"the Omen. Canon to the Most Holy Theotokos, signs from her icon in novgorod

The icon of the Mother of God, called "The Sign", depicts the Most Holy Theotokos, sitting and prayerfully raising Her hands; on her chest, against the background of a round shield (or sphere) - the blessing Divine Child - Savior-Emmanuel. This image of the Mother of God is one of the very first Her iconographic images. In the tomb of St. Agnes in Rome there is an image of the Mother of God with outstretched hands in prayer and with the Child sitting on Her lap. This image dates back to the 4th century. In addition, the ancient Byzantine image of Our Lady "Nicopeia", VI century, is known, where the Most Holy Theotokos is depicted sitting on a throne and holding an oval shield with the image of the Savior-Emmanuel in front of her with both hands.

The icons of the Mother of God, known under the name "Sign", appeared in Russia in the XI-XII centuries, and they began to be called so after the miraculous sign from the Novgorod icon that happened in 1170.

In this year, the combined forces of the Russian appanage princes - Vladimir, Smolensk, Ryazan, Murom, Polotsk, Pereyaslavsky and Rostov, - led by the son of Prince Andrei Bogolyubsky of Suzdal, approached the walls of Veliky Novgorod. The Novgorodians could only hope for God's help. Day and night they prayed, begging the Lord not to leave them.

On the third night, Archbishop Elijah of Novgorod, praying in front of the image of our Lord Jesus Christ, heard a voice: "Go to the Church of the Holy Savior on Ilyin Street, and take the icon of the Holy Mother of God, and put it in the prison of the opposing forces." Having performed a prayer service in the Church of the Holy Savior, Archbishop Elijah, in the presence of the praying people, raised the icon to the city wall.

When the icon was transferred, the enemies sent a cloud of arrows into the procession, and one of them pierced the icon-painting face of the Mother of God. Tears flowed from Her eyes, and the icon turned its face to the city. After such a Divine sign, inexplicable horror suddenly attacked the enemies, they began to beat each other, and the Novgorodians, encouraged by the Lord, fearlessly rushed into battle and won.

In remembrance of the miraculous intercession of the Queen of Heaven, Archbishop Elijah at the same time established a feast in honor of the Sign of the Mother of God, which to this day is celebrated by the entire Russian Church on December 10 (November 27). The Athos hieromonk Pachomius Logofet, who was present at the celebration of the icon in Russia, wrote two canons for this holiday. On some Novgorod icons of the Sign, in addition to the Mother of God with the Eternal Child, the miraculous events of 1170 are also depicted. The miraculous icon for 186 years after the appearance of the sign was in the same Church of the Transfiguration of the Savior on Ilyina Street.

In 1352, through prayer in front of this icon, those afflicted by the plague received healing. In gratitude for the numerous blessings performed by the Mother of God, the citizens of Novgorod built a special temple, and in 1356 the icon from the Church of the Transfiguration of the Savior was triumphantly transferred to the new temple of the Sign of the Most Holy Theotokos, erected in 1354, which later became the cathedral of the Znamensky Monastery.

Numerous copies of the Icon of the Sign are known throughout Russia. Many of them shone with miracles in local temples and were named after the place of the miracles. Such lists of the Icon of the Sign include the icons of Dionysius-Glushitskaya, Abalatskaya, Kurskaya, Seraphim-Ponetaevskaya and others.

Looking at the holy icons of the Blessed Virgin, believers are lifted up in spirit in prayer, asking for mercy and bounty, intercession for salvation and sending peace to our country and the whole world.

Song 1

Irmos: In the hart of the sea Hidden ancient persecutor, tormentor, under the earth hiding the saved children, but we, like young women, give the Lord drink, gloriously be glorified.

Yes, the multitude of Novagrada rejoices in Divine joy this day, seeing a warm Intercessor, granting a strange victory to the opposite, and may sing Divine songs.

I have exceeded the ladder on my skin, we see Thy icon today, Virgin all-blameless, we have given ourselves up to resistance by sight, we have surrendered to ultimate blindness, but we, looking at it faithfully, are getting rid of troubles.

In Christmas, do not accept aphids, the corruption of all of us, Virgo, change, saddening with motherly reproach, God-delighted.

Song 3

Irmos: Both, Christ, the Heavens are all affirmed, the Word of God and power, they confess the ineffable glory and the omnipotent hands of Thy creation, there is no blessing, unless Thee, Lord.

I am to the beasts, rushing to your flock, Most Pure One, but you crush those jaws and these are weak until the end of the show.

About the common shepherd, having given birth to the Lord of Christ, the Virgin Inseparable, to the One who prayed for real anger to deliver us and the opposite of the situation, the Lady.

Merciful, Merciful Born of the Savior, see the bitterness and sighing of Thy people, speed up, Most Pure One, and harbor.

Sedalen, voice 8

I preached the ancient prophets, the heavenly door, the burning bush, the illuminated candlestick, the golden censer, the handle and the rod gloriously appear to the wonderful saint today, commanding the people to dare and show a wondrous victory. The same grateful to Thee cry out: Virgin Mother of God, pray to Christ God of sins to grant us forgiveness, to you, the imams hope, your servant.

Song 4

Irmos: I wondered Thy reason from me, I heard the glorious command of Thy gaze, strengthened by the love of Thy descent, Thou art not rejected for my poverty.

O city that cleans Thee, Most Pure, and glorifies in due course, protect from the godless, Pure, foreigner, You are more, Most Pure, wealth is inalienable, cover and glory.

Creeping, like old Jericho, destroy Thy city, most pure Mother of the Word, surrendering ourselves ultimately to perdition by the power of Thy Incarnate, Mistress.

Behold, Pure One, save the singing Thy, wanting to be consumed by those who resist, save the one who has found a rebuke, the Mother of God.

Song 5

Irmos: With the union of love, the apostles are connected, Christ who reigns over all to himself, I cleanse my feet red, preaching the good news to all the world.

Warm intercessor to Thee who seek refuge and hopelessness, see the bitterness of Thy people and seek help, Most Pure One.

I am the fire that gave birth to the Divine, the Virgin, the nasty, the Most Pure, with Your prayer they hit with fire, like the Mother of the Creator, the All-Singing.

A true God-blessing, perplexed people, bewildered by your motherly prayers, and even ruin our opposite situations with your prayers.

Song 6

Irmos: I was quick, but not restrained in the persech of the whales of Jonah, your image of carrying, suffering and burial given, as if from the palace, from the beast from the outside, inviting the Custodians, keeping the vain and false, this mercy was left to nature.

And free the invasion of Thy servants, Most Pure One, and do not betray Thy inheritance to the end to perish, O All-Splendid, but by the power of Thy Born Opposite cast down.

Thou shalt not despise those who have sinned, but accept the prayer of Thy Mother for us, Generous, may they not boast of resistance - where is their God? - verbally, but let everyone understand that you, the Deliverer, art with us.

Now the time has come to help, now the need is changed, Pure. Pray to Thy Son and God, that he may take advantage of those who have sinned and deliver the impending wrath.

Kontakion, voice 4

Thy image of Thy sign is celebrated by Thy people, Mother of God, who Thou hast granted a wondrous victory against Thy hail. Even so, we cry to You by faith: Rejoice, Virgin, praise for Christians.

Ikos

Solve the darkness of my sins, lying in my mind, and enlighten me with Your light, Virgin, as if I can bring you praise, Praise the Father, and the Holy Spirit of autumn, the Son and the Word of God, possessed and imperishable from your most pure side past, with people get better. Even so, we, sinners and unworthy of Thy servant, are now completing the sacred triumph of the sign, which was Thy honorable icon, I have given Thou a glorious victory against Thy hail, and, from all the miracles that have been fulfilled, instead of fragrant aromas, it is only possible for us, earthly, to bring You praiseworthy , verb: Rejoice, Mother of God, the joy of Angels and men; Rejoice, strong hope and protection of Thy hail; Rejoice, for we cast down those opposed by Thy power; Rejoice, intelligent Sun Mati, faithful enlightener, unfaithful darker; Rejoice, Virgin, praise Christians.

Canto 7

Irmos: An unspeakable miracle! in the cave, the Redeemer of the reverend youths from the flame, in the grave he is dead, breathless he relies on the salvation of us, singing: God, the Deliverer, blessed art.

In a truly treasure, honest to Thy city, Thy icon, Most Pure, is given, even if we see it ourselves, we marvel at miracles and cry out to Thy Son: God Deliverer, blessed be you.

I sometimes spared the skin of the Ninevites for the sake of repentance, the Word of God, the preaching of Jonah the prophet, and here and there showed you in the image of Thy Most Pure Mother, Christ, crying: God Deliverer, blessed be you.

X Ram Thy God, Lady, leading, in the holy temple we raise our hands to prayer: see our bitterness and give us help.

Canto 8

Irmos: Be afraid of fear, Heaven, and let the foundations of the earth move: behold, it is imputed to the dead in the Alive, and in the grave it will be strangely received. Bless him, youths, priests, sing, people, exalt for all eternity.

From the primordial Word of the Father, the Most Pure Virgin, you gave birth to imperishable things, and you nourished from the breast. Pray to the Mother of God, from the situation of the enemy to save the singing Thee and exalting for ever.

By her same providence on the Throne, let us surpass Isaiah, this one in the beds, the Virgin, you have contained and you have given birth incorruptibly. Beg him to be saved by your servant who sings: children, bless the priesthood, sing and exalt Him forever.

E dina who is good, the most good Word, pray diligently for real anger, Thy servant will be delivered, with undoubted faith to Thy Son who sing: children, bless, to the priesthood, sing and exalt Him forever.

Canto 9

Irmos: From the tranquility of the Lord and the immortal meal in a high place with high minds, faithfulness, come, we will enjoy the ascended Word, we have learned from the Word, We magnify Him.

With a merciful eye from above, look at the city and Thy people, Most Pure, other help is not imams, only for You, All-Immaculate, and for You, Mother of God, we ceaselessly magnify.

E Dina, who gave birth to the incarnate Word, the all-chanting Virgin, pour out the ever-flowing source of healings by faith to those flowing to Thy temple, O Most Pure One.

Behold, Thy servant, cry Ty, Mother of God: Thy usual mercies to the city and Thy people mercifully show us, change the opposite situation to us, and we ceaselessly magnify Thee.

Svetilen

Jesus, the Most Pure One, having made Thy kindness grievous, the Word of God has been given to Thy and Thy intercessor to Thy hail, keep it with Thy intercession always, as we bless Thee, most blameless Otrokotitsa.

The most ancient image of the Mother of God "Sign" in Russia is the Novgorod icon, painted in the second quarter - the middle of the XII century. But the name "Sign" begins to associate with it, oddly enough, only at the end of the 15th century, especially clearly - from the 16th century, and is finally consolidated in the 17th. Apparently, they began to celebrate the holiday of the icon on November 27, even before the miracle of the Novgorodians appeared by it, which happened on February 25, 1169 (1170). In the Novgorod First Chronicle, it is reported that the Novgorodians defeated the Suzdal people "by the power of the cross and the Holy Mother of God", that is, any name has not yet been associated with the icon. The chronicler calls the icon simply "the Holy Mother of God", without a specific epithet. The word "sign" then, as usual, was used in the same sense as in V.I. Dahl: “A sign is a sign, sign, omen; stamp, tamga, seal; a natural phenomenon or a miracle for a sign, proof; the foreshadowing of something. "

The etymology of the word "sign" is directly related to the verb "know". Indo-European ĝen - "to know" is identical to ĝen - "to be born, to be born" and comes from this latter. It is the concepts “to be born” and “to know” that make up the meaning of the word “sign”.

Let's consider the symbolic and theological meanings of the iconography of the image. At the same time, let's not forget about the conventions of the language of the icon and the difference between the image and the depicted one. I.K. Yazykova writes: “At the moment of contemplating the icon, the one who is praying seems to open the holy of holies, the inner Mary, in whose depths the God-man is conceived by the Holy Spirit”. Let us emphasize this “as it were”. With this reservation, one of the meanings of the circle in which Emmanuel is depicted should be understood and perceived as symbol revelations. But anyway revelations- Divine sign. And although the most intimate is revealed to us, nevertheless, this is only the first stage of the icon's conversation with us, when a sign is a “foreshadowing of something”. On the second step, the Mother of God, knowing Savior even before Christmas, still in the womb, gives birth- on the icon, as it were, he sends forever - the Divine Infant into the world for the salvation of the human race.

The hands of the Mother of God are raised to the sky, they are open to meet the One who is higher than the whole universe, and at the same time they bless those who are praying. This is a very ancient gesture of prayer: according to Tertullian's testimony, the hands of Christians of his time lifted up and stretched out, "imitating the passion of the Lord." The prayerfully raised hands of the Mother of God also mean intercession for people before God. The inscription on one of the Byzantine seals of the early 13th century reads: "Stretching out Your hands and bringing Your intercession to the whole universe, give me Your cover, O Most Pure One, for what I must accomplish." With his hands raised to heaven, Moses also prayed during the battle between the Israelites and the Amalekites: “And when Moses raised his hands, Israel prevailed, and when he lowered his hands, Amalek prevailed; but Moses' hands became heavy, and then they took a stone and placed it under it, and he sat on it, while Aaron and Hor supported his hands, one on one side and the other on the other. And his hands were lifted up until the sun went down ”(Ex. 17: 11-12). Here, the significance of the entire psychophysical side of prayer is clearly confirmed: it is not enough to pronounce words in the heart, the posture of the person praying and his gestures play an important role. Let us also pay attention to the theme of light and grace that accompanies this gesture. The name "Aaron" is translated as "mountain of light", "Ohr" - "light". And the hands of Moses himself were "raised before the sun went down," that is, the hands supported by the "lights" reached out to the Light and received the grace of God. Likewise, during the liturgy before the throne, the priest stretches out his hands, exclaiming: "Woe we have hearts." Therefore, we can talk about the canonicity of this gesture, which has been used since ancient times in the liturgy, about a kind of connection through this gesture of the Old and New Testaments.

The same is inherent in the iconography of the Theotokos image "The Sign". And here we see the fulfillment of the Old Testament in the New. The Divine Infant in the pictorial relation is conditional, but eternally is born to the world to save him. Therefore, He is often placed in a mandorla, through the circles of which Divine energies seem to emanate into the world (again the theme of light and grace, reflected even in the color of Emmanuel's clothes). Mandorla in this case acts as sign movements - the movements of the Baby and the light. And when, during the siege of Novgorod, the arrow of the Suzdal people hit the icon and the icon turned away from the attackers, the Suzdal people thereby lost their light and grace, and the Novgorodians, on the contrary, received this grace for decisive action and victory over the enemy. Recall that the Greek. ενέργεια is translated as an active force, and a sign, according to V.I. Dalia, there is a sign. But in Greek. the sign - σημειον is a wonderful sign, not an ordinary one. In the Novgorod Festive Menaion (c. The second quarter of the XIV century), this word in relation to the miraculous icon is used precisely in the meaning of “omen”, “miracle”. Another purpose of the mandorla in this case is to emphasize the Christocentrism of the icon: both by concentric circles around the Infant God - “Light came into the world” (John 3:19), and by its high hierarchical status in the system of icon-painting symbols. The outstretched hands of the Divine Infant from the medallion Great Panagia(from the Greek Παναγία - All-Holy) indicate the penetration of eternity into time, and therefore - the abolition of time, which is characteristic of the Orthodox worldview.

So, the first meaning of the "Sign" icon is revelation. At the same time, it also has another meaning: Christians, for their part, recognize The birth and coming into the world of the Savior, know Him and testify of Him as recognized... That is, birth (γέννησις), in fact, takes place in the name of creation (γένεσις), in order to return creation to the Divine plan: so that man becomes a created god by grace. In other words, without separation and confusion, a dual unity of “God and me” arises - the unity about which S.L. Franc. Let us recall that the word “Deity” in theology indicates a property, to nature, and the word “God” refers to a Person. As a supertemporal or timeless act, the words of the prophet Isaiah are fulfilled: “Behold, the Virgin in her womb will receive and give birth to a Son, and they will call His name Emmanuel, which means: God is with us” (Isaiah 7:14; Matthew 1:23). In the 15th century, this text of Isaiah is presented not only on the icons of the prophetic order of the iconostasis, as in the Assumption Cathedral of the Kirillo-Belozersky Monastery, but also serves as the basis for free literary transcriptions, in which the word "sign" is used in relation to prophecy.

The religious experience of prayer communication with the icon allows one to discover in oneself a new state filled with Divine energies. The Greek term ένθεος - letters is suitable for its designation. "Filled with deity." This state is indicated by the words of Christ: "The kingdom of God is within you" (Luke 17:21). We are clothed in Christ, and Christ dwells in us. In this case, on the personal level, a real relationship is established between the Archetype and man through the medium of the icon, and on the public level, the icon becomes a national shrine. So the sacred guardian of Veliky Novgorod became the image of the Mother of God "The Sign". This icon was considered in Byzantium and in Russia also the patroness of the Church, which explains the frequent use of its iconography on the seals of monasteries, dioceses and metropolises, in the lunettes above the entrance to the temple, in the conch of the apses. There are grounds for establishing a connection between the image of the Mother of God "The Sign" with the icon of the Annunciation. If in the depths of Mary “the God-man is conceived by the Holy Spirit”, as I.K. Yazykov, then this is the beginning of the fulfillment of the prophecy about Emmanuel: the good news has passed into the stage of its implementation. Therefore, E.S. Smirnova is absolutely right, considering the images on the reverse side of the icon to be images of Joachim and Anna, and not the Apostle Peter and Martyr Natalia, as V.N. Lazarev with followers. The theme of the Incarnation is central for the icon "The Sign" (therefore, this iconography is canonical for the center of the prophetic rank of the iconostasis). Both sides of the famous Novgorod image with increasing content testify precisely to the Incarnation. Otherwise, the theological connection between the obverse and the reverse of this icon is lost, which contradicts the practice of church life. A similar connection was present in the overwhelming majority of portable Orthodox images.

A special rite in honor of the Mother of God, called the Rite of the Ascension of Panagia, is directly related to the icon of the Sign. But we know that Panagia is also called an encolpion - a small image of the Mother of God worn by the bishop on his chest over vestments, and a prosphora from which a particle was removed during the liturgy in memory of the Most Pure One. During the meal, the prosphora was always placed on a special dish - panagiar - with the image of Our Lady of the Sign, often surrounded by prophets. On the Byzantine panagiarias of the 12th – 13th centuries one can see the inscription: “Christ is Bread. The Virgin gives the body to God the Word. " The inscription was applied not only for the sake of decoration; its meaning was to mysteriously combine the rank Panagia and the meaning of holy bread - the body of Christ, received by Him from His Mother. So rank Panagia brings us back to the theme of the Incarnation.

The genealogy of the iconography of the Sign goes back to the depiction of Oranta, which in Russia was also called the "Unbreakable Wall" because "they considered the intercessor of" all cities, suburbs and villages "in the struggle against the eternal enemies - the steppe nomads." Is it correct to assume that Oranta was portrayed as an intercessor, starting with the paintings of the catacombs? In them you can see many images similar in iconography: this is how, for example, the souls of the dead who prayed for the still living Christians were originally depicted.

Oranta was and is a symbol of the Heavenly Church. She became such fully and consciously from the moment when she was identified with the personality of the Mother of God. Already in the catacombs "under the image of a praying wife, the ancient Christians used to sometimes depict none other than the Blessed Virgin Mary", accompanying the frescoes with the inscriptions "Maria" and "Mara". Nevertheless, "in these orants we have not a portrait, individual type of the Mother of God, but a conventional image of Her, accepted for every staid Christian woman." However, in the stamp "Ascension" of the ampoule of Monza (the iconography of the stamps dates back to the 4th-6th centuries), we see Oranta already, undoubtedly, in the person of the Mother of God, we see Her as the personification of the Apostolic Church.

From the 9th century, they began to paint the Most Pure in the apse conch. As I.K. Yazykov, since then “the theme of intercession takes on a broader aspect: the prayer of the Mother of God connects together the Kingdom of Heaven, represented in the upper part of the temple, with the“ world of the valley ”- at Her feet. The Mother of God of Oranta, as it were, reveals herself to meet Christ, Who descends through Her to earth, incarnates in a human form and sanctifies human flesh with His Divine presence, turning it into a temple - hence the Mother of God Oranta is interpreted as the personification of the Christian temple, as well as the entire New Testament Church. "

Serbian iconographers in the XIV century painted a fresco similar to the Novgorod icon "The Sign", where the Mother of God, depicted in full height, is not dressed in her usual tunic, but in a chiton with clavs. Similar examples can be seen in some of Oranta's frescoes in the catacombs. The Mother of God in this case was understood as the Church itself and as a messenger. If earlier the intercession of the Most Pure One meant movement from the lower to the higher, here it is understood as apostolic and directed from the higher to the lower.

Photographers of the image of the Mother of God "Sign" have also been known since the 4th century (the catacombs of St. Agnes in Rome) and, judging by the absence of a halo in the Infant God, were created before the First Ecumenical Council, that is, before the year 325. And in the 5th-6th centuries they were already written on icons and in wall paintings of churches, minted on coins, reproduced on the seals of Byzantine emperors, which speaks of their Constantinople origin. This iconography has been especially widespread since the 11th – 12th centuries and is becoming popular throughout the Orthodox ecumene. Nevertheless, many art historians consider the time when this edition appeared only in the middle of the 11th century, referring to the preserved images of coins (nomism of Empresses Zoe and Theodora, 1042) and to sphragistics (seals of Empress Evdokia Makremvolitissa, wife of Constantine X in 1059-1067. and Roman IV in 1068-1071). Apparently, the confusion here is due to the fuzzy classification of the names of iconographic types, since the tradition of fixing stable names of one type or another of the Theotokos icons took shape only by the time of the decline of the Byzantine Empire, and possibly later - already in the post-Byzantine time.

According to I.K. Linguistic, the iconography of Oranta is a shortened and truncated version of the image of the Mother of God "The Sign". Such an opinion cannot but raise objections. Since the version of Oranta is older than the "Sign", the first cannot be a "shortened version" of the second: you can only truncate what is already there. Here we are not dealing with a reduction in the iconography of an image, but with its construction. Therefore, the "Signs" scheme is also more complex than Oranta's scheme, and not only externally, but also internally. “This is the most theologically rich iconographic type,” IK herself is convinced. Yazykov.

We have already made sure, using the example of Cypriot frescoes, of the undoubted connection between the images of the "Sign" image with the image of Our Lady of Vlahernitis, which only confirms the understanding of the word "sign" as a miracle, because the events of 910, which took place in the Blakherna Church, have been celebrated by the Russian Orthodox Church for more than eight hundred years. as a holiday of the Protection of the Mother of God. Apparently, it is natural that the icon is called "The Sign" only in Russia and nowhere else. In other countries, it is known under other names, mainly taken from akathists.

In the art of the Byzantine circle, for this iconography, several terms were used that are often used by art historians: "Platitera" (from " , Intercessor ")," Megali Panagia "(" Μεγάλη Παναγία "-" The Great All-Holy ")". Let's add here "Pantonassa" ("παντο" - "everything" + "νάσσα" from "ναίω" - "to live, to inhabit; to be; to inhabit").

It should be noted and a certain iconographic connection between the image of the Mother of God "Sign" and the icon Our Lady of Nicopeia(Victorious). During the restoration of the Blachernae Church (1030–1031) during the reign of Emperor Roman III Argir, the builders discovered an icon immured in the wall, which was hidden from the iconoclasts, most likely in the 8th century under Emperor Constantine Copronymus. The found image was described by the witness of the events, John Skylitsa. Its text has long been understood as a description of a version identical to that of the Novgorod icon "Sign", however, modern researchers have made a more accurate translation, from which it follows that the Mother of God holds the mandorla with the Divine Infant in Her hands. This is how Nicopeia was found, known since pre-iconoclastic times. A similar Sinai icon of the 7th century has survived to this day. The role of this version, according to academician N.P. Kondakov and V.N. Lazarev, echoes the role that the Novgorod shrine is called to play - the icon of the Mother of God "The Sign".

Note how accurately our ancestors gave the name to the image! The miracle is inextricably linked with this icon. Especially for Novgorodians. Miraculously, they received help from her during the siege of the city by the Suzdal people. In 1356, a fire that broke out in the church died down after a prayer service in front of this icon. In 1611, the Swedes were thrown out of the Cathedral of the Sign, trying to rob it. Relatively recently, many attendees witnessed a heavenly phenomenon: on August 15, 1991, when the icon was handed over from the museum, where it was kept for a long time, to the Novgorod diocese, a rainbow surrounded the golden dome of St. Sophia Cathedral, and then began to rise and dissolve in a clear, cloudless sky.

In conclusion, we recall that the word "miracle" is derived from the verb "chuti" - that is, "hear, feel." God, taking into account human nature, turns to him with the help of signs for the salvation of His people. As long as we “feel” the omnipresence of God and the universal protection of the Mother of God, we can hope for Her intercession and help in sorrows. And through Her image "The Sign" the luminous grace of God will continue to descend upon us.

Yazykova I.K... Theology of icons. P. 189.

In the same place. P. 92.

See the murals at the Temple of Panagia Forbiotissa at Ashina and at the Temple of Panagia at Trikomo mentioned above (notes 13, 14).

“The name“ Vlakhernitissa ”is found both on compositions with the Mother of God Oranta without a medallion with Emmanuel, and on compositions with the Mother of God Oranta and Emmanuel, that is, as on the Novgorod icon. However, the Byzantines themselves applied this name not only to these, but also to other images, for example, to the Mother of God and the Child of the “Tenderness” type, which in terms of iconography most closely resembles our Tolgskaya. Probably, all revered images of Blachernae, with their various iconographic types, could be called "Blachernitissa", including a version of the Novgorod miraculous icon "( Smirnova E.S... Novgorod icon "Our Lady of the Sign". P. 292).

“The Sign of the Mother of God in the Blachernae Church is eschatological. According to prophecy, the Cover is a sign and a miracle of the last times. The meaning of this secret will be revealed when evil wins on earth as if it were a complete and unconditional victory. What kind of revelation it will be, we do not know now ", - writes a modern author ( Rogozyansky Andrey... Cover: theological mystery and historical paradox // http://www.rusk.ru/st.php?idar=103738).

Smirnova E.S... Novgorod icon “Mother of God of the Sign. P. 290.

Cm.: Lazarev V.N.... Russian icon painting // Icons of the XI-XIII centuries. M., 2000.S. 42, 166; and: N.P. Kondakov... Iconography of the Mother of God. Pg., 1915. T. 2. S. 105–123.

Days of celebration:
March 16 - the icon of the Mother of God "The Sign" Zlatoustovskaya
March 21 - Kursk-Root Icon of the Virgin "The Sign"
June 8, 2018 (rolling date) - the icon of the Mother of God "Sign" Kursk-Root
September 21 - Kursk-Root Icon of the Virgin "The Sign"
December 10 - the icon of the Mother of God "The Sign" (common day)

WHAT THE SIGN IS PRAYER BEFORE THE ICON OF THE MOTHER OF GOD

The icon of the Mother of God, called "The Sign", depicts the Most Holy Theotokos, sitting and prayerfully raising Her hands; on her chest, against the background of a round shield (or sphere), is the blessing Divine Infant.
We pray, of course, not to a specific icon, but to the Mother of God, and it does not matter through which image of Her. The very history of the icon "Sign" suggests that before this image you need to pray for various illnesses, ailments, wars, with accusations of libel and other calamities.
And, although the Mother of God is prayed in such or similar cases through Her Icon of the Sign, we must not forget that peace comes first of all in our hearts, and then this is already manifested in the external: in the family, in the house, in the state.
The Mother of God is our prayer book and intercessor for us, sinful people, before Her Son. Any prayers before any of Her images can help in deliverance and cleansing us from sins. It is about this, first of all, that one should pray to Her bright image.

It must be remembered that icons or saints do not “specialize” in any particular area. It will be right when a person turns with faith in the power of God, and not in the power of this icon, this saint or prayer.
and .

ICON OF THE MOTHER OF GOD OF THE SIGN OF NOVGOROD

The Sign of the Most Holy Theotokos, which took place in Novgorod the Great in 1170, and after this event, the Novgorod icon received the Russian name "Sign".

That year, the son of Prince Andrei Bogolyubsky of Suzdal, at the head of the united army, approached the walls of Veliky Novgorod, the townspeople had to rely only on God's help and they prayed to the Lord day and night.
On the third night, Archbishop John of Novgorod heard a wondrous voice, which told him to take the image of the Most Holy Theotokos from the Novgorod Church of the Transfiguration of the Savior on Ilyina Street and carry it to the city wall.
The icon was carried under fire from the besiegers, and one arrow pierced the icon-painting face of the Virgin. Tears flowed from Her eyes, and the icon turned its face to the city. After such a Divine sign, inexplicable horror suddenly attacked the enemies, they began to beat each other, and the Novgorodians, encouraged by the Lord, fearlessly rushed into battle and won.

In remembrance of such a miracle of the Queen of Heaven, Archbishop John established a feast in honor of the Sign of the Mother of God, which is still celebrated by the entire Russian Church. The Athos hieromonk Pachomius Logofet, who was present at the celebration of the icon in Russia, wrote two canons for this holiday. On some Novgorod icons of the Sign, in addition to the Mother of God with the Eternal Child, the miraculous events of 1170 are also depicted. The miraculous icon for 186 years after the appearance of the sign was in the same Church of the Transfiguration of the Savior on Ilyina Street. In 1356, the Church of the Sign of the Most Holy Theotokos was built for her in Novgorod, which became the cathedral of the Znamensky Monastery.

Numerous copies of the Icon of the Sign are known throughout Russia. Many of them shone with miracles in local temples and were named after the place of the miracles.

ICON OF THE MOTHER OF GOD OF THE SIGN OF ZLATOUSTOVSKAYA

In 1848, cholera raged in Moscow, and the sixty-year-old merchant Herodion Vorobyov fell ill with this disease. Once in a dream he dreamed that he was in the Zlatoust monastery near the porch, and that a monk and a novice were preparing to consecrate something. Then he saw the image of the "Sign" of the Mother of God on the wall and went to venerate it. On the icon, the Divine Infant smiled, and the Mother of God, having pronounced the name of Herodion, gave him from Her hands a crystal vessel to be handed over to the novice.
On February 17, he went to the Zlatoust Monastery for Vespers, where he saw the icon "The Sign" of the Mother of God over the arch of the porch of the Trinity Church. Herodion recognized in her the very one he saw in his dream. At the request of the healed, this icon on March 16 (according to the new style) was removed from the arch and transferred to the Trinity Church. Before the icon, a prayer service was performed with blessing of water and the reading of the Akathist to the Mother of God. Then the image was placed on a lectern in the chapel of St. Innocent of Irkutsk.
A grateful merchant adorned the image with a precious robe, and one woman, who received healing from the icon, made a list of it and put it in the same Trinity Church where the original miraculous icon was located, which was transferred in 1865 to the cathedral monastery church in the name of St. John Chrysostom.
In the monastery chronicle in 1848 alone, eight miraculous healings from this icon are described.

The Zlatoust icon is written on a linden board and is 53 cm high and 44 cm wide. On the sides of the Mother of God are images of St. Nicholas the Wonderworker and John, Archbishop of Novgorod.
Prayer chants are performed daily in the Zlatoust Monastery in front of the Icon of the Sign of the Mother of God: after the early liturgy in the Trinity Church, and after the late liturgy in the Cathedral Church of Zlatoust. Every Friday in this monastery, in front of the miraculous icon, the Akathist of the Mother of God is also read.

ICON OF THE MOTHER OF GOD OF THE SIGN OF KURSK-ROOT

In the 13th century, during the Tatar invasion, when the entire Russian state was attacked by Khan Batu, the city of Kursk was devastated and desolate. Once, in the vicinity of the city, a hunter noticed an unusual thing lying on the ground. When he lifted it up, he saw that it was an icon similar to the Novgorod icon "Sign". Simultaneously with the appearance of this icon, the first miracle took place - at the place where the icon was lying, a source of clean water with force began to flow. This happened on September 21 (new style) 1295. Not daring to leave the icon in the forest, this hunter built a small wooden chapel on the site of the finding, where he left the newly-appeared image of the Mother of God.
Soon the residents of the nearby town of Rylsk learned about this and began to visit the place of apparition to worship the new shrine.
Then this image was transferred to Rylsk and placed in a new church in honor of the Nativity of the Most Holy Theotokos. But the icon did not stay there for long, miraculously it disappeared and returned to the place of its appearance. Residents of Rylsk repeatedly took it and carried it to the city, but the icon inexplicably returned to its original place. Then everyone understood that the Mother of God favored the place where Her image appeared.

Every year on Friday, the ninth week after Easter, the icon "Sign" was solemnly transferred with a procession from the Kursk Znamensky Cathedral to the place of its appearance in the Root Hermitage, where it remained until September 12 (according to the old style), and then again solemnly returned to Kursk. This procession was established in 1618 to commemorate the transfer of the icon from Moscow to Kursk and to commemorate its original appearance.

The special help of the Mother of God through this icon is associated with important events in the history of Russia: the liberation war of the Russian people during the Polish-Lithuanian invasion of 1612 and the Patriotic War of 1812.
The miraculous icon of the Mother of God "The Sign" of Kursk-Root was last on Russian soil on September 14, 1920 in the Crimea, in the army that fought against the Bolsheviks. Having left Russia in 1920, the holy icon became the "Hodegetria" (Guidebook) of the Russian Diaspora, staying with all the first hierarchs of the Russian Orthodox Church Outside of Russia. Now she is in one of the temples of the New Root Desert near New York (USA). The Kursk Znamensky Cathedral contains a list of the miraculous image.

In Russian Orthodoxy, there are several icons of the Mother of God "Sign":
"Sign" Vladimirskaya; Verkhnetagilskaya "Sign" (1753); The Sign of Seraphim-Ponetaevskaya (1879); "The Sign" Korchemnaya (XVIII); "The Sign" Abalatskaya (1637); Znamenie Zlatoustovskaya (1848); "Sign" Moscow; "The Sign" Solovetskaya; Sign Vologda; The Sign of Tsarskoye Selo (1879); "Sign" Kursk-Korennaya (1295); "Sign" Novgorodskaya (XII).

THE MAJORITY OF THE MOTHER OF GOD IN FRONT OF HER ICON THE SIGN OF KURSK-ROOT

We magnify Thee, Most Holy Virgin, and we honor Thy honest image, and I also showed the most glorious sign.

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The Sign of the Most Holy Theotokos, which was in Novgorod the Great in 1170

"Like an invincible wall and a source of miracles, having acquired Thy Rabbi, the Most Pure Theotokos, we overthrow the resistance militias. Even so, we pray to Thee, grant peace to Thy city and to our souls great mercy".

The icon of the Mother of God, called "The Sign", depicts the Most Holy Theotokos, sitting and prayerfully raising Her hands; on her chest, against the background of a round shield (or sphere) - the blessing Divine Child, Savior-Emmanuel. This image of the Mother of God is one of the very first Her iconographic images. In the tomb of St. Agnes in Rome there is an image of the Mother of God with outstretched hands in prayer and with the Child sitting on Her lap. This image dates back to the 4th century. In addition, the ancient Byzantine image of the Mother of God "Nicopeia", VI century, is known, where the Most Holy Theotokos is depicted sitting on a throne and holding in front of her with both hands an oval shield with the image of the Savior-Emmanuel.

The icons of the Mother of God, known as the "Sign", appeared in Russia in the 11th-12th centuries, and they began to be called so after the miraculous sign from the Novgorod icon that happened in 1170.

In this year, the combined forces of Russian appanage princes, led by the son of the Suzdal prince Andrei Bogolyubsky, approached the walls of Veliky Novgorod. The Novgorodians could only hope for God's help. Day and night they prayed, begging the Lord not to leave them. On the third night, Archbishop Elijah of Novgorod heard a wondrous voice commanding him to take the image of the Most Holy Theotokos from the Church of the Transfiguration of the Savior on Ilyina Street and carry it to the city wall. When the icon was carried, the enemies sent a cloud of arrows into the procession, and one of them pierced the icon-painting face of the Mother of God. Tears flowed from Her eyes, and the icon turned its face to the city. After such a Divine sign, inexplicable horror suddenly attacked the enemies, they began to beat each other, and the Novgorodians, encouraged by the Lord, fearlessly rushed into battle and won. In remembrance of the miraculous intercession of the Queen of Heaven, Archbishop Elijah established a holiday in honor of the Sign of the Mother of God, which is celebrated by the entire Russian Church to this day.

The Athos hieromonk Pachomius Logofet, who was present at such a celebration, wrote two canons for this holiday. On some Novgorod icons of the Sign, in addition to the Mother of God with the Eternal Child, miraculous events of 1170 are also depicted. The miraculous icon for 186 years after the appearance of the sign was in the same Church of the Transfiguration of the Savior on Ilyina Street. In 1356, the Church of the Sign of the Most Holy Theotokos was built for her in Novgorod, which became the cathedral of the Znamensky Monastery.

Numerous copies of the Icon of the Sign are known throughout Russia. Many of them shone with miracles in local temples and were named after the place of the miracles. Such lists of the Icon of the Sign include the icons of Dionysius-Glushitskaya, Abalatskaya, Kursk-Kornnaya, Seraphim-Ponetaevskaya and others. A feature of the Kursk Root is the image of a baby with covered hands.

In the Novgorod history of the acquisition of the icon, it is interesting how the Mother of God chooses the military side supported by her. After all, fifteen years earlier, she appeared under Vladimir to Andrei Bogolyubsky himself, after which the icon of the Mother of God was painted by the order of the prince. Here, at Novyegrad, the Mother of God was on the side opposite to the son of Andrei Bogolyubsky. If we follow linear logic, we had the right to expect Her patronage to the offspring of Prince Andrew. But no!

What is the conclusion? Even if the apple falls not far from the apple tree, the tree and its fruit are not the same thing. The holiness of a father does not exclude filial sinfulness. Everyone goes their own way. Responsibility is individual. Moreover, it seems that if Andrei Bogolyubsky himself had set out to carry out some act that was not pleasing to God, the highest protection would have been removed from him. And just as the Mother of God opposed his son in Novgorod, she would have opposed him. Who knows, maybe the violent death that Prince Andrey accepted in his native Bogolyubovo is evidence of the removal of the protective cover?

The icon "Sign" every day during the siege, after the liturgies, was carried around with a procession of the cross around St. Nicholas Cathedral in Leningrad by the Metropolitan of Leningrad and Novgorod, who later, in 1944, became the Patriarch of All Russia. (It's both wild and strange for us now to hear two names of the same city - Leningrad and St. Petersburg ... You can't explain to a foreigner why so, what such "different" cities are we talking about, why St. Petersburg is now the capital of the Leningrad Region? But this is our own history, our common, albeit tragic, song, from which, as said, you cannot erase a word. stories of meaning? ..)

Icon of the Mother of God "Sign" Abalatskaya was written by the Protodeacon of the Tobolsk Cathedral Matthew in honor of Sophia, the Wisdom of God, in fulfillment of the vow of the relaxed peasant Euthymius for the newly built Church of the Sign of the Most Holy Theotokos in the Abalatsk monastery. This temple was built in 1637 after the repeated miraculous appearance of the image of the Sign of the Most Holy Theotokos, with the forthcoming Saint Nicholas and the Monk Mary of Egypt the pious widow Mary. After writing the temple image, the relaxed Euthymius was completely healed. During the solemn transfer of the icon to the Abalatsky temple, many healings were performed. Outwardly, the Abalak icon is similar to the Novgorod icon of the Sign, with the only difference that Saint Nicholas and the Monk Mary of Egypt stand on the Abalak icon of the Most Holy Theotokos. There are many miraculous copies of the Abalatskaya icon known, reverently revered throughout Siberia.

Icon of the Kursk-Root Mother of God "The Sign", which is one of the greatest shrines of Russian Orthodoxy, has been in the Znamensky Cathedral of Kursk since 1726 and only for two weeks a year was taken to the Korennaya Hermitage. From 1806, according to the Imperial Decree, she stayed in the Root Hermitage from Friday 9th week after Easter until September 12/25, and returned to the Znamensky Monastery of Kursk for the rest of the year. This shrine of Kursk was named after the place of its primary location, and the Korennaya - according to the place of its acquisition.

The annual procession of pilgrims from all over the Kursk and Belgorod regions with the holy icon (in other years, up to 40-50 thousand people gathered) to the desert and back to Kursk was a powerful spiritual cathedral act, as well as a majestic spectacle. Captured, in particular, in the famous painting of the Chuguev resident Ilya Repin "Religious procession in the Kursk province". One of the lists (stolen from the Znamensky Cathedral in Kursk and re-acquired this year) is now in the Root Hermitage, and the original is in the Znamenskaya Church in New York, USA. Month of the year, the icon stays in the New Root Hermitage (near the town of Magopak, 40 miles from New York), in the former country estate of the prince and princess Beloselsky-Belozersky.

Icon of the Mother of God "Sign" Seraphim-Ponetaevskaya was written in 1879 by the nun of the Seraphim-Ponetaevskaya women's monastery, located not far from Arzamas, near the village of Ponetaevka. The monastery was named after the Monk Seraphim of Sarov by the founder of the monastery - the sister of the Diveyevo community.

The icon, six years later, became famous for numerous miracles and became the main shrine of the monastery. During the divine services, the praying sisters saw clear changes in the face of the Mother of God: Her pure face brightened and became as if alive. Numerous pilgrims flowed to the icon, and many healings from blindness and relaxation were performed. In total, about 70 cases of healing were noted.

And they pray to the icon "Sign" like this:

Oh, Most Holy and Most Blessed Mother of the Sweetest of our Lord Jesus Christ! We fall and worship You in front of Your holy miraculous icon, which recalls the wondrous sign of Your intercession, to Great Novugrad from it, revealed in the days of the ratnago to this city of invasion.

We humbly pray to Thee, the Omnipotent of our kind to the Intercessor: as if you were an ancient father to help, then you accelerated us, so now we are weak and sinful in Your Mother's intercession and welfare. Establish the holy Church, Your city and our entire Orthodox country and all of us, who fall to You with faith and love and tenderly ask with tears of Your intercession, have mercy and preserve.

To her, All-Merciful Lady! Have mercy on us, overwhelmed by many sins, stretch out to Christ God, God accept Thy hand and stand for us before His goodness, asking us for forgiveness of our sins, a pious, peaceful life, a good Christian death and a good answer to His Last Judgment, let us be saved by Thy all. Through our prayers, we will inherit the bliss of paradise, and with all the saints we will sing the Most Honorable and Magnificent Name of the Worshipable Trinity, the Father and the Son and the Holy Spirit, and Your great mercy to us forever and ever. Amen.