Iconostasis (Greek: εκονοστάσιον) is an altar partition with gates, located from the northern to the southern wall of the temple, consisting of one or several rows of orderly placed icons, separating the altar part of the Orthodox church from the rest of the room.

Our works

Iconostasis in the chapel at the medical center in Vladivostok

Iconostasis in the Smolensk region

Iconostasis of Kamensk-Shakhtinsky

Iconostasis of Kubinka, Moscow region Right limit

Iconostasis of Kubinka, Moscow region Left limit

Iconostasis, Moscow

How to order an iconostasis?

Ordering an iconostasis- a complex and responsible matter, because you need to take into account not only the proportions and location of the icons, but also work out all the details: carvings, decorative elements, approve the carvings, choose the right color for the iconostasis.

color: #555555; font-family: Helvetica, Arial, sans-serif; line-height: 15px;" mce_style="color: #555555; font-family: Helvetica, Arial, sans-serif; line-height: 15px;"> This e-mail address is being protected from spambots. You need JavaScript enabled to view it. . We can draw you a sketch and tell you the approximate cost of the project. 4. If you are satisfied with the price, a 3D project is drawn and the exact cost of the iconostasis is calculated. The cost for simple iconostases is from 150,000 rubles. See the cost of carved iconostases 5. Coordination of carvings on the iconostasis. 6. Making an advance payment for the iconostasis. 50% for iconostasis with little or no carving. 70% for iconostases with a large number of threaded elements. 7. Production of the iconostasis from 45-90 days depending on its size. 8. Installation of the iconostasis. Payment of the remaining amount. Installation is carried out in all regions of the European part of Russia. The installation period is 2-7 days, depending on its size and complexity of installation. An example of a carved iconostasis - 3D model. Examples of projects and cost of iconostases. Cost of iconostases in Russia The cost of the iconostasis depends on a number of parameters and the price can only be calculated using an exact sketch. Parameters affecting the cost of the iconostasis: Length Height Rows: single-row iconostasis, double-row iconostasis, 3, 4, 5 row iconostases. Availability of threaded elements. Iconostasis material: MDF veneer, MDF enamel, Pine, Ash. Availability of gold leaf. History of the iconostasis in Rus' The decoration of ancient Russian churches initially repeated Byzantine customs. The Tretyakov Gallery houses a horizontal icon of a three-figure deesis with the main images from an unknown temple of the Vladimir-Suzdal principality at the turn of the 12th-13th centuries. It was obviously intended to be mounted on an architrave. There is a hypothesis that a similar icon with the Savior Emmanuel and two archangels was intended for the architrave in the northern part of the altar, where the entrance to the altar is located. This is supported by the content of this icon, where Christ is shown as the Sacrifice prepared for the salvation of people. "Angel Golden Hair" Some individual icons that were part of the Deesis order have been preserved, for example, the “Golden Haired Angel” (Archangel Gabriel) in the Russian Museum. This is a small main icon from the late 12th century. Thus, in stone churches, an altar barrier was usually made with a deesis above the architrave and icons of Christ and the Mother of God below. Only they were initially placed not in the barrier itself, but at the eastern pillars of the temple. Such an icon has been preserved from the Sophia Cathedral in Novgorod - the large throne icon of Christ “The Golden Robe of the Savior” (now in the Assumption Cathedral of the Moscow Kremlin, the painting of the 11th century was renewed in the 17th). In some Novgorod churches of the 12th century, research has revealed an unusual arrangement of altar barriers. They were very high, but their exact structure and the possible number of icons are not known. Increasing the height of iconostases A favorable situation for the growth of the altar barrier was in wooden churches, of which there was a majority in Rus'. They did not do wall painting, which was always very important in Byzantine churches, so the number of icons could increase. It is not known exactly how the altar barrier was enlarged and when it turned into an iconostasis. The royal doors of the 13th-14th centuries, belonging to the Novgorod and Tver schools of icon painting (TtG), have been preserved. On their solid wooden doors, the Annunciation is depicted on top, and Saints Basil the Great and John Chrysostom are depicted in full-length below. From the 13th century, temple icons have come down, that is, images of saints or holidays in honor of which temples were consecrated. They could also have already been placed in the bottom row of the barrier. For example, these include the Pskov icons “Assumption” and “Elijah the Prophet with the Life”. Iconostasis, Annunciation Cathedral, Moscow Kremlin By the 14th century, Deesis icons increased in size and were usually written at least seven. The Tretyakov Gallery houses the Deesis rite of the cathedral of the Vysotsky Monastery in Serpukhov. These are seven very large waist-length icons, executed in Constantinople. After the Mother of God and John the Baptist, they depict the archangels Michael and Gabriel, the apostles Peter and Paul. The Deesis rite from Zvenigorod (early 15th century, Tretyakov Gallery) had a similar composition, three surviving icons of which are attributed to the hand of St. Andrei Rublev. An early example of a festive order is provided by three horizontal icons with 12 holidays from the Cathedral of Sophia in Veliky Novgorod (XIV century). Initially, this rank stood on the ancient altar barrier of the cathedral, and in the 16th century it was included in the new high iconostasis, occupying the third row of icons (now icons in the Novgorod Museum). The first example of a full-length Deesis order is icons from the iconostasis of the Annunciation Cathedral in the Moscow Kremlin. This rank is distinguished both by its composition - there are 11 icons - and by their size (height 210 cm). It has now been precisely established that this rite could not have originally been intended for the Annunciation Cathedral, but was transferred to it from another temple (which one has not yet been established, although there are many hypotheses). The time of creation of icons is considered to be either the beginning of the 15th century or 1380-90. The central icons are still often attributed to the hand of Theophanes the Greek. The most important iconographic feature of this rank is the image on the central icon of the Savior in power, that is, Christ on the throne surrounded by heavenly powers. Later, this iconography would become the most common for Russian iconostases, displacing the simpler image of the Savior on the throne (which was more common in Novgorod). Above the Deesis rite in the Annunciation Cathedral there is a festive one, consisting of 14 icons (two more were added later). The origin of the festive rite is as unclear as that of the Deesis. It is usually believed that the Deesis and the holidays originate from the same iconostasis. The authorship of the icons is unknown, but it is clear that the holidays were painted by two different icon painters. The first half of the icons has long been attributed to the hand of Andrei Rublev, but now this hypothesis raises strong doubts.

Iconostasis in the temple

Iconostasis - (Greek eikonostasion, from eikon - “image, image” and stasis - “standing place”) - an altar partition separating the Holy of Holies from the rest of the temple. The iconostasis went through a long path of development before it appeared before us in its finished, familiar form. As a rule, the iconostasis includes several rows of icons, each of which has its own symbolic meaning and occupies a special place.

In Orthodox churches, the iconostasis is the central part of the temple.

How to choose

This section presents a wide selection of finished works from our manufacturer in various finishes: from ascetic to rich options. You can also choosebuy an iconostasis ready-made, so-called "standard" project. You can alsoorder an iconostasis for Your his temple , having discussed all individual wishes with a consultant.

All questions related toprices on making an iconostasis , suitable in size for your temple, you can ask our iconostasis consultant:

Ekaterina, mobile +7-920-737-03-37.

If it is not working hours, please write to us by email: .

Choosing the style and material formaking custom iconostasis - a delicate and complex matter, since the iconostasis is the center of any temple, it must fit into both the architectural style of the temple and the overall interior. Each church is individual - and the iconostasis in it is unique.

Symbolism

Iconostasis in an Orthodox church tells the entire history of Orthodox teaching - from prophecies about the Birth of the Son of God, to His Crucifixion and Resurrection. In addition, this barrier separating the altar from the church symbolizes the boundary between the earthly and the heavenly. But the order of rows in the iconostasis is deeply symbolic. It reflects the heavenly hierarchy, and the Royal Gates are a prototype of the entrance to Paradise.

Manufacturing materials, types of finishing and inserts

Make and buy an iconostasis for the temple can be made from a wide variety of materials: wood, marble, ceramics, metal and even fiberglass. But wooden iconostases are the most common. Wood is a natural, environmentally friendly material. For iconostases, wood of the highest quality, without flaws, is selected. If the wood for making the iconostasis is properly prepared, its service life will be very long.

The finishing of iconostases, as well as the materials for their manufacture, are extremely diverse:

• thread.Twisted ornaments created using the carving technique decorate many iconostases in Orthodox churches;

• silvering, gilding unusually decorates the iconostasis, making it sparkling and solemn;

• enamel.This finish, despite the external fragility of the material, is strong and durable, in addition, it does not require special care;

• Basma.It is often used when decorating iconostasis, since this technique allows you to create a complex ornament and easily repeat it for other details.

Date of publication or update 05/01/2017

Temple iconostases of the late 17th – 19th centuries of Rostov the Great

Order an iconostasis best in the organization where they are engaged production of iconostases professionally, not occasionally.

Then you can be sure that an iconostasis made of wood will last for many years, decades, or even several centuries without changing the geometry, developing cracks or other defects.

There are several workshops in Russia whose craftsmen have many years of experience making carved iconostases of any complexity.

At ordering an iconostasis the cost, as a rule, is calculated individually depending on the selected material, size and complexity of the thread.

The exception is iconostases made according to standard designs, i.e. the production of which is put on stream, and which are assembled from separate standard carved modules. On the one hand, this allows you to significantly reduce the cost and production time of the iconostasis. On the other hand, even when the color and size of the iconostasis change, a certain monotony and repetition are introduced into the design of churches.

In order to order an iconostasis, send by e-mail a drawing defining the general shape of the iconostasis (the area of ​​the iconostasis may be the same, but the final cost of production may differ), and general wishes in the wood carving elements. The final cost is also influenced by the choice of material (linden, oak, beech) and finishing (tinting and varnishing; enamel painting; gold leaf).

Iconostasis in an Orthodox church

The middle part of the temple signifies, first of all, the heavenly, angelic world, the region of heavenly existence, where all the righteous who have departed there from earthly life reside. According to some interpretations, this part of the temple also marks the region of earthly existence, the world of people, but already justified, sanctified, deified, the Kingdom of God, the new heaven and the new earth in the proper sense. Interpretations agree that the middle part of the temple is the created world, in contrast to the altar, which marks the region of God’s existence, the region of the most sublime, where the mysteries of God are performed.

With such a relationship between the meanings of the parts of the temple, the altar from the very beginning had to be separated from the middle part, for God is completely different and separated from His creation, and from the very first times of Christianity such separation was strictly observed. Moreover, it was established by the Savior Himself, who deigned to celebrate the Last Supper not in the living rooms of the house, not together with the owners, but in a special, specially prepared upper room. Later the altar was separated from the temple special barriers and set himself up on a high place. The elevation of the altar from antiquity has been preserved to this day. The altar barriers have undergone significant development. The meaning of the process of gradual transformation of the altar grille into a modern iconostasis is that from about the V-VII centuries. altar barrier - lattice, which was a symbol-sign of the separation of God and the Divine from all created things, gradually turns into a symbol - the image of the Heavenly Church, headed by its Founder - the Lord Jesus Christ. This is the iconostasis in its modern form. Its front side, with its icons, faces the middle part of the temple, which we call the church, the church itself. The coincidences of the concepts of the Church of Christ in general, the entire temple as a whole, its middle part are very significant and from a spiritual point of view are not accidental.

The region of heavenly existence, which the middle part of the temple marks, is the region of the deified creature, the region of eternity, the Kingdom of Heaven, where the full circle of believers of the earthly Church strives in their spiritual path, finding their salvation in the temple, in the church. Here, in the temple, the earthly Church must therefore come into contact and meet with the Heavenly Church. In the corresponding prayers, petitions where all the saints are remembered, exclamations and actions of worship, the communication of people standing in the temple with those who are in heaven and praying with them has long been expressed. The presence of persons of the Heavenly Church has been expressed since ancient times both in icons and in the ancient painting of the temple. Until now, there was not enough such an external image that would show, reveal in a clear, visible way the invisible, spiritual intercession of the Heavenly Church for the earthly, its mediation in the salvation of those living on earth. The iconostasis became such a visible symbol, or more precisely, a harmonious set of symbols-images.

All this can be attributed to any icon, including those located in a residential building, and to the wall paintings of the temple. Individual icons in different parts of the temple and in private homes, as well as wall paintings in the temple, have both the power of the Holy Spirit and the ability, through their mediation, to bring a person into communication with those saints who are depicted on them, and testify to a person about that state of O femininity, which he himself should strive for. But these icons and compositions of wall paintings either do not create a general image of the Heavenly Church, or are not what the iconostasis is, namely the mediastinum between the altar (the place of the special presence of God) and the meeting (ecclesia), the church, of people praying together in the temple. Therefore, the iconostasis is a collection of images that acquire a special meaning because they form an altar barrier.

The mediastinum between God and the earthly people of the Heavenly Church, which is the iconostasis, is also determined by the depth of the dogma of the Church as the most necessary condition for the personal salvation of each person. Without the mediation of the Church, no amount of tension in a person’s personal striving for God will bring him into communion with Him and will not ensure his salvation. A person can be saved only as a member of the Church, a member of the Body of Christ, through the sacrament of Baptism, periodic repentance (confession), communion of the Body and Blood of Christ, prayerful communication with the entirety of the Heavenly and earthly Church. This is defined and established by the Son of God Himself in the Gospel, revealed and explained in the doctrine of the Church. There is no salvation outside the Church: “To whom the Church is not a mother, God is not a Father” (Russian proverb)!

As necessary or as occasion arises, the communication of a believer with the Celestial Church and resort to its mediation can be purely spiritual - outside the temple. But since we are talking about the symbolism of the temple, then in this symbolism the iconostasis is the most necessary external image of the mediation of the Heavenly Church.

The iconostasis is located on the same elevation as the altar. But this elevation continues from the iconostasis for some distance inside the temple, to the west, towards the worshipers. This elevation is one or several steps from the floor of the temple. The distance between the iconostasis and the end of the elevated square is filled with soleia (Greek - elevation). Therefore, the elevated solea is called the outer throne, in contrast to the inner one, which is in the middle of the altar. This name is especially appropriated to the ambo - a semicircular protrusion in the middle of the solea, opposite the royal doors, facing the inside of the temple, to the west. On the throne inside the altar, the greatest sacrament of transforming bread and wine into the Body and Blood of Christ is performed, and on the pulpit or from the pulpit the sacrament of Communion of these Holy Gifts to believers is performed. The greatness of this sacrament also requires the elevation of the place where the sacrament is administered, and likens this place to some extent to the throne within the altar.

Pulpit in the center, solea means ascension (Greek - “pulpit”). It marks the places from which the Lord Jesus Christ preached (mountain, ship), since the Gospel is read on the pulpit during the liturgy, litanies are pronounced by the deacon, sermons and teachings are pronounced by the priests, and bishops address the people from the pulpit. The pulpit also announces the Resurrection of Christ, meaning the stone rolled away by an angel from the door of the Holy Sepulcher, which made all who believe in Christ partakers of His immortality, for which purpose they are taught from the pulpit the Body and Blood of Christ for the remission of sins and eternal life.

Solea in liturgical terms, there is a place for readers and singers, who are called faces and depict the faces of angels singing the praises of God. Since the faces of the singers thus take a direct part in the service, they are located above the rest of the people, on the salt, on its left and right sides.

In apostolic and early Christian times all Christians present at the prayer meeting sang and read, there were no special singers or readers. As the Church grew at the expense of pagans who were not yet familiar with Christian hymns and psalmody, those singing and reading began to stand out from the general environment. In addition, in view of the greatness of the spiritual significance of those who sing and read, as being like the angels of heaven, they began to be chosen by lot from among the most worthy and capable people, as well as clergy. They began to be called clerics, that is, chosen by lot. Hence the places on the solea on the right and left where they stood received the name choirs. It should be said that clergy, or the choirs of singers and readers, spiritually designate for all believers the state in which everyone should remain, that is, the state of unceasing prayer and praise to God. In the spiritual war against sin that the earthly Church is waging, the main spiritual weapons are the Word of God and prayer. In this regard, the choirs are images of the militant Church, which is especially indicated by two banners - icons on high poles, made in the likeness of ancient military banners. These banners are strengthened at the right and left choirs and are carried out in solemn religious processions as banners of victory of the militant Church. In the XVI-XVII centuries. Russian military regiments were named after the icons that were depicted on their regimental banners. These were usually icons of the temple holidays of the most important Kremlin cathedrals, from which they complained to the troops.

In cathedral bishops' cathedrals, constantly, and in parish churches as needed, during the visits of the bishop, in the center of the middle part of the church, opposite the pulpit, there is an elevated square platform, platform for the bishop. The bishop ascends to it on statutory occasions to put on vestments and perform some of the services. This platform is called the bishop's pulpit, the cloudy place or simply the place, the locker. The spiritual significance of this place is determined by the presence of the bishop there, which represents the presence of the Son of God in the flesh among people. The bishop's pulpit in this case signifies by its elevation the height of humility of God the Word, the ascension of the Lord Jesus Christ to the pinnacle of feat in the name of the salvation of mankind. For the bishop to sit on this ambo at the moments of the service provided for by the Charter, a seat-cathedra is placed. The latter name in everyday use became the name of the entire bishop's pulpit, so from here the concept of a cathedral was formed, as the main temple of the region of a given bishop, where his pulpit always stands in the middle of the temple. This place is decorated with carpets, and only the bishop has the right to stand and perform services.

Behind the vestment place (bishop's pulpit), in the western foam of the temple, double doors or gates are installed, leading from the middle part of the temple to the vestibule. This is the main entrance to the church. In ancient times, these gates were especially decorated. In the Charter they are called red, because of their splendor, or church (Typikon. Sequence of Easter Matins), since they are the main entrance to the middle part of the temple - the church.

In ancient Orthodox churches, these gates were often decorated with a beautiful, semicircular portal at the top, consisting of several arches and semi-columns, with ledges going from the surface of the wall inward, to the doors themselves, as if narrowing the entrance. This architectural detail of the gate marks the entrance to the Kingdom of Heaven. According to the words of the Savior, " narrow is the gate and narrow is the way that leads to life"(eternal; Matt. 7:14), and believers are invited to find this narrow path and enter the Kingdom of God through the narrow gates. The ledges of the portal are designed to remind people entering the Temple of this, creating the impression of a narrowing entrance and at the same time marking those steps spiritual perfection, which are necessary to fulfill the words of the Savior.

The arches and vaults of the central part of the temple, which find their completion in the large central under-dome space, correspond to the streamlining, sphericity of the space of the Universe, the vault of heaven stretched above the earth. Since the visible sky is an image of the invisible, spiritual Heaven, that is, the region of heavenly existence, the upward-striving architectural spheres of the middle part of the temple depict the region of heavenly existence and the very aspiration of human souls from earth to the heights of this heavenly life. The lower part of the temple, mainly the floor, represents the earth. In the architecture of an Orthodox church, heaven and earth are not opposed, but, on the contrary, are in close unity. Here the fulfillment of the prophecy of the Psalmist is clearly shown: " Mercy and truth will meet, justice and peace will kiss; truth will arise from the earth, and righteousness will come from heaven"(Ps. 84:11, 12).

According to the deepest meaning of Orthodox doctrine, the Sun of Truth, the True Light, the Lord Jesus Christ, is the spiritual center and pinnacle to which everything in the Church strives. Therefore, since ancient times, it was customary to place the image of Christ Pantocrator in the center of the inner surface of the central dome of the temple. Very quickly, already in the catacombs, this image takes on the form of a half-length image of Christ the Savior, blessing people with his right hand and holding the Gospel in his left, usually revealed in the text " I am the light of the world".

There are no templates in the placement of pictorial compositions in the central part of the temple, as in other parts, but there are certain canonically permitted composition options. One of the possible options is the following.

In the center domes Christ the Pantocrator is depicted. Below Him, along the lower edge of the dome sphere, are the seraphim (the forces of God). In the drum of the dome there are eight archangels, heavenly ranks called to guard the earth and peoples; archangels are usually depicted with signs expressing the characteristics of their personality and ministry. So, Michael has a fiery sword with him, Gabriel has a branch of paradise, Uriel has fire. IN sails under the dome, which are formed by the transition of the quadrangular walls of the central part into the round drum of the dome, there are images of four evangelists with mysterious animals corresponding to their spiritual character: in the northeastern sail the evangelist John the Evangelist is depicted with an eagle. On the contrary, diagonally, in the southwestern sail, is the Evangelist Luke with a calf, in the northwestern sail, the Evangelist Mark with a lion; on the contrary, diagonally, in the southeastern sail, is the Evangelist Matthew with a creature in the form of a man. This placement of the images of the evangelists corresponds to the cruciform movement of the star over the paten during the Eucharistic canon with the exclamation “whining, crying, crying and speaking.” Then along the northern and southern walls, from top to bottom, there are rows of images of the apostles from the seventy and the saints, saints and martyrs.

Wall paintings usually do not reach the floor. From the floor to the border of the images, usually shoulder-high, there are panels on which there are no sacred images. In ancient times, these panels depicted towels decorated with ornaments, which gave a special solemnity to the wall paintings, which, like a great shrine, were presented to people according to ancient custom on decorated towels. These panels have a dual purpose: firstly, they are arranged so that those praying in a large crowd of people and in crowded conditions do not erase the sacred images; secondly, the panels seem to leave a place in the lowest row of the temple building for people, earth-born, standing in the temple, for people carry within themselves the image of God, although darkened by sin, being in this sense also images, icons. This also corresponds to the custom of the Church, according to which incense in the temple is performed first on holy icons and wall images, and then on people, as bearing the image of God, that is, as if on animated icons

The northern and southern walls, in addition, can be filled with images of events in the sacred history of the Old and New Testaments. On both sides of the western entrance doors in the middle part of the temple are placed the images of “Christ and the Sinner” and the Fear of Drowning Peter.” Above these gates it is customary to place an image of the Last Judgment, and above it, if space allows, an image of the six-day creation of the world. In this case, the images the western wall represents the beginning and end of the earthly history of mankind. On the pillars in the middle part of the temple, wherever there are images of saints, martyrs, saints most revered in a given parish. The spaces between individual pictorial compositions are filled with ornaments, where images of the plant world are mainly used or images corresponding to the content of Psalm 103, where a picture of many beings is drawn, listing various God's creatures.The ornament can also use elements such as crosses in a circle, rhombus and other geometric shapes, octagonal stars.

In addition to the central dome, the temple may have several more domes in which images of the Cross, the Mother of God, the All-Seeing Eye in a triangle, and the Holy Spirit in the form of a dove are placed. It is customary to build a dome where there is a temple chapel. If there is one throne in the temple, then one dome is made in the middle part of the temple. If in a temple under one roof there are, in addition to the main, central one, several more temple-altars, then a dome is built over the middle part of each of them. However, the outer domes on the roof did not always, even in ancient times, strictly correspond to the number of temple-altars. Thus, on the roofs of three-aisle churches there are often five domes - in the image of Christ and the four evangelists. Moreover, three of them correspond to the chapels and therefore have an open dome space from the inside.. And two domes in the western part of the roof rise only with a roof and from the inside of the temple are closed by ceiling vaults, that is, they do not have dome spaces. In later times, from the end of the 17th century c., sometimes many domes were placed on the roofs of temples, regardless of the number of chapels in the temple.In this case, it was only observed that although the central dome had an open space for the dome.

In addition to the western, red gate, Orthodox churches usually have two more entrances: in the northern and southern walls.

In the middle part of the temple, together with other icons, it is considered obligatory to have an image Golgotha- a large wooden Cross with the image of the crucified Savior, often made life-size to the height of a person. The cross is made eight-pointed with the inscription on the top short crossbar “I H T I” (Jesus of Nazareth, King of the Jews). The lower end of the Cross is fixed in a stand shaped like a stone hill. The front side of the stand depicts a skull and bones - the remains of Adam, revived by the Savior's feat of the cross. On the right hand of the crucified Savior is placed a full-length image of the Mother of God, directing Her gaze to Christ, on His left hand is the image of John the Theologian. In addition to its main purpose to convey to people the image of the feat of the cross of the Son of God, such a Crucifixion with those who are to come is also intended to recall how the Lord, before His death on the Cross, said to His Mother, pointing to John the Theologian: " Wife! behold, your son", and turning to the apostle: " Behold, your mother"(John 19:26-27), and thereby adopted as sons of His Mother, the Ever-Virgin Mary, all humanity who believes in God. Looking at such a Crucifixion, believers should be imbued with the consciousness that they are not only children of the God who created them, but, thanks to Christ, and the children of the Mother of God, since they partake of the Body and Blood of the Lord, which were formed from the most pure virgin blood of the Virgin Mary, who gave birth in the flesh to the Son of God. Such a Crucifixion, or Golgotha, during Great Lent is moved to the middle of the temple facing the entrance for a special reminder to people about the suffering of the Son of God on the cross for the sake of our salvation.

Where there are no proper conditions in the vestibule, in the middle part of the temple, usually near the north. walls, a table is placed with the eve ( canon) - a quadrangular marble or metal board with many cells for candles and a small Crucifix. Memorial services for the deceased are held here. The Greek word "canon" in this case means an object that has a certain shape and size. The canon with candles signifies that faith in Jesus Christ, preached by the Four Gospels, can make all the departed partakers of the Divine light, the light of eternal life in the Kingdom of Heaven. In the center of the middle part of the temple there should always be a lectern(or lectern) with an icon of a saint or holiday celebrated on a given day. A lectern is an elongated tetrahedral table (stand) with a flat board for the convenience of reading the Gospel, the Apostle placed on the lectern, or venerating the icon on the lectern. Used primarily for practical purposes, the lectern generally has the meaning of spiritual height, sublimity, corresponding to those holy objects that rely on it. The sloping upper board, rising upward, to the east, marks the elevation of the soul to God through the reading that is performed from the lectern or kissing the Gospel, the Cross, and the icon lying on it.

Those entering the temple worship first of all the icon on the lectern. If there are no icons of a currently celebrated saint (or saints) in the church, then the calendar is based - iconographic images of saints by month or crescent, remembered on each day of this period, placed on one icon. Temples should have 12 or 24 such icons - for the whole year. Each temple should also have small icons of all the great holidays to be placed on this central lectern on holidays. Lecterns are placed on the pulpit for the reading of the Gospel by the deacon during the liturgy. During festive all-night vigils, the Gospel is read in the middle of the church. If the service is performed with a deacon, then at what time does the deacon hold the opened Gospel before the priest or bishop. If the priest serves alone, then he reads the Gospel on the lectern. The lectern is used during the sacrament of Confession. In this case, the Little Gospel and the Cross rely on it. When performing the Sacrament of Wedding, the newlyweds are led by the priest three times around the lectern with the Gospel and the Cross lying on it. The lectern is also used for many other services and needs. It is not an obligatory sacred-mysterious Item in the temple, but the convenience that the lectern provides during worship is so obvious that its use is very wide, and almost every temple has several lecterns. Lecterns are decorated with clothes and bedspreads of the same color as the clothes of the clergy on a given holiday.

MAKING AN ICONOSTASIS

Our workshop "Northern Athos" is engaged in the production of turnkey iconostases from design to installation, painting of temples and also painting of temple icons. How much does it cost to order an iconostasis? What does the cost consist of? We will try to answer this and other similar questions in this article.
First you need to decide in what style it will be made. The style of the iconostasis, like other elements of the temple decoration, changed over time. Nowadays the following types of iconostases are usually ordered.
Wooden carved iconostasis.

A very common type of modern iconostasis. It is much cheaper to order than Baroque, but the beautifully stained wood, combined with well-painted icons, makes a strong impression. Such iconostases are often found in Greece, on Mount Athos. In Russia, until the 20th century, iconostases were usually gilded, but now wooden and carved items are becoming more common.
The approximate cost of manufacturing a wooden carved iconostasis, currently in Russia, is 40-60 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Baroque gilded iconostasis

Another common type of iconostasis is baroque, which developed in the 17th century. Its features are the abundance of gilded decorative elements. The making of the iconostasis occurs as follows. First, each element is cut out of wood by master carvers, then these elements are covered with gesso, after which the parts are gilded with polyment and polished to a mirror shine.
Ordering a baroque iconostasis is quite expensive. Perhaps this is the most expensive type of iconostasis. The cost is increased by both the high consumption of gold leaf and the complex and expensive work of gilders.
The approximate cost of manufacturing a baroque iconostasis in Russia currently ranges from 90 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Icon painting workshop "Northern Athos" 2016
carved wood, gilding

History of the iconostasis.

In the church, each temple icon occupies a strictly defined place. The central part of the temple is the iconostasis. Early Byzantine iconostases consisted of one row of icons and were usually made of stone. Over time, iconostases became more complex and new elements were added to them. The classic type of five-row iconostasis developed around the 15th century, and consisted of the following rows: Local Row, Deesis, Festive Row, Prophetic Row, Patriarchal Row.
In the center of the barrier above the royal doors there are images of the Deesis order. "Deesis" means "prayer" in Greek. The eternal and indestructible prayer of the Mother of God and John the Baptist addressed to Jesus Christ.
On Deesis icons these three figures are in the middle: in the center is the Savior, on the right is the Mother of God. on the left is John.
Initially they were painted on one board - this is what the earliest Russian Deesis icons look like. Gradually the composition became more complex.
The images began to be written on separate boards, and gradually new characters were added to them, sometimes scenes from the Gospel. By the end of the 14th century, the Deesis rank already consisted of seven figures. For example, the Serpukhov tier, created in 1380, includes, in addition to the three-figure central icon, images of the archangels Michael and Gabriel and the apostles Peter and Paul. And the Deesis rite of the Assumption Cathedral of the Kirillo-Belozersky Monastery (XV century) already includes twenty-one figures.
In the 15th century, a high iconostasis with very large icons appeared (nowhere else except the Russian church is there such a thing). The idea of ​​their creation apparently belongs to Theophanes the Greek and Andrei Rublev. The images of the Deesis order, painted by them at the beginning of the century, are now in the Moscow Annunciation Cathedral
The Deesis was now perceived as a procession of holy prayer books - primates for the human race before the Savior; therefore, the composition of the personalities could change. depending on the time and place of creation of the icons. It included canonized princes and hierarchs of the Church, locally revered saints. That. exactly how the figures were depicted depended on the central image. If the center of the composition was “Savior Almighty,” then the rest of the icons were half-length, and if “Savior on the Throne” or “Savior in Power,” then the figures were depicted in full growth.
Currently, iconostases are being created, both in the Russian tradition and according to ancient Byzantine models.

6. Installation of the iconostasis

The final stage is installation in the temple. Since wood is a material quite sensitive to changes in temperature and humidity, installation must be done in a room with already established temperature and humidity. All construction and plastering work in the temple must be completed.

Selected photographs of our workshop's work.

5. Gilding of iconostasis elements

In cases where the project has gold-plated elements, the next stage is gilding. We usually use gilding on mordan, but you can also gild on polyment (more expensive and complex gilding, in which the gold is polished with an agate tooth).
Of course, gilding with gold leaf is quite expensive, both due to the high cost of the material itself and the cost of the work. If it is not possible to order gilding with gold leaf, you can perform gilding with high-quality (non-oxidizing and subsequently non-greening) gold leaf.

3. Manufacturing of carved elements

The next stage is the production of carved elements. Elements are cut out on machines; in some cases (complex elements with internal threads) they are finished manually.

MANUFACTURING PROCESS

If you decide to order the production of an iconostasis in our workshop, the manufacturing process will include the following steps.

1.Creation of a preliminary design

In accordance with the architecture of the temple, a preliminary design is developed, which is approved by the customer. At this stage, it is possible to finalize the sketch in accordance with the wishes of the customer and, in the case of churches that are architectural monuments, to bring them into compliance with the requirements of the State Property Inspectorate.

2. Development of a 3D model.

At this stage, a 3D model is made. The model is necessary for the final clarification of all details, and is subsequently used for the manufacture of wood carving elements.

St. Nicholas Naval Cathedral in Kronstadt, 2012.

Stone iconostasis in Byzantine style. 19th century. Jerusalem

Modern stone iconostasis in Byzantine style. Balaam.

Iconostasis of the Church of St. Nicholas, Cyprus. Icon painting workshop Northern Athos 2007

Iconostasis with gilding

Nowadays, eclectic iconostases are becoming increasingly common, which are difficult to attribute to any particular style. There are several reasons for the spread. Firstly, a large number of churches built in the 19th century according to a standard design are now being restored, for which it is difficult to design an iconostasis that harmoniously combines with the architecture of the temple and at the same time meets strict stylistic canons.
Secondly, the production of such iconostases can be done within a relatively small budget, which is important for poor provincial parishes. At the same time, a well-designed iconostasis will look no worse than more expensive baroque or stone iconostases.
The approximate cost of manufacturing such iconostases in Russia currently amounts to 40-90 thousand rubles per square meter. The cost of icons is usually negotiated separately.

Iconostasis of the Transfiguration Cathedral, Valaam, 2006
Icon painting workshop Northern Athos, together with other workshops

Iconostasis of the Transfiguration Cathedral, Valaam,
fragment.

Iconostasis of the Church of All Who Sorrow Joy, St. Petersburg, Icon Painting Workshop Northern Athos, 2008

Byzantine stone iconostasis.

This type of iconostasis developed in the first centuries of Christianity and was widespread in Byzantium. Has a low altar barrier. Consists of one or two tiers. The combination of white carved stone and large icons looks very elegant. At the same time, the iconostasis is not overloaded with decorative elements, and nothing distracts the attention of worshipers.
However, ordering a stone iconostasis is somewhat more difficult and expensive than a wooden iconostasis. The fact is that in Russia there are few workshops specializing in natural stone carving, and they price their work quite expensively.
As an alternative, you can order an iconostasis made of artificial stone. A good artificial stone is practically no different from the real thing, allows you to make ornaments of any complexity and is comparable in cost to a wooden carved iconostasis.
The approximate cost of manufacturing a stone Byzantine iconostasis, currently in Russia, is 70-90 thousand rubles per square meter. The cost of icons is usually negotiated separately. On a separate page of the site you can read how the cost of icons is formed.

St. Petersburg, Morskaya embankment. 37

From time immemorial, the Orthodox faith has called man to purify his soul, to get rid of sins in order to achieve the Kingdom of Heaven. The symbolic gate between earthly space and the heavenly world is the church iconostasis. It visibly separates the altar from the place of general visiting, as if reminding a person that there is a certain line between him and the Almighty Creator. No one can cross this line without the godly mediation of the chosen righteous.

According to its structure, the Orthodox church iconostasis consists of three sections. In its center, opposite the throne, are the Royal Doors. Only clergy can enter the altar through them. For the eyes of parishioners, the Royal Doors are opened only on special occasions. Lattice doors with carved patterns are covered with a symbolic cover, which preserves the mystery of the Shrine and is raised only a few times a year. Only on a special day can believers fix their gaze on what is happening in the altar, absorbing with their eyes the process of transubstantiation of the Holy Gifts. According to the church canon, it is customary to place an icon depicting the Last Supper above the Royal Doors.

Along the edges of the Royal Doors are the Northern and Southern Gates. Unlike the double doors of the Tsar, they consist of a single door, and their decoration is inferior to the central entrance to the altar. Priests pass through the outer gate on ordinary days and during statutory services. On the side of the altar, behind the southern and northern gates, there is a deacon and an altar. The entire front part of the church iconostasis, facing the center of the temple, is crowned with images with the faces of the Holy Ones. Following the ancient church canons, when making the iconostasis, its multi-tier structure is strictly observed. Each of the five rows has its own sacred meaning, which is reflected in the icons placed on it.

Arrangement of tiers of the church iconostasis

At the very top of the iconostasis, in the Patriarchal Row, the most venerable place is occupied by icons with the faces of the Old Testament patriarchs. The “Holy Trinity” is placed in the center. Below is the Prophetic Row, symbolizing the Old Testament church. The central icon here is the “Sign”. It depicts the Heavenly Queen with a baby on her lap. The third row from the top is called the Festive row. Its name is characterized by the Shrines, symbolizing the main Orthodox holidays, from Christmas to Dormition. The Deesis row at its head places an icon of the “Savior”, supported on both sides by the faces of the Mother of God and John the Baptist, as well as a host of Saints. Symbolizes the Deesis row of the Heavenly Church of Christ.

The very last, bottom row of the church iconostasis is called Local. In it, the central faces of the Savior, the Virgin Mary and the temple icon are placed near the Royal Doors of the iconostasis. The rest of the space is reserved for images of a local nature, in other words, those most revered in the area where the temple was directly erected.

The mere fact that the most important Christian sacraments take place near the iconostasis, and that it itself symbolizes the church from its origins to the Last Judgment, tells us about the importance of this symbol for Orthodoxy. In its energy, supported by revered images, the church iconostasis is comparable to the strength of faith and purity of thoughts carried by the clergy and parishioners of the temple. He reveals a true close connection between the earthly world and the Heavenly Kingdom. Receiving Holy Communion from the hands of God's intermediaries and bowing his forehead in confession, a believer is under the invisible protection of faces and symbols erected on the Orthodox church iconostasis.