- Museum number
- Object: The Resurrection/Descent into Hell (Anastasis or ‘Voskresenie’)
Icon; painted; in the centre, enclosed by a green-blue mandorla and wearing a white robe, is Christ standing on the broken gates of hell and raising Adam out of his tomb; to Christ's right, is the Virgin in her tomb. Immediately behind the figure of Adam is the Procession of the Elect. Beneath this scene, within a rocky cavern, Christ and angels fight devils, with to the lower left, against the fiery red face of Hades, a winged devil holding a human figure in his hands. In the bottom right hand corner Christ, holding a cross and blessing various angels, rises from his tomb; above the tomb, in which lie Christ's shrouds, are an angel and one of the Holy Women; at the foot of the tomb are sleeping guardians. Above are two scenes: the crucified Christ flanked by the Virgin and St John, with discs of the sun and moon above the lateral arm of the cross, and Christ giving a cross to the Wise Robber. The Wise Robber appears again in a further scene above in which he is met by St Peter at the gates of Paradise. In the upper field, above the Anastasis, and in direct juxtaposition to Hell below, is the Garden of Paradise. Abraham is seated on the left in a garden flanked by the towers of the Heavenly Jerusalem. He is approached by the Wise Robber and a group of the righteous. On the far left is St Peter.
Inscriptions: four inscriptions in almost obliterated Church Slavonic above some of the figures in the upper register.
Egg tempera, gesso on wood
- Production date
Height: 35.70 centimetres
Thickness: 2.20 centimetres
Width: 30 centimetres
- Curator's comments
- This complicated composition portrays one of the most important Christian doctrines, that of Christ’s Resurrection. Its iconography was based on the apocryphal Gospel of Nicodemos, various psalms and prophecies, the ‘Akathistos’ Hymn and the Easter Canons. There are a number of variations of this theme in Russian iconography (see cat. nos 30, 32, 46 and 67). The Museum’s icon follows a format which was popular in Moscow icon painting of the 16th–17th centuries and is particularly close to a late 16th-century icon from the St Nicholas church in Yaroslavl’ and now in Yaroslavl’ Museum (Nersesian 2002, no. 42).
Cormack 2007, 129, no. 67
- Not on display
- Made from a single panel with ‘kovcheg’; two inserted battens on the reverse; the 17th-century painting was transferred and inserted into a new panel during restoration undertaken in the 19th century. The icon is damaged and the ground on the borders of the frame has been expanded with new gesso.
- Acquisition date
- Acquisition notes
- See 1998,0605.1 Most of the items catalogued under 1998,0605 were acquired by Sir Frank Roberts’ wife, Cella.
- Britain, Europe and Prehistory
- Registration number
- Additional IDs
Miscellaneous number: IC 68 (Icon Collection number)