DOI Artikel:
Sulikowska, Aleksandra: The Old-Believers' Images of God as the Father: Theology and Cult
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18949#0123
and the tragedy that befell him because of his disobedience.56 Protopope
Awakum related the world’s creation in this manner: “Said the Father to His
Son: We shall create man in our own image. Said the other: We shall create
him and he will sin. And said [the Father]: O, my only begotten Son! My
light! My Son and my Word! O, glow of my glory! You took such a pity on
your creation, you must embody a mortal man, you must walk upon the
earth, take the apostles, suffer and repair all. And said the other: Father, let
thy will be done! And then Adam was created.”5 On the icon Saturday of All
Saints the sevenfold figurę of God the Father is placed at the very centre of
iconographic program which describes the source and basis of the whole
story in the context of economy of Redemption and ultimate time. In the act
of creation everything is completed, Incarnation, Crucifhdon and Resurrection
are foretold.
The 01d-Believers’ images of the Lord of Hosts are of hieratic naturę; he
is usually presented frontally, immobilised. Divine visage, figurę and gestures
emanate God’s omnipotence, his rule over the world at large. However, these
images often appear as if on the margin of morę complicated depictions, for
example on icons’ frames, as images accompanying specific themes, usually
Annunciation, Epipbany, Crucifixion and Resurrection. The image of the Lord
of Hosts in Annunciation and Epipbany is justified by a literał interpretation
of principles governing the “eschatological realism”. The angel announcing
the good news to Mary is called “sent from God” (L 1:26) and during the
Epipbany a voice from heaven is heard: “This is my beloved Son, in whom
I am well pleased” (Mt 3:17). Thus, God is taking part in these events not
only by his intention to redeem mankind but also, through theophany, in
a fully real manner. His presence in Crucifiction seems to be of singular
importance as this act is the ultimate proof of the Creator’s love for
mankind. “In this was manifested the love of God toward us, - we read in
St. John’s letter - because God sent his only begotten Son into the world,
that we might live through him. Herein is love, not that we loved God,
but that he loved us, and sent his Son to be the propitiation for our sins”
(1 Jn 4:9-10). In the light of the 01d-Believers’ prayers Christ appears as
a companion in distress of the believers who give life for him, while God
the Father is the only hope for Salvation, man’s delivery from suffering and
persecutions in this world.58
All scenes accompanied by an image of the Lord God of Hosts correspond
to key moments in the history of Redemption and they may be also understood
through religious texts as signs and presages of his fatherly justice toward the
devoted believers. In the martyrology of their group the 01d-Believers saw
a proof that they had been chosen by God and that imminent end of the
world will bring them Redemption. The “chosen people’s” task was to
56 Łużny, op. cit., p. 133; Russkiy risovannyy lubok..., op. cit., cat. no. 8, 9, 43, 44, 78.
Pamyatniki literatury..., op. cit., Kniga vtoraya, p. 355.
38 Ibid., p. 352.
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Awakum related the world’s creation in this manner: “Said the Father to His
Son: We shall create man in our own image. Said the other: We shall create
him and he will sin. And said [the Father]: O, my only begotten Son! My
light! My Son and my Word! O, glow of my glory! You took such a pity on
your creation, you must embody a mortal man, you must walk upon the
earth, take the apostles, suffer and repair all. And said the other: Father, let
thy will be done! And then Adam was created.”5 On the icon Saturday of All
Saints the sevenfold figurę of God the Father is placed at the very centre of
iconographic program which describes the source and basis of the whole
story in the context of economy of Redemption and ultimate time. In the act
of creation everything is completed, Incarnation, Crucifhdon and Resurrection
are foretold.
The 01d-Believers’ images of the Lord of Hosts are of hieratic naturę; he
is usually presented frontally, immobilised. Divine visage, figurę and gestures
emanate God’s omnipotence, his rule over the world at large. However, these
images often appear as if on the margin of morę complicated depictions, for
example on icons’ frames, as images accompanying specific themes, usually
Annunciation, Epipbany, Crucifixion and Resurrection. The image of the Lord
of Hosts in Annunciation and Epipbany is justified by a literał interpretation
of principles governing the “eschatological realism”. The angel announcing
the good news to Mary is called “sent from God” (L 1:26) and during the
Epipbany a voice from heaven is heard: “This is my beloved Son, in whom
I am well pleased” (Mt 3:17). Thus, God is taking part in these events not
only by his intention to redeem mankind but also, through theophany, in
a fully real manner. His presence in Crucifiction seems to be of singular
importance as this act is the ultimate proof of the Creator’s love for
mankind. “In this was manifested the love of God toward us, - we read in
St. John’s letter - because God sent his only begotten Son into the world,
that we might live through him. Herein is love, not that we loved God,
but that he loved us, and sent his Son to be the propitiation for our sins”
(1 Jn 4:9-10). In the light of the 01d-Believers’ prayers Christ appears as
a companion in distress of the believers who give life for him, while God
the Father is the only hope for Salvation, man’s delivery from suffering and
persecutions in this world.58
All scenes accompanied by an image of the Lord God of Hosts correspond
to key moments in the history of Redemption and they may be also understood
through religious texts as signs and presages of his fatherly justice toward the
devoted believers. In the martyrology of their group the 01d-Believers saw
a proof that they had been chosen by God and that imminent end of the
world will bring them Redemption. The “chosen people’s” task was to
56 Łużny, op. cit., p. 133; Russkiy risovannyy lubok..., op. cit., cat. no. 8, 9, 43, 44, 78.
Pamyatniki literatury..., op. cit., Kniga vtoraya, p. 355.
38 Ibid., p. 352.
121