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Order the manufacture of a wooden church iconostasis. Iconostasis production Iconostasis production company and son

Order the manufacture of a wooden church iconostasis. Iconostasis production Iconostasis production company and son

The Orthodox faith from time immemorial calls a person to cleanse his soul, to get rid of sins in order to achieve the Kingdom of Heaven. The symbolic gate between the earthly space and the heavenly world is the church iconostasis. It visibly separates the altar from the place of common visit, as if reminding a person that there is a certain line between him and the Supreme Creator. It is impossible for anyone to cross this line without the charitable 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 priests can enter the altar through them. For the eyes of the parishioners, the Royal Doors are opened only on special occasions. Latticed doors with carved patterns are hung with a symbolic veil that preserves the sacrament of the Holy Place and is lifted only a few times a year. Only on a special day can believers look at what is happening in the altar, absorbing with their own 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 North and South Gates. Unlike the double-winged Royal ones, they consist of a single leaf, and in their decoration they are inferior to the central entrance to the altar. Priests pass through the outermost 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, in the manufacture of the iconostasis, its multi-tiered structure is strictly observed. Each of the five rows has its own sacred meaning, which is displayed in the icons placed on it.

The arrangement of the tiers of the church iconostasis

At the very top of the iconostasis, in the Ancestral Row, the most respected place is occupied by icons with the faces of the Old Testament patriarchs. In the center is the "Holy Trinity". 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. Its name is characterized by Shrines, symbolizing the main Orthodox holidays, from Christmas to the Dormition. The Deesis row at its head places the icon of the “Savior”, supported on both sides by the faces of the Mother of God and John the Baptist, as well as by a host of Saints. It symbolizes the Deesis row of the Heavenly Church of Christ.

The very last, lower 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 character, in other words, the most revered in the area where the temple was directly erected.

The mere fact that near the iconostasis are the most important Christian sacraments, and he himself symbolizes the church from its origins to the Last Judgment, tells us about the importance of this symbol for Orthodoxy. In terms of its energy, supported by revered images, the church iconostasis is comparable to the power of faith and the purity of thoughts that the clergy and parishioners of the temple carry in themselves. It reveals the true close connection between the earthly world and the Kingdom of Heaven. Accepting Holy Communion from the hands of God's mediators and bowing his forehead in confession, the believer is under the invisible protection of the faces and symbols erected on the Orthodox church iconostasis.

MANUFACTURE OF AN ICONOSTASIS

Our workshop "North Athos" is engaged in the manufacture of turnkey iconostases from design to installation, painting churches and writing temple icons. How much does it cost to order an iconostasis? What makes up the cost. We will try to answer this and other similar questions in this article.
First you need to decide in what style it will be performed. The style of the iconostasis, as well as other elements of the decoration of the temple, changed over time. Now 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 the baroque, and the beautifully toned 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, carved items are 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 took shape in the 17th century. Its features are the abundance of gilded decorative elements. The manufacture of the iconostasis is as follows. First, each element is cut out of wood by master carvers, then these elements are covered with gesso, after which the details are gilded for polymer and polished to a mirror shine.
Ordering a baroque iconostasis is quite expensive. Perhaps this is the most expensive type of iconostasis. The cost increases both the high consumption of gold leaf and the complex and expensive work of the gilders.
The approximate cost of manufacturing a baroque iconostasis, currently in Russia, is 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 an iconostasis. Early Byzantine iconostases consisted of one row of icons and were usually made of stone. Over time, iconostases became more complex, new elements were added to them. The classical type of a five-row iconostasis developed around the 15th century, and consisted of the following rows: the Local row, the Deesis, the Festive row, the Prophetic row, the Forefather row.
In the center of the barrier above the royal doors are the images of the Deesis tier. "Deisus" in Greek means "supplication". The eternal and indestructible prayer of the Mother of God and John the Baptist, addressed to Jesus Christ.
On the icons of the deesis, these three figures are in the middle: in the center is the Savior, on the right is the Mother of God. John on the left.
Initially, they were written on the same board - this is how the earliest Russian deesis icons look like. Gradually the composition became more complex.
Images began to be written on separate boards, 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-figured central icon, images of the archangels Michael and Gabriel and the apostles Peter and Paul. And the deesis tier of the Assumption Cathedral of the Kirillo-Belozersky Monastery (XV century) already includes twenty-one figures.
In the 15th century, a high iconostasis with icons of a very large size appeared (nowhere, except for the Russian church, there is such a thing). The idea of their creation belongs, apparently, to Feofan Grek and Andrey Rublev. The images of the Deesis tier, written by them at the beginning of the century, are now in the Moscow Cathedral of the Annunciation.
Deesis was now perceived as a procession of holy prayer books - primates for the human race before the Savior; Therefore, the composition of personalities could change. depending on the time and place of creation of icons. It included canonized princes and hierarchs of the Church, locally revered saints. That. how exactly the figures were depicted depended on the central image. If the center of the composition was "The Almighty Savior", then the rest of the icons were half-length, and if "The Savior on the Throne" or "The 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 formed temperature and humidity. All construction and plastering work must be completed in the temple.

Selected photographs of the works of our workshop.

5. Gilding of the elements of the iconostasis

In cases where there are gilded elements in the project, the next stage is gilding. Usually we use mordan gilding, but we can also gild polyment (more expensive and complex gilding, in which gold is polished with an agate tooth).
Of course, gilding with gold leaf is quite expensive, both because of the high cost of the material itself and the cost of work. If it is not possible to order gilding with gold leaf, you can perform gilding with high-quality (not oxidized, and subsequently not turning green) gold leaf.

3. Making carved elements

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

MANUFACTURING PROCESS

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

1. Creation of a draft 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 refine the sketch in accordance with the wishes of the customer and, in the case of temples that are an architectural monument, to bring it into line with the requirements of the GIOP.

2. Development of a 3D model.

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

St. Nicholas Naval Cathedral in Kronstadt, 2012

Stone iconostasis in the Byzantine style. 19th century. Jerusalem

Modern stone iconostasis in the Byzantine style. Balaam.

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

Iconostasis with gilding

Currently, more and more eclectic iconostases are found, 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 project are being restored, for which it is difficult to design an iconostasis that is in harmony with the architecture of the temple and at the same time meets strict stylistic canons.
Secondly, in the manufacture of such iconostases, one can meet 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 is currently 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 North 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 North Athos, 2008

Byzantine stone iconostasis.

This type of iconostasis developed in the first centuries of Christianity and was widespread in Byzantium. It 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 the worshipers.
However, ordering a stone iconostasis is somewhat more difficult and expensive than an iconostasis made of wood. The fact is that there are few workshops in Russia that specialize in natural stone carving, and they value their work quite expensively.
As an alternative, you can order an iconostasis made of artificial stone. A good artificial stone practically does not differ from the real one, it allows you to make ornaments of any complexity and is comparable in cost to a carved wooden 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 nab. 37

So how much does an altar barrier cost?

Conversation with A.V. Vlezko, head of the Palekh iconostasis workshop

- People always strive to find the best combination between price and quality...

And it is right. Everyone wants to get the most for the money they have. However, it is important not only to hear the price, but also to understand what exactly it includes - the final cost is announced to you or an intermediate one, designed to interest you. It is not enough to make an iconostasis: it must be painted, finished with gold, delivered, assembled, icons painted, etc.

- How do you negotiate with the customer?

We immediately announce the final price. Everything is included in it: the project, materials, manufacturing, delivery, and quality assurance. This can be compared to buying furniture: you buy, for example, a kitchen - and then it turns out that you have to pay extra for fittings, delivery, assembly - about 30% more. Many manufacturers of iconostases do the same - and at first glance it seems that our work is more expensive. But we do not announce some attractive intermediate price, but an honest final one. The most productive approach is when people immediately say: “We have such and such an amount, what can you offer us?” And they indicate the task: for example, we need an iconostasis in a certain style with icons. And the joint creative search for the optimal solution begins.

- And if the customer himself does not know how much money he will eventually get?

Then another question is asked: "Let's dream: what would you like to see in the temple"? If the price turns out to be unaffordable, we are looking for options on how to reduce it. Altar barriers installed in an opening of the same size may have a different area. You can not cover the entire wall, but choose a one-two-tier altar barrier, or a triangular-shaped iconostasis with a center directed upwards and low side parts. We work in different stylistic traditions, so the choice of options is the widest.

- How to compare prices of different manufacturers, so as not to be mistaken?

It is correct to compare prices for the manufacture of an iconostasis only if you have a certain project and it is clearly known how, from what materials it should be made. For example: an iconostasis made of solid pine, finishing - beech, hand-carved, square such and such, icons in the old Russian style, delivery, installation. If the parameters are the same for everyone, I suspect that the price from different manufacturers will be about the same, maybe with a difference of 5-10%. The scope of work is the same, the material is the same.

- And what position in the list will the "Palekh Iconostasis" take: among those who have more or less?

I suspect that our prime cost today is one of the lowest in the country. We do not pay rent, as all premises and equipment are our property. We are on the periphery. Our people receive a decent salary, but it is lower than in Moscow and St. Petersburg. We buy materials in Moscow - but the logistics are well-established, delivery costs are minimized. We buy lumber in the Kostroma and Vologda regions, linden - in Nizhny Novgorod and to the south.

- What makes up the price of the iconostasis?

The frame can be made of solid wood or plywood, the carving can be machine or hand, the project - individual or typical - or with a significant part of the general solutions, passing from one work of the workshop to another. When architects and artists work, this affects the cost.

- Why can two iconostases of the same area, made of the same materials, differ greatly in price?

They can have different thread density, different number of icons. It is important how the icons are separated: by columns or ordinary frames, what decorative elements are used, how many rows are in the iconostasis. For example, is there a festive row - there are small, but expensive icons: multi-figured, complex. The style of the iconostasis influences the cost: as a rule, the iconostasis are very saturated with carvings, there are many icons in them - in fact, this is a wall of images separated by carved planks. The carving of the baroque iconostasis is voluminous and often covered with gilding - finishing is expensive here. Inexpensive solutions - iconostasis in the style of classicism: there are few elements of carving, a lot of free space. The simple archaic iconostasis in the Old Russian or Byzantine style, decorated with basma, or resembling a stone altar barrier, is also economical. Basma is also different. For example, in the 15th century, altar barriers were simply upholstered with metal with small chasing belts - and this looked interesting. And then they began to add more complex basma to the backgrounds of the icons.

- Can the decoration of the iconostasis be different?

Solid or fragmentary gilding, enamel painting, lacquer. It all depends on the taste and capabilities of customers. You can work with color in a very interesting way, paint the details of the iconostasis in two or three colors, apply partial gilding - today this is in demand: it looks rich and turns out to be more accessible than solid gilding. It is important that the customer, on the one hand, trust the experience and capabilities of the workshop, and on the other hand, take part in the development of the project. It is that mustard seed from which everything springs. Next is a matter of technology.

- What is the service life of the iconostases that are being created today?

If the base of the iconostasis is made of plywood, I assume that this period is fifty years, maybe a hundred, depending on the humidity and temperature conditions in the room. Plywood is layers of veneer glued together, so the issue is the durability of the glue. A wooden iconostasis can stand for four hundred years - such examples are known; it can be repaired. We do not make plywood iconostases - we work with solid wood: it can be pine, beech, oak, mahogany, etc.

- The tree must be protected from rot, bug - to ensure its durability ...

Modern materials protect wood from decay, moisture, bugs, etc. We process the iconostasis with them from all sides: paint, cover with impregnation, primer. Nowadays, most of the churches in which iconostases are installed are constantly heated during the cold season, so that the decoration does not suffer from humidity. Rather, on the contrary - due to excess heating, the room becomes too hot and dry, ventilation is not provided everywhere - and the tree may crack. It is necessary to observe the optimal regime of temperature and humidity in the temple - 16 - 18 degrees. The heat is harmful both for paintings and for icons. Previously, ventilation took place at least through windows - but today they are often made airtight. When we act as general contractors, we take all this into account.

- Do you make turnkey church interiors?

Yes. We can complete the entire interior of the temple - including plaster, floors, stained-glass windows, etc. By the way, when ordering a complex of works, we provide discounts. Starting to create an iconostasis, in any case, it is advisable to immediately design the entire decoration of the temple - at least in general terms: how the wall painting will be located, where the icon cases with icons, benches, lecterns will stand. It is possible to bring this project to life later, in stages, or not with us - but when creating an altar barrier, it is better to have all this in mind so that the interior turns out to be harmonious.

- Can you name approximate prices for the creation of an iconostasis with icons?

As the most economical option, you can focus on 100-110 thousand rubles per square meter - this includes the whole range of turnkey works, with delivery within 1000 km from the workshop. And the most expensive iconostases that we have ever made are two hundred and a few thousand per meter: rich gilded baroque carving, a solid mahogany base, decorated with chased icons of the Fryazh script. Well, the average price is 150 thousand. This is an iconostasis made of solid wood, table or baroque, with a fairly rich carving.

- How long does it take to create an iconostasis from scratch?

Take for example an area of 150 square meters. Design work will take 2-3 months. It will take another 4-6 months to make, depending on the finish. Icons will be painted simultaneously with the iconostasis itself. Installation is carried out in 3-5 days.

- Let's summarize what the customer receives by contacting the Palekh Iconostasis.

A unique, non-repetitive iconostasis at an average price, quickly and efficiently made from natural materials. Our capacities and twenty years of experience allow this.

Made-up report of the magazine "Blagoukrasitel" Interviewed by Alina Sergeychuk.

Making iconostases is one of the activities of our workshop. The first 3 iconostasis were created by us back in 1988-90 in a three-aisled church in the city of Abdulino, Orenburg region.

Since then, we have created dozens of different Orthodox iconostases of various styles in different parts of Russia.

When developing a project and making an iconostasis, we never repeat ourselves, each iconostasis made in our workshop is unique in its own way. Even if the lord or rector of the temple chooses an iconostasis already made by us as a model, the new iconostasis, while retaining the basic style, will differ in form from the previous one. The iconostasis is designed based on the architectural style of this temple, taking into account the details of the entire interior of the temple. For approval, several options for the iconostasis project are offered to choose from.

The whole team of the workshop works on the production of the iconostasis: designers, process engineers, carpenters, sculptors, painters, gilders and icon painters. Mostly graduates of the Samara Art College and the Samara State Academy of Culture and Arts work in the workshop.

Basically, the iconostasis made in our workshop consists of modules, carefully fitted to each other, which are made in a workshop in Samara (the base is separate, decorative details - columns, capitals, etc. separately) and assembled on the spot in the temple in a few days . For the manufacture of the iconostasis, various materials are used. The base of the iconostasis is made of pine timber and MDF or precious wood. The iconostasis can be painted like porcelain, like any wood or stone, details or carved, or cast from high-strength gypsum or fiberglass, pasted over with gold foil or gold leaf, partially or completely. Imported primers, paints and varnishes are used for painting.

The iconostasis is the main element of the decoration of the temple, as well as the Throne. Without them, it is impossible to conduct services in the temple. Therefore, already at the stage of construction of the temple, it is necessary to take care of the design of the iconostasis. Since the iconostasis should organically fit into the space of the temple, it must be designed taking into account the rest of the church utensils and in combination with the future painting of the walls of the temple. During the heyday of church art, the decision of style and decoration projects in the temple was often led by an architect. Modern architects very often do not know the basic principles of temple design. Therefore, for example, they build a temple with a small apse, where not only the iconostasis does not fit with deaco doors, but there is no place to put the Altar. Priests who approve such projects are poorly versed in the scale of schemes. Several times I came across such cases when an artist, submitting an iconostasis project for competitive consideration, shows, for example, an iconostasis project for the Cathedral of Christ the Savior, reduced to fit an existing temple, through the doors of which, after manufacturing, one will have to crawl sideways. And the commission of several people does not immediately pay attention to this. An artist who decides to make his own iconostasis must have extensive experience in this area under the guidance of an experienced craftsman.

Iconostasis fragment of the Kazan Mother of God Church of Bugulma Tatarstan

The history of the development of the iconostasis.

The Orthodox iconostasis has been transformed and changed over the centuries. In the earliest Christian churches, the altar was always separated from the main building of the temple by a curtain or partition in the form of a low wall. Eusebius of Caesarea wrote that in the 4th century in the temple built in Tyre, the Altar was separated from the rest of the temple by a carved partition (the prototype of a carved iconostasis). Fabric curtains were also used (iconostases on fabric are sometimes found in our time).

Byzantine altar barriers (iconostases) previously consisted of marble columns, with an architrave - templon and decorated with a cross. A veil (katapetasma) was hung from the altar side. The cross was depicted on the catapetasma. Currently, there are a lot of gold embroidery workshops that can make a veil for every taste. Basically, the veil is made of brocade. The main thing is that the veil can be easily moved away without getting stuck in the mechanism, therefore, if the opening with the Royal Doors is large, it is better to make the veil light from a thin material. During the service, an invisible connection takes place between the priest, who sings prayers in the Altar, and the faithful, who are in the central part of the temple, tremblingly grasp the words of the prayer. Therefore, the iconostasis must be designed in such a way as not to blindly block the space between the Altar and the common church. If the iconostasis covers the entire eastern wall, it is necessary to leave large openings in the iconostasis above the Royal Doors and the deacon's doors. If this is not possible, due to the design of the project, then the iconostasis can be moved a certain distance from the eastern wall, making it possible for the sounds of prayer to pass into the domed part of the temple and there, reflected from the sphere, reach the ears of the worshipers.

After the end of the iconoclastic period, from the beginning of the 9th century, icons began to be installed everywhere on the templon, as a result of which the partition turned into an iconostasis. Icons were placed in the free space between the columns of the iconostasis. The Byzantine iconostasis had two and three rows. In Rus', such iconostases are called table. The table iconostasis consists of several rows of icons mounted on beams (tably) and separated by thin planks. Beams and planks are covered with threaded plates. Usually the decor of the iconostasis has a shallow carving. Later, basma was used to make the iconostasis. Basmenny iconostasis consisted of planks with stamped decor on silver or brass plates. The most sophisticated master of basmen iconostases was considered to be the master who had more stamps with decor. The decor was nailed with small carnations to the wooden base of the iconostasis. Many craftsmen combine carving with basma elements. The table iconostasis is still widespread in Greece and Cyprus. At present, along with other iconostasis-making trends, in many iconostasis workshops that have grown in abundance throughout Russia, the table iconostasis is widely used. The production of a table iconostasis does not require such high costs as the production of a classical iconostasis.

The Byzantine iconostasis came to Orthodox Russia in the 11th century, where it underwent major changes, turning into a tall Russian iconostasis. There are two types of iconostases in Russian churches. The first type of iconostasis is located across the entire width of the temple, occupying almost the entire eastern wall. The second type of iconostasis occupies only the space inside the opening to the Altar. When choosing the type of iconostasis, it was necessary to take into account the size and acoustic capabilities of the temple. And of course, the size of the iconostasis was influenced by the material resources of the parish. Later, three-tiered iconostases appeared, which became widespread in Rus'.

The very first three-tiered iconostasis was made in Moscow in the 15th century. Icons for this iconostasis were painted by the famous icon painter Theophanes the Greek. Some time later, in the icon-painting workshop of Andrei Rublev, an iconostasis with the fourth prophetic row was made.

Modern historians associate the emergence of a high iconostasis with the specifics of worship in Russia according to the Jerusalem Rule.

another forefather row appeared in the Russian iconostasis in the 16th century. Usually the icons on this row depicted waist. By this time, an inextricable link between the Holy Scriptures from the Old to the New Testament had formed on the iconostasis. A classic five-tiered type of Russian iconostasis was created.

One of the reasons for the emergence of the high Russian iconostasis was that many of the built churches did not have paintings on the walls. As a result, in the future, the number of rows on the iconostasis continued to grow.

In the 17th century, another row of iconostasis appeared above the ancestral row with images of angels - seraphim and cherubs. Often they are carved on the iconostasis, crowning the icons of the upper row of the iconostasis. Later, in the iconostasis, a row of spanners was sometimes added (small icons equal in size between the thumb and forefinger - spans). These icons, brought to the temple by parishioners, began to be placed on the iconostasis for universal lightning. In many temples, you can see various icons hanging in disorder on the walls of the temple. In different parts of the temple, many icons depicting the Savior or the Kazan Mother of God and other saints can be adjacent, different not only in style and literacy of writing, but also in preservation. Sometimes icons occupy the entire space of the temple almost from floor to ceiling. And each parishioner came to pray to his icon. And if a dilapidated icon was placed in storage, there was a scandal. Therefore, all these icons began to be installed on the iconostasis. At the end of the 17th century, icons depicting the Passion of Christ began to be installed in the iconostasis: the Beating of Christ, the Carrying of the Cross, the Crucifixion of Christ, the Descent from the Cross, the Entombment, so another series of passionate ones appeared. At the very top of the iconostasis in many churches, they began to install a large Cross with the Crucifixion of Jesus Christ. On some iconostases, the Cross with the Crucifixion was depicted with the forthcoming Mother of God and John the Theologian. Basically, the Crucifixion of Christ was picturesque and decorated along the contour of the Cross with gilded carvings or engravings with gilding and enamels. At the beginning of the 18th century, iconostases began to be decorated with intricate carvings, gilded with gold leaf or potal. In the carvings on the iconostases there were birds of paradise, all kinds of animals, grapes and paradise fruits and flowers. Especially often on ancient iconostases you can see twisted pillars entwined with vines, symbolizing the Blood of Christ. The rich carved iconostases made by Russian craftsmen had a great influence on the development of the iconostasis art of Athos and Greece.

In Russia, most often the classic iconostasis was five-row.

In each temple, believers tried to put up an iconostasis, striking in its splendor. In the 19th century, iconostases made of marble and ceramics were developed, designed not only to decorate the temple and glorify Christ, but also to stand forever.

Today, iconostases of a wide variety of styles are made in Russian churches. In our time, artists have great opportunities for freedom of creativity in the manufacture of the iconostasis. Our workshop has rich experience in the development of various versions of the iconostasis. We will be happy to work on the development of an iconostasis project and its production in the style that is suitable for your temple and in accordance with the requirements of our time. In this difficult matter, it is better to trust real professionals.

The iconostasis is by far the most important piece of church interior. This is the face of the temple. It creates a certain prayer mood, solemn, taking you up or, on the contrary, warm, intimate, which is often found in small churches or aisles. The iconostasis usually has something in common with the architectural design of the temple and, along with the aesthetic, carries a very important semantic load, which lies in the icon-painting part. Therefore, the work on the iconostasis is the work of an architect, and an icon painter, and a process engineer in the case of complex structural solutions, and a sculpture carver, and a cabinet maker or stone specialist, as well as carpenters and gilders. The creative team "Sobor" brings together all these specialists, because. the production of iconostases is one of the most important areas of his activity. If you want to order an iconostasis, just contact us.

The iconostasis, combined with a light festive painting, forms a solemn architectural and artistic ensemble. The iconostasis is made using the rarest technique of using hot and cold enamels. The busy and complex iconostasis dissolves in the interior of the temple, becoming transparent and light, which creates a feeling of unearthly space - is this not a Miracle?
Made in a classic style to match the existing painting and interior to preserve the integrity and harmony of the interior space.
Project author: Oleg Romanenko. Iconography: Svetlana Rzhanitsyna, Alexander Golyshev, Sergei Cherny, Ekaterina Lukanina, Ekaterina Myts, Alexei Koshevoy, Irina Kolbneva. Artistic supervision of the carving: Andrey Vlasov.
The iconostasis, unique in artistic and performance terms, organically fits into the temple architecture. The light background, shading the exquisite gilded carving, gives lightness and airiness to the overall architectural design of the iconostasis.
Project author: Oleg Romanenko. Iconography: Svetlana Rzhanitsyna, Vyacheslav Simakov, Irina Kolbneva, Alexander Golyshev, Olga Spiridonova, Alexei Litovkin. Artistic supervision of carvings and basmen works: Andrey Vlasov.
The architecturally remarkable church of St. Elijah the prophet in Dydyldino is an interesting object for masters of church art. The main goal of the creators of the iconostasis is to ensure the integrity of the temple space with the richness and variety of artistic techniques and materials. The iconostasis organically fit into the interior of the temple and forms a single whole with the murals of the temple, made by the workshop "LiK".
Gothic forms, organically adapted to the Orthodox tradition, are the main architectural idea of the iconostasis. The plastic techniques of Russian Art Nouveau of the early twentieth century are also actively used. The iconostasis not only fits perfectly into the high architecture of the temple, but also enriches it a lot.
Project author: Oleg Romanenko. Iconography: Alexey Koshevoy, Ekaterina Lukanina, Ekaterina Myts, Olga Spiridonova, Alexander Golyshev, Andrey Zharov, Alexandra Zakhvatkina. Artistic supervision of carvings and basmen works: Andrey Vlasov.
The architect Oleg Romanenko developed the idea of an iconostasis, previously embodied by the “Sobor” workshop in the Transfiguration Church in the city of Igrim in Khanty-Mansi Autonomous Okrug. Here it was enriched in the central iconostasis with a relief plan, larger carvings and architectural finds that emphasize the beauty of the icons, which have no less artistic significance than in Igrim, since the same team of icon painters worked here, only in a larger composition. The more concise side iconostases are no less interesting and expressive.
The original architectural design of the iconostasis and the delicate unobtrusive decor in the form of carvings and basma frames favorably emphasize the beauty of the icons, the authors of which, well-known Moscow masters, especially showed a creative and spiritual approach to their creation. In terms of integrity and conciseness, as well as the skill of writing, the festive row is an architectural and pictorial frieze that unites all the pictorial solution of the icons of the iconostasis. The rhythms of the silhouettes of local images are very expressive.
The iconostasis is made of American walnut with basmen inserts in the Art Nouveau style.
Deep carving with elements of the Garden of Eden and animals is the author's development of the motifs of carved iconostases from the beginning of the last century. Life icons of St. Alexander Nevsky and Dimitry Donskoy - also a creative and independent development of icon painters. The same can be said about the rest of the iconography. Each image of the iconostasis is the result of a long and careful work of the artist, a creative approach and interesting solutions.
Icon painting: Svetlana Rzhanitsyna, Ekaterina Myts, Alexei Koshevoy, Ekaterina Lukanina, Olga Spiridonova, Alexei Litovkin.
The project of the basmen iconostasis was enriched with carved gilded inserts with delicate colored backgrounds. The icons, painted by some of the best Moscow masters, are painted on light backgrounds, emphasizing the airiness and lightness of the temple space.
The iconostasis of a significant church in Moscow (Bulgarian Compound) is not an exact reconstruction of the pre-revolutionary iconostasis. It focuses on the more ancient architecture of the temple, built in the best traditions of temple construction of the 17th century. Materials - oak and basma with carved gilded inserts, were also used in the destroyed old iconostasis.
The iconostasis of the lower church, quite brightly lit, is consciously conceived with an abundance of gold, which makes it a semantic dominant in simple and clear temple architecture and emphasizes the warmth of the sacred space.
Icon painting under the direction of A. Sokolov.
The restoration of the iconostasis in the Trinity Church of the Trinity-Lykov, a unique historical monument in the Naryshkin baroque style, is one of the most interesting and most responsible works of the Cathedral workshop. And if in the reconstruction of the carving the restoration task was solved exactly, which did not limit the creative possibilities of the carvers, who showed their skill with great force, then in icon painting the artists surprisingly retained their face with stylistic correspondence, which is undoubtedly very important and theologically justified when creating an image.
This iconostasis was created for the harsh north of the Khanty-Mansiysk Territory, where nature rarely gives people sunlight and warmth. Therefore, it has so much color, patterned carvings and gilding. The icon painters faced a rather difficult task - to make sure that the images were not lost in the abundance of color and gold, so that such an architecturally complex and bold iconostasis did not turn into another "carving". Whether they coped with this task is an ambiguous answer to this question. But it is precisely the ambiguity of this iconostasis that makes it a significant phenomenon in the church art of that time, which posed immediate tasks for church artists and stimulated the search for ways to solve them.