By ΠΠ΅ΡΠΊΠΎΠ² ΠΠΈΠΊΠΎΠ»Π°ΠΉ Π‘Π΅ΠΌΠ΅Π½ΠΎΠ²ΠΈΡ
ΠΠΈΠΊΠΎΠ»Π°ΠΉ ΠΠ΅ΡΠΊΠΎΠ²
ΠΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ ΠΠΈΠΊΠΎΠ»Π°Ρ ΠΠ΅ΡΠΊΠΎΠ²Π° Β«Π‘ΠΎΡΠ΅ΡΡΠ²ΠΈΠ΅ Π²ΠΎ Π°Π΄Β» ΠΈΡΡΠ»Π΅Π΄ΡΠ΅Ρ ΠΈΡΡΠΎΠΊΠΈ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΈΠΊΠΎΠ½ΠΎΠΏΠΈΡΠ½ΠΎΠ³ΠΎ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π°. ΠΠ²ΡΠΎΡ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΠ΅Ρ ΡΡΠΆΠ΅Ρ ΠΈΠΊΠΎΠ½Ρ Β«ΠΠΎΡΠΊΡΠ΅ΡΠ΅Π½ΠΈΠ΅ Ρ ΡΠΎΡΠ΅ΡΡΠ²ΠΈΠ΅ΠΌΒ», ΡΠ²ΡΠ·ΡΠ²Π°Ρ Π΅Π³ΠΎ Ρ Π°ΠΏΠΎΠΊΡΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠΌ ΠΠ²Π°Π½Π³Π΅Π»ΠΈΠ΅ΠΌ ΠΎΡ ΠΠΈΠΊΠΎΠ΄ΠΈΠΌΠ°. ΠΡΠΎΡ ΡΠ°Π½Π½Π΅Ρ ΡΠΈΡΡΠΈΠ°Π½ΡΠΊΠΈΠΉ ΠΈΡΡΠΎΡΠ½ΠΈΠΊ IV Π²Π΅ΠΊΠ° ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΎ ΠΎΠΏΠΈΡΡΠ²Π°Π΅Ρ ΡΠΎΡΠ΅ΡΡΠ²ΠΈΠ΅ ΠΠΈΡΡΡΠ° Π² Π°Π΄, ΡΠ°Π·ΡΡΡΠ΅Π½ΠΈΠ΅ Π΅Π³ΠΎ Π²ΡΠ°Ρ ΠΈ ΠΎΡΠ²ΠΎΠ±ΠΎΠΆΠ΄Π΅Π½ΠΈΠ΅ Π²Π΅ΡΡ ΠΎΠ·Π°Π²Π΅ΡΠ½ΡΡ ΠΏΡΠ°Π²Π΅Π΄Π½ΠΈΠΊΠΎΠ², Π²ΠΊΠ»ΡΡΠ°Ρ ΠΠ΄Π°ΠΌΠ° ΠΈ ΠΠ²Ρ. ΠΠ΅ΡΠΊΠΎΠ² ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅Ρ ΠΠΈΠΊΠΎΠ΄ΠΈΠΌΠ° ΠΊΠ°ΠΊ ΡΠ°ΠΉΠ½ΠΎΠ³ΠΎ ΠΏΠΎΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΠ΅Π»Ρ ΠΠΈΡΡΡΠ°, ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎΠ³ΠΎ ΠΈΠ· ΠΠ²Π°Π½Π³Π΅Π»ΠΈΡ ΠΎΡ ΠΠΎΠ°Π½Π½Π°.
Nikolai Leskov
Nikolai Leskov's work "Descent into Hell" explores the origins of Russian icon painting. The author analyzes the iconography of "The Resurrection with the Descent into Hell," linking it to the apocryphal Gospel of Nicodemus. This early Christian source from the 4th century details Jesus' descent into Hades, the shattering of its gates, and the liberation of Old Testament righteous figures, including Adam and Eve. Leskov identifies Nicodemus as a secret follower of Jesus, mentioned in the Gospel of John.