agricultural neighbors and their lands. Being pastoralists, they wielded great military powers, but only for as long as they remained in the steppe region of Inner Eurasia, which provided them with the open terrain necessary for their mobility and grasslands for their horses. Consequently, Hun attacks west of Pannonia were minor, unorganized, and not led by strong leaders until Attila, who ruled from about 444 or 445 to 453. However, even he continued the earlier Hun practice of viewing the Roman Empire primarily as a source of booty and tribute.
Immediately after Attila’s sudden death in 453, the diverse and loosely-knit Hun tribal confederation disintegrated, and their Germanic allies revolted and killed his eldest son, Ellac (d. 454). In the aftermath, most of the Huns were driven from Pannonia east to the North Pontic region, where they merged with other pastoral peoples. The collapse of Hun power can be attributed to their inability to consolidate a true state. The Huns were always and increasingly in the minority among the peoples they ruled, and they relied on complex tribal alliances but lacked a regular and permanent state structure. Pannonia simply could not provide sufficient grasslands for a larger nomadic population. However, the Hun legacy persisted in later centuries. Because of their fierce military reputation, the term “Hun” came to be applied to many other Eurasian nomads by writers of medieval sedentary societies of Outer Eurasia, while some pastoralists adopted Hun heritage and lineage to distinguish themselves politically. See also: CAUCASUS; CENTRAL ASIA; UKRAINE AND UKRAINIANS
BIBLIOGRAPHY
Christian, David. (1998). A History of Russia, Central Asia and Mongolia, Vol. 1: Inner Asia from Prehistory to the Mongol Empire. Oxford: Blackwell. Golden, Peter B. (1992). An Introduction to the History of the Turkic Peoples. Wiesbaden, Germany: Harras-sowitz Verlag. Maenchen-Helfen, O. J. (1973). The World of the Huns: Studies in Their History and Culture. Berkeley: University of California Press. Sinor, Denis. (1990). “The Hun Period.” In The Cambridge History of Early Inner Asia, ed. Denis Sinor. Cambridge, UK: Cambridge University Press.
ICONS
Icons are representations, usually on wood, of sacred figures-Christ and the Virgin Mary, the apostles, saints, and miraculous events. The Greek term eikon (Russian, obraz) denotes “semblance,” indicating that the icon does not incarnate but only represents sacred objects. As such it serves to facilitate spiritual communion with the sacred; the distinctive two-dimensional flatness symbolizes an immateriality and hence proximity to the otherworldly. In rare cases this mediating role reaches miraculous proportions when the faithful believe that a “miracle-working” (chudotvornaya) icon has interceded to save them from harm, such as the depredations of war and disease.
The evolution of icons in Russia paralleled the development of Eastern Orthodoxy itself. Initially, after Grand Prince Vladimir embraced Eastern Orthodoxy in 988, icons were produced by Greek masters in Byzantium; few in number, they were restricted to the urban elites that actually practiced the new faith. The most venerated icon in Russia, the “Vladimir Mother of God,” was actually a twelfth-century Greek icon imported from Constantinople. Revered for its representation of the Virgin’s tender relationship to Christ, it became the model of the umilenie (tenderness) style that dominated Marian representation in most Russian iconography.
The Crusades from the West and the Mongol invasion from the East suddenly disrupted the Byzantine predominance in the mid-thirteenth century. The new indigenous icons showed a marked tendency toward not only simplification but also regionalization. As Kiev Rus dissolved into separate principalities under Mongol suzerainty, icon-painting acquired distinctive styles in Vladimir-Suzdal, Novgorod, Pskov, Yaroslavl-Rostov, Tver, and Moscow. Some icons also bore a distinctive local theme, such as the “Battle between the Novgoro-dians and Suzdalians,” a mid-fifteenth century icon with unmistakable overtones for Novgorod’s life-and-death struggle with Moscow.
The evolution of icon painting also derived from external influences. One phase began with the resumption of ties to Byzantium in the mid-fourteenth century and culminated in the icons and frescoes of Theophanes the Greek (c. 1340-after 1405). His indigenous co-workers included the most venerated Russian icon-painter, Andrei Rublev (c. 1360-1430), whose extant creations include the
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celebrated “Trinity” icon. A second phase came in the late fifteenth century, when Italian masters- imported to construct an awe-inspiring Kremlin- helped introduce some Western features (for example, the clothing and gestures of the Virgin). That was but a foreshadowing of the far greater Western influence in the seventeenth century, when the official icon-painting studios in the Kremlin Armory (under Simon Ushakov, 1626-1686) used Western paints and techniques to produce more naturalistic, monumental icons. Such innovations elicited sharp criticism from traditionalists such as Archpriest Avvakum, but they heralded tendencies ever more pronounced in Imperial Russia.
Even as Moscow developed an official style, the production of icons for popular consumption became much more widespread. The Church Council of 1551 complained about the inferior quality of such images and admonished painters not to “follow their own fancy” but to emulate the ancient icons of “the Greek icon-painters, Andrei Rublev, and other famous painters.” That appeal did nothing to stem the brisk production of popular icons, with some small towns (e.g., Palekh, Kholuy, Shuya, and Mstera) gaining particular renown. Popular icons were not only simpler (indulging fewer details and fewer colors), but also incorporated folkish elements alien to both traditional Byzantine and newer official styles. Although authorities sought to suppress such icons (e.g., a 1668 edict restricting the craft to certified icon-painters), such decrees had scant effect.
Indeed, both popular and elite icon-painting continued to coexist in the eighteenth and nineteenth centuries. Popular icons flourished and proliferated; while some centers (such as the specialized producers in Vladimir province) exhibited artistic professionalization, the expanding production of amateur icons aroused the concern of both Church and state. But attempts to regulate the craft (e.g., decrees of 1707 and 1759) did little to restrict production or to dampen demand. A far greater threat eventually came from commercialization-the manufacture of brightly colored, cheap lithographs that pushed artisanal icons from the marketplace in the late nineteenth century. Seeking to protect popular icon painting, Nicholas II established a Committee for the Stewardship of Russian Icon Painting in 1901, which proposed a broad set of measures, such as the establishment of icon-painting schools to train craftsmen and to promote their work through special exhibitions. Icon production for elites took a quite different path. After Peter the Great closed the icon-painting studio of the Armory in 1711, its masters scattered to cities throughout the realm to ply their trade. By the late eighteenth century, however, the Academy of Arts became the main source of icons for the major cathedrals and elites. By the mid-nineteenth century the Academy had not only developed a distinct style (increasingly naturalistic and realistic) but also significantly expanded its formal instruction in icon painting, including the establishment of a separate icon-painting class in 1856.
At the same time, believers and art connoisseurs showed a growing taste for ancient icons. By mid-century this interest began to inspire forgeries as well as orders for icons in the old style. The meaning of that old style underwent a revolutionary change in the early twentieth century: As art restorers peeled away the layers of paint and varnish applied in later times, they were astonished to discover that the ancient icons were not dark and somber, but bright and clear. The All-Russian Congress of Artists in 1911 held the first exhibition of restored icons; the new Soviet regime would devote much attention to the process of restoration.
While placing a high priority on icon restoration, the Soviet regime repressed production of new icons: It closed traditional ecclesiastical producers (above all, monasteries), and redirected popular centers of icon production such as Palekh to specialize in secular folk art. Although Church workshops continued to produce icons (by the early 1980s more than three million per year-an important source of revenue), not until 1982 did the Church establish an elite patriarchal icon-painting studio. The subsequent breakup of the Soviet Union not only generated a sharp surge in demand (from believers and reopened churches), but enabled the Church to establish a network of icon-painting schools specifically devoted to the revival of traditional iconography. See also: ACADEMY OF ARTS; BYZANTIUM, INFLUENCE OF; DIONISY; ORTHODOXY; PALEKH PAINTING; RUBLEV, ANDREI; THEOPHANES THE GREEK; USHAKOV, SIMON FEDOROVICH
BIBLIOGRAPHY
