Novgorod School. 1130-1190
Russian Museum, St. Petersburg, 0.48 x 0.39 cm
The
name of this icon derives from the gold assist used by the painter to outline
and decorate the locks of hair of this angel. The painting is an excellent
example of Kievan art. The composition is extremely simple. Nothing distracts
the viewer from contemplating the beautiful face of the angel and from thinking
about the object of his gaze. If we say that the style of this painting
is a "classic" Kievan style, we mean the monumental quality of the composition,
the subdued colors, and some remote relationship between the angel and the
art of classical antiquity. The angel is so beautifully drawn that one may
suspect here a hand of a great master, perhaps a master from Constantinople
or his most gifted Russian apprentice. The eyes of the angel are soft and
seem to be looking past the viewer. There is a certain sadness and compassion
in the eyes, perhaps indicating the knowledge of the ills of this world
and a desire to ease the pain of the believers. This kind of detached look
reminds us that eternal life is promised to those who suffer for Christ
or remain faithful through many trials. The jewel in the angel's hair may
indicate that this is not an ordinary angel (which would be quite unusual
for icon painting) but one of the Archangels, probably Michael or Gabriel.
The shadows under the eyes, and the overal shape and size of the eyes lend
themselves to comparisons with the funeral portraits of Fayum and to the
best early icons discovered at the Monastery of St. Catherine at Mount Sinai.When I look at this icon, many things catch my eyes. The gold streaks in the angel's hair remind me of golden threads and the dark shadows under the eyes make him look tired and sad. His pursed lips show me that he is deep in thought. I like this icon a lot because of the mystery and of all the possible interpretations the viewer can make looking at the angel. [K.T.]
By Alexander Boguslawski
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