth of Jesus, not in a den or in any temple, like a new one, but Jesus is a young Child, as Matthew the Evangelist himself witnesses. It was very always that it was possible to appear: Joseph and the All-Immaculate Maiden, and from her born without a seed, when we hear God's fear from non-native and strange magicians, Who was, and for what sake, and hedgehog descent to a man, not only this, but the whole Jerusalem, and they ruled over all the Jews ”.

How can you teach children what adults cannot understand? Yes, and it is doubtful that these are generally the words of Saints Basil and John, because reading their teachings, one is amazed at the simplicity and depth of their thoughts and words. And here?

We check. Elisabethgrad Gospel, from Luke: "It is His reception into your hand and bless God and speech ...". Again, a discrepancy. Well, okay, we have already made sure that LLS does not correspond to the Gospel. The other is more important now. Again and again we are given a snippet instead of the full story.

“Now let go of Thy servant, O Lord, according to Thy word in peace, as if my eyes see Thy salvation, I have prepared it before the face of all people. Light for revelation with the tongue and the glory of your people Israel. " "This one lies on the fall and on the rebellion of many." Great moment, great words. But no. There is no place for them in the "source of truth." About Anna the prophetess, not a word at all.

P. 153. “... and they bring gifts to Him, as a great king and conqueror, and“ bringing gold, and Lebanon, and snake ”: gold as for a king, incense as for a saint, and ointment as for a dead man. Why didn't they cut off the hands of the person who wrote this? How could you write such a thing about the Savior?

The words of John Chrysostom: “But what made the Magi bow down, when neither the Virgin was famous, nor her house was magnificent, and in all appearance there was nothing that could amaze and attract them?

Meanwhile, they not only worship, but, having opened their treasures, bring gifts, and gifts not as to man, but as to God, because Lebanon and myrrh were symbols of such worship. So, what prompted them and made them leave home and decide on such a long journey? The star and the divine illumination of their thoughts, little by little, raised them to the most perfect vision. Otherwise, they would not have shown Him such an honor under such unimportant circumstances. There was nothing great for the senses, there was only a manger, a hut and poor Mother, so that you openly see the wisdom of the Magi and know that they did not approach common man but as to God and benefactor.

That is why they were not tempted by anything visible and external, but worshiped and brought gifts that were not like the gross (offerings) of the Jews; sacrificed (sacrificed) not sheep and bulls, but, as it were, true Christians, brought him knowledge, obedience and love "(John Chrysostom, interpretation of the Gospel of Matthew, conversation 8).

P. 156. “Joseph entered the sanctuary of the Egyptian god Avdul, and immediately all the idols fell. The priests saw and were frightened, and bowed to the Savior so that the church would not collapse on them. And they wanted to paint an icon with His image. The icon painter undertook to paint, but could not complete the image of Christ. All began to pray to the Savior, so that He would command, and that His icon would be completed. Christ bowed to her, and the icon itself was immediately finished. This icon is kept by the Egyptians even now. Many strong kings wanted to take her, or make a list from her, and could not. "

Outright lie. None of the Gospels tells about this. None of the teachers in the Church speaks. " This icon is kept by the Egyptians even now ”. What is the name of the icon and where is its storage location, if the author of these lines knows about it? "Many strong kings wanted to take her, or make a list from her, and could not." What are "many kings"? How did they want to take this icon? Military campaigns or peaceful requests? Why couldn't they take, or at least just make a list? In this case, would there have been an iconoclastic period in the history of the Church if all this were true and known to everyone?

P. 162. “Likewise, Daniel testifies and says:“ And let him know and understand, verb from the exodus of the Word, let him answer, let him build Jerusalem even to the Lord Christ seven weeks, 62 ". For 60 and two weeks give 483 years and they receive the beginning from the good Lords ... ”.

First. We open the Bible History (the first four books of the LLS), the appearance of the Archangel Gabriel to the prophet Daniel. We read: seven seven. Second. We multiply 60 by 7 and add 14 (7 + 7) We get 434. The compilers of the "source of truth" forgot to add another 49 (7 * 7) from the vision of the prophet. Anyway. If the "source of truth" does not care about compliance with the Gospel and the Old Testament, then can he be severely scolded for spelling and arithmetic inaccuracies?

The further into the forest, the more firewood.
P. 170-171. The same Augustus Caesar Octavian in the 55th year of his reign, in the month of October, which is called in Macedonian upereti, went to a fortune teller, called the Pythia, and solemnly offered a sacrifice, and asked: "Who will reign after me in the city of Rome?" And the pythia did not give him an answer. And again he brought another sacrifice and asked the pythia: "Why was not an answer given to me, but the magic is silent?" And the Pythia said to him this way: “The Hebrew youth orders me to leave this house by the command of the Good God, and already go to hell. Therefore, leave our homes. "

Youth Jew(rejoice, neo-pagans! "source of truth" confirms your crookedness) by command good(namely, good) God is commanded by the witch to go to hell. No comments.

P. 171. “And Augustus Caesar went out from the fortune-teller, and came to the Capitol, and erected there an altar, large and high, on which he wrote in Roman letters: "This altar of the great-grandfather of God"; this altar is in the Capitol and now, as Timothy wrote. "

If this, again, is not the delirium of a madman, which is very similar, it would be nice for the author to refer to the source telling about which Timofey and where he wrote about the "altar of God's great-grandfather." And what kind of nonsense is this in general - "the altar of the great-grandfather of God"? And why is it included in the book about the Savior. Suppose we draw a parallel with the Acts of the Holy Apostles. We open and read. In the absence of an "Apostle" from the OLDP (they do not extend it at all and refuse to answer questions regarding Acts, the Epistles of the Holy Apostles, as well as the Apocalypse of John the Theologian), we take the synodal text. The altar is called "Unknown God"(Acts 17:23). Absolute discrepancy. Let the OLDP, distributing this book, answer this question. Maybe in their version of the Apostle the altar is called the most stupid "to the great-grandfather of God"? Or is it from a different topic altogether? The word is behind them.

P. 174. “This Tiberius Caesar was at first meek and generous. When he made someone a sovereign or a military leader, he did not change for a long time. When he was asked about this, he told a parable: “One man had all his legs covered with festering sores. And flies came and ate these sores, he did not drive them away. And someone wanted to drive away the flies, but he exclaimed: “Man, leave me alone, for these flies of my rotting parts have eaten and now sadden me a little. When others, hungry, arrive, they will bring more suffering to me. " It was he who said about the authorities that they should not be changed often, so that those in power have time to get enough of it and not so much oppress their subordinates. "

Oh, the wisdom of the Roman pagan kings. I bet this is the paragraph behind the golden shower. In general, again, an interesting plot for raising children. I imagine gray balls moving in naive and simple children's heads: an uncle with sore legs that fester and ache, instead of going to the doctor and heal them, he just sits and patiently watches as flies eat his ulcers. Moreover, my mother said that flies spread the infection. That you need to drive them out of the house. Do not allow people to sit on food.

P. 180. “About the baptism of our Lord Jesus Christ and about John the Baptist.
In the year five thousand five hundred and thirty, in the 15th year of the reign of Tiberius Caesar, Gabriel the archangel appeared to John, the son of Zacharias, in the wilderness, and said to him: “This is how the Lord says, creating you and choosing you from your mother's womb: go to a living place and baptize all who come to repentance, and behold I will send my only begotten Son; That one will come and be baptized by you, and sanctify the waters also all those who are baptized; over Him behold the Spirit of God descending in a vision of a dove and abiding on Him, That is My beloved Son, Judge to the living and the dead, delivering the faithful from all wrath. " Having heard this, the Forerunner of the Lord John came to Jerusalem, and the Jews came, "and I am baptized by him, confessing his sins."

Elisavetgrad Gospel, from Luke . "In the fifth year of the reign of Tiberius Caesar […] The word of God came to John Zacharias son in the wilderness. And I came to the whole Jordanian country preaching the baptism of repentance for the remission of sins. "

The Life of John the Baptist. “In the fifteenth year of the reign of Tiberias, when John was 30 years old, was the voice of God to him, who commanded to leave the wilderness to go to the Jewish people and by preaching repentance and baptism to stir up the people to repentance for their sins: for the time has come for the coming of the Messiah. "

As we can see, neither the Gospel, nor the life of John the Baptist tell us about the appearance of the Archangel Gabriel to him. And the "land of Jordan" is not the city of Jerusalem. All lies.

P. 181-182. “They said then that one of the Jews walks in strange clothes, attaching animal skins (“ the hair of the cattle ”in the original - AK) to his body in those places where it was not covered with his hair, and his face was like a wild one. [...] His mouth did not know bread, even on Easter he didn’t taste unleavened bread, saying: "In remembrance of God, who delivered people from work, the essence of this food was given." He did not even allow wine and other drunken ones close to him. And he did not accept any animal food. He denounced every untruth. And he ate honey from wild bees and wood chips, that is, shoots. "

Z.M.I.Kh. - a continuous lie. Two evangelists - Matthew and Mark, St. John Chrysostom narrate that John the Baptist was not hairy like an animal (as Z.M.I.H. tells and shows in miniatures), but wore clothes made of camel skins. And he ate not wild honey with wood chips, but wild honey and acridas (locusts). In order not to burden the article, I will not cite excerpts. Everyone can be convinced of this for himself.

Someone may say: well, why be so nitpicky? There may be minor inaccuracies everywhere. I want to convey that these are not minor inaccuracies and mistakes. And this short article has already provided enough facts for an objective person. These are deliberate lies and blasphemy.

In general, the entire description of the life of John the Baptist from this book is a vast field of activity for research. Here you can discuss his every statement, every action.

Facial annals the second half of the 16th century - the summit achievement of Old Russian book art. It has no analogues in the world culture of this century. The obverse vault is also the most ambitious in terms of volume chronicle work in Ancient Russia.

Illuminated (illustrated) manuscripts with images of people - "in faces" were called facial in the Middle Ages. The obverse vault contains about 10 thousand handwritten sheets, more than 17 thousand miniatures. The obverse has long attracted the attention of art critics, bibliologists, and historians - especially those who study the problems of the development of social consciousness, the history of spiritual and material culture, the state-political history of the time of Ivan the Terrible. This precious cultural monument is unusually rich in information for those who specifically study the peculiarities of historical sources of various types - verbal, written (and where there are subscripts, oral, directly capturing the spoken language), visual, material, behavioral.

The work on the compilation of the Facial set was not fully completed. Bales of sheets remained in the 17th century. unbound. Not later than the first half of the 18th century. the arrays of sheets of the colossal collection of chronicles were already dispersed. Intertwined them independently of each other; and some of these resulting folios were named after their owner (or one of the owners during the 17th-19th centuries). Gradually, the Facial vault began to be perceived as a monumental corpus of ten huge volumes. At the same time, it turned out that individual sheets and even arrays of sheets were lost, and when weaving them into books, the order of the sheets was broken in places.

Conventionally, this ten-volume manuscript corpus can be divided into three parts: three volumes world history, seven volumes national history; of them five volumes - chronicles of "old years" (for 1114-1533), two volumes - chronicles of "new years", i.e. during the reign of Ivan IV. It is believed that the sheets about the initial history of the Fatherland (up to 1114), possibly about the world history X-XV centuries, until the time after the fall of the Byzantine Empire, as well as sheets describing the events of national history of the last one and a half decades of the reign of Ivan IV (or preparations for them), since in the middle of the 18th century. there were still leaves about the wedding to the kingdom of Fyodor Ivanovich.

Firm "AKTEON" together with the curators for the first time carried out a scientific facsimile edition "The obverse chronicle collection of the XVI century."

The so-called "people's edition" is an addition to the scientific apparatus of the above facsimile. It fully reproduces the miniatures and the Old Russian text of each page of the manuscript. At the same time, transliteration and translation into modern Russian are given in the external field. The sheets are arranged in chronological order of the narrative.

First section:

Bible story in 5 books. These are the historical books of the Old Testament: Genesis, Exodus, Leviticus, Numbers, Deuteronomy, Book of Joshua, Book of Judges of Israel, Ruth, Four Books of Kings, Book of Tobit, Book of Esther, as well as Visions of the prophet Daniel, including the history of ancient Persia and Babylon, history ancient rome.

The obverse annalistic collection of the 16th century. Bible Story - Imprint by Volume

• The obverse annalistic collection of the 16th century. Bible story. Book 1. - M .: LLC "Firm" AKTEON ", 2014. - 598 p.
• The obverse annalistic collection of the 16th century. Bible story. Book 2. - M .: LLC "Firm" AKTEON ", 2014. - 640 p.
• The obverse annalistic collection of the 16th century. Bible story. Book 3. - M .: LLC "Firm" AKTEON ", 2014. - 670 p.
• The obverse annalistic collection of the 16th century. Bible story. Book 4. - M .: LLC "Firm" AKTEON ", 2014. - 504 p.
• The obverse annalistic collection of the 16th century. Bible story. Accompanying volume. - M .: LLC Firm AKTEON, 2014. - 212 p.

16th century obverse annals - Bible history - Contents by volume

• Bible story. Book 1 contains an exposition of the Bible Books: Genesis; Book 2 - Exodus; Book 3 - Leviticus.
• Bible story. Book 2 contains an exposition of the Bible Books: Numbers; Deuteronomy; The Book of Isus Navin; Book of Judges of Israel; Book of Ruth.
• Bible story. Book 3 contains an exposition of the Bible Books, called the Four Books of Kings.
• Bible story. Book 4 contains an exposition of the Bible Books: The Book of Tobit; Book of Esther; The book of the prophet Daniel; History of ancient Persia and Babylon; The beginning of the kingdom of Rome.

The obverse annalistic collection of the XVI century - The Bible story - From the publisher

The obverse (that is, illustrated "in faces", depicting people) annalistic collection, created in a single copy for Tsar Ivan the Terrible, his legendary book collection is a book monument that occupies a special place in world culture. The earliest historical and literary encyclopedia is presented on 10 thousand sheets with more than 17 thousand colorful miniatures - “windows into history”. It brings together the first illustrated Bible in the Slavic language, such artistic historical works as the Trojan War, Alexandria, the Jewish War of Joseph Flavius, etc., as well as weather (by year) chronicles, stories, legends, lives of Russian annalistic history.

The obverse vault is the largest chronographic work of medieval Russia. It has survived to this day in 10 volumes.

At present, the volumes of the Obverse Collection are in different book depositories of Russia: three volumes (the Museum Collection, the Synodal Volume and the Royal Book) - in the manuscript department of the State Historical Museum (Moscow), four volumes (the Obverse Chronograph, Golitsynsky Volume, Laptev Volume, Shumilovsky Volume) in the Russian National Library (St. Petersburg) and three volumes (Chronographic collection, Ostermanovsky first volume, Ostermanovsky second volume) in the manuscript department of the Library of the Academy of Sciences (St. Petersburg).

The first three volumes of the Observational Code tell about the events of biblical and world history, following in chronological order, and include outstanding works of world literature that form the basis of book culture. They were the recommended reading for the medieval Russian person.

Volume 1 - The Museum collection (1031 leaves) contains an exposition of sacred and world history, starting from the creation of the world: the Slavic text of the first seven books of the Old Testament, the history of the legendary Troy in two versions. The first part of the Museum collection is a unique Russian facial Bible, which is characterized by the utmost completeness of reflecting the content in the illustrations, and corresponds to canonical text Gennady Bible 1499

After the biblical books, the Trojan story follows, presented in two versions: the first is one of the earliest copies of the medieval Latin novel "The History of the Destruction of Great Troy", created at the end of the 13th century by Guido de Columna. The second version of the Trojan story is "The Tale of the Creation and Captivity of Troy", compiled by Russian scribes on the basis of earlier South Slavic works on the Trojan War, giving a different version of the events and destinies of the main characters.

For the first time in the open and free access on the OLDP (Society of Lovers of Ancient Writing) website, the legendary Obverse Chronicle Code of Tsar Ivan the Terrible has appeared. The manuscript with hundreds of colorful miniatures can be downloaded from the links below.

The obverse annalistic collection was created in the 16th century by order of the Russian Tsar Ivan the Terrible to educate the royal children. The work on the compilation of this Code was headed by the most educated person of his time - Saint Macarius, Metropolitan of Moscow and All Russia. The best scribes and icon painters of the capital worked on the compilation of the Code. What they have completed: a collection of all reliably known sources from the Holy Scriptures (the text of the Septuagint) to the history of Alexander the Great and the works of Josephus Flavius ​​- the entire written history of mankind from the creation of the world to the 16th century inclusive. All times and all peoples who had a written language are reflected in dozens of books in this collection. Such a chronicle collection, decorated with a huge number of highly artistic illustrations, has not been created by any civilization of mankind: neither Europe, nor Asia, nor America or Africa. The fate of the Russian Tsar himself and his children was tragic. The obverse annalistic collection was not useful to the princes. After reading the Facial Set, part of which is devoted to the period of Grozny, it becomes clear why. Over the next hundreds of years, official historiography appeared, often opportunistic and politically engaged, and therefore reliable chronicle sources were doomed to destruction or correction, that is, falsification. The obverse annalistic collection survived these centuries thanks to the fact that after the death of Ivan the Terrible during the period of turmoil and timelessness, this tome became a coveted object for "enlightened" bibliophiles. Its fragments were taken to their libraries by the most influential nobles of their time: Osterman, Sheremetev, Golitsyn and others. After all, even then the dignified collectors understood that there was no price for such a tome with sixteen thousand miniatures. So the Svod survived to the revolution and was dumped in heaps in several museums and depositories.

Already today, through the efforts of enthusiasts, scattered books and sheets have been collected together from different repositories. And the revived Society of Lovers of Ancient Writing made this masterpiece available to everyone. An unparalleled historical source will now be able to receive free of charge many large educational establishments world, national libraries different countries and, of course, our compatriots for raising children on this treasure of experience and wisdom of millennia. In such an amazing way, the work that was done for the tsar's children five hundred years ago went to our children, dear contemporaries, with which we congratulate you from the bottom of our hearts!

First volume

Second volume

Third volume

Fourth volume

Library

A source -

Fifth volume (Troy)

Sixth volume (The earthly life of Jesus Christ)

Seventh volume (Josephus Flavius ​​The Jewish War)

Eighth volume (Rom. Byzantium)

Part 1 (81-345 A.D.) -

Part 2 (345-463 A.D.) -

Ninth volume (Byzantium)

Part 1 (463-586 A.D.) -

Part 2 (586-805 A.D.) -

Part 3 (805-875 A.D.) -

Part 4 (875-928 A.D.) -

Library

Facsimile editions of Slavic and Byzantine manuscripts of the 11th - 16th centuries. - a priority direction of the OLDP's activity. The Foundation has begun to form a long-term plan of publications, based on the proposals already received. At the same time, we are ready to cooperate with the archives of Russia and foreign countries in the implementation and financing of facsimile editions of other rare monuments of Slavic and Byzantine writing. The publications will be carried out at a high polygraphic level and will be sold in a significant circulation. Preference is given to early manuscripts (up to the 16th century inclusive) with illustrations, requiring facsimiles due to low availability and / or poor preservation.

For the attention of the readers of the Commissioner of Qatar's group.

Ladies and Gentlemen.

You have a unique opportunity to be one of the first to get acquainted with the work of my comrades from the electronic library of the Society of Lovers of Ancient Writing, who have placed the unique heritage of our ancestors on the Internet. What will open to you is truly magnificent and the study of the material will help you understand how the epic of the Russian Land really looked like. Discoveries and amazing events of the past await you, most of which have never been covered by Torah adepts - historians. Before you is the TRUTH, the one that many of you have been painfully looking for all your life. Read on and be proud that you belong to the Great Russian people.

A grandiose artistic project: the obverse annalistic collection of Ivan the Terrible, the Tsar Kniga - a chronicle collection of events in world and especially Russian history, written, probably in 1568-1576, especially for the tsar's library in a single copy. The word “obverse” in the title of the Code means illustrated, with images “in faces”. Consists of 10 volumes, containing about 10 thousand sheets of rag paper, decorated with more than 16 thousand miniatures. Covers the period "from the creation of the world" to 1567.

"Makarievskaya school" of painting, "school of Grozny" - concepts that embrace a little more than three decades in the life of Russian art of the second half (or, more precisely, the third quarter) of the 16th century. These years are full of facts, rich in works of art, characterized by a new attitude to the tasks of art, its role in the general structure of the young centralized state, and, finally, they are notable for their attitude to creative personality artist and attempts to regulate his activities, more than ever to subordinate her to polemical tasks, to involve him in the intense dramatic action of state life. For the first time in the history of Russian artistic culture, questions of art become the subject of debate at two church councils (1551 and 1554). For the first time, a pre-designed plan for the creation of numerous works different types art (monumental and easel painting, book illustration and applied art, in particular woodcarving) predetermined themes, plots, emotional interpretation and, to a large extent, served as the basis for a complex set of images designed to reinforce, substantiate, glorify the reign and deeds of the first autocrat ", who ascended the throne of the centralized Russian state. And it was at this time that a grandiose artistic project was carried out: the obverse annalistic collection of Ivan the Terrible, the Tsar Kniga - a chronicle collection of events in world and especially Russian history, written, probably in 1568-1576, especially for the royal library in a single copy. The word "obverse" in the title of the Code means illustrated, with images "in faces". Consists of 10 volumes, containing about 10 thousand sheets of rag paper, decorated with more than 16 thousand miniatures. Covers the period "from the creation of the world" to 1567. The grandiose "paper" project of Ivan the Terrible!

Front chronograph. RNB.

The chronological framework of these phenomena in the artistic life of the Russian centralized state in the second half of the 16th century. determined by one of the most significant events of that time - the wedding to the kingdom of Ivan IV. The wedding of Ivan IV (January 16, 1547) opened a new period of the establishment of autocratic power, being a kind of result of a long process of forming a centralized state and the struggle for the unity of Russia, subordinated to the power of the Moscow autocratic ruler. That is why the very act of the wedding to the reign of Ivan IV, which served as the subject of repeated discussions among the future participants of the "elected council", as well as among the inner circle of Metropolitan Macarius, was, as historians have said more than once, furnished with exceptional pomp. Based on the literary sources of the end of the previous century, Macarius developed the very ritual of the royal wedding, introducing the necessary symbolism into it. A convinced ideologist of autocratic power, Macarius did everything possible to emphasize the exclusivity (“God's chosenness”) of the power of the Moscow monarch, the primordial nature of the rights of the Moscow sovereign by referring to historical analogies in the field of civil history and, above all, the history of Byzantium, Kievan and Vladimir-Suzdal Rus.

The regal book.

The ideology of monocracy was supposed to reflect the written sources of the era and, first of all, the chronicle, the books of the royal genealogy, the circle of annual reading, which were compiled under his leadership by the Chetya Menaia, and, apparently, it was supposed to turn to the creation of appropriate works visual arts... That the plans for addressing all types of artistic culture were grandiose from the very beginning is shown by the scope of the literary works of that time. It is difficult, however, to imagine what forms the implementation of these ideas in the field of fine arts would take and in what time frame they would have been realized if not for the fire in June 1547, which devastated huge territory cities. According to the chronicle, on Tuesday June 21, “at 10 o'clock in the third week of St. Peter's Lent, the Church of the Exaltation of the Honest Cross behind Neglimnaya on Arbat Street caught fire ... the storm turned to a large city, and caught fire in the city near the cathedral churches of the Prechista, and in the royal court of the Grand Duke on the rooftops, and wooden huts, and battens decorated with gold, and the Treasury court and with the royal treasury, and the church in the royal court near the royal treasury The Annunciation of the Golden Domed, Andreev's Deesis, Rublev's letters, overlaid with gold, and the images, decorated with gold and beads, the highly valuable Greek letters of his ancestors collected from many years ... , and the courtyard of the metropolitan. " “... And in the city, all the courtyards and floors are hot, and the Chudov monastery is completely burned out, the relics of the great great wonderworker Alexei are united by God's mercy ... And the Ascension monastery is also burned out, ... church and the bellies of many people, only one image of the Most Pure Archpriest endured. And all the courtyards in the city are burned, and on the city the roof is hail, and the cannon potion, where would it be on the hail, and those places are torn apart by the hail walls ... In one hour, many people burned down, 1,700 men, half and women, and a baby, a lot of bitterness. people on Tferskaya Street, and on Dmitrovka, and on Bolshoy Posad, along Ilyinskaya Street, to Sadikh. " The fire on June 21, 1547, which began in the first half of the day, continued until the night: "And at the third hour of the night the fiery flame ceased." As it is clear from the cited chronicle testimony, the buildings in the royal court were badly damaged, numerous works of art were destroyed and partially damaged.

Battle on the Ice. Chronicle miniature from the Observatory of the 16th century.

But still to a greater extent Moscow residents suffered. On the second day, the tsar and the boyars gathered at the bedside of Metropolitan Makarii, who was injured during the fire, to discuss the mood of the masses, and the tsar's confessor, Fyodor Barmin, reported on the spread of rumors about the cause of the fire, which black people attributed to the witchcraft of Anna Glinskaya. Ivan IV was forced to appoint an investigation. In addition to F. Barmin, Prince Fyodor Skopin Shuisky, Prince Yuri Temkin, IP Fedorov, G. Yu. Zakharyin, F. Nagoy and “other people” took part in it. Excited by the fire, Moscow black people, as the continuation of the Chronograph of 1512 and the Chronicler Nikolsky explains the course of further events, gathered at the veche and on Sunday morning, June 26, entered the Kremlin's Cathedral Square "to the court of the sovereign", looking for a trial over the perpetrators of the fire (the perpetrators of the fire , as mentioned above, the Glinskys were revered). Yuri Glinsky tried to hide in the Dmitrov side-chapel of the Assumption Cathedral. The rebels entered the cathedral, despite the ongoing divine service, and during the "cherubic song" they removed Yuri and killed him against the metropolitan place, dragged them out of the city and threw the criminals at the place of execution. The people of the Glinskys "were beaten innumerable by the prince's belly." One might think that the murder of Yuri Glinsky was a "execution" clothed in a "traditional" and "legal" form.

Mityai (Michael) and St. Dionysius in front of the led. book Dimitri Donskoy.

Miniature from the Obverse Chronicle Code. 70s XVI century

This is evidenced by the fact that Glinsky's body was brought up for auction and thrown "in front of that stake, where they will be executed." This did not end the performance of the black people. On June 29, armed, in battle formation, they (at the "call of the executioner" or "birich") moved to the royal residence in Vorobyevo. Their ranks were so formidable (they were with shields and spears) that Ivan IV was "surprised and horrified." Black people demanded the extradition of Anna Glinskaya and her son Mikhail. The scale of the performance of black people turned out to be quite large, the readiness for a military action testified to the strength of the people's anger. This uprising was preceded by demonstrations of the disaffected in the cities (in the summer of 1546, Novgorod squeakers appeared, and on June 3, 1547, the Pskovites, complaining about the Tsar's governor Turuntai), and it is clear that the size of the popular unrest should have made a formidable impression not only on Ivan IV. The young tsar's inner circle, who determined the policy of the 30s - 50s, had to reckon with them. The organized uprising of the Moscow lower classes was mainly directed against the boyar autocracy and arbitrariness, which was especially painfully reflected in the years of Ivan IV's youth on the fate of the broad masses, and had a certain influence on further development domestic policy.

One of the books of the Observatory of the 16th century.

Most likely, those of the historians are right who consider the Moscow uprising after the fire of 1547 inspired by the opponents of boyar autocracy. Attempts to find the inspirers of the uprising in the immediate circle of Ivan IV are not without reason. However, inspired from the outside, it, reflecting the protest of the broad masses against the boyar oppression, as is known, took on an unexpected scale, although it coincided in its direction with the new tendencies of the government that was being formed in the 1950s. But at the same time, its scale, speed and strength of the popular reaction to events were such that it was impossible not to take into account the significance of the speech and those deep social causes of it, which, regardless of the influence of the ruling political parties, gave rise to popular unrest. All of this added to the complexity political situation and in many ways contributed to the breadth of the concept and the search for the most effective means of ideological influence, among which a significant place was taken by works of fine art new in their content. One might think that, while developing a plan of political and ideological measures of influence on broad popular circles, it was decided to turn to one of the most accessible and familiar educational means - to the camp and monumental painting, due to the capacity of its images, capable of leading from the usual edifying themes to more broad historical generalizations. A certain experience of this kind was formed already in the reign of first Ivan III, and later Basil III... In addition to influencing black people in Moscow, as well as boyars and servicemen, paintings were designed to have a direct educational effect on the youngest tsar himself. Like many literary undertakings carried out in the circle of Metropolitan Macarius and the "elected Council" - and the leading role of Macarius, as an ideologist of the autocratic power, should not be underestimated, the works of painting in their essential part contained not only "justifications of politics" of the tsar, but also revealed those basic ideas that were supposed to inspire Ivan IV himself and determine the general direction of his activities.

Ivan the Terrible at the wedding of Simeon Bekbulatovich.

It was important to interest Ivan IV in the general plan of restoration work to such an extent that their ideological orientation was, as it were, predetermined by the sovereign himself, emanating from him (recall that a little later, the Stoglavy Cathedral was organized in a similar way). The initiative for the restoration work was divided between Metropolitan Macarius, Sylvester and Ivan IV, who, of course, was supposed to be officially in charge. All these relationships can be traced in the very course of events, as they are described in the chronicle, and most importantly - evidenced by the materials of the "case of Viskovaty". The interior of the temples burned out, the fire did not spare the tsar's dwelling and the tsar's treasury. Leaving churches without shrines was not in the custom of Muscovite Russia. First of all, Ivan IV “sent holy and honest icons to the cities, to Veliky Novgorod, and to Smolensk, and to Dmitrov, and Zvenigorod, and from many other cities, many wonderful holy icons were brought and put to the Annunciation to be worshiped by the Tsarevo and all the peasants. ". Following this, restoration work began. One of the active participants in the organization of restoration work was Priest Sylvester, who himself served in the Cathedral of the Annunciation, - as you know, one of the most influential figures of the "elected council". Sylvester tells about the progress of the work in detail in his "Complaint" to the "consecrated cathedral" in 1554, from where you can get information about the organization and performers of the work, and about the sources of iconography, and about the process of ordering and "acceptance" of works, as well as about the role and relationships Metropolitan Macarius, Ivan IV and Sylvester himself during the creation of new monuments of painting.

Shchelkanovschina. Popular uprising against the Tatars in Tver. 1327.

Miniature from the Observational Codex of the 16th century

"Complainer" allows us to judge the number of invited masters, as well as the fact of inviting masters, and most importantly, about those art centers from which the frames of painters were drawn: “the sovereign sent icon painters to Novgorod, Pskov and other cities, , and the tsar sovereign ordered them to write icons, to whom what was ordered, and to others he commanded the signatures to sign and at the city above the gates of the saints the images of writing. " Thus, the areas of activity of painters are immediately determined: easel painting (icon painting), secular ward writing, the creation of icons at the gate (it is possible to understand them as mural painting and as easel painting). Two cities are called Sylvester as the main art centers from which the masters come, Novgorod and Pskov, and it is very interesting how the relationship between the masters and the organizers of the order develops. All from the same "Complaint" of Sylvester, as well as from his message to his son Anfim, one can judge the leading role of Sylvester in organizing the leadership of the squad itself, which performed paintings after the fire of 1547. In particular, with the Novgorod masters at Sylvester, apparently, the habitual well-coordinated relationship has long been formed. He himself determines what to order for them, where they can get the sources of iconography: “And I, reporting the sovereign tsar, ordered the Novgorod icon painters to paint the Holy Trinity of the Life-giving in deeds, and I also believe in one God, Praise the Lord from heaven, yes Sophia, Wisdom God, yes it is worthy, and the Trinity has translated icons, from which to write, but on Simonov. " But this was done if the plots were traditional. The situation was much more complicated when these transfers were not available.

Defense of Kozelsk, 16th century miniature from the Nikon Chronicle.

Another part of the work was entrusted to the Pskovites. Their invitation was not unexpected. They turned to the Pskov masters at the end of the 15th century. True, at that time skillful builders were invited, whereas now - icon painters. Macarius, in the recent past the archbishop of Novgorod and Pskov, himself, as you know, a painter, in all likelihood, struck up a relationship with the Pskov masters at one time. In any case, on the basis of the completed orders, one can judge the rather significant size of the workshop at the archbishop's court in Novgorod. It is generally accepted that this entire workshop, following Macarius, moved to the Metropolitan's court in Moscow. To maintain relations with the Pskovites, being already a metropolitan, Macarius could through the priest of the Annunciation Cathedral, Semyon of Pskov, the very one who presented his “Complaint” to the “consecrated cathedral” together with Sylvester. Obviously, the best masters of different cities were called to fulfill such a complex order, which laid the foundation for the "royal school" of painters. The Pskovites, without explaining the reasons, did not want to work in Moscow and undertook to fulfill the order, working at home: "And the Pskov icon painters Stay, yes Yakov, yes Mikhail, yes Yakushko, yes Semyon Vysoky Glagol and his comrades, leave to Pskov and went to write four big icons ":

1. The Last Judgment

2. Renewal of the temple of Christ God of our Resurrection

3. The Passion of the Lord in Gospel Parables

4. The icon, on it there are four holidays: "And God rest on the seventh day from all his deeds, but the Only Begotten Son of the Word of God, yes Come people, let us worship the tripartite Deity, yes In the grave of the flesh"

So, at the head of the entire grandiose plan of restoration work was the tsar, "reporting" to whom or "asking" whom (partly nominally), Sylvester distributed orders between the painters, especially if there was a direct opportunity to use the samples.

Battle on the Ice. Flight of the Swedes to the ships.

It should be emphasized that the Moscow sources of traditional iconography were the Trinity-Sergius Monastery and the Simonov Monastery. (In written sources until the second half of the 16th century, information about the art workshop in Simonov was not found, despite the mention of the names of several masters who left this monastery). It should also be recalled that Novgorod and Pskov churches are also mentioned among the authoritative sources of iconography, in particular the murals of St. Sophia of Novgorod, the Church of St. George in the Yuryev Monastery, St. Life-giving Trinity in Pskov, which is very typical for the Novgorodian connections and Sylvester and Makarii. Despite the fact that it would seem natural to consider Metropolitan Macarius himself the main inspirer of the paintings, it is clear from the text of the Complaint that he played a rather passive role in the organizational aspect of the order. But he carried out the "acceptance" of the order, "performing a prayer service with the entire consecrated cathedral," because the most important act of approbation from the point of view of church ideology was the moment of consecration of finished works, primarily easel paintings, as well as monumental painting. It was not without the participation of Ivan IV at this stage - he distributed new icons to churches. Restoration work after the fire of 1547 was considered a matter of state importance, since Ivan IV himself, Metropolitan Macarius and Sylvester, the closest member of the "elected council" to Ivan IV, took care of their implementation.

Ivan the Terrible and tsarist icon painters.

It was in the epoch of Grozny that art was “deeply exploited by the state and the church,” and the role of art is being rethought, the importance of which as an educational principle, a means of persuasion and an irresistible emotional impact grows immeasurably, at the same time the usual way of artistic life changes dramatically. The possibility of "free creative development personality of the artist ". The artist loses the simplicity and freedom of relations with the ordering parishioner, the church keeper or the abbot - the monastery builder. Now the order of state importance is strictly regulated by the ruling circles, who regard art as a conductor of certain political trends. Themes, plots of individual works or integral ensembles are discussed by representatives of state and church authorities, become the subject of debate at cathedrals, and are stipulated in legislative documents. During these years, plans were developed for grandiose monumental ensembles, cycles of easel works and illustrations in handwritten books, which, on the whole, have common tendencies.

Construction of the Cathedral of St. Basil the Blessed (Intercession on the Moat) on Red Square.

There is a desire to connect the history of the Moscow state with world history, to show the “chosenness” of the Moscow state, which is the subject of “divine house-building”. This idea is supported by numerous analogies from the Old Testament history, the history of the Babylonian and Persian kingdoms, the monarchy of Alexander the Great, Roman and Byzantine history. It is not without reason that chronographic volumes of the Litsevoy Chronicle Code were created with special attention and such thoroughness in the circle of Makaryev scribes. It is not for nothing that in the monumental ensembles of temple paintings and the painting of the Golden Chamber such a significant place was given to historical and Old Testament subjects, selected according to the principle of direct analogy. At the same time, the entire cycle of works of fine art was also permeated with the idea of ​​the divinity of autocratic power, its God-established nature, its primacy in Russia and the direct continuity of royal dignity from the Roman and Byzantine emperors and the continuity of the dynasty of "God-affirmed scepter holders" from the princes of Kiev and Vladimir to the sovereign. All this taken together was intended to reinforce and justify the very fact of the wedding to the reign of Ivan IV, to substantiate the further course of the autocratic policy not only in the Moscow state itself, but also in the face of the “Orthodox East”.

Ivan the Terrible sends ambassadors to Lithuania.

This was all the more necessary because the “approval” of the wedding of Ivan IV by the Patriarch of Constantinople was expected, which, as we know, was realized only in 1561, when the “cathedral charter” was received. No less important place in the general plan, the idea of ​​glorifying the military actions of Ivan IV was occupied. His military actions were interpreted as religious wars in defense of the purity and inviolability of the Christian state from infidels, freeing Christian prisoners and civilians from the Tatar invaders and oppressors. Finally, the topic of religious and moral education was no less significant. It was interpreted in two ways: more profound with a certain philosophical and symbolic shade in the interpretation of the main Christian dogma and more directly - in terms of moral purification and improvement. The last theme was also personal - it was about the spiritual education and self-correction of the young autocrat. All these tendencies, or, more precisely, all these facets of a single ideological concept, were realized in different ways in individual works of art throughout the entire Grozny reign. The culmination in the disclosure and implementation of this concept was the period of restoration work 1547-1554. and, more broadly, the time of activity of the “elected council”.

Battle of Kulikovo. 1380 BC

After 1570, until the end of the reign of Ivan IV, as you know, the volume of work in the field of fine arts sharply decreased, the tension of emotional content, the feeling of uniqueness and exclusivity gradually faded. It is replaced by another, more severe, sorrowful, sometimes tragic. Echoes of triumph, self-affirmation, so characteristic in the initial period, only occasionally make themselves felt in individual works as belated reflections of the past, only to fade away completely in the early 80s. At the end of the reign of Grozny, applied art came to the fore in artistic life. If it becomes impossible to assert and glorify the idea of ​​autocracy as such, then it is natural to add splendor to the palace household, palace utensils, like royal clothes, covered with ornamental and jewelry, often turn into unique works of art. Attention is drawn to the nature of the literary work undertaken in order to "prepare" for the wedding in the circle of Metropolitan Macarius. Among them, it is especially worth highlighting the very rite of the wedding to the kingdom, with its direct connection with the "Legend of the princes of Vladimir". Story about receiving by Vladimir Monomakh royal crown and about his wedding "to the kingdom" is contained in the Book of Degrees and the Great Menaion of the Chetykh, that is, in the literary monuments of the Makaryev circle. The initial volumes of the chronographic part of the Obverse Chronicle, as well as the expanded (in comparison with other lists of the Nikon Chronicle) edition of the text of the first six sheets of the Golitsyn volume of the Obverse Chronicle, also contain a story about the beginning of Vladimir Monomakh's reign in Kiev and about his crowning "to the kingdom" with regalia sent by the Byzantine emperor. In direct connection with them are miniatures that adorn the chronographic part of the Obverse Arch, as well as miniatures of the first six leaves of the Golitsyn volume. In the miniatures of the chronographic part of the Obverse Chronicle, in turn, one finds further disclosure of the theme of the God-established monarchy, the introduction of Russia into the general course of world history, as well as the idea of ​​the chosenness of the Moscow monarchist. Thus, a certain range of literary monuments is designated. The same themes are further revealed in the murals of the Golden Chamber, in the reliefs of the royal place ("Monomakh's throne") erected in the Assumption Cathedral, in the painting of the portal of the Archangel Cathedral. The icons painted by the Pskovites, it would seem, are purely dogmatic in their content, carry the plot, and perhaps the disclosure of the theme of the sacred nature of the wars waged by Ivan IV, God's chosen feat of warriors awarded the crowns of immortality and glory, which culminates in the icon " Militant Church "and in the image of Christ - the conqueror of death in the" Four-part "of the Annunciation Cathedral.

Battle of the Kosovo field. 1389 g.

This theme in its programmatic, most elaborated form is embodied in the first Russian "battle picture" - "Militant Church". The direct disclosure of its subtext is the paintings of the tomb of Ivan IV (in the deaconist of the Archangel Cathedral), as well as the system of the paintings of the cathedral as a whole (if we assume that the painting that has survived to this day completely repeats the painting made no later than 1566). Even if we remain within the most cautious assumptions about the preservation of the earlier painting, one cannot fail to see that the military themes included in the murals directly lead to the cycle of Old Testament battle scenes in the painting of the Golden Chamber, in which contemporaries found direct analogies with the history of Kazan and Astrakhan. taking. To this should be added personal, "autobiographical" themes, if that is how we can talk about the plots of the murals of the Archangel Cathedral (chief about the burial vault of Grozny) and the Golden Chamber, and partly the icon-paintings "Militant Church". Finally, the main Christological, or symbolic-dogmatic, cycle of icons made according to the "tsar's order" is associated with the main compositions of the painting of the Golden Chamber, being a clear expression of the entire system of religious and philosophical views of the group, which is usually called the "government of the 50s." and which included representatives of the "elected council" and the head of the Russian Church, Metropolitan Macarius. Appealing to relatively wide public circles, this painting had another purpose - a constant reminder of the basic religious and philosophical principles to the young tsar, whose "correction" was undertaken by his closest members of the "elected council". This is evidenced by the presence in the system of painting of the Golden Chamber of compositions on the theme of the Tale of Barlaam and Joasaph, in which contemporaries were inclined to see the history of the moral renewal of Ivan IV himself, and by Barlaam they meant the same omnipotent Sylvester. Thus, before us are, as it were, the links of a single plan. Themes, starting in one of the monuments, continue to unfold in subsequent ones, being read in direct sequence in works of different types of fine art.

Facial annalistic vault(The obverse annalistic collection of Ivan the Terrible, Tsar Kniga) is a chronicle collection of events in world and especially Russian history, created in the 40-60s of the 16th century (probably in 1568-1576) especially for the royal library in a single copy. The word "obverse" in the title of the Code means illustrated, with images "in faces". Consists of 10 volumes, containing about 10 thousand sheets of rag paper, decorated with more than 16 thousand miniatures. Covers the period "from the creation of the world" to 1567. The obverse (ie, illustrated, with the image "in faces") annalistic collection is not only a monument of Russian manuscript books and a masterpiece of Old Russian bookishness. It is a literary, historical and artistic monument of world significance. It is no coincidence that it is unofficially called the Tsar-Book (by analogy with the Tsar-Cannon and Tsar-Bell). The obverse annalistic collection was created in the 2nd half of the 16th century by order of Tsar Ivan IV Vasilyevich the Terrible in a single copy for his children. Metropolitan and "sovereign" artisans worked on the books of the Observatory: about 15 scribes and 10 artists. The vault consists of about 10 thousand sheets and over 17 thousand illustrations, and the figurative material occupies about 2/3 of the total volume of the monument. Miniature drawings (landscape, historical, battle and everyday life) not only illustrate the text, but also complement it. Some events are not written, but only drawn. The drawings tell the readers how clothes, military armor, church vestments, weapons, tools, household items and so on looked like in antiquity. In the history of world medieval writing, there is no monument similar to the Litsevaya Chronicle Code both in terms of coverage and volume. It included sacred, Hebrew and ancient Greek stories, stories about the Trojan War and Alexander the Great, plots of the history of Roman and Byzantine empires, as well as a chronicle illuminating major events Russia four and a half centuries: from 1114 to 1567. (It is assumed that the beginning and end of this chronicle have not survived, namely, the Tale of Bygone Years, a significant part of the history of the reign of Ivan the Terrible, as well as some other fragments.) In the Observational Code, the history of the Russian state is considered inseparably from world history.

The volumes are grouped in relatively chronological order:

• Biblical story
• History of Rome
• History of Byzantium
• Russian history

Volume content:

1. Museum collection (GIM). 1031 p., 1677 miniatures. Presentation of sacred, Hebrew and ancient Greek history from the creation of the world to the destruction of Troy in the 13th century. BC NS.
2. Chronographic collection (BAN)... 1469 p., 2549 miniatures. Presentation of the history of the ancient East, the Hellenistic world and ancient Rome from the XI century. BC NS. until the 70s. 1st century n. NS.
3. Face Chronograph (RNB)... 1217l., 2191 miniatures. Presentation of the history of the ancient Roman empire from the 70s. 1st century until 337 and Byzantine history until the X century.
4. Golitsyn volume (RNB)... 1035 p., 1964 miniatures. Presentation of Russian history for 1114-1247 and 1425-1472.
5. Laptev volume (RNB)... 1005 sheets, 1951 miniatures. Presentation of Russian history for the years 1116-1252.
6. Ostermanovsky first volume (BAN)... 802 l., 1552 miniatures. Presentation of Russian history for the years 1254-1378.
7. Ostermanovsky second volume (BAN). 887 p., 1581 miniatures. Presentation of Russian history for the years 1378-1424.
8. Shumilovsky volume (RNB)... 986 fol., 1893 miniatures. Presentation of Russian history for 1425, 1478-1533.
9. Synodal volume (State Historical Museum)... 626 l, 1125 miniatures. Presentation of Russian history for 1533-1542, 1553-1567.
10. The Royal Book (GIM)... 687 p., 1291 miniatures. Statement of Russian history for 1533-1553

The history of the creation of the vault:

The vault was probably created in 1568-1576. (according to some sources, work began in the 1540s), commissioned by Ivan the Terrible, in the Aleksandrovskaya Sloboda, which was then the Tsar's residence. The work was attended, in particular, by Alexey Fedorovich Adashev. The creation of the obverse annalistic collection lasted with interruptions for more than 30 years. The text was prepared by the scribes from the entourage of Metropolitan Macarius, the miniatures were performed by the masters of the Metropolitan and the "sovereign" workshops. The presence in the illustrations of the Obverse annalistic collection of images of buildings, structures, clothing, tools of handicrafts and agriculture, household items corresponding in each case to the historical era, testifies to the existence of more ancient illustrated chronicles that served as models for illustrators. of the entire volume of the obverse annalistic collection, contains a developed system of illustrating historical texts. Within the limits of the illustrations of the Observational Chronicle, we can talk about the origin and formation of the landscape, historical, battle and genres proper. Around 1575, amendments were made to the text concerning the reign of Ivan the Terrible (apparently, under the leadership of the tsar himself). Initially, the vault was not bound - the binding was carried out later, at different times.

Storage:

The only original copy of the Code is kept separately, in three places (in different "baskets"):

State Historical Museum (volumes 1, 9, 10)

Library of the Russian Academy of Sciences (volumes 2, 6, 7)

The National Library of Russia (Volumes 3, 4, 5, 8)

Cultural Impact and Significance. BM Kloss described the Code as "the largest chronicle-chronographic work of medieval Russia." Miniatures from the Code are widely known and are used both in the form of illustrations and in art.

At the present time, the history of Russia is greatly distorted. Trying to get to the bottom of the truth, you find a huge amount of conflicting information. It is very difficult to understand where the truth is.

Falsifications have been carried out for a single century. Back in the days of Catherine, foreign "historians" distorted our entire history. Therefore, it is necessary to refer to earlier sources. One of these is little known The obverse annalistic collection of Ivan the Terrible. It includesannalistic collection of events of world and especially Russian history.

The obverse annalistic collection was created in the 2nd half of the 16th century by order of Tsar Ivan IV Vasilyevich the Terrible in a single copy for his children. Metropolitan and "sovereign" artisans worked on the books of the Observatory: about 15 scribes and 10 artists. The vault consists of about 10 thousand sheets and over 17 thousand illustrations, and the figurative material occupies about 2/3 of the total volume of the monument. Miniature drawings (landscape, historical, battle and everyday life) not only illustrate the text, but also complement it. Some events are not written, but only drawn. The drawings tell the readers what clothes, military armor, church vestments, weapons, tools, household items and so on looked like in antiquity.

In the history of world medieval writing, there is no monument similar to the Litsevaya Chronicle Code, both in terms of coverage and volume. It included:

1. (C) (C) Museum collection (GIM). 1031 p., 1677 miniatures. Presentation of sacred, Hebrew and ancient Greek history from the creation of the world to the destruction of Troy in the 13th century. BC NS.

2. (C) (C) Chronographic collection (BAN) ... 1469 p., 2549 miniatures. Presentation of the history of the ancient East, the Hellenistic world and ancient Rome from the XI century. BC NS. until the 70s. 1st century n. NS.

3. (C) (C) Face Chronograph (RNB) ... 1217l., 2191 miniatures. Presentation of the history of the ancient Roman empire from the 70s. 1st century until 337 and Byzantine history until the X century.

4. (C) (C) Golitsyn volume (RNB) ... 1035 p., 1964 miniatures. Presentation of Russian history for 1114-1247 and 1425-1472.

5. (C) (C) Laptev volume (RNB) ... 1005 sheets, 1951 miniatures. Presentation of Russian history for the years 1116-1252.

6. (C) (C) Ostermanovsky first volume (BAN) ... 802 l., 1552 miniatures. Presentation of Russian history for 1254-1378.

7. (C) (C) Ostermanovsky second volume (BAN). 887 fol., 1581 miniatures. Presentation of Russian history for 1378-1424.

8. (C) (C) Shumilovsky volume (RNB) ... 986 fol., 1893 miniatures. Presentation of Russian history for 1425, 1478-1533.

9. (C) (C) Synodal volume (State Historical Museum) ... 626 l, 1125 miniatures. Presentation of Russian history for 1533-1542, 1553-1567.

10. (C) (C) The Royal Book (GIM) ... 687 p., 1291 miniatures. Presentation of Russian history for 1533-1553.

Knowing what is happening now, it is no longer surprising why history is not studied using these data. You and I should not know about our great glorious past, we should think. That from time immemorial we are lazy, drunkards and mediocrity. And it doesn't matter that a huge number of world discoveries and inventions belong to the Russians, that we are an invincible, just people - you can inspire anything you want.

Currently, the annalistic collection is kept in three places: inState Historical Museum(volumes 1, 9, 10), in library of the Russian Academy of Sciences(volumes 2, 6, 7) and in Russian National Library(volumes 3, 4, 5, 8).

At the present time, you can allegedly download it on the Internet. But be careful, you can only trust the facsimile edition, because what is on the Internet is already distorted.

A copy of the full facsimile edition of the Litsevaya Chronicle can be found in the library of the Department of Manuscripts State Historical Museum in Moscow and in the Pushkin House in St. Petersburg.

At present, the Faithful annalistic collection is published for charitable and educational purposes by the "Society of Lovers of Ancient Writing". Free distribution