Iconostasis in the church.
Iconostasis of the Smolensk Temple of the Novodevichy Monastery. 2010.
Iconostasis - Altar partition, separating the altar and the middle part of the temple, from the north to the southern wall. Consists of icons located by tiers. The number of tiers is from three to five.
In the middle of the lower tier are Tsarist Gate. To the right of the royal gates - the big icon of the Savior, to the left of them - the icon of the Mother of God with a baby in his arms. On the northern and southern gates - Archangels Gabriel and Mikhail (sometimes holy deacons). Diakone doors are located behind the icons of the lower row on both sides. The icon of the secret evening is placed on the royal gates.
The second tier below contains the icons of the two-month holidays. This is the so-called "festive" row. It can still be called historical: he introduces us with the events of gospel history. The first icon here is Christmas to the Blessed Virgin, then Introduction to the Temple, Annunciation, Christmas, Presentation, Epiphany, Transformation, Entrance to Jerusalem, Crucifixion, Resurrection, Ascension, Descent of the Holy Spirit, Assumption. The number of festive icons can be different.
Third tier - Deesus icons. All this series symbolizes the prayer of the church to Christ who will end on a terrible court. In the center of a number directly over the royal gates and the icon of the "Last Supper", there is an icon "Savior in the Forces". Christ, sitting on the throne with a book, is depicted against the background of a red square with elongated ends (earth), blue oval (spiritual world) and red rhombus (the world is invisible). This image represents Christ as the Terrible judgment of all the universe. On the right is the image of John the Forerunner, the Baptist of the Lord, on the left - the icon of the Mother of God. It is not by chance that this is the "intercession" - the trade is shown in full growth of looking to the left and with a scroll in hand. On the right and to the left of these icons - the images of the archangels, the prophets and the most famous designers, which are the Holy Church of Christ.
Fourth row. If the icons of the third row are peculiar illustrations to the New Testament, the fourth row introduces in us during the time of the Old Testament Church. Here we depict the prophets, who heated about the coming: Messiah and the Virgin, from which Christ will be born. It is not by chance that in the center of the row is the icon of the Mother of the Mother "Oranta" ("sign"), or "praying", depicting a pre-lady with a prayer-raised hand and a baby on the bang.
The top, the fifth tier is called "French". Its icons refer us to events for even more long time. Here, the icons of the Old Testament Righteous and Pupratians - from Adam to Moses (Abraham, Isaac, James, etc.). In the center of the row, the Old Testament Trinity is placed.
The top of the iconostasis is crowned with the image of the crucifixion.
http: //azbyka.ru/dictionary/09/ikonostas ...
http://www.ukoha.ru/article/ludi/ikonocTac.htm.
Home iconostasis .
How to determine the place in the apartment, a country house, where to put the icons correctly? Is it true that icons need to be put only in the corner? How to place icons in the right place, in a specific sequence? Then you will have a home iconostasis, which will not only please the eye, but also to protect the house and its inhabitants, maintain the spiritual purity in the room, fill you with the feeling of goodness. Creating a home iconostasis can be a deed that brings us closer to God.
Previously, houses were built specifically in the calculation on the so-called "red corner". He was given the farthest corner of the hut, on the east side, diagonally from the furnace. In this case, both walls, adjacent with the "red angle", were with windows. It turned out that the iconostasis is located in the most illuminated place at home. Since the Orthodox Church's home iconostasis does not impose too strict requirements, from these rules can be retreated. These are the realities of our life - there is no place for the "red corner" in modern apartments. Just comply with the simplest rules. If possible, it is necessary to choose an eastern wall for the iconostasis. If it is difficult with this, not scary. Just find a free and easily accessible place for it, where nothing will prevent you from praying.
Mandatory condition - have two icons: Savior and Mother of God. The images of the Lord Jesus Christ and the Virgin, as the most perfect of earthly people, are necessary for every Orthodox. As for other icons, it is recommended to get the images of those saints whose names are named family members.
The iconostasis should be located in the distance from the TV (in modern life, he often replaces us as an icon), a video recorder, computer, music center and other household appliances. However, exceptions are made here. For example, in the work premises (offices, offices) it is not formed to put icons adjacent to computers.If the employee works at home, then the icon placed near the computer serves as a confirmation that this technique is used to distribute the good news that this, created by the hands of people the tool serves as a conductor of the Whaw Will.
Decoration of home iconostasis can be live flowers. Next to the home iconostasis should not be decorative items of a secular character - photos, vases, figurines, paintings, posters, magazine posters and so on. All this reflects the world of physical, material, such images are low and do not correspond to the purpose of sacred icons. Next door to the iconostasis, you can raise images of temples, types of holy land, calm landscapes and so on. It is important that all these species do not contain aggression, did not distract your view from the iconostasis and hung on a relative distance from it.
Domostroy prescribed to put icons in each room. In a person's consciousness, their number was to "pull the sky in the real world:" Every Christian should be in the house, in all rooms, cheat the holy saints, beautifully by the saint, and put the lamps in which in front of the holy images are lit in The time of the molding of the candle, and after the service it is quenched, closed with a curtain of purity for the sake of dust, for the sake of strict order and for preservation; And they should always be squeezed by a clean wing and a soft gloom to wipe them, and the room is always cleaning in purity. " The lower row of such an iconostasis was occupied by the icons "local", "on the bow." In addition to the icons of Christ and the Mother of God, this series occupied particularly personal images, such as the icons of the asoimented saints, blessed icons from parents and relatives, crestes and jackets with holy relics, lists of famous miraculous images; Finally, the icons of saints - assistants, prayers and intercessors in certain affairs.
It is believed that icons are better standing on a solid surface, and not hanging on the wall. Previously, the iconostasis was placed on a special shelf or even in a special locker - kyota - it is sold in all church shops. Before icons suspend or put a lamp. It should be lit during prayer, and on Sunday and church holidays she can burn all day.
In the iconostasis, there are usually three doors (gates), leading to the altar: in the middle of the iconostasis, right before the throne - the royal gates, to the left of the royal gates (in relation to the viewer, standing in front of the iconostasis) - the northern gates, on the right - southern. The side gates of the iconostasis is called Dyacon doors. Tsarist gate is made to open only during worship (in Russian worship only at certain moments). Only the priests can pass through them, making their own liturgical actions. Dyaconian doors can be used at any time for a simple (not having a symbolic meaning) of the entrance and exit from the altar. Also, they can, if necessary, be members of church batch (helping priests when serving).
Scenes icons in the iconostasis and their order have certain existing traditions. The iconographic composition of the iconostasis expresses the content and meaning of what is happening in the church of worship. However, some of the plots can be replaced or varying, which is caused by the historical development of iconostasis and the presence of local characteristics. The most common structure of the Russian iconostasis is as follows:
1- base row
2-way row (a - tsarist gates, b, in - side gates).
3 -Plick row
4 -deissive (apostolic) series
5- prophent
6- Pretchean
Lower range (or differently "Chin") - local
It contains royal gates with an image on two flaws and four evangelists. 
Sometimes only the Annunciation (figures of the Archangel Gabriel and the Mother of God are depicted). The growth of the saint is found, most often the compilers of liturgy - John of Zlatoust and Vasily of the Great. The framing of the royal gates (columns and the crowning cannon) may have images of saint, deaconov, and on top of the Eucharist icon - the proprietary of the Apostles Christ. To the right of the royal gates of the Savior icon, on the left - the icon of Our Lady, occasionally replaced by the icons of the Lords and Virgin holidays. To the right of the icon of the Savior is usually the temple icon, that is, the icon of that holiday or saint, in honor of which this temple is consecrated.
On the Dyacon doors, the Archangels Gabriel and Mikhail are most often depicted, sometimes holy archicalacons Stefan and Lavrenty, the Old Testament Prophets or high priests (Moses and Aaron, Melchizedek, Daniel) can be depicted, there is an image of a prudent robber, rarely other saints or saints. Dyaconsky doors are found with multi-digurized scenes on the plots of Books of Being, Paradise and scenes with a complex dogmatic content. The remaining icons in the local row can be any. This is determined by the desire of the creators of the iconostasis. As a rule, these are local icons. Because of this row and named local.
Second row - Deesus, or Deesus Chin
"Savior in power" - the central icon of the growth of deesus rank. Tver, about 1500.
Deesus Chin is the main number of iconostasis, from which its formation began. The word "deisis" translated from Greek means "prayer". In the center of Deesus is always the icon of Christ. Most often, it "saved in the forces" or "saved on the throne", in the case of a belt image - Christ Pantokrator (Almighty).
Rarely interconnected or even announced images. On the left and left of the icons of the upcoming and praying Christ: On the left - the Mother of God, on the right - John the Forerunner, then Archangelov Mikhail (left) and Gabriel (right), the Apostles Peter and Paul. With a larger number of icons, the composition of Deesus may be different. Either the saint, martyrs, reverend and any saints, pleasing to the customer, or are depicted by all 12 apostles. The edges of Deesus can be flanked by the icons of the bast. The saints depicted on the icons of Deesus should be turned into three quarters of the turnover to Christ, so they are shown by praying to the Savior. 
Third Row - Festive
It places the icons of the main events of gospel history, that is, the two-month holidays. The festive series, as a rule, contains the icons of the crucifix and the resurrection of Christ ("Descent to hell"). Typically turns on the iconic resurrection icon. In a more expanded version, the icons of the Passion of Christ, the Last Supper may be included (sometimes even the Eucharist, as over the royal gates) and the icons associated with the resurrection - "Wives of the Miron Southeth of the Coffin", "Foma's assurances". Ends of a series of await icon. Sometimes in a row there are no holidays for the Nativity of Our Lady and introduction to the temple, leaving more space to the icons of passion and resurrection. Later in a row began to include the icon "Exaltation of the Cross". In case there are several adhesive in the temple, a festive row can vary and shrink in the side iconostastes. For example, only gospel readings are depicted in the week after Easter. 
"Ascension" from the festive rank of the Assumption Cathedral in Vladimir. 1408 year. 
Fourth row - prophetic
It placed the icons of the Old Testament prophets with the scrolls in their hands, where the quotes of their prophecies are written. Here are not only the authors of prophetic books, but also the kings of David, Solomon, Ilya Prophet and other people associated with the barking of Christ's birth. Sometimes in the hands of the prophets, the symbols given by them and the attributes of their prophecies (for example, Daniel - a stone, who has been self-tapping from the Mountain, as the image of Christ Born from the Virgin, Hydeon is irrigated by Rusta Runo, Sickle from Zechariah, had a church gate to Ezekiel). In the center of a row, the icon of Our Lady, "concluding in Lona, the image of a born from her son in the village", or the Virgin with a baby on the throne (depending on the balan or growth images of the prophets). However, there are early examples of prophetic rows without the icon of Our Lady. The number of prophets depicted may vary depending on the size of the row. 
"Tsar David", icon from a prophetic series, Church of the Transfiguration, Kizhi Monastery
Fifth row - famous
It contains the icons of the Old Testament Saints, mostly the ancestors of Christ, including the first people - Adam, Eve, Abel. The central icon of the row is "Fatherland" or later the so-called "Trinity of the New Testament". There are serious objections to the possibility of using these iconography in Orthodox iconography. In particular, they were categorically prohibited by the Big Moscow Cathedral of 1666-1667. Objections are based on the impossibility of the image of the god of the Father, the attempt of which is directly made in the image of the Old Denmi (in the ancient times the Old Denima was the image of only Christ, the coming to embody). Another argument in favor of the refusal of these two icons is the view of the Trinity distorted. That is why in some modern iconostastes, the centrally of the French row is made icon "Trinity Old Testament", that is, the image of the phenomenon of three angels Abraham. The icon of Andrei Rublev is recognized as the most preferred iconographic carrier "Trinity". However, the image of the "Fatherland" and "Trinity of the New Testament" received strong distribution and are still used in icon paintings. 
"Abraham". Icon from the French rank. OK. 1600 MIAR.
Completion
The iconostasis of the cross or the crucifix icon is completed (also in the shape of the cross). Sometimes the icons of the upcoming, as a conventional crucifix icon: Our Lady, John theologian and even sometimes Longin's wife and Sotnik Longin sometimes.
Additional rows
At the end of the XVII century, iconostasis could have the sixth and seventh row of icons:
* Passions apostolic - an image of a martyr's death of 12 apostles.
* Passion of Christ - a detailed presentation of the entire history of the condemnation and crucifixion of Christ.
These additional rows of icons are not included in the theological program of the classic four-pyth-tiered iconostasis. They appeared under the influence of Ukrainian art, where these plots were very common.
In addition, at the very bottom at the floor level, the images of the pre-Christian pagan philosophers and Siville, with quotes from their writings, in which the prophecies of Christ were seen. According to Christian world population, they did not know Christ, but they sought to know the truth and could unconsciously give the prophecy of Christ.
Symbolism iconostasis
The emergence of the altar curtain is associated with the device of the Old Testament Jerusalem Temple, where the curtain covered the holy of saints. Behind the veil was the ark of the covenant with the srices of 10 commandments. Only once a year, on the day of purification, the high priest was part of the holy of saints with sacrificial blood goat and Taurus (Lion: 16), asking God to cleanse the sins of the people. The division of the Christian temple on the altar, Nao and the Pretake repeats the device of the Old Testament Temple. However, now the altar is the place of the execution of the Eucharist - became available for a person. The Apostle Paul calls the veil of the temple of the flesh of Christ: "So, breeding, having a daring to enter the sanctuary through the blood of Jesus Christ, by new and alive, which he reiterated us through the veil, that is, his flesh" (Heb.10: 19-20) . Thus, thanks to the atonement of mankind by Christ, people got the opportunity to enter the temple and holy saints, that is, Naos and the altar. But the apostle Paul points out the role in this very curtain. There are moments of evangelical history when the curtain is compared with the flesh of Christ. According to legend at the time of the Annunciation of Our Lady, being brought up with the Jerusalem Temple, a new veil for him. Comparison of the conception of Christ and the inclusion of the curtain can be found in the divine service: "Yako from the worm of the chervlenica, the prechile, intelligent bugger of Emmanuyev inwards in the womb of your flesh. The darkness of the Virgin is very reading with the Virgin "(B. Andrei Cretan Krynon Krytsky). This legend was reflected in some of the icons of the Annunciation, where in the hands of Maria holds a ball of red threads. A special understanding was received by the death of Christ's death in the Gospel: "Jesus, again, reopening a loud voice, I won the Spirit. And so, the curtain in the temple was irritating in two, from above-donomise "(MF.27: 50,51). So, the curtain did not just separate, closed the altar from the gaze, but herself portrayed the flesh of Christ that was inextricably due to the fact that Christians were taken here.
With the development of icon-compliance and later in connection with the formulation of church doctrine on the icon on the VII Ecumenical Cathedral (787), a symbolic veil could not be changed by a number of images. Instead of the Old Testament Symbol, it was necessary to show the New Testament reality. The barrier in the form of a row of columns also served by itself a symbol. The columns were often made by a number 12 (like 12 apostles), and the center of the barrier was married crosswise Christ. The appearance above the obstacle icon of Christ became a substitute for a symbol of his direct value. From here there is a chief series of iconostasis - Deesus (from the Greek "Deisis" - prayer). The "Deesus" composition depicts Christ in glory (on the throne or surrounded by the radiance and angelic forces) surrounded by the Mother of God, John the Baptist and other saints. Here is the moment of the second coming of Christ and a terrible court, when the church is praying to Christ the judge for humanity. The image of the 12 Apostles ("Apostolic Deesus") also resembles a terrible court when the apostles are sitting on the thrones along with Christ to judge 12 knees of Israel (MF.19: 28). At the end of the XVII century, there are deesus ranks that are located with sitting apostles, as in the icon of the "Scary Court".
The festive chin of the iconostasis develops the topic of the Church, United Christ, and shows the most important moments of the coming of the Savior in the world and the redemption committed by him - the two-month holidays. Resurrection of Christ as the main moment of the salvation of mankind from death and the elimination of people from hell to paradise usually preceded by a more detailed image of the events of passionate week, which is associated with the special allocation of these days in worship. Also show the most important events on the resurrection of Christ, testifying to the truth of what happened. Festive Chin is not just an illustration of the Gospel, but it allocates events that have an eternal meaning for humanity. It is also inseparable from the Russian service year, therefore there is no historical sequence of events, but their order in the church calendar.
Our Lady sign.
The prophetic row refers to the topic of Old Testament Prophecies and the omen about the Savior, who should come to the world. The prophets with all Israeli people waited for birth to the world of the Messiah. That is why the center of a number began to put the image of the Mother of God from which Christ will be born. At the same time, the icon of the "sign" was a common option with the image of Christ in the medallion against the background of the Virgin of the Virgin, as this iconography showed an incarnation into the world of God.
The fifth row, called the French, expanded the Old Testament theme. If the prophets lived after the law given by Moses in Sinai, then the most ancient righteouss are depicted here from Adam himself, who knew a single God and also had a promise of salvation. The central icon of the series was supposed to portray God himself in this case, in which these people believed. Therefore, therefore, the image of the "Fatherland" was placed here, showing all three hypostasis: Father, Son and Holy Spirit, through symbols available in Christianity. The image of the Old Denmi (Elder) is taken from the vision of the Prophet of Ezekiel and the Apocalypse of John the Bogoslov. If the original Danmy was understood as the sampering image of the Son's God, now they began to depict the Father, which can be found only through the embodied son. Christ himself - the second Iposta - is shown by the trap sitting on his father's knees, that is, in the iconography of Emmanuil. Spas Emmanuil call the image of Christ young, as a sign of his eternity. The Holy Spirit is shown in the form of a pigeon as he appeared at the time of the baptism of Christ. The medallion (glory) with a dove holds in the hands of the Fatterns of Christ.
Already in the XVII century, the permissibility of this iconography was questioned. In the "Fatherland", the image of the god of Father, which "is inexpressible, noticid, invisible, incomprehensible" (Liturgy John Zlatoust). Here it was combined with the image of Christ, who being a tipped father, was embodied and received a human appearance. This was added the symbolic image of the Holy Spirit in the form of a pigeon. A different image of the three hatdes created their unequal attention in the image.
In some modern iconostasis "Fatherland" replaced by the Icon of the Trinity in the iconography of Andrei Rublev or in an earlier version of the "Hospitality of Abraham". This image shows the phenomenon of God in the form of three angels who promised Abraham the birth of a son. Abraham already knew that the Savior will be bought from his offspring, so it is necessary to see the prophecy of the coming of Christ into the world. An option created by Andrei Steering, shows three angels without servants to them Abraham and Sarry. It is emphasized that those who came to be depicted by God's trocheus. Moreover, the Icon of the Rublev was transferred to the moment of the eternal Divine Council on how to save humanity, which will disappear from God. Here, God's son takes on the role of the Redeemer, which is docricted by the head of the sacrificial Taurus in the bowl on the table.
The crucifixion at the end of the iconostasis once again emphasizes that Christ is the Redeemer and the victim, thanks to which the church was created.
Deesus. Pskov icon of the XIV century.
Thus, the 5-tier iconostasis must be viewed from top to bottom. Initially, the iconostas shows the expectation of mankind of the Savior promised by God, then the phenomenon of Christ into the world and the redemption committed by it. Deesus "Chin is the completion of the historical process: he is an image of the church in its eschatological aspect." Here the saints are shown connected with Christ as a single body.
If on top down the content of the iconostasis shows the divine revelation and the housing of the salvation of mankind, the image of images on royal gates in the local row shows the path to rescue each believer. In the Annunciation of Mary agreed to become the mother of Christ, and the earthly and heavenly joined it. Also, the gates themselves connect the temple with the altar - the manner of the Heavenly Peace and Paradise. Through the evangelists, the news of salvation was held in all the ends of the world. Finally, in the image of the Eucharist over the royal gates, the adoption by people of Christ and the connection with it is shown.
As in the Eucharistic prayer on the liturgy, they are commemorated in faith by the Old Testament Fathers, Fathers, Patriarchs, Prophets, New Testament Apostles, Martyrs, Confessors, and then all the lives and in the temple of believers, and the iconostasis as it were not to be closed. He is continued by Christians gathered in the temple.
Home and hiking iconostasis
In residential buildings of Orthodox Christians, there is a very designated place for an icon - a red angle - in the device of which the principles of church iconostasis are repeated. There are multifigure icons of 16-19 explosives, containing images of Deesus, holidays and prophets, and sometimes (especially in the XIX century) of the entire multi-tiered iconostasis with a local side. In ancient Russia, such miniature iconostasis icons were called the "hiking church", that is, they could take themselves on a journey. 
Folding iconostasis of the hiking church of the Russian army.
Red angle in the hut or in the house
09:10 2012
The device of the Orthodox Temple (II). Iconostasis
Iconostasis It is one of the most important and obligatory elements of the Orthodox Church. The iconostasis is a partition separating the altar from the middle part of the church, referred to as the oil, and certainly styled by icons. Actually the last characteristic and gave the name "iconostasis" denoting "standing images, or icons" (from Greek. Eikonostasis: Icon - an image, an image + Stasis - a place of standing).
The iconostasis was not an invention of any responsible person or a creative figure, it was also not the result of the volitional effort of the ruler or church shepherd. The iconostasis became a carrier of the religious experience of a set of generations of different peoples, their search for the optimal arrangement of a cult building for the implementation of the main goal of religion - restoring communications with the Creator, interrupted by the fall of the first people, the restoration of the blasting. And therefore, no definition of the iconostasis, including those offered by us, can not include all the completeness of the values \u200b\u200band functions of the iconostasis. They are inseparable from the history of the Orthodox church, leading their origin from Old Testament events, church practice (church service, church sacraments), from church art (meaning and destination icon, its iconography and other features).
The basis of the iconostasis lay down three ideasBorn at different times of human religious history, whose interaction gave us what we see today in Orthodox churches and call the iconostasis.
FEOFAN GREK, Andrei Rublev, Prokhor with a city and others
Iconostasis of the Blagoveshchensky Cathedral of the Moscow Kremlin. XV-XVII centuries.
Scheme series:
A. Local series;
B. Podnynnyy series;
B. Deesus Chin. About 1405;
G. Festive row. About 1405;
D. prophetic row;
E. Brandy series
Location icon layout: 1. Savaof; 2. Our Lady on the throne; 3. Annunciation; 4. Christmas of Christ; 5. Claiming; 6. Design; 7. Baptism; 8. Transformation; 9. Resurrection of Lazarus; 10. Entrance to Jerusalem; 11. Last Supper; 12. Crucifixion; 13. Position in the coffin; 14. Descent to hell; 15. Ascension; 16. Descent of St. Spirit; 17. Assumption; 18. Vasily Great; 19. Apostle Peter; 20. Archangel Mikhail; 21. Our Lady; 22. Christ Almighty;. 23. John the Forerunner; 24. Archangel Gabriel; 25. Apostle Paul; 26. John Zlatoust; 27. Nikola, with miracles stamps; 28. Our Lady Tikhvinskaya, with miracles stamps; 29. Archangel Uriel.
Northern altar door; 30. Savior with the upcoming Virgin and John the forerunner, with saints in the fields; 31. Rama from the icon "Our Lady of Donskaya" with the image of righteous wives; 32. Pasch on the throne; 33. The Annunciation of Our Lady, with the stimples of Akathist. Temple icon; 34. John Forerunner, Apostle Peter and Alexey Man of God; 35. Archangel Rafail.
Southern altar door; 36. Saved with Swaddling Saint Sergius Radonezh and Varlaam Khutynsky, with Proverbs stimples; 37. "Four-Party" icon. 38-39. Propaic row icons; 40-41. Prophetic icons; 42-43. Mine tablet row; 44. Nicola Mozhaisky; 45. Saving the belt; 46. \u200b\u200bResurrection of Lazarus.
First, the oldest of the fundamental ideas of the iconostasis is associated with the submission of a sacred place, separate from the usual reporting world and is only available dedicated. Such premises existed in sacred structures in the pre-Christian period in all cultures, among different nations.
New Testament Temple It retains the traditions of the dispensation of the Old Testament tabernacle of the meeting and revelation, converting it in the light of the redemption of mankind by the Savior of the World and the opening of the kingdom of heaven. The image of the skill, obtained on Sinai by the Prophet Moses, was the embodiment of the idea of \u200b\u200bthe separation of the sacred place for the stay of God and communicate with him. Tabernacle(disassembled portable temple) had three main parts: 1) holy saints; 2) the sanctuary; 3) Tabernaya Courtyard. The most sacred part of the tabernacle - Holy Saints - symbolized the heavenly God's kingdom, so no one came to the Holy Saints of the Old Testament Temple, except High Priestwhich is allowed to enter there only once a year. It was kept here Ark of the Covenant. The holy of saints closed the "deaf" veil, separating the kingdom of God from the rest of the world, even from the sanctuary, in which every day in the morning and in the evening in the satellite of the inquisitiveness, the God's female resin was fired. The image and dispensation of the tabernacle were transferred to the stationary Old Testament Temple, built in Jerusalem the son of King David Solomon.
Four-row iconostasis of the Preobrazhenskaya Church of Kizhsky. Reconstruction
In the Orthodox Church Holy Saints correspond to altar. Before the coming of Christ and the atonement of the sins of human sins, no one could enter the kingdom of heaven, even the righteous, therefore the holy of the saints was closed. With Christianity, the world includes a new idea, the idea of \u200b\u200bthe New Testament is the redemption and opening of the kingdom of heaven to all people through the redemptive sacrifice of Christ. So in the traditional cult Old Testament construction includes this idea - the openness of the kingdom of heaven, which begins here, on earth, within us.
One of the most important religious philosophical thoughts is now available to everyone in the image: God's kingdom is, but it was closed in the Old Testament, representing the greatest secret of God - the secret of the divine word and sacrificial love, creating and preserving the world. Only the prophets spoke about it.
According to the Holy Scriptures, during the redemption, after the words of the Savior, emitting the Spirit: "happened", the sun focused, an earthquake and a curtain occurred in the Jerusalem Temple. The kingdom of heaven opened, through the sacrificial love of the Savior entered the world. And a person through faith in Christ opens the holy of saints - his heart is primarily for himself for himself. In a Christian, as in the temple, there is a kingdom of heaven, God is, communicating with man and through a person - with the world. Comparing the appointment of parts of the Old Testament and New Testament temples, we see how symbolically embodied the words of the Gospel: "The kingdom of heaven was approaching."
Three-row iconostasis
Double-row iconostasis
New idea The openness of the former sacred being was to affect the disruption of the temple, in relations between the Altar and the Neum (former Holy Saints and the Sanctuary). The interaction begins two ideas - openness and secrets.
The task for the Christian world is not simple. The mystery of Divine creativity and salvation opened and at the same time he remains a mystery. It opens for believers in Christ in their religious experience, gradually, through the sacraments of the Church, awareness of sins, repentance, checking their love for God and people, and this discovery is irrelevant and uneven for people, the knowledge of God is infinite and depends on the person and fisheries of God . And maybe the sacrament of the Eucharist - the mystery of the victims of God, constantly for the world that brings, - to be made in front of all people, among which there may be unbelievers, and just beginning their path in Christ? But the main thing - where is the measure that can be applied to the people who came to the temple? Who may be present, bringing a prayer with a reverent thrill, and who can interfere, distract the priest from the most important of all the cases of human - prayers, committing the sacrament of church?
Of course, such a measure is only in living God. And to establish such a measure on human permission - it means to return to reversal, from grace - to the law, and even established by people, to interfere with the liberation of his heart for God's leadership.
In the oldest Byzantine temples, the altar was not separated.
An excerpt from the text written in the IV century, it allows you to feel like in those days Christians experienced, perceived by the Eucharist: "Fear and the thrill covers the priest in this terrible for him and for the laity of an hour. In his extraordinary quality and in his office, he is evishing horror even to seraphim, there is a son from the dust of the earth as a redemputor, covered by a great fear. The Terrible King, mystically sacrificed and sacrificed, and - frightened spectators fluttering from fear of the Lord. " The altar meant the divine throne, causing the sacred shrog, and the Eucharist was held as "instiving the sacrament".
And over time it began to be used curtain (cataretasma), which was drawn during the commission. Quite early, judging by the description of the church writer IV century. Bishop of Eusevia Caesarian, has appeared so-called block - Low partition with the doors in the middle. Images of such obstacles are often found in the ancient paintings of the temples, especially in the compositions of the Eucharist. Later on this low barrier began to put icons, usually two, on the right and left of the royal gates.
The interior of the temple of the monastery in the choir - the most preserved its primordial species of the Byzantine Church in Istanbul (formerly. Constantinople)
This includes the third idea of \u200b\u200bthe iconostasis - icons like windows in the spiritual world. Being in the nefa of the temple, believers are not simply fenced off from the altar, but are facing the history of the salvation of humanity and in front of the spiritual world, to look and enter which every person can thanks to the many windows whose role is performed by icons, images of iconostasis. So the balance was found between the need to preserve the spirit of reverence when making the sacrament of the Eucharist and the possibility of presence and participating in it of every believer, and at the same time, only God knows the mercen.
In this form, it should be, the iconostasis moved from Byzantium to Russia and so existed until the XV century., When the iconist reaches a special heyday and the church begin to be filled with a variety of icons repeating almost all the temple wall painting. The icons on the altar barrier are already set in several rows, tightly to each other, and the obstacle itself is advanced, closing oriental poles, an altar and a diaconnik, or a sacristy, repository of sacred vessels, liturgical purposes, books, wines, prosphorated and other items necessary for worship and commit
In the XV-XVI centuries. There is a Russian type of iconostasis - high iconostasis. The Russian iconostasis is the most difficult and unlike Greek characterized by strict horizontal and vertical construction. Iconostasis, according to the perceived Greek-Byzantine tradition, has three doors. Middle doors are called royal gates, because only through them the priest puts the pace (bowl) with the holy gifts (under the guise of bread and wine - the body and blood of Christ), that is, the Lord himself, the king of glory, passes through these gates. On the royal gates, the Annunciation and Four Evangelical are depicted.
Other gates northern and southern, carry images of archangels or saints deacon (sometimes saint) and are called diaconianbecause they usually pass deacons through them. The priests pass through these gates during worship several times, and the bishop never, since, symbolizing Christ the Savior, he passes through the royal gates.
As a sign that after the atoning victim of Christ, the kingdom of heaven opened for people in the New Testament Temple, the altar opens at all the most important moments of worship. But only those who make a worship service can enter the altar or serving during him, only in church closure and only during the service.
Icons on iconostasis are located in a certain order, on tiers (or ranks, or rows).
Classic Russian high iconostasis looks like this. On right from royal gates located savior icon, but left - Mother of God with baby. Next to the icon of Christ are placed temple icon (It shows the holy or sacred event, which is dedicated to the temple). it local Yar.
Above the local one is located deesus (Decisian) (from Greek. D'EESIS is a prayer) a row, symbolizing the prayer of the entire heavenly church to Christ. Central icon of this series - "Savior in power" - depicts the Savior as a judgment of the whole world (in the royal or bishop closure on the heavenly throne). Left and right - images of the upcoming foremost in prayer God's mother and John the Baptist. These images symbolize perfect prayer, as in the Most Holy Virgin and John the forerunner of the highest holiness, which is possible for the human race. On the other side From the central images of the Savior, the Mother and John the Forerunners are located icons of praying apostles and other saints, so this tier is sometimes called apostolic.
Third Chin Wears title "festive", Because here, in strict accordance with the plot and compositional canons, the main Orthodox holidays are depicted.
Following, the fourth rank is a prophetic. It is placed icons of Old Testament Righteous - ProphetsThose who received a revelation of the incarnation of the Savior and the Virgin Mary. The icon of the Mother of God "Sign", symbolizing the entry of Christ, is located in the center of this series.
The fifth tier of the iconostasis - the French - Contains images pretchev - Old Testament Patriarchs and the Icon of the Holy Trinity in the center.
Directly over royal gates Located icon "Last Supper".
In the center above the top floor is the cross (Calvary) - A symbol of redemption of mankind and victory of Divine love over death.
Iconostasis of St. Isaac Cathedral
XIX century St. Petersburg
In ancient Russia, this type of iconostasis was the most common, although the number of tiers could and decrease to one row, with the mandatory image of a secret evening over the royal gates. Under the icons of the lower row, almost the most floors, even the images of pagan philosophers and Sivill were placed in ancient times, as they, although they did not know the true God, they sought him to knowledge.
Iconostasis, like the whole altar, is on an exalted placewhich is issued in the middle part of the temple and called salus.
The established rules and the formed traditions in the arrangement of Orthodox churches are strictly observed, but differences (not fundamental), due to the characteristics of a particular temple, are also allowed, therefore, each Orthodox church is also unique in its own way as externally and internally.
Orthodox church may have additional altarsForming temple feathers, respectively each altar has its own iconostasis.
Latin temples are also richly decorated.
The picture is the famous Golden Altar of the Cathedral in Seville, in Spain.
Comprises privor, middle Part and altar.
Focus - This is the western part of the temple. To enter it, you need to climb the steps on the elevated platform - porch. In the focus in antiquity stood jogged (so called those who are preparing for baptism). In the later times, the Pretache became a place where the Charter is committed: the engagement, lithium during a vigil vigil, the chin of the announcement, read the prayer of the prayers in a fortieth day. The attachment is also called the meal, since in antiquity in this part they were confused by the evening of love, and later the meals after Liturgy.
From the River Passion leads to middle partWhere during worship are praying.
Altar is usually separated from the middle part of the temple iconostas. The iconostasis consists of many icons. To the right of the royal gates - icon Saviorleft - Virginia. To the right of the image of the Savior is usually located temple icon, that is, the icon of the holiday or the saint, which is dedicated to the temple. On the side doors of the iconostasis depict the archangels, or the first deacons of Stephen and Philip, or the High Priest of Aaron and Moses. On the royal gates is placed icon Last Supper. Full iconostasis has five rows. The first is called local: in it, except the icons of the Savior and the Virgin, the temple icon and local appearance are usually placed. Above the local location festive A series of icons: the icons of the main church holidays are placed here. The following row is the name of Deisis, which means "prayer". In the center it is located icon of the Savior Assistant, to the right of it - the image of the Virgin, on the left - the prophet, the forerunner and the Baptist of John. They are depicted towards the Savior, who upcoming him with a prayer (from this and the name of the row). The images of the Virgin and the Forerunners follow the icons of the Holy Apostles (therefore, the other name of this series is Apostolic). Decisis sometimes depicts saint and archangels. In the fourth row - icons of saints prophets, in the fifth - saints pupratians, that is, the ancestors of the Savior in the flesh. Weld by the iconostasis of the cross.
Iconostasis is the image of the completeness of the kingdom of heaven, the throne of God is coming to God's Mother, heavenly forces and all the saints.
Altar - Place is special, holy, most importantly. The altar is the holy of the Orthodox Church. There is a throne, on which the sacrament of the Holy Communion is performed.
Altar - This is the image of the kingdom of heaven, the place of mountain, elevated. Three doors usually lead to the altar. Central are called royal gates. They are opened in the special, most important and solemn sites of the service: for example, when the priest makes the royal gates with the holy gifts, in which the king of Glory glory itself is present. On the left and right in the altar barrier are the side doors. They are called diaconski, as they most often pass during the service clergy, called diaconami.
Altar translates as elevated altar. And really the altar is located higher than the middle part of the temple. The main part of the altar - on which a bloodless victim is performed during the Divine Liturgy. This sacred effect is also called the Eucharist, or the sacrament of communion. We will say later about him.
Inside the throne there are the relics of saints, because in antiquity, in the first centuries, Christians committed the Eucharist at the tombs of the Holy Martyrs. On the throne is located antimine - Silk cards, which shows the position of the Savior in the coffin. Antimine Translated from the Greek means vMESTOPRESTOLLSince it also has a particle of saints of power and make the Eucharist. On antimine in some exceptional cases (for example, in a military campaign), you can make the sacrament of communion when there is no throne. On the throne is worth tabernacle, Usually made in the form of a temple. It has spare holy gifts for the communion of patients at home and in the hospital. Also on the throne - monstranceIn it, priests wear holy gifts when they go to compete. On the throne is located Gospel (read it for worship) and cross. Immediately behind the throne semidette - Large candlestick with seven lamps. The semots was still in the Old Testament Temple.
Behind the throne on the east side is alpine placewhich symbolically marks heavenly throne or the department of the Eternal High Priest - Jesus Christ. Therefore, the icon of the Savior is placed on the wall above the mountain location. On the mining point usually stand replaced image of the Virgin and big Cross. They are used for wearing during the processions.
In those temples, where the bishop is served, behind the throne on the stands are dietary and trikiriya - Candlesticks with two and three candles, which the people blesses the bonus.
In the northern part of the altar (if you look right on the iconostasis), to the left of the throne, - altar. It resembles the throne, but smaller. A satellite prepared gifts - bread and wine for the commitment of Divine Liturgy. It has sacred vessels and items: Bowl (or POTIR), paten (Round metal dish on the stand), star (two metal arcs connected between satellite), copy (a knife in the form of a spear), lyzica (Spoon for communion) pokrovtsy To cover the holy gifts (three of them; one of them, large and having a rectangular shape, is called air). Also, on the altar there are buckets for infusion in the cup of wine and warm water (heat) and metal plates for particles taken out of prosphorated.
In detail about the appointment of the sacred vessels will be told later.
Another altar object - censer. This is a metal cup on the chain with a cover crowned with a cross. Cadyl carbon and incense or incense (fragrant resin). Cadyl is used to invade Fimiam during the service. The fragant smoke symbolizes the grace of the Holy Spirit. Also, the cadyl smoke, rising up, reminds us that our prayers should be ascended to go to God as smoke Kadil.
In the Orthodox church, the iconostasis is an altar partition with several rows of icons separating the altar part from the rest of the temple space. According to the Orthodox calendar, the iconostasis consists of an icons located by tiers. The number of tiers is from three to five. The classic iconostasis is considered to be the Pyhylastic iconostasis, in which the plots of icons and their order have a certain meaning.
The iconostasis can read both from top to bottom and bottom up, but, as the priests say, it is better to perceive it as a single image. "The iconostasis is perceived entirely. It is very symbolic because he tells the whole story. The meaning of each row in the iconostasis is determined by the canon, and its content and filling depends on a particular temple. The whole substantive part of the iconostasis serves as a reminder of the establishment of the Church, covering all times, and including all the symbolic meanings of individual icons, "said AIF.Ru archpriest, the abbot of the church of St. Alexander Nevsky at MGIMO Igor Fomin (Father Igor).
Five rows of icons carry the following names: the top row is the principle, below - the prophetic, festive, deesus and the lowest row - the local, where the royal gates, altar doors, temple and local media icons are located. From the middle of the XVI century, as stated in the Orthodox encyclopedia, the northern and southern gates were mandatory, but they were usually suited only in large temples.
The lowest row of icons in the iconostasis describes the earth's life and exploits of the saints, above are the earthly path of Christ, his sacrifice and a terrible court, and at the top depicted prophets and forefathers who meet the righteous.
What do iconostasis rows symbolize?
Local series
The lowest row in the iconostasis is local. Here are usually placed local icons, the composition of which depends on the traditions of each temple. However, part of the local series icons is enshrined by a common tradition and is found in any temple. In the center of the local rank there are royal gates, which symbolize the doors of Paradise, the symbol of entry into the kingdom of God. On the right of the royal gates is the icon of the Savior, on the left - the icon of Our Lady, occasionally from replacing the icons of the Lords and Virgin holidays. To the right of the icon of the Savior is usually the temple icon, that is, the icon of that holiday or saint, in honor of which this temple is consecrated.
Over the royal gates is the icon of the "Last Supper" and the icons of the "Annunciation of the Most Holy Mother of God" and four evangelists.
Deesis (Deisis)
Behind the local one follows Deisis (in the lane. From Greek. - "Dairy", in Russian, the word has been fixed in the form "Deesus"). Here in the center of the icon of the Savior. On the right and to the left of it are depicted by the Virgin and John the Forerunner. They are followed by the Archangels, the saints, the apostles, martyrs, respectable, that is, the whole Sonm of the Saints, submitted by all the ranks of holiness. The meaning of this series is the prayer of the church for the world. All saints on the icons of this series are turned three-quarters of the turnover to Christ and are shown by praying to the Savior.
"There is no strict location of Deesus in the temples. As a rule, it is located above the royal gates. The Iconography of Deesus is diverse and differs in the composition of the saints, the number of figures. The minimum number of icons in the central range of the icon is the three is the Savior, the Virgin and St. John Forerunner. In this row can also be the icons of the saints, apostles, prophets, saints, respectable, martyrs. In your order, they are located or on the right or left. So there is no strict row in Deesus. He can be the second and third, "says Father Igor.
Festive
Festive describes the events of the Savior's earthly life. In this row there are icons of the two-month holidays (12 main church holidays - the Christmas of the Virgin, the introduction of the Most Holy Theotokos, the Evidence of the Cross, the Christmas, the Empty of the Lord, the Entrance of the Lord in Jerusalem, the Ascension, Pentecost, the Transfiguration of the Lord, The Assumption of Our Lady).
P rorochish row
The prophetic row of the iconostasis is the Old Testament Church from Moses to Christ. It consists of images of the prophets with unfolded scrolls in hand. Initially, the images of David and Solomon were placed in the center of the row, later - the Virgin with a baby.
Pratenacy
The top row is named French. This row is located above the prophetic and is a gallery of Old Testament Fights with the corresponding texts on the scrolls. In the center of this series, the image of the Holy Trinity is usually placed in the form of three angels - the phenomenon of God to Abraham as the Old Testament indication on the trinity of God and the reminder of the Empty Council of the Blessed Trinity on the salvation of man and the world.
The iconostasis of the cross or the crucifix icon is completed (also in the shape of the cross). Sometimes the icons of Our Lady, John the Theologian and even sometimes wives-myrrhos are put on the sides of the cross. The cross (Calvary) over the prophetic side is a symbol of the redemption of mankind.