Old Believer icons: which images belong to the Old Believer and their names

The history of the emergence of Old Believer icons begins with a sensational reform in religion, which Patriarch Nikon decided to carry out. It was the middle of the 17th century when the Russian Orthodox Church was shocked by the upcoming changes. Even the fact that the reform did not touch upon the issue of religious dogma, but only assumed the introduction of certain replacements in the external ritual side of the service, did not stop the process that led to the schism. Separation from the official church due to the contradictions that arose became a decisive moment in the history of the emergence of Old Believer icons.

Icons in temples

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An important feature of an Old Believer church is its special icons: copper-cast or handwritten, written in the so-called. "canonical style".

Interior decoration of Old Believer churches

Images in the Italian or Renaissance style, which are easily found in churches of the Moscow Patriarchate or Uniate churches, are simply unacceptable in Old Believer churches. Therefore, if you see icons of a new style in a church, you can be sure that you are anywhere but in an Old Believer church, and here you will not be forbidden to venerate all the available icons after the service.

One of the New Believer icons (remake). Widespread

Catholic icon adapted to Orthodox iconography (remake). In the 20th century was widespread in the south of Russia and in Uniate churches. Now she can be found in any Mos.Pat temple.

Orthodox (Old Believer) icons

If the temple has icons of Tsar Nicholas II, St. Seraphim of Sarov. blzh. Matrons, then the temple definitely cannot be an Old Believers, since the Old Believers did not glorify these saints and did not paint icons for them.

You should also take a closer look at the headdresses of the saints and saints depicted on the icons. If they are crowned with black or white hoods in the shape of cylinders, then you most likely entered the church of the Russian Orthodox Church MP, because such hoods came into fashion after the reforms of Patriarch Nikon, while in the ancient Russian church monks and saints wore completely different headdresses.

Cowls in the Old Believer Church on the icon of the saint and on the Primate of the Russian Orthodox Church, Metropolitan Cornelius

On the icon of St. Luke in a cylindrical hood - the iconography of the Nikonian Church (new letter)

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“A pure image, worthy of veneration”... These words can define the copper-cast icons and crosses created by Old Believers in the vast expanses of Russia - in the monasteries of Pomerania and the workshops of Moscow, in the villages of the Moscow region and the Volga region, in hidden forges in the Urals and Siberia - during less than three hundred years from the end of the 17th century. until the beginning of the 20th century.

The new period in the history of copper foundry is inextricably linked with the Old Believer movement in Russia, when in the second half of the 17th century, after a schism in the Russian Orthodox Church, opponents of the reform of Patriarch Nikon were forced to flee from persecution by the authorities, flee from the center to the remote outskirts, and hide in the forests. In such difficult conditions, it was the Old Believers who preserved and continued the ancient Russian traditions of copper casting. It was difficult to constantly transport large temple icons to a new place.

Bulky icons fell, cracked, broke, the paint layer crumbled, and it was difficult to hide them during constant searches. Cast icons turned out to be more suitable for the conditions of constant wandering. Therefore, it is in the non-priest concords, mainly among the Pomeranians, that copper casting flourishes. Like priceless relics, ancient copper-cast icons were carefully inserted into frames-cases and placed in wooden painted or carved folds.

But the Old Believers not only preserved the ancient Russian heritage, but also created their own special religious and spiritual culture. Copper-cast images, “as having undergone purification by fire” and not created by the hands of “creators,” received widespread veneration among the people. The variety of form, iconography, composition and decorative decoration, Old Believer copper-cast crosses, icons and folding objects is amazing. And hot multi-colored enamels and fire gilding enhance their decorative effect.

Three-leaf copper folding "Deesis"

Three-leaf Deesis folding doors were in great demand. They were cast in different sizes - from small, travel size, for wearing on the chest, to a large ceremonial image for prayer.

Three-leaf copper fold "Deesis with selected saints"

It was during this period that folds of new iconographic types were born. Among them is the tricuspid fold “Deesis with selected saints”, or, as it is often called, “Nine”. Indeed, there are nine figures on the fold. In the middle there is the Savior on the throne with the Mother of God and John the Baptist present; on the left panel are depicted the Apostle John the Theologian, St. Nicholas the Wonderworker and Metropolitan Philip, on the right panel are the Guardian Angel and the Venerables Zosima and Savvaty of Solovetsky.

Four-leaf copper folding “Twelfth Holidays”

I would also like to separately note the four-leaf fold with the image of the Twelfth Holidays - the so-called “large holiday wings”. This fold, which is an entire traveling iconostasis, was extremely popular and not only among Old Believers. Everything in this copper-cast monument—the shape, the meticulousness of the miniature stamps, and the ornamentation of the outer side of the second section—testifies to the talent and high skill of the foundry workers of the famous Vygov “copper factory.”

The saints, deeply revered by the people, were and remain the support of the Russian land. This is confirmed by numerous copper-cast icons and folds, to which Russian people throughout the vast territory of Russia turned with their sorrows and joys, with words of prayer... The veneration of saints is associated with the concept of holiness - central in the history of salvation - and its bearers. The holy martyrs stand at the origins. Jesus Christ is the greatest martyr. Gregory the Theologian said about the feat of martyrdom: “Glorifying the memory of the holy martyrs, we not only participate in this celebration, we participate in the mystery of martyrdom, which these saints revealed...” Self-sacrifice at any time aroused and arouses sympathy in people, and martyrdom raised the individual to the height of holiness .

Copper icons depicting saints

The most revered and beloved saints, both in Russia and throughout the world, were and remain: St. Nicholas the Wonderworker (to pray to him for intercession, marriage, health and other help); Saint Nikita, beating the demon (helps in teaching, heals, casts out demons, helps to repent of sins and free oneself from the temptations of the devil, including drunkenness); Saint George the Victorious (he is the patron saint of the military, farmers, livestock breeders); Saint Paraskeva Friday (they pray to her for the protection of the family hearth; in marital infertility; for worthy grooms); Hieromartyr Antipas of Pergamon (they pray to him for healing, in particular from dental diseases); Saints Zosima and Savvaty of Solovetsky (they are the patrons of beekeepers, they also pray to them for help at sea from storms and drowning, for help to those floating on the water); Saint Sergius of Radonezh (they pray to him for the spiritual health of children and for their success in education); Holy Matrona of Moscow (they pray to her for pregnancy, health, marriage, conception, love, recovery, help); Saint Seraphim of Sarov (they pray to him for physical and spiritual healing).

Copper icons depicting the Mother of God

Separately, I would like to highlight the image of the Mother of God - all over Rus', in every home, people turned and continue to turn to Her as “an ambulance and warm intercessor.” The most revered icons of Our Lady of Kazan, Fedorov, Tikhvin and the Burning Bush. “For the enlightenment of the blind,” they pray to Our Lady of Kazan. They turn to Our Lady of Feodorovskaya with a prayer “for liberation from the difficult birth of wives.” “To preserve the health of babies” they ask Our Lady of Tikhvin.

Copper icon “The Burning Bush”

The Russian people consider Our Lady the Burning Bush to be a protector from fire and lightning. In folk life, people sometimes walked around a burning building with this image of the Mother of God to quickly extinguish the fire... There were many copper-cast icons and folding icons with revered images of the Mother of God, but the people especially loved the images and icons of the Mother of All Who Sorrow, the Joy of All Who Sorrow.

Encolpion-reliquary “Crucifixion of Christ”

Small copper icons and folds, easy to carry, durable and cheap, quite often served as a talisman - they accompanied the owner during long trips and travels. Often similar copper-cast objects were found far beyond the borders of the Russian land.

During the years of Soviet power, the production of copper-cast plastics ceased; only handicraft and limited-run products were created. But 70 years later, thanks to the successors of the traditions of Russian copper casting, this art began to be revived. Modern masters have tried to recreate all the diversity and former splendor of copper sculpture, inventing new versions, as well as duplicating old ones that were created earlier and were used by our ancestors. The poetry of art and metal has received a second life!

Three copper icons "Deesis with the Archangels"

One interesting feature is that everyone who picked up a copper icon or cross experienced some extraordinary inner feeling, perhaps this is due to their enchanting magnificence, severity and simultaneous softness, which attract and fascinate. Or maybe this feeling is the very grace of God?

Copper icon "Week"

Mortise stavrotheque-iconostasis with copper icons

“Vision to the Youth Bartholomew” M.V. Nesterov

Series of messages “Iconography”:
Part 1 - The symbol from Greek is translated as “sign” (symbolism of icon painting) Part 2 - Typology of the Mother of God icon ... Part 7 - Interpretation and abbreviations on COPPER-CAST AND WRITTEN CROSSES, ICONS, FOLDINGS Part 8 - Small stone sculpture in Russian church art Part 9 - Copper-cast icons of the Old Believers Part 10 - Coils for deferred Christians (the era of dual faith in Russia until the 12th century) Part 11 - Nevyansk icon - Southern Urals. Part 12 - Icon in the collection of the Art Museum. M. V. Nesterova: exhibition ORTHODOX ART until April 2, 2017 Part 13 - Today is the day of the Three-Handed Icon Part 14 - Icons from the collection of the Pushkin Museum of RT

.Church chant

If a Divine service is performed in a church, then an Old Believer church can be easily distinguished by the characteristic unison singing of the singers. The polyphonic znamenny chant characteristic of the modern Nikonian church and other chords, triads, and indeed any harmonic modes are prohibited at the Old Believer Divine Service.

For comparison, the Cherubic Song of the Znamenny Chant. The singers of the Russian Orthodox Church MP sing:

Of course, the chant is very beautiful, but church chant should not turn into a concert, bewitch, enchant with beautiful voices and harmonies, for this is prayer and nothing should interfere with the prayerful spirit at the Liturgy, during which God performs great sacraments.

Clothes of believers at the service

In the churches of the Moscow Patriarchate, the clothing of parishioners is of a free nature, this is especially noticeable when looking at the women standing in the service. They can be dressed in clothes of any style, stylish or casual, wear a skirt or trousers, and have a scarf on their heads, a carelessly thrown scarf that exposes their neck, or a lace cap that barely covers the back of their head, from under which strands of hair coquettishly fall out.

Confession in the Church of the Russian Orthodox Church MP. The girls' headscarves are casually thrown on; on the left, one of the girls is without a headscarf at all.

Patriarch of Moscow and All Rus' Kirill blesses children - girls with their heads uncovered - at a service in the Cathedral of Christ the Savior.

Such freedom in clothing is unacceptable in an Old Believer church, for the Old Believers adhere to a special, one might say cultic, strictness in clothing.

Women of the Old Believer Church know that they must come to church for a festive service in a long skirt, a white scarf and without makeup. On weekdays, any other plain scarf (not bright), and clothes should not be colorful or immodest.

Women at prayer in the Russian Orthodox Church Church

Men pray in the Old Believer Church of the Intercession of the Blessed Virgin Mary. During prayer they gird their loins with a belt.

Creed, Jesus or Jesus

Old Believer icon with the image of Christ

The reform of the church also changed the spelling of the name of the Son of God - instead of the previously accepted Jesus, the letter “and” became doubled. Thus, the long “and” was more consistent with the Greek special sign for the length of sound and the Universal practice for pronouncing the name of the Savior. The Old Believers remained faithful to the traditional “Jesus”.

In addition, about 10 changes to the Creed were made in the church books, which the Old Believers did not categorically accept. For example, in the words about the Son of God, “begotten, and not made,” the conjunction “a” was removed, and it became “begotten, not made.” The Old Believers called this arbitrariness and were ready “for a single az,” that is, for just this one letter “a,” to go to suffering and death, defending the canons of their faith.

Church service

Olonets Old Believer

Unlike the Orthodox, Old Believers strictly follow a certain system of bows during services. Nikon’s reform prescribed replacing the so-called prostrations (“throwing” - from the Greek word “metanoia”, repentance) with waist ones. The Old Believers did not follow this decree and still bow with four bows: the usual one - a bow to the chest or to the navel; middle - to the waist; a small bow to the ground and a great bow to the ground (the so-called “proskynesis”).

After the split of the Russian Church, the Old Believers remained faithful to the long-standing custom of making the religious procession clockwise (posolon), and the Orthodox, who followed Nikon, make the procession counter-solon, that is, in the opposite direction.

Instead of pronouncing the word “alleluia” twice, the Orthodox began to pronounce it three times - as a symbol of the Holy Trinity. In defiance of the “Nikonians”, the Old Believers claim that the twice pronounced “alleluia” together with “glory to Thee, O God” is the glorification of the Trinity, since the words “glory to Thee, O God” are one of the translations into Slavic of the Hebrew word “alleluia” - “praise God."

The Old Believers did not accept the polyphonic style of singing, retaining the so-called hook singing, which is a method of recording the melody with special signs - “banners” or “hooks”.

Old Believers

Lifestyle of the Old Believers

The customs of the Old Believers are very archaic. They lead a closed, often ascetic lifestyle. In everyday life, members of the community are quite modest and speak the Old Russian dialect. Old Believers do not recognize the modern benefits of civilization and produce everything necessary for life with their own hands.

Appearance

Looking at the appearance of the Old Believers, you might think that they stepped out of the pages of some ancient Slavic fairy tale. All men are bearded, wear old Russian shirts, always untucked, tied with a wide belt. Women wear headscarves that completely hide their hair and are pinned under the chin with a safety pin.

Among the Old Believer outfits you will not find bright colors, revealing styles, ties or other fashionable accessories. Girls wear only floor-length skirts or dresses, and all have their hair braided.

Sign of the Cross

Before the split of the Russian Church, all believers were baptized with two fingers (index and middle). They were folded together, slightly bent, and the rest were pressed against the palm. This gesture, which came to us from Greek Orthodoxy, is often found in iconography. It symbolizes two fundamental symbols of Christianity: the crucifixion and the miraculous resurrection of the Savior.

After Nikon’s innovations, the sign of the cross became three-fingered, as we know it today, but Old Believers continue to cross themselves with two fingers.

Bows during services

During services held before the church reform of the 17th century, believers performed four types of veneration:

regular – up to the chest;
medium - to the waist;
“throwing”, or small earthly - almost to the ground;
proskynesis - to the very ground.

As a result of the innovations, only waist bows remained, but the Old Believers still use the entire system of bows.

Wedding and family

The sacrament of Wedding among the Old Believers is higher than official marriage. At the same time, tying oneself to family ties if a man and a woman are related by blood up to the eighth generation is strictly prohibited. Divine services for the solemn occasion are held on any day of the week, except Tuesdays and Thursdays, adhering to Orthodox traditions that existed before the schism of the church.

The Sacrament of Wedding among the Old Believers is higher than official marriage

Old Believers do not recognize abortion, considering it a terrible sin, and therefore they have large families. A large number of children is not a hindrance, but rather the opposite. All members of the clan are engaged in a common cause, helping each other and distributing all benefits equally. The concept of “relative” for them may include more than one village, and therefore, in order to prevent incest, parents look for a mate for their child from distant settlements.

We advise you to study Prayer for Travelers

Old Believer traditions prohibit drinking alcohol and smoking tobacco. Only on great church occasions are you allowed to drink a couple of glasses of alcohol, but practically no one takes advantage of this permission.

Sacrament of Baptism

According to Old Believer customs, a child is baptized no later than the tenth day after birth. The name of the baby is given exclusively according to the calendar, and only members of the community should be godparents. All church utensils necessary for the ritual are washed with running water. They do the same with the pectoral cross after baptism - after cleaning it, it is put back on the baby’s neck.

Old Believers parents, unlike modern Orthodox Christians, are prohibited from being present during the Sacrament of Baptism next to their child. Interesting information

Old Believers do not recognize abortion, considering it a terrible sin.

Funeral of the Old Believers

For Old Believers, death is a natural process that is not given much importance. Supporters of the old faith also conduct confession and funeral services, but do not mourn the deceased.

Community members of the same gender as the deceased are invited to wash the body. Then the deceased is placed in a simple wooden coffin filled with wood shavings, and covered with a homespun shroud made of natural linen. They bury the coffin without closing the lid. Funerals according to ancient customs are also not held, and the things of the deceased are distributed to those in need.

Read also: § 4. Spread of Christianity.

Schools and features of Old Believer icons

Old Believer icons are generally divided into five large schools: Vetkovskaya, Pomorskaya, Navyanskaya, Siberian and Syzranskaya. Thus, for the Vetkovo school, the main motif (from the name) is flowers, branches with leaves, and the image of the Garden of Eden is often depicted. But Siberian icons are famous for their differences in the representation of the same images, finding their peculiarity in dissimilarity.

A characteristic feature of the icons of the Old Believers is the abundance of inscriptions along the edges and in the margins. These images are famous for their so-called dark faces, with barely visible contours that merge with the color of the wooden boards. Also, it should be noted that in the 18th century the official church banned Old Believer cast icons, which were another distinctive feature of Old Believer images that were cast from copper or tin, in some way reminiscent of modern stamping.

One of the icons accepted by the Old Believers, which depicts Jesus Christ, is the icon of Our Savior the Good Silence. It is found only among Old Believers, because the canons of the official church did not accept and to some extent prohibited the depiction of Christ in the guise of an angel, as he is depicted on the icon of the Good Silence, which in turn is divided into the Savior Wet Brad and the Savior Ardent Eye.

An equally important image in the Christian religion remains the image of the Virgin Mary. Old Believer icons are not without the appearance of the Mother of God, although with some differences. The icon of the Mother of God of Fire became the most popular among the Old Believers. Because of the color design (bright red, orange and scarlet tones), the icon was called “Fire-shaped”. The Blessed Virgin is depicted without the Child in her arms, as is customary for the official church, and Her head is turned to the right.

The most incomprehensible and unperceived icon for the Orthodox Church can be called the icon of the martyr Christopher the Psegolovets (Pseglavets).

This icon depicts a saint whose head is the head of a dog. Officially, the icon was taboo on May 21, 1722, when the Holy Synod banned several icons, including this one, for being “contrary to nature, history and the truth itself.” Many ancient icons with Saint Christopher were destroyed over time, but the Old Believers retained a significant part, continuing to honor the Psegolovets even after the ban.

The icon of St. Nicholas the Repulsive shows the image of St. Nicholas the Wonderworker, squinting his pupils to the left. Approximately, it appeared at the end of the 17th century, spreading among the Old Believers. The icon of the Saint is far from the Orthodox Church and would not be accepted by it through the use of such techniques as large eyes, a head of unnatural sizes (larger than expected), increasing psychological tension when viewing the icon. The meaning of the icon of St. Nicholas lies in the name itself and with its very image it turns the worshiper away from sin.

The meaning of the icons

It is difficult to give a general description of the meaning of Old Believer icons in general, because it depends on the specific image depicted on it. For example, the icon of the Savior, the Ardent Eye, has a protective meaning, and the icon of the Virgin Mary serves as protection from adversity and misfortune.

The opinion of those who consider it a sin to keep an Old Believers icon at home is erroneous if the owners themselves are not Old Believers. In fact, this is not something “criminal” and the icons continue to carry their meaning despite this “inconsistency” factor.

Welcome to Belovodye!

It has been noticed that each of those who at least once in their lives came across the phrase “Old Believer cemetery” had a feeling of something more than what is indicated in the term itself. And the point is not only that the concept of “cemetery” often denoted the spiritual center of the Old Faith. But the cemetery itself, in popular opinion, was perceived, both sensually and visibly, as different from the ordinary. In the people's imagination, pictures of the mysterious and unique cemeteries of Vyg or Kerzhenets arose... Or, at worst, a cluster of ancient wooden crosses unexpectedly discovered in a remote thicket, mixed with mossy stones, dotted with signs incomprehensible to the uninitiated.

Meanwhile, a visitor to many modern Old Believer cemeteries, especially new urban ones, will not immediately understand their religious affiliation. On the graves there are “standard” secular-type slabs, most of the surface of which is occupied by various texts and even portraits of the deceased. And among all this, in the corner of the slab, there is a modestly nestled cross, as a justification for the legal reason for placing this monument in this cemetery... Wooden Crosses turned out to be completely out of favor, and this is strange given the current advanced technologies for processing and preserving wood as a material. Reinforced concrete took the place of the tree. But even these relatively cheap, non-traditional materials, but traditionally proportioned Crosses, in our opinion, are preferable to standard slabs...

Of course, the basic rules of burial and commemoration for all faiths were developed by the Church, and the Old Believers are by no means an exception in this regard. The rules, in particular, required that the grave in Old Believer cemeteries should be oriented along the “east-west” line. The coffin is placed (lowered into the grave) with its feet facing east, and an eight-pointed Old Believer (Old Orthodox) grave Cross is placed at the feet. As numerous epitaphs say, “in the hope of a general resurrection” and its spiritual relief. Initially, the installation of the Cross had a purely sacred, spiritual meaning. According to popular beliefs, on the day of the Last Judgment, when the dead rise from their graves, the Cross will appear both as a support and as an opportunity to give thanks to the Lord... By the way, the custom of placing wooden Crosses on a “fresh” grave after the completion of the burial ceremony has been preserved to this day (then a temporary wooden cross may be replaced by a permanent traditional monument, but this should not happen before the fortieth day).

Humanity is alive with its memory. And over time, the sacred grave cross acquires the properties of a monument, because Memorable entries relating to a specific person or specific people began to appear on it. Initially these were minimal records about the name of the deceased and the year of burial, but over time the records became more and more numerous. And now, examining grave monuments even from the mid-nineteenth century, you can learn a lot about the life of the deceased, his well-being, place in society and other, sometimes most interesting, information.

It is safe to say that by the mid-nineteenth century, local Old Believers had fully developed public ideas about the types of monuments that met the strict rules of the Church and at the same time possessed a sufficient degree of information content, individuality and artistic execution.

Regardless of the difference in the forms of monuments (cross, stele, composition) and materials of manufacture (wood, stone, metal, combination of materials), these monuments had to meet the following conditions:

In addition to prayers, there is also a difference in customs and order of service:

Old Believer Liturgy	New Believers Liturgy
Proskomedia is performed during the reading of the Hours - the third, sixth and ninth.	Only the third and sixth hours are read. New Believers pray for the ninth hour in the evening, but often do not pray it at all.
Served on 7 prosphoras	Served on 5 prosphoras
Prosphoras are baked with sourdough	Prosphora is baked with yeast
Prosphora with a round seal depicting an eight-pointed cross	Rectangular seal, four-pointed cross
Prosphoras are brought to Proskomedia freshly baked and warm.	The prosphoras are cold and can be baked a few days earlier
Only one particle is removed (cut out!) from one prosphora	Many particles are taken out of the prosphora, according to the number of names commemorated
The Symbol of Faith and “Our Father...” sung only by the choir	The Symbol of Faith and “Our Father...” are usually sung by everyone in the church

We advise you to study Prayer so that everything works out in life

In an Old Believer church people cross themselves with two fingers. The priest also overshadows the Holy Gifts with two fingers.

The singing is only unison, in one voice, the chants are written in ancient, non-linear notation - hooks.

"Oktay." This is what hook znamenny singing looks like

Notes[ | ]

Media files on Wikimedia Commons

Zakharova S. O. Formation and development of Old Believer centers of copper casting
THE IMAGE OF THE SAVIOR NOT MADE BY HANDS - TRADITION AND INNOVATION (undefined)
(inaccessible link). Access date: August 5, 2012. Archived October 18, 2013.
Spas Bright Eye
Icon of the Mother of God Fire-shaped
A complete collection of decrees and orders for the department of the Orthodox Confession of the Russian Empire. - St. Petersburg, 1872. T. II. 1722 P. 294 No. 625 P. 293-295.
THE HOLY MARTYR CHRISTOPHER AND HIS ICONOGRAPHY
ST. NICHOLAS THE DISGUSTING
Icon of the Holy Martyr Avvakum. Early 18th century
Icon Andrey Denisov. Pomeranian letter. 19th century
Denisova E. V. — Lions on a mother-of-pearl icon: to clarify the attribution ISSN 2227-8788
Old Believer School
BLESS ME ICON (undefined)
(inaccessible link). Access date: August 5, 2012. Archived September 6, 2013.
The subject diversity of Old Believer copper casting I: The history of icon casting. Image of Jesus Christ
Tricuspid folding "Small Deesis". Vyg. Mid 18th century
Vetkovskaya icon
Nevyansk icon: traditions of Ancient Rus' and the context of modern times
History of the Nevyansk icon-painting workshop
In the Old Believer Church of the Dormition of the Blessed Virgin Mary, in the village of Gorodishche in the Lugansk region, the icon of St. Stephen, the first Christian martyr, began to flow myrrh.

General characteristic features of Old Believer icons

In general, we can talk about a number of characteristic differences common to the bulk of the icons adopted by the Old Believers. These include a large number of inscriptions made in the margins and on top of the pictorial layer. Also, icons made on boards are characterized by dark, sometimes barely visible faces, be it an Old Believer icon of the Mother of God, the Savior, or some saint.

But the question does not end there either. There is another important feature by which you can easily recognize Old Believer icons. Their difference from the official ones is often expressed in the fact that the saints are depicted holding their hands in a double-fingered position.

In addition, a fundamental difference lies in the spelling of the abbreviation of the name of Jesus Christ. The fact is that, among other requirements, the reform established the rule of writing two letters “I” in it - Jesus. Accordingly, this is how the abbreviation became. On Old Believer icons, the name of the Savior is always written in the old way - Jesus, and the abbreviation contains one “I”.

Finally, it is impossible not to mention another type of icon, which exists only among schismatics. These are cast tin and copper mortise Old Believer icons and crosses, the production of which is prohibited in official Orthodoxy.

Plot features[ | ]

Saved the Good Silence
. It depicts an angel with his arms crossed on his chest (as a communicant), dressed in a royal tunic and wearing the eight-pointed crown of the glory of God the Father. On both sides, next to the crown, the inscriptions “IC” below “Good” and “XC” below “silence” The non-canonical depiction of Christ in the form of “created” nature - an angel - is prohibited in the Russian Orthodox Church [1].
Spas Wet Brad
- an image of the Savior with a wedge-shaped beard and a left eye larger than the right[2].
Spas the Ardent Eye
- an image of the Savior with an elongated head, a dark face without a halo in blue clothes[3]
Our Lady of the Fire
[4]
Martyr Christopher the Pseglavets
. His icons “with a dog’s head”, along with some other “controversial” iconographic subjects, were officially prohibited by order of the Holy Synod of May 21, 1722 as “contrary to nature, history and the truth itself”[5]. The Old Believers continued (and still continue) to venerate Christopher Cynocephalus, and the ban on the “dominant church” only confirmed and strengthened this veneration[6].
St. Nicholas the Repulsive
[7] - an image of St. Nicholas with pupils squinting to the left.
Hieromartyr Avvakum
[8],
Nun Theodora
.
Andrey Denisov
[9] is one of the founders of the Vygoretsk monastery.
Tetramorph
- in the form of a direct prototype of the evangelists[10].

Like other Orthodox Christians, Old Believers revered icons dedicated to the Last Judgment and local saints: Zosima and Savvaty of Solovetsky, Varlaam of Khutyn, Alexander Oshevensky, Sergius of Radonezh[11]

The abundance of inscriptions in the margins is a characteristic feature of Old Believer icons. Wooden icons of Old Believers are usually characterized by dark faces[12]. The Old Believers were also characterized by copper and tin “cast icons”[13][14]. In the 18th century, official Orthodoxy banned the production of such icons.

“Pomeranian Answers” collected and analyzed extensive iconographic material; it was one of the first comparative iconographic studies in Russia.

Savior Almighty
Archpriest Avvakum and noblewoman Morozova
Annunciation, E. Andrianov
Anthony the Roman
Angel on Wednesday, Angel on Friday and Guardian Angel
Simeon the God-Receiver, 19th century
Lord of Hosts, 18th century
Four Moscow metropolitans, 19th century

Mid-18th century. Palekh (?)

Iconographic version of Nikola Otvratny

is considered inherent in the Old Believer tradition; many texts by researchers of Russian painting say that it was the Old Believers who cultivated this rare image of the revered St. Nicholas the Wonderworker. A characteristic feature is that the gaze of St. Nicholas the Wonderworker on the ancient icon is turned to the side, and the head is also turned, not to the right, following the gaze, but, on the contrary, to the left, which creates an even greater visual impact on the praying face of St. Nicholas. It is for this look that Nikola is called Disgusting - because he looks to the side, “turned his gaze away”, and also because his gaze is directed at the left shoulder of the person praying - after all, according to the beliefs of the Old Believers, it is behind the left shoulder that the demon is located (behind the right is the guardian angel ). Thus, the ancient icon turns the worshiper away from sinful thoughts and wards off troubles and misfortunes sent by demons.

Saint Nicholas

(Nicholas of Myra, Nicholas the Wonderworker, Nicholas the Ugodnik, Nikola, c. 270 - c. 345) - Christian saint, archbishop of Myra in Lycia (Byzantium). One of the most revered saints in Rus', he was revered in Russia as a miracle worker, a saint of God, a universal intercessor and helper, “a nourisher of widows and orphans.” Considered the patron saint of sailors, merchants and children. Also known as the defender of the slandered, often saving them from the fate of the innocently convicted. In European folklore - the prototype of Santa Claus.

Nicholas was very religious from early childhood, distinguished by modesty and simplicity, and completely devoted his life to Christianity. Saint Nicholas was loved and respected at home, not least because of his charitable activities. He became famous for many miracles during his life and after his death. In the old Russian version it was called Nikola, in the southern Russian version it was called Mikola. Saint Nicholas is commemorated: December 6 (19) - the day of his death (the so-called “Winter St. Nicholas”), May 9 (22) - the day of the arrival of the relics in the city of Bari (the so-called “Spring St. Nicholas”).

Age:	1750 - 1780
A country:	Russian empire
State:	good

Schools of the Old Believer Icon[ | ]

Nikola Otvratny (Vetkovskaya school)

Vetkovskaya icon. The main types of wood on Vetka are poplar. This wood is especially susceptible to the effects of the grinder beetle, which is why an icon painted on a Branch is almost always eaten away by the beetle. The thickness of the boards is large - 2-2.5-3 cm. The floral ornament of leaves and flowers, as well as cartouches with inscriptions, made by the best masters using the techniques of “tsinging” and “gold bloom”, is also characteristic of the Vetkovo masters, it showed the image garden of eden. The main motifs characteristic of Vetka: flowers, roses and pink bouquets, branches with leaves and flowers of apple trees, imitation acanthus leaves, grapevines, garlands, cornucopia, daffodils, shells. A distinctive feature of the icons of the Vetkovo tradition are strong highlights around the mouth - chin and the characteristic shape of the upper lip hanging over the swollen, forked lower lip. Vetka icon painters actively highlight the space between the lips, and sometimes the border of the lower lip, with cinnabar, which is an ancient tradition[15].

Holy Wisdom (Nevyansk school)

Nevyansk icon. Ural Old Believer icon painting begins to show features of originality, obviously, from the 1720-1730s, when the schismatics who had previously moved to the Urals from the center of Russia (from Tula) and from Pomerania (from Olonets) joined after being “dispelled” from the Upper Volga , Kerzhenets and from the areas bordering Poland (from Vetka and from Starodubye) new masses of Old Believers. The unifying role belonged to the chapel agreement of the Old Believers-priests accepting the priesthood. The city of Nevyansk became the center of the Old Believers of the Urals. Distinctive features of the Nevyansk icon: elongated proportions and solid gilding[16]. Currently, an attempt is being made to revive the school of the Nevyansk icon[17].
Pomeranian icon (with tundra soil).
Syzran icon.
Siberian icon.

It is known about the myrrh-streaming of Old Believer icons[18].

Examples of Mother of God icons and images of saints

Old Believer icons of the Mother of God also have their own characteristic features. The most common among them is “Theotokos of Fire.” It is distinguished from the usual generally accepted versions (varieties) of the Mother of God icons by the predominance of fiery red and scarlet tones in the overall color scheme, which was the reason for its unusual name. The Mother of God is represented on it alone, without the Child. Her face is always turned to the right.

Icons of Old Believer saints are also sometimes quite original and controversial. Some of them can sometimes cause confusion in the casual viewer. These, in particular, include the icon of the martyr Christopher the Doghead. On it the saint is depicted with a dog's head. Omitting the argumentation of such an interpretation of the image, we only note that this icon, along with some other similar subjects, was prohibited by a special decree of the Holy Synod in December 1722.

A special place is also occupied by Old Believer icons depicting the most famous figures of the religious schism in the past, revered as saints, but not recognized by the official church. This is, first of all, the leader of the Old Believer movement, Archpriest Avvakum, executed for his activities in 1682, the fanatical adherent of ancient piety, noblewoman Feodosia Morozova, as well as the founder of the Vygovskaya non-priest community Andrei Denisov. Old Believer icons, photos of which are presented in the article, will help to visualize the characteristic features of this type of church painting.

Which icons are classified as Old Believer icons?

Old Believers consider themselves the guardians of the ancient Christian religion, including in iconography. They do not recognize icons painted according to the instructions of Nikon’s reform.

Savior

On the icons of the Old Believers, the Lord is depicted in the Rublev style: the figure of the Savior is rotated 270 degrees, the fingers of the right hand are folded into two fingers, and the Gospel is open in the left.

Done in this manner:

"Savior Almighty";
"King of Kings";
"The Savior Not Made by Hands."

In the Old Believer doctrine, Christ is the King of Heaven.

Mother of God

The Mother of God was revered by the Old Believers as the protector and guardian of true Orthodox piety. Particularly revered in the 19th century was the image of the “Tikhvin Mother of God,” according to legend, painted by the Apostle Luke. The image of the Baby Jesus on the icon with the two-fingered blessing for the Old Believers served as proof of the “correctness” of the faith for illiterate believers.

Images of the Mother of God under other names, found in churches and houses of Old Believers:

"Vladimirskaya";
"Kazanskaya";
"Iverskaya";
"Shuiskaya";
"Three-handed";
"Burning bush";
"Smolenskaya";
"Mourning"

Old Believers consider the icons of the Mother of God miraculous.

Other Old Believer icons

In churches and houses of Old Believers they pray to icons with images:

St. Nicholas the Wonderworker;
John the Evangelist (silent);
the prophet Elijah in “fire”;
John the Baptist;
Archangel Michael;
Martyr John the Warrior;
Great Martyr Paraskovia;
martyrs Catherine, Barbara;
Martyr Uaru;
Saint Thekla;
Saint Paisius.

Menaion images with saints whose commemoration days fall on these days are venerated, as well as in honor of the main Orthodox holidays, the Last Judgment, and local saints.

How to distinguish an Old Believer church from a New Believer one?

It is sometimes difficult for a person with little church knowledge or little knowledge of the history of Orthodoxy to distinguish an Old Believer church from a New Believer (Nikonian) one. Sometimes a passer-by accidentally enters a church and tries to perform prayer and ritual actions “according to the new style” (for example, he rushes to kiss all the icons), but it turns out that this church is an Old Believer church and such customs are not approved here. An uncomfortable, embarrassing situation may arise. Of course, you can ask the gatekeeper or candle maker about the ownership of the temple, however, in addition to this, you need to know some of the signs that distinguish an Old Believer temple.

Schools of Old Believer icons

Schools of Old Believer icons:

Vetkovskaya icon.
Nevyansk icon.
Pomeranian icon (with tundra soil).
Syzran icon.
Siberian icon.

The Vygoretskaya (on the Vyg River) community in Pomorie was one of the first and, undoubtedly, the most significant Old Believers settlement. The initial composition of the community was predominantly peasant and monastic (monks who fled from Solovki after its capture by government troops), but its leaders were princes Andrei and Semyon Myshetsky-Denisov.

We advise you to study the Christian doctrine of the holy spirit

On Vygu, everyone was literate, hence the love for texts, which were often given a lot of space on the icon. The inscriptions are calligraphically beautiful. The “sunny” coloring of the images is bright, the fields are ocher with festive red-blue edges, and there is a golden background. (It was the late Moscow Old Believer workshops at the turn of the 19th – 20th centuries that mastered icons of a restrained, or even completely dark color, stylizing their works to resemble Donikon’s samples covered with darkened linseed oil.).

The faces are stern, the gaze is “seeking”, soulful, powerful fins stand out in relief above the light reddish-ocher, less often olive sankir. Careful elaboration of details, the presence of elements of the northern landscape are noticeable features of Pomeranian writing, which influenced the iconography of other Old Believer centers.

The Old Believers of the Urals included a variety of rumors and agreements (of some of them now no trace remains). In the first third to the middle of the 18th century, an icon-painting center developed around the Nevyansk plant, which was influenced not only by Vygoretsky itself, but by Veliky Pozhensky and Pomeranian icon painting in general. This is where the complexity of attributing icons from the period of formation of the Nevyansk style arises: some of them can, in our opinion, be attributed equally to both “Nevyansk” and “Pomeranian”.

I. L. Buseva-Davydova’s observation is interesting: she interprets the Vetkovo faces of saints with their textured noses and seemingly puffy eyes as an imitation of the masters of the Armory of the second half of the 17th century.

Indeed, Old Believer letters organically processed the trends of metropolitan icon painting and the influence of the Baroque. Vetkovo icon painting was at the level of the aesthetic demands of its time and was so popular that Old Believers masters received orders for the official church. The sources mention facts of Nikonians converting to the Old Believer traditions solely for the purpose of learning icon painting, and then working as icon painters of the official religion.

The rapprochement between Vetka and the Urals is undoubtedly explained by extensive contacts between Old Believers and Old Believer icon painters of the two regions. These contacts were forced, after government “forcings”, that is, the devastation of Vetka, but they were also voluntary. Usually, when an icon painter moved to a new place, he adapted to the local taste and style. An icon painted even just according to a different design with minor changes could be perceived as “dishonest” by the Old Believers who were committed to the letter of the ritual. But even under these conditions, an outside icon painter could bring something of his own, familiar, to the work.

Icons of Old Believer icon painting schools

The interest in the characteristic features of Old Believer icon painting centers among the authors of this article began many years ago with a frequently asked question: Nevyansk or Vetka? Does this or that icon belong to the mining Urals or to the Gomel-Bryansk region? Why are some icons from these widely separated regions so similar?

In recent years, research has been expanding in breadth and depth, defining the boundaries and features of icon-painting centers within these centers, as well as beyond them. Some of our previous doubts about attribution now seem naive to ourselves. But with the accumulation of information, new questions arise. In this article, we intend to use specific material to express only a few considerations regarding both general and special features of the icon-painting schools of the Old Believer, without pretending to be categorical in judgment, completeness of coverage of the problem and unconditional accuracy of attributions, especially since the framework of the genre does not allow us to go deeper into the argumentation. At the same time, let us make a reservation that the names of geographical areas in relation to icon-painting schools are used rather conditionally, since they include, as has now become clear, a certain set of icon-painting directions.

The quantitative predominance of Ural and Vetka icons on the antique market, with a relatively small number of Pomeranian icons, somewhat obscured the fact that the icons of Vetka and the Urals were largely formed under the influence of Pomerania, where opponents of Nikon’s church reform, who fled persecution, brought to perfection the northern traditions of everyday life and piety .

The Vygoretskaya (on the Vyg River) community in Pomorie was one of the first and, undoubtedly, the most significant Old Believers settlement. The initial composition of the community was predominantly peasant and monastic (monks who fled from Solovki after they were captured by government troops), but its leaders were princes Andrei and Semyon Myshetsky-Denisov. The community went through incredibly difficult living conditions, which developed a special strictness in communal relationships, division of labor and equality in property and consumption. As the economy developed, the Vygoretsk community began to establish trades on the side; community trading offices and agents appeared in Vytegra, Petrozavodsk, Moscow, Nizhny Novgorod and, what is especially interesting for us, in Starodubye and the Urals. At the offices there were inns and barns, religious communities were formed, the members of which, instead of hired workers, became, as a rule, participants in the profits.

The Pomeranians could not remain isolated for long from the “world of the Antichrist,” from which they initially fled, persecuted by the criminal inquisitorial “decree articles” of Princess Sophia. Gradually, the community leaders softened their isolationist ideology, already at the beginning of the 18th century they began to pray for the tsar, agreed to pay a double poll tax, and from 1722 they even began to supply deer to the imperial court. First for the wife of Peter the Great, then for Anna, calling themselves in the accompanying letters “the Empress’s pilgrims.” Since 1732, the Vygovites began to bear conscription duties, with the right to pay 120 rubles per recruit.

The high technological level of the economy based on the manufacturing division of labor and the carpentry and joinery craft developed for the needs of Olonets metallurgy also determined the high-quality technological level of icon board production . The board of the Vygov icon was carefully selected, properly dried, and ideally “ironed” on all sides. On Vygu, everyone was literate, hence the love for texts, which were often given a lot of space on the icon. The inscriptions are calligraphically beautiful. The “sunny” coloring of the images is bright, the fields are ocher with festive red-blue edges, and there is a golden background. (It was the late Moscow Old Believer workshops at the turn of the 19th – 20th centuries that mastered icons of a restrained, or even completely dark, coloring, stylizing their works as Donikon’s samples covered with darkened linseed oil.) The faces are strict, the gaze is “seeking”, soulful, powerful melts stand out in relief above the light reddish-ochre, less often olive sankir. Careful elaboration of details, the presence of elements of the northern landscape are noticeable features of Pomeranian writing, which influenced the iconography of other Old Believer centers.

Around 1720, a native of Mezen, P. Klokotov, together with the Solovetsky monk Feofan, founded a settlement on the Pizhma River, in the Pechora basin. Subsequently, the Velikopozhensky skete, which became a major center of Pomeranian Old Belief. Feofan lived on Vygu and brought master icon painters with him. Members of the new community were stubborn in their anti-Nikon radicalism and in 1743 chose self-immolation in the prayer house (88 people), when the monastery was besieged by a military team.

The Pomeranian icon, despite the presence of a typical, “classical” Vygov type, is quite diverse . The icons of the Velikopozhensky monastery have similarities with Vyg, but they also often represent completely independent phenomena. Northern icons are distinguished by the brightness of their colors, unexpected color solutions, and strong yet harmonious contrasts.

Pomeranian Old Believer letters did not arise out of nowhere, but appeared in completely new circumstances for Russian society. They represented a deep and bold reworking of the previous tradition. In Pomeranian icons, an attentive observer will find the beginnings of much of what later became widespread in the Urals and Western Russian lands.

The Old Believers of the Urals included a variety of rumors and agreements (of some of them now no trace remains). In the first third to the middle of the 18th century, an icon-painting center developed around the Nevyansk plant , which was influenced not only by Vygoretsky itself, but by Velikopozhensky and Pomeranian icon painting in general. This is where the complexity of attributing icons from the period of formation of the Nevyansk style arises: some of them can, in our opinion, be attributed equally to both “Nevyansk” and “Pomeranian”.

“Descent into Hell” - the type of drawing is traditional, an ideal board, belonging to the Ural area is almost undeniable for us (although a dealer we know from the Vetkovo region assured that he had encountered similar icons in the Mogilev regiong). Perm region or Southern Urals? The latter version is also supported by the inscription in pencil on the back: “To Ivan Ignatovich Vorobyov in Yuryuzan. 7 rubles.” However, a pencil is a city thing. In the everyday life of icon painters, it became established at the turn of the 19th – 20th centuries, the handwriting is sweeping, secular - the inscription is obviously late. And the price - 7 rubles - smacks of the pricing of the time of Nicholas II. The icon existed in the Ural region, but the inscription could have been made when the icon passed from one owner to another, even in the 20th century. It is interesting that the owner of the icon, in a fit of piety, erased the images of Satan, so that even the defeated prince of hell would not embarrass him during prayer.

There is an opinion that Vetka’s painting is of a reduced level compared to Nevyansk. But this is only partly true of the icons of the second half of the 19th century (at that time, however, Nevyansk for the most part changed greatly towards simpler, schematic and “frank” writing). In addition to the purely technical side of the execution of an icon, there is such an intangible thing as the spirit of the work. In the Bryansk Museum there is an icon of “Sergius of Radonezh” from the Vetkovo area, which cannot be called weak. Or, for example, a four-part series - Vetkov’s favorite stories at the turn of the 18th – 19th centuries. The backgrounds and fields were recorded in the 19th century with a deviation from the previous “solar” palette, but the faces are flawless, the clothes are meticulous. I. L. Buseva-Davydova’s observation is interesting: she interprets the Vetkovo faces of saints with their textured noses and seemingly puffy eyes as an imitation of the masters of the Armory of the second half of the 17th century. Indeed, Old Believer letters organically processed the trends of metropolitan icon painting and the influence of the Baroque . Vetkovo icon painting was at the level of the aesthetic demands of its time and was so popular that Old Believers masters received orders for the official church. The sources mention facts of Nikonians converting to the Old Believer traditions solely for the purpose of learning icon painting, and then working as icon painters of the official religion.

A typical late Vetka, like the Ural icon of this time, combines a somewhat simplified, but still very expressive design with emphasized brightness and festive color.

But no one, no matter who we approached, would attribute the rather early and badly damaged icon “The Exaltation of the Cross”. But a comparison with the icon “Protection of the Mother of God” from the Bryansk Museum convinces us that this is the Vetka region. Some impression of Yaroslavl painting created by the icon only emphasizes the fact that Old Believer icon painting centers did not exist in isolation. The interpretations of a number of iconographic subjects from the Yaroslavl, Ural and Vetkovo regions are very similar in basic parameters.

The rapprochement between Vetka and the Urals is undoubtedly explained by extensive contacts between Old Believers and Old Believer icon painters of the two regions . These contacts were forced, after government “forcings”, that is, the devastation of Vetka, but they were also voluntary. Usually, when an icon painter moved to a new place, he adapted to the local taste and style. An icon painted even just according to a different design with minor changes could be perceived as “dishonest” by the Old Believers who were committed to the letter of the ritual. But even under these conditions, an outside icon painter could bring something of his own, familiar, to the work.

For a long time, one of the authors considered the icon “Nicholas the Abominable” to be from the Urals - the contrasting wrinkles are very severe, the appearance of the saint is formidable. However, based on other features (back keys, the nature of the “flowers” on the omophorion...) the icon can be confidently attributed to the Vetkovo region. The plot itself - Nikola the Disgusting - is loved by Vetkovites. And upon in-depth contemplation of the image, behind the menacing face that is obvious at first glance, the hidden warmth and sincerity inherent in the Vetkovskaya icon appears, and even wrinkles, albeit sharp. And they are written in a different manner than on the Nevyansk icons.

“Paraskeva Pyatnitsa” is an image of the second half of the 19th century, when in some cases it was especially difficult to distinguish between the Urals and Vetka. End keys, thick board, moss, “originally” from Pomerania, soil, calm melted faces. Coinage in gold - the authors find it difficult to draw a final conclusion, Vetka or Ural. But you can trust the attribution of the Museum of the Nevyansk Icon - the Urals, 1860s.

The general conclusion from our experience of observing icons of Old Believer centers is that Pomeranian icon painting of the late 18th - early 19th centuries had a significant influence on the formation of the schools of Vetka and the Urals , while from an artistic point of view, for the most part, it remained at the same level as the works of other Old Believer centers achieved quite rarely.

Source: Andrey and Yuri Afanasyev. Magazine "Antiques" No. 6 (77), June 2010.

Story

The term “Old Believers” was formed in the early fifties of the seventeenth century. During this period, Moscow Patriarch Nikon, with the support of Tsar Alexei Mikhailovich, began to reform the Russian Orthodox Church. The changes began with the transition from Russian to Greek church charter - church books began to be brought into line with the Greek canons. The order of services began to change. “Amendments” were made to ritual actions. Such innovations caused protest among a significant part of society, consisting of the clergy, boyars, and common people.

The supporters of the old rituals were led by Archpriest Avvakum. The protesters refused to accept the reforms and called for a return to the original Russian Orthodox order. The authorities persecuted them, which led to the death of a large number of people - public reprisals, executions. In addition to physical violence, the Old Believers suffered moral oppression. By the tsar's decrees, unaffordable taxes were imposed on them, and it was forbidden to engage in agriculture and cattle breeding. The authorities turned a blind eye to the criminal actions against the Old Believers on the part of the “consenting” population - their food supplies were destroyed, their huts were burned, and they were deprived of their lives.

Such actions forced the Old Believers to leave their native lands and settle in remote areas. This is how Old Believer settlements appeared, where people devoted to their faith lived in accordance with its rules.

The situation changed with the coming to power of Peter the Great - he canceled the cruel decrees, the persecution stopped. However, the life and rights of the Old Believers were semi-legal:

Old Believers were prohibited from holding high positions;
baptism according to the old faith was not recognized by the current church;
marriages entered into by Old Believers were considered illegal;
Children born in such marriages were considered illegitimate.

Only towards the end of the 18th century did the “top leadership” realize that the ritual differences that caused the schism of the Russian Orthodox Church were insignificant. This is how Unity of Faith appeared.

Almost two million people of the old faith live in modern Russia. It is clear that now they are not oppressed, they are free to live wherever they want, and have equal rights with other citizens.

Schism in the Russian Orthodox Church

Disagreements in the Russian Orthodox Church began in the middle of the 17th century, during the reign of Patriarch Nikon. Nikon decided to carry out a reform affecting liturgical rites, theological treatises and icon painting. The Patriarch, with the support of Tsar Alexei Mikhailovich and the Patriarch of Constantinople , began to eradicate the ancient rituals that had developed in Russia over the centuries.

Changes were made to the Holy Scriptures, liturgical services, and it was forbidden to cross with two fingers. Some ancient icons were excluded from use as not complying with the new canonical rules. Modern Greek and Byzantine rites, iconography, and theology became the standard for the Russian Orthodox Church.

In this way, the Russian Tsar wanted to become the heir to the throne of the Byzantine Empire, and Nikon wanted to become the Ecumenical Patriarch of the Orthodox Church. Part of the Russian clergy categorically disagreed with Nikon's innovations. To convince those who disagreed, all methods were used, including torture, exile, and physical destruction.

The clergy who refused to accept Nikon's reform were declared schismatics. Believers who supported schismatics began to be called Old Believers/Old Believers. The persecution of the Old Believers continued until 1905, when Emperor Nicholas II issued a decree “On strengthening the principles of religious tolerance,” which equalized the rights of the Old Believers with Catholics and Protestants (but not with the Orthodox).

From that time on, in documents the word “schismatics” was replaced by “Old Believers.” Old Believer churches and educational institutions began to open.

Old Believers and Pagans

At the end of the 20th century, religious and quasi-religious cultural associations began to appear in Russia, professing religious views that have nothing to do with Christianity and, in general, with Abrahamic and biblical religions. Supporters of some such associations and sects proclaim the revival of the religious traditions of pre-Christian, pagan Rus'. In order to stand out, to separate their views from the Christianity received in Rus' during the time of Prince Vladimir, some neo-pagans began to call themselves “Old Believers.”

Christians and pagans

And although the use of this term in this context is incorrect and erroneous, the view began to spread in society that the Old Believers are really pagans who are reviving the old faith in the ancient Slavic gods - Perun, Svarog, Dazhbog, Veles and others. It is no coincidence that, for example, the religious association “Old Russian Inglistic Church of Orthodox Old Believers-Inglings” appeared. Its head, Pater Diy (A. Yu. Khinevich), called “Patriarch of the Old Russian Orthodox Church of the Old Believers,” even stated:

Old Believers are supporters of the old Christian rite, and Old Believers are the old pre-Christian faith.

There are other neo-pagan communities and Rodnoverie cults that may be mistakenly perceived by society as Old Believer and Orthodox. Among them are the “Veles Circle”, “Union of Slavic Communities of the Slavic Native Faith”, “Russian Orthodox Circle” and others. Most of these associations arose on the basis of pseudo-historical reconstruction and falsification of historical sources. In fact, apart from folklore popular beliefs, no reliable information about the pagans of pre-Christian Rus' has been preserved.

At some point, in the early 2000s, the term “Old Believers” became quite widely accepted as a synonym for pagans. However, thanks to extensive explanatory work, as well as a number of serious lawsuits against the “Old Believers-Yinglings” and other extremist neo-pagan groups, the popularity of this linguistic phenomenon has now begun to decline. In recent years, the overwhelming majority of neo-pagans still prefer to be called “Rodnovers.”

G. S. Chistyakov