Royal regalia: Cap, scepter and orb of Michael's great outfit ... Wikipedia
Orb Royal regalia: hat, scepter, orb from the so-called Great Dress of Tsar Mikhail Fedorovich Romanov Orb (Old Russian “dzha” power) a symbol of the state power of the monarch, which was a golden ball with a crown or ... Wikipedia
Catherine II with cor... Wikipedia
Scepter- (from the Greek σκηπτρον staff, rod) an honorary sign symbolizing dominion. Since ancient times it has been an attribute of supreme power. The prototype of S. shepherd's crook. S. was known. among other Greeks and Romans, Roman emperors and generals traditionally... ... Russian humanitarian encyclopedic dictionary
Power (from other Russian d'rzha dominion, power): Power is an independent, independent state. Power in Russia is a symbol of the power of the monarch - a golden ball with a crown or cross. Also, the symbols of the Russian tsars were the scepter and the crown. “Power” social ... Wikipedia
POWER- a golden ball symbolizing monarchical power. The name comes from the Old Russian "d'rzha" power. Sovereign balls were part of the attributes of power of the Roman, Byzantine, and German emperors. In the Christian era, the power was crowned with a cross.... ... Symbols, signs, emblems. Encyclopedia
A; m. [Greek skēptron] One of the signs of monarchical power: a staff decorated precious stones and carving. Royal village S. monarch. Crown, s. and power symbols of the monarchy. S. in the hands of the monarch. Gather under the village. monarch (to unite under the rule of ... ... encyclopedic Dictionary
scepter- A; m. (Greek sk ēptron) One of the signs of monarchical power: a rod decorated with precious stones and carvings. Royal ski/pet. Ski/Peter Monarch. The crown, sky/peter and power are symbols of the monarchy. Ski/Peter in the hands of the monarch. Gather under the ski/peter... ... Dictionary of many expressions
This term has other meanings, see Scepter (meanings). The upper part of the Imperial scepter with the Orlov diamond ... Wikipedia
Imperial power. Treasury of the Hofburg Castle ... Wikipedia
Books
- Sovereign Russia. This book is about the structure and history of higher government institutions Russian Empire and about the most important state ceremonies. The book tells about the main symbols of the Russian...
- Sovereign Russia, Butromeev V.P. The publication of the book is timed to coincide with the 400th anniversary of the Romanov dynasty. "Sovereign Russia" is a book about the structure and history of the highest state institutions of the Russian Empire and the most important state ceremonies.…
But this time we want to draw your attention to the regalia of the Russian tsars, who very rarely leave the walls of the Armory Chamber. This is an orb and a scepter. Exhibition showcases offer a unique opportunity to look at them from all sides and marvel at the craftsmanship of their execution.
Power. Western Europe, end of the 16th - 17th centuries.
Photo from the website of the Moscow Kremlin Museums.
There is no exact documentary data about the origin of the scepter and the orb, but it is quite obvious that they were created by first-class Western European jewelers. These regalia are magnificent works of late Renaissance art.
The scepter has the appearance of a cast gold rod with graceful divisions and masterfully executed grotesque ornaments, skillfully colored with colored enamels.
Fragment. Scepter. Western Europe, late 16th - 17th centuries.
Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting. Scepter - length. 70.5. Shotting - surface decoration metal object
The scepter has the appearance of a cast gold rod with graceful divisions and masterfully executed grotesque ornaments, skillfully colored with colored enamels.
Fragment. Scepter. Western Europe, late 16th - 17th centuries.
The scepter has the appearance of a cast gold rod with graceful divisions and masterfully executed grotesque ornaments, skillfully colored with colored enamels.
Fragment. Scepter. Western Europe, late 16th - 17th centuries.
The scepter has the appearance of a cast gold rod with graceful divisions and masterfully executed grotesque ornaments, skillfully colored with colored enamels.
Fragment. Scepter. Western Europe, late 16th - 17th centuries.
evenly spaced small dots, strokes, lines, etc. using special stamps or poissons.
The orb, crowned with a high cross, is decorated with a large number of precious stones in elegant castes. Its upper part is decorated with high-relief images of scenes from the life of the biblical king David, covered with multi-color enamel: “Anointing of King David by the Prophet Samuel,” “David’s Victory over Goliath,” “Return with Victory,” “Persecution from Saul.” Caste (stone setting) is a common detail of all jewelry
with rocks. There are two types of castes, differing in the principle of holding the stone - blind and pronged. In blind ones, the stones are held by solid walls along the entire perimeter of the caste, and in pronged ones, by separate stands (prongs) cut into the caste or soldered onto it.
Fragment. Power. "Anointing of King David by the Prophet Samuel." Western Europe, late 16th - 17th centuries.
Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting.
2. And Samuel said, How shall I go? Saul will hear and kill me. The Lord said: Take in your hand a heifer from the herd and say: “I have come to sacrifice to the Lord”;
3. and invite Jesse to the sacrifice; I will show you what you should do, and you will anoint for Me the one I tell you about.
(1 Samuel 16:1-3)
David is the second king of the people of Israel after Saul, the youngest son of Jesse from Bethlehem. According to the Bible, he reigned for forty years: for seven years and six months he was king of Judah (with his capital in Hebron), then for 33 years he was king of the united kingdom of Israel and Judah (with his capital in Jerusalem). The image of David represents the image of an ideal ruler. The historicity of King David is the subject of scholarly debate.
Each scene is a wonderful sculptural miniature, which attracts careful elaboration of facial features, costume details, weapons, confident rendering of the landscape, complex movements of elongated figures with somewhat mannered gestures and poses.
Fragment. Power. "Victory over Goliath." Western Europe, late 16th - 17th centuries.
Fragment. Power. "Anointing of King David by the Prophet Samuel." Western Europe, late 16th - 17th centuries.
Power - 42.4; dl. circles 61; dm. bases 6,7.
48. When the Philistine got up and began to come and approach David, David hastily ran to the line to meet the Philistine.
49. And David put his hand into his bag and took a stone from there, and threw it with a sling and struck the Philistine on the forehead, so that the stone pierced his forehead, and he fell face down on the ground.
50. So David overpowered the Philistine with a sling and a stone, and struck the Philistine and killed him; but the sword was not in David's hands.
51. Then David ran and stepped on the Philistine, took his sword and drew it from its scabbard, struck him and cut off his head with it; The Philistines, seeing that their strongman was dead, fled.
(1 Samuel 17:48-51)
The artistic features of these two monuments make it possible to believe that the scepter was created in the famous court workshops of Emperor Rudolf II, which were located in Prague, and the orb most likely belongs to the work of goldsmiths of South German blacksmiths, with whom the emperor maintained close ties.
Fragment. Power. "Return with victory." Western Europe, late 16th - 17th centuries.
Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting.
Power - 42.4; dl. circles 61; dm. bases 6,7.
6. As they walked, upon David’s return from the victory over the Philistine, women from all the cities of Israel came out to meet King Saul, singing and dancing, with solemn timbrels and cymbals.
7. And the women who were playing exclaimed, saying, “Saul has conquered thousands, and David has conquered tens of thousands!”
(1 Samuel 18:6,7)
King Saul is a biblical character, according to Old Testament the first king of the people of Israel and the founder of the united Kingdom of Israel (about 1029-1005 BC), the creator of the regular Jewish army, in the Old Testament narrative - the incarnation of a ruler placed in the kingdom by the will of God, but who became displeasing to Him. Possibly a real historical figure. He was chosen and anointed to the kingdom by the prophet Samuel, later did not fulfill his command and came into conflict with him, and the prophet secretly anointed young David to the kingdom.
Fragment. Power. "Persecution from Saul." Western Europe, late 16th - 17th centuries.
Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting.
Power - 42.4; dl. circles 61; dm. bases 6,7.
1. And David went out from there and fled to the cave of Adullam, and his brothers and all his father’s house heard and came to him there.
2. And all the oppressed and all the debtors and all the saddened souls gathered to him, and he became ruler over them; and there were with him about four hundred men.
3. From there David went to Mizpah of Moab and said to the king of Moab: Let my father and my mother abide with you until I know what God will do to me.
4. And he brought them to the king of Moab, and they lived with him all the time that David was in that refuge.
5. But the prophet Gad said to David: Do not remain in this refuge, but go, go to the land of Judah. And David went and came to the forest of Hereth.
(1 Samuel 22:1-5)
It is possible that these items include information about the bringing of regalia, including a scepter and an orb, to Moscow in 1604 from Rudolf II to Tsar Boris Godunov with the embassy of Heinrich von Logau.
Power. Western Europe, late 16th - 17th centuries. Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting.
Scepter. Western Europe, late 16th - 17th centuries.
Gold, silver, precious stones, pearls, casting, embossing, carving, enamel, shotting. Scepter - length. 70.5.
Photo from Instagram Moscow Kremlin Museums
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We advise you to take advantage of the excellent opportunity to view these unique exhibits from an incredibly close distance and visit the exhibition “Boris Godunov from Servant to Sovereign of All Rus'.”
The exhibition will last until January 31, 2016.
Address: Moscow Kremlin. Exhibition hall in the Assumption Belfry.
Working hours: from 10 to 17, ticket office from 9:30 to 16:30
Closed on Thursday.
Ticket price: 500 rub. There are benefits.
All the details .
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Posts from This Journal by “one exhibit” Tag
Exhibition "Ilya Repin" - report. Part 2. Reception of volost elders.The exhibition “Ilya Repin” has opened at the State Tretyakov Gallery and today we will devote our story to the painting “Reception...
Exhibition "Ilya Repin" - report. Part 1. Meeting of the State Council.The exhibition “Ilya Repin” opened at the State Tretyakov Gallery. We do not recommend, but simply insist that you visit this…
Presentation of the publication “THE DEPOSITED THRONES OF THE RUSSIAN THRONE” - report.
The other day, in the Front Entrance of the State Historical Museum, a presentation of the new museum publication “Dethroned Thrones of the Russian...
Exhibition “Lords of the Ocean. Treasures of the Portuguese Empire of the 16th-18th centuries” - report.
The exhibition “Lords of the Ocean. Treasures of the Portuguese Empire of the 16th-18th centuries”, dedicated to the history...
Power (symbol)
Power- (Old Russian "d'rzha" - power) a symbol of the state power of the monarch, which was a golden ball with a crown or cross.
Historically, the power was a sign of distinction for the emperors of the Roman Empire and English kings, and later became an attribute of power for a number of Western European monarchs. With the advent of the Christian era, the power was crowned with a cross.
Russia adopted this tradition from Poland. The orb was first used as a symbol of the power of the Russian Tsar at the wedding of False Dmitry I (1605).
Wikimedia Foundation.
2010.
See what “Power (symbol)” is in other dictionaries: Male, Greek abbreviation, list, complete picture, essence in a few words or signs. The symbol of faith, the confession of the entire essence or its foundations, is in the list. | The image is a picture, and in general with features, cuts, signs, with figurative, symbolic,... ... Dictionary
Dahl - (foreign) conventional sign Symbolic (foreign) depicted by signs Symbolism. Wed. Power is a symbol of power. Wed. The ring was made quite intricately and ideologically with symbolism. Leskov. Alexandrite. 3. Wed. (We) do do some... ...
Catherine II with cor... Wikipedia
Michelson's Large Explanatory and Phraseological Dictionary 1) independent state. The term democracy, as a synonym for state, is in practice applied not to all states, but only to those that play an outstanding role in international politics (see Great Powers); 2) a symbol of the power of the monarch (for example ...
Legal dictionary 1) an independent state. 2) A symbol of the power of the monarch (for example, in Russia, a golden ball with a crown or cross) ...
Big Encyclopedic Dictionary POWER, one of the state regalia, symbol golden ball with a crown or cross. Source: Encyclopedia Fatherland ... Russian history
1) independent state; 2) a symbol of the power of the monarch (for example, in Russia, a golden ball with a crown or cross). Political science: Dictionary reference book. comp. Prof. Science Sanzharevsky I.I.. 2010 ... Political science. Dictionary.
POWER- 1) an independent state. The term "D." as a synonym for “state”, in practice it does not apply to all states, but only to those that play a leading role in international politics (GREAT POWERS); 2) a symbol of monarchical power... ... Legal encyclopedia
power- The symbol of royal power, has the shape of a ball. Christian sovereigns with a cross on top. With D. they depict the Lord of Hosts, Christ, the Mother of God, usually seated on royal thrones... Dictionary of an icon painter
This article lacks links to sources of information. Information must be verifiable, otherwise it may be questioned and deleted. You can... Wikipedia
Books
- The Bell and the Power, Smirnov Viktor Grigorievich. The veche bell is a symbol of the Novgorod freemen and therefore an enemy of the state, in which everything must be subordinated to the sovereign power, the power of the Prince of Moscow. Endowed with great intelligence, the sovereign...
- The Bell and the Power, Smirnov V.. The Veche bell is a symbol of the Novgorod freemen and therefore the enemy of the state, in which everything must be subordinated to the sovereign power, the power of the Prince of Moscow.. A sovereign endowed with great intelligence...
Antiquities of the Russian State. Section I: Holy icons, crosses, temple utensils and vestments of clergy. - M., 1849. - 175 p.
Image of Our Lady of Joasaph
Under the name of the Mother of God of Joasaph, there is known in the Moscow Archangel Cathedral an osmyleous image of the Mother of God, painted in Greek style on a linden board with a notch. Judging by the design and color, it was written in Russia and the hardness of one and the fluidity of the other comes close to the style of Rublev’s school. The Mother of God's face is more round than oblong, without bonyness [subwhiteness], but with highlighting [shine, movements, shades]; his expression is more gloomy than touching; the nose is small, thin, the eyes are without teardrops, which have appeared on icons since the 16th century. The dolichnoe is of a swirly color, without iconography [inlaid with dissolved gold], while the dolichnoe is that of the Savior with golden gwents [features, folds on the clothes, whose folded flaps are called. cards]. On the forehead and on the breasts of the Mother of God there are three stars, signifying her virginity before Christmas, at Christmas and after Christmas.
The dyeing icons are remarkable for their art and richness. Its fields, or lights, are covered with a gold filigree frame with enamel; a golden crown on the Mother of God with towns, a hryvnia and three tsats hanging from it. Both are strewn with precious stones, mostly uncut. The Savior wears the same crown with small towns.
On the gold pellets along the margins of the image, the faces of the Holy Trinity, St. John the Baptist, Archangel Gabriel, St. Nicholas the Wonderworker, St. Basil of Paria, Theodore Stratilates, John Climacus, Venerable are painted in niello. Sergius and Anastasia the Romans.
Since, according to ancient custom in Rus', on St. icons often depicted Saints named after members of some family; then in the Saints on the icon of the Mother of God of Joasaph, the names of the family of its owner are probably immortalized; for here we find Saints John the Baptist, Theodore Stratilates and Anastasia the Roman, the same names as Tsar John Vasilyevich, Tsarina Anastasia Romanovna and Tsarevich Feodor. If the icon had been created by Tsar Fyodor Alekseevich, to whom this image was assigned by the inventory, then probably the Saints named after his parent and one of his spouses, Agathia or Martha, would have been depicted on the stones. More likely, this icon was a prayer service, a room one, and was given to him as a blessing from his parent, and entered the Cathedral, perhaps, after his death, as a tombstone, taken out.
The same applies to the name of the Joasaph icon: this is not found among the appearances from the icons of the Mother of God. And how the Patriarchs of Moscow, upon their accession to the Holy Throne, used to present the Tsar with St. icons as a blessing: either Joasaph I presented it to Tsar Mikhail Fedorovich, or Joasaph II presented it to Tsar Alexy Mikhailovich, from whom it could be inherited by his son and successor Fedor under the name of Joasaph. (P. 8-9)
Image of the Position of the Robe of the Lord
Similar in style to the Capponi calendar and the icons painted in the 17th century by the Stroganov Society of Zoographers, this image is also remarkable in its content.
The Persian Shah Abbas, as evidence of his friendly disposition towards Tsar Mikhail Fedorovich, sent to him, among other gifts, with the Georgian Urusambek, 1625, March 11, part of the Lord's robe in a golden ark decorated with precious stones. In his letter, the Shah announced that, after the conquest of Georgia, he found this shrine in the Metropolitan sacristy.
Although Patriarch Filaret accepted this sacred treasure with joy; but since it came from the unfaithful king, he consulted with his sovereign son about whether the word of the unfaithful could be accepted without true testimony. Then Filaret and the consecrated cathedral began to examine it. In the ark, as stated in the district charter, “a part of a robe, in length and across a span, was found in the ark, the linen, if reddish, looked like shoals, or would have changed its face in ancient years, “and the fabric was in linen.” The Patriarch of Jerusalem Theophan, who installed Philaret as Patriarch, was in Moscow at that time, and with him the Greek elders Nektarios and Ioannikios: the Moscow High Hierarch and addressed them with questions about the robe of the Lord. Nektary answered that he himself saw this shrine in Georgia in a church called Ileta and heard from the local clergy that it was once brought there by a soldier who was in Jerusalem at the crucifixion of I. Christ, and was marked by many miracles. The words of Nektarios were confirmed by Ioannikios, and other residents of the East confirmed the truth of the traditions of Palestinian and Greek Christians about the robe of the Lord. The judicious Filaret did not stop at human testimony, no matter how reliable it may seem; but he used a spiritual remedy. After his consultation with the Bishops and spiritual authorities, a seven-day fast and prayer service was established, and in order to find out the will of God and to discover the truth, it was commanded to place this shrine on the sick and sick. Many miracles justified the authenticity of the shrine and the faith of those who accepted it.
After that, the Robe of the Lord was solemnly laid in the large Assumption Cathedral and the annual holiday of the Laying of the Robe of the Lord was established, which is still celebrated on July 10. To store the shrine, the Patriarch built a majestic copper tent on September 30, 7133, which occupies a place near Philaret’s tomb in the southwestern corner of the Cathedral.
N and the image, apparently from a contemporary event, in the interior of this tent shows the Tsar with three Saints, standing in prayer before the throne, on which the honorable and multi-healing robe of the Lord is placed. The tent is surrounded by spiritual authorities, monks, boyars and people. In the foreground, Mikhail Fedorovich, then 20 years old, is depicted as braless, in all the royal utensils; on the other side is the Patriarch, probably of Jerusalem, and behind him is the Moscow Patriarch and Bishop in miters. The five-domed cathedral, where all this action takes place, is presented in cross-section.
There is noticeable symmetry in the arrangement or composition of faces, so that in the foreground the figures are brighter and more prominent; but, due to a lack of knowledge of perspective, his faces in the second and third plans are the same size as in the first. However, they do not have the uniformity that we find on many ancient icons; for the turns of heads and faces are varied. For Russian Archeology, it is important to see the prehistoric, or the costumes of the spiritual authorities, monks, laymen of different classes - men and women. In general and in parts, decency is strictly observed, so that if there is no grace in this image, then there is no ugliness.
The coloring, if coloring can be called coloring, is distinguished by hardness, brightness, bonyness in high places and fluidity, which rightfully surprises foreign artists in the Capponian Saints, where we meet the names of royal icon painters in Moscow in the 17th century.<…>
Unfortunately, we do not know the name of the zoographer who painted this image, memorable in historical, archaeological and artistically; but, by comparing it with the works of the Royal and Patriarchal icon painters, who formed the family of the Academy of Arts at the courts of the Sovereign and Saint, we can reliably conclude that it is the work of their brushes. The copy from this icon, large in size, is among the local images of the Assumption Cathedral of the Trinity-Sergei Lavra. (pp. 29-31)
The attributes of tsarist power emphasized the power and wealth of the Russian state: the golden decoration of the palace chambers, the abundance of precious stones, the scale of buildings, the grandeur of ceremonies and many objects without which not a single Russian tsar can imagine.
1
Golden Apple
A golden ball topped with a cross or crown - an orb - was first used as a symbol of Russian autocracy in 1557. Having traveled a long way, the power came to the Russian monarchs from Poland, for the first time taking part in the wedding ceremony of False Dmitry I. In Poland, we note, the power was called an apple, being a biblical symbol of knowledge. In the Russian Christian tradition, the power symbolizes the Kingdom of Heaven. Since the reign of Paul I, the power has been a blue yacht crowned with a cross, studded with diamonds.
2
Shepherd's crook
The scepter became an attribute of Russian power in 1584 during the crowning of Fyodor Ioannovich. This is how the concept of “scepter holder” appeared. The very word “scepter” is ancient Greek. It is believed that the prototype of the scepter was a shepherd's staff, which in the hands of bishops was endowed with the symbolism of pastoral power. With the passage of time, the scepter was not only significantly shortened, but its design no longer resembled a modest shepherd’s crook. In 1667, the scepter appeared in the right paw of a double-headed eagle - the state emblem of Russia.
3
“They were sitting on the golden porch...”
The throne, or throne, is one of the most important symbols of power, first princely, then royal. Just like the porch of a house, which was created for everyone’s admiration and admiration, they approached the creation of a throne with special trepidation, and usually several of them were made. One was installed in the Assumption Cathedral of the Moscow Kremlin - this throne participated in the church procedure for the anointing of the autocrat. The other is in the carved chambers of the Kremlin. The king sat on this throne after the secular procedure of accepting power; on it he also received ambassadors and influential persons. There were also “mobile” thrones - they traveled with the king and appeared in those cases when it was necessary to present the royal power as convincingly as possible.
4
“You are heavy, Monomakh’s hat”
The “golden hat” is mentioned in all spiritual documents, starting from the reign of Ivan Kalita. The symbol-crown of the Russian autocracy was allegedly made by Eastern craftsmen at the end of the 13th - beginning of the 14th century and was presented by the Byzantine Emperor Constantine Monomakh to his grandson Vladimir. The last king The one who tried on the relic was Peter I. Some researchers claim that the Monomakh hat is not a man’s, but a woman’s headdress - under the fur trim, supposedly, there are devices for temple decorations. And the hat was made 200 years after the death of Vladimir Monomakh. Well, even if the history of the appearance of this attribute of royal power is just a legend, this did not prevent it from becoming the model according to which all subsequent royal crowns were made.
5
Byzantine mantles
The custom of wearing mantles, or barmas, came to Rus' from Byzantium. There they were part of the ceremonial robes of the emperors. According to legend, the Byzantine ruler Alexei I Komnenos sent barmas for Vladimir Monomakh. The chronicle mention of barmas dates back to 1216 - all the princes wore mantles embroidered with gold. Since the middle of the 16th century, barmas have become an indispensable attribute of royal weddings. From a gilded dish in the altar, at a certain moment they were served to the metropolitan by the bishops, who, in turn, received them from the archimandrites. After kissing and worshiping three times, the Metropolitan laid the barmas blessed with the cross on the Tsar, after which the laying of the crown followed.
6
“Oh, it’s early, the security is up.”
On both sides of the throne, anyone entering could see two tall, handsome men, the royal squires and bodyguards - the bell. They were not only a spectacular “attribute” at ceremonies for receiving foreign ambassadors, but also accompanied the king during campaigns and trips. The attire of the bells is enviable: ermine fur coats, morocco boots, fox hats... The place on the right hand was more honorable, hence the concept of “localism”. The fight for the honorary title of Tsar's bell was fought by young men of the best families.
7
Behind seven seals
The first known seal of the 12th century, carved from metal, was the imprint of Prince Mstislav Vladimirovich and his son Vsevolod. TO XVIII century Russian tsars used ring seals, tabletop impressions and pendant seals. The small weight of the latter made it possible to wear them on a cord or on a chain near the belt. Seals were cut into metal or stone. A little later, rock crystal and its varieties became the favorite material. It is interesting that from the 17th century they began to produce seals with a removable legend - text, which allowed the new king to use the seal of his predecessor. At the end of the 17th century, Russian tsars had more than two dozen different seals, and the seal of the European engraver Johann Gendlinger with a mighty double-headed eagle served the Russian monarchs for more than a century, until the end of the reign of Nicholas I.