Russian icons in Japan

在阿拉斯加（锡特卡、朱诺、科迪亚克和埃克卢特纳）的研究结果是，我们只发现了四个图标（三个版画和一个油画），它们与被运到日本的相同。这意味着日本和阿拉斯加的图标实际上没有相似之处。我们还可以推测，在俄罗斯东正教会内部没有一个全面的系统来决定向俄罗斯以外的国家发送圣像，圣像的选择取决于照顾他们的保护国的俄罗斯赞助人。但在这项研究中，锡特卡有了一个意想不到的新发现。在主教Innovative House，我们发现了山下凛（Rin Yamashita，1857-1939）作为复活图标模型的原始图纸。这尊圣像在1891年访问日本时被捐赠给当时的尼古拉王储（未来的尼古拉二世）。原始图纸的日期是1876年。画家大概是瓦西里·克留科夫。瓦西里·克留科夫是印度第一位偶像和西式画家， ...更多信息 阿留申人他接受了因诺琴蒂的教育，并于1826年在阿留申群岛的乌纳拉斯卡新建的教堂中绘制了圣像。这意味着Nicoiai Kasatkin主教在日本培养了Rin Yamashita作为图标画家，而Innocenti Veniaminov主教在阿拉斯加培养了Vasily Kriukov作为图标画家。虽然有一份文件显然证明瓦西里的死亡之前。1830年在SPB，当他是一个学生在SPB艺术学院，显然这份文件应该重新审查。无论结果如何，我们现在对日本现代偶像和文化的未来研究有了一个全新的视角。此外，我们还首次对俄罗斯的圣像进行了科学和化学分析，并根据白川圣像的具体证词构建了新的环境。此外，我们还从比较文化的角度分析了日本第一所技术艺术学院的教育制度，该学院成立于1876年，山下凛在那里学习西方艺术。

As a result of researches in Alaska(Sitka, Juneau, Kodiak and Eklutna), we have found only four icons(three prints and one oil painting) which are the same as were transported to Japan. It means that there was actually no parallel between icons in Japan and Alaska. We can surmise also that there was no comprehensive system within the Russian Orthodox Church for deciding to send icons to countries outside Russia, and the selection of icons depended on the Russian patrons who took care of their protege countries. But during this research, there was an unexpected new discovery in Sitka. In Bishop Innocentis House we found the original drawing which had served as a model for the Resurrection icon by Rin Yamashita(1857-1939). This icon was donated to the then crown prince Nicolai(future Nicolai the Second) when he visited Japan in 1891. The original drawing is dated 1876. And the painter is presumably Vasily Kriukov. Vasily Kriukov was the first icon and Western-style painter among the indi … More genous Aleut people. He was educated by Innocenti and painted the icons in the newly built church in Unalaska in the Aleutian Islands in 1826. This means Bishop Nicoiai Kasatkin fostered Rin Yamashita as an icon painter in Japan and Bishop Innocenti Veniaminov fostered Vasily Kriukov as an icon painter in Alaska. Although there is a document apparently testifying to the death of Vasily before. 1830 in SPb, when he was a student in SPb Academy of Art, clearly this document should be re-examined. Whatever the result, we have now a radically new perspective for the future study of Japanese modern icons and culture. Furthermore we also conducted for the first time a scientific and chemical analysis of the Russian icons and constructed anew environment from concrete testimonies for the icons in Sirakawa. In addition we also analyzed from a comparative cultural perspective the educational system of the first Japanese Academy of Technology and Art, which was founded in 1876 and where Rin Yamashita studied Western Art. Less