346:. Their status at the court was radically different from that of traditional icon painters: Saltanov's primary function was to provide secular art for the court, not the church. Even when the subject of a painting was religious, its treatment was a step away from icon tradition into a "westernized", secular art. The earliest royal commissions of this kind (secular icons on copper and glass base) to Saltanov are attested to 1670 and 1671, and 1679 for Bezmin. As a result of this practice of the 1670s, the professions of court painters and icon painters in Moscow nearly merged, with court painters actively taking over the icon painters' church jobs.
275:. The board aroused the interest of the tsar who instructed Sagradov to return to Persia and hire the engraver into the tsar's service. Muscovite artists were only experimenting with engravings on metal, and the tsar needed a professional to set up the new craft. The copper board was, most likely, a Western European product, however, Sagradov responded that he can hire at least an apprentice of the author. Six years later Saltanov, "the apprentice", arrived in Moscow with his brother, joined the staff of the Armoury and received a high salary. He was treated as a foreign
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389:, but both these icon painters declined the job, and it passed to Saltanov. The absence of records confirming payment for the job to Saltanov led Elena Ovchinnikova to assert in 1956 that it was not Saltanov's work at all (she attributed it to Bezmin). For the next decades, her opinion prevailed, but authors like Kazaryan (1969) and Komashko (2003) returned the credit to Saltanov.
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icon from the
Crucifix church in Moscow Kremlin and its copies is equally disputed. Tradition starting with the 1907 work by A. I. Uspensky attributes these icons (or at least the original "Cross of Kiy") to Saltanov. Komashko (2003) refutes this attribution: the court records say that Saltanov
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and earned him the honors of a
Russian noble, but also prevented the artist from ever leaving Russia. His brother, Stepan Saltanov, also became a Russian noble, a treasurer of the Armoury and a founder of the Saltanov family.
366:, never signed his works, thus attribution is based on archive records kept by court accountants. All opinions on his artistic style are not more reliable than the underlying attribution of his least questionable works - the
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Saltanov remains a controversial figure: his activities in Moscow are extensively documented through extant archive records, but no single piece of art has been indisputably attributed to the artist. Saltanov, unlike
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Kazaryan, 1969, asserted that in 1703 Saltanov did not die, but left Russia and returned to Persia as
Russian envoy. This assumption was refuted by subsequently found archive evidence (Komashko, p.47).
613:
Komashko, p.45. The story of
Saltanov's hire and the engraving is based on two extant letters signed by the envoy Zakar Sagradov. One was addressed to Alexis, another to his minister Almaz Ivanov.
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Bezmin and
Saltanov, as the workshop chiefs, were also teachers and mentors to the next generation of artists; there are 37 known trainees of Bezmin and 23 trainees of Saltanov, including
215:ΠΠ½ΠΈ ΡΠ²Π»ΡΡΡΡΡ βΠΊΡΠ°ΠΉΠ½Π΅ΠΉ Π»Π΅Π²ΠΎΠΉβ Π² ΠΈΡΡΠΎΡΠΈΠΈ ΡΡΡΡΠΊΠΎΠΉ ΠΈΠΊΠΎΠ½ΠΎΠΏΠΈΡΠΈ ΡΡΠ°ΠΊΠΎΠ²ΡΠΊΠΎΠΉ ΡΠΏΠΎΡ
ΠΈ β ΡΠ΅ΠΌΠΈ ΡΠΊΠΎΠ±ΠΈΠ½ΡΠ°ΠΌΠΈ, Π² ΠΈΡΠΊΡΡΡΡΠ²Π΅ ΠΊΠΎΡΠΎΡΡΡ
ΠΈΡΡΠ΅Π·Π°ΡΡ ΠΏΠΎΡΠ»Π΅Π΄Π½ΠΈΠ΅ ΡΠ»Π΅Π΄Ρ ΠΈ Π±Π΅Π· ΡΠΎΠ³ΠΎ ΡΠΆΠ΅ Π΄ΠΎΠ²ΠΎΠ»ΡΠ½ΠΎ ΠΏΡΠΈΠ·ΡΠ°ΡΠ½ΠΎΠΉ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ
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chiefs of painters' workshop, including Simon
Ushakov, were naturally born nobles, and apparently, Saltanov was also recognized as such. Saltanov's earliest attested work was the
295:, the undisputed leader of Muscovite art school. Ushakov rated Saltanov's skills as mediocre. Saltanov was the fourth foreign artist employed by the Moscow court (after the
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in 1703; assumptions that he left the country and returned to his homeland are now deemed incorrect. He was married twice, and his second wife was reported alive in 1716.
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279:, an honor rarely issued without reason. The artist converted to Russian Orthodoxy eight years later: conversion was equivalent to an oath of loyalty to the
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217:). Studies of the 1990sβ2000s partially refute this statement, asserting that Saltanov was substantially independent of Ushakov and his legacy.
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337:ΠΡΠΈΠΌΠΈ ΡΡΡΠ°Π½Π½ΡΠΌΠΈ βΡΠ°ΡΡΡΠ½ΡΠΌΠΈ ΠΌΠ°ΡΡΠ΅ΡΠ°ΠΌΠΈβ, ΡΡΠΎΠ»Ρ Π½Π΅ΡΡΡΡΠΊΠΈΠΌΠΈ ΠΏΠΎ Π²ΡΠ΅ΠΌΡ ΡΠ²ΠΎΠ΅ΠΌΡ Π΄ΡΡ
Ρ, ΠΏΠΎ Π²ΡΠ΅ΠΌ ΠΌΡΡΠ»ΡΠΌ ΠΈ ΡΡΠ²ΡΡΠ²Π°ΠΌ, Π·Π°ΠΊΠΎΠ½ΡΠΈΠ»Π°ΡΡ ΠΈΡΡΠΎΡΠΈΡ ΡΡΡΡΠΊΠΎΠΉ ΠΈΠΊΠΎΠ½ΠΎΠΏΠΈΡΠΈ
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319:- icons painted on cloth with partial cloth application imitating garments of the saints. Igor Grabar suggested that this new
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Daniel
Wouchters). When Stanislaw Loputsky, chief of the court painters, left Moscow in the 1670s, his job was awarded to
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of an icon was
Saltanov's invention owing to his Oriental roots, but admitted that the painting itself was mediocre. "
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Komashko, p.46, admits that the subject of
Saltanov's conversion is disputed and cites alternative hypothesis.
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with
Saltanov second in command; Saltanov took the lead in 1686 following repressions against Bezmin. All the
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487:(in Russian). Drevnyaya Rus. Voprosy medievistiki (ΠΡΠ΅Π²Π½ΡΡ Π ΡΡΡ. ΠΠΎΠΏΡΠΎΡΡ ΠΌΠ΅Π΄ΠΈΠ΅Π²ΠΈΡΡΠΈΠΊΠΈ). pp. 44β54
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ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠΉ ΠΆΠΈΠ·Π½ΠΈ ΠΠΎΡΠΊΠ²Ρ Π²ΡΠΎΡΠΎΠΉ ΠΏΠΎΠ»ΠΎΠ²ΠΈΠ½Ρ XVII Π²Π΅ΠΊΠ°
329:, so non-Russian in spirit, thought and feeling, terminated the history of Russian icon art
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533:"O kontseptsiyakh stilya russkogo iskusstva XVII veka v otechestvennom iskusstvoznanii"
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535:Π ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠΈΡΡ
ΡΡΠΈΠ»Ρ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π° XVII Π²Π΅ΠΊΠ° Π² ΠΎΡΠ΅ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠΌ ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ·Π½Π°Π½ΠΈΠΈ
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whose art departed with the last traces of an already evaporated tradition
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479:"Zhivopisets Bogdan Saltanov v kontekste khudozhestvennoy zhizni Moskvy"
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and his successors. Saltanov headed the painting workshop of the
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438:ΠΠ· ΠΈΡΡΠΎΡΠΈΠΈ Π°ΡΠΌΡΠ½ΡΠΊΠΎ-ΡΡΡΡΠΊΠΈΡ
Π²Π·Π°ΠΈΠΌΠΎΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠΉ Ρ X ΠΏΠΎ XVIII Π²Π΅ΠΊΠ°
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extreme left wing in the history of Russian icon art, the
515:(in Russian). Vol. VI. CD ROM reissue by IDDK (ΠΠΠΠ)
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in 1685, has been attributed either to Saltanov or to
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Alexis. The package included, among other items, an
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578:; later Russian sources unanimously use the name
435:Iz istorii armyansko-russkikh vzaimootnosheniy
509:Istoria russkogo iskusstva. Russkaya zhivopis
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512:ΠΡΡΠΎΡΠΈΡ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°. Π ΡΡΡΠΊΠ°Ρ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ
189:considered Saltanov and his contemporaries
444:(in Russian). Lingva: Yerevan University.
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733:17th-century painters from Safavid Iran
723:Iranian emigrants to the Russian Empire
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156:from 1686. Saltanov's legacy includes
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171:portraits including the portraits of
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197:as the fourth and the last class of
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299:Johann Deterson, hired in 1643,
287:Bogdan Saltanov became the last
260:, delivered the Shah's gifts to
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23:Bogdan (Ivan) Ievlevich Saltanov
137:; 1630s β 1703), also known as
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743:17th-century Russian painters
504:XIII Π‘ΠΈΠΌΠΎΠ½ Π£ΡΠ°ΠΊΠΎΠ² ΠΈ Π΅Π³ΠΎ ΡΠΊΠΎΠ»Π°
397:painted a similar image of a
385:in 1685 to Simon Ushakov and
252:, serving as an envoy of the
163:for church and secular use,
244:In 1660 Zakar Sagradov, an
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291:hired before the death of
38:of the Crucifix church in
574:Alternative name used by
416:List of Iranian Armenians
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738:Ethnic Armenian painters
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148:painter at the court of
527:I. L. Buseva-Davydova (
411:List of Russian artists
303:Stanislaw Loputsky and
165:illuminated manuscripts
139:Ivan Ievlevich Saltanov
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688:Russian icon painters
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100:, interior decoration
708:Artists from Isfahan
595:Grabar, chapter XIII
529:Π.Π. ΠΡΡΠ΅Π²Π°-ΠΠ°Π²ΡΠ΄ΠΎΠ²Π°
428:I. A. Atadzhianyan (
381:was commissioned by
379:Feodor III of Russia
372:Feodor III of Russia
370:and the portrait of
271:board depicting the
231:Feodor III of Russia
179:as a young man (see
177:Feodor III of Russia
401:but not the cross.
392:Attribution of the
357:Attribution problem
181:Attribution problem
383:Sophia Alekseyevna
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235:Sophia Alekseyevna
233:, commissioned by
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115:Alexis I of Russia
718:Persian Armenians
349:Saltanov died in
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344:Karp Zolotaryov
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154:Kremlin Armoury
135:ΠΠΎΠ³Π΄Π°Π½ Π‘Π°Π»ΡΠ°Π½ΠΎΠ²
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540:. Retrieved
538:(in Russian)
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517:. Retrieved
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500:Grabar, Igor
489:. Retrieved
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463:. Retrieved
456:the original
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394:Cross of Kiy
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248:trader from
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201:school, an "
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173:Stepan Razin
143:Persian-born
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36:Cross of Kiy
703:1703 deaths
368:tafta icons
317:tafta icons
309:Ivan Bezmin
273:Last Supper
239:Ivan Bezmin
191:Ivan Bezmin
187:Igor Grabar
76:Nationality
682:Categories
542:2008-09-30
519:2008-09-30
491:2008-09-30
477:) (2003).
465:2008-09-30
432:) (2006).
422:References
167:, secular
98:engravings
502:(2001).
250:New Julfa
221:Biography
110:Patron(s)
55:New Julfa
405:See also
399:crucifix
305:Dutchman
281:Romanovs
266:engraved
246:Armenian
205:Jacobins
158:Orthodox
146:Armenian
141:, was a
333:Russian
211:Russian
169:parsuna
131:Russian
42:. 1670s
580:Bogdan
576:Grabar
448:
351:Moscow
313:Slavic
269:copper
258:Persia
84:Russia
80:Persia
69:Moscow
551:Notes
485:(PDF)
459:(PDF)
442:(PDF)
321:genre
297:Swede
277:noble
161:icons
94:Icons
51:1630s
446:ISBN
301:Pole
262:Tsar
254:Shah
193:and
175:and
65:1703
62:Died
48:Born
531:).
339:).
331:" (
256:of
209:" (
183:).
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