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[moonflower77]

Posting this largely for [Unknown site tag]dreaming_brooke. 

 

Old Believer crosses

The space on surface free from the imagery specific to the given cross one can see the traditional inscriptions that either have a doctrinal character or glorify the Lord. The top of the cross reads “King of Glory” (in Church Slavonic), an inscription that appeared on Byzantine crosses in the 12th century at the earliest as ΒΑΣΙΛΥΣ ΤΗΕ ΔΟΞΗΣ, an antonym to the ironic Pontius Pilate inscription that refers to the glorious Ascension of the Lord. The edges of the horizontal bar contain the shortened version of the name, “Jesus Christ”, which affirms that the Savior is, indeed, the Messiah, Whose coming was promised and foretold in the Old Testament. Inscribed along the horizontal bar is the word NIKA (“the victor(ious)”), a reminder of Christ’s victory over hell and death.

The inscription“Jesus Christ the victor” first appeared on crosses that were made under the orders of Emperor Constantine immediately after Empress Helena discovered the Precious and Life-Giving Cross of the Lord.

Let us focus separately on the meaning of the eight-pointed cross, which generated so much controversy and debates in the Church after the reform, and which is not only a particularly revered by the Old Believers, but is, at present, a symbol of the Russian Orthodox Church as a whole.

The eight-pointed cross as the instrument of execution that was used to crucify the Savior can be found in ecclesiastical art from the 9th century onwards. By the 16th century, the image of the Calvary Cross in Russia had become predominantly eight-pointed. This graphic form, which had developed over the centuries, is the best spiritual reflection of the genuine Cross of the Lord, the symbol of the Savior’s Sacrifice and Victory. The eight-point shape, in turn, consists of three parts: the basic four-pointed cross and two additional horizontal bars at the top and bottom.

The four-pointed cross serves as a graphic duplicate for the figure of the crucified Savior, He “Who has created and maintains all things ahove and below, Who descended from up high and united the heavens with the earth, and then ascended from the earth into the heavens; He united all things within Himself and called upon every corner of the earth.”

The upper bar stands for the title of Pontius Pilates, which is mentioned in each of the four Gospels. But the actual inscription, “Jesus of Nazareth, King of the Jews”, which testifies to the Savior’s alleged guilt, was not used on crosses until the 16th century, as its false content and mocking nature were incompatible with the Adoration of the Cross. Instead, the true title “Jesus Christ is the King of Glory” was used, or, in most cases, a plain four-letter abbreviation of the Lord’s name, “Jesus Christ”. After all, in the Roman tradition titles (from the Latin word “titulus”) were “plates that signified royal power and contained an image of the emperor or an inscription with his name”.

The Pontius Pilates insciption appeared on Russian crosses in the 17th century as the Slavic abbreviation I.Н.Ц.I. and is usually present only in conjunction with the figure of the crucified Christ. However, eight-pointed crosses as such, without a Crucifix, do not contain any inscriptions; instead, these are located close by.

Thus, the upper bar crowns the cross and denotes the true dignity of the Savior in keeping with the inscriptions found nearby.

The bottom bar stands for the foot of the cross. Despite the fact that the Gospel does not mention the foot and its existence has not been proven by any reliable archaeological evidence, it is mentioned by many Fathers of the Church and has been present on Russian and Byzantine crucifixes since ancient times.

Most researchers believe that, according to the Byzantine ceremonial regulations, the foot denoted the greatness of the person being portrayed. Its presence converts the cross into a throne and positions Christ as a king, the King of Glory. Moreover, the Cross is perceived as an altar, for which a foot is an essential attribute. Thus, the foot of the cross shows that the crucified Christ is not merely the one being sacrificed; He is also the High Priest offering the sacrifice. These meanings of the foot are confirmed in many books of Scripture (Is. 60:13; Ps. 98:5; Ps. 131:7; Mat. 22:44; Jews 10:12-13). Given the exceptional significance of the foot, this term is frequently applied to the Cross as a whole rather than just the lowermost part.

On ancient crosses, the foot had a three-dimensional cubic shape, was sometimes decorated with an ornament and was similar to the foot at the throne of the Almighty seen on icons. One must bear in mind that, at the time, the figure of the crucified Christ also had regal dignity. Over time, from the 9th century onwards, the three-dimensional foot in Byzantine and Russian art became a wide board. On Russian crosses made in the 16th-17th centuries this board eventually came to be depicted as slanted, with the right-hand end positioned somewhat higher than the left-hand one. The version of the foot came to be loved by artists and became canonical in Russian icon painting, acquiring a new symbolic meaning as the “standard of righteousness”. The slanted or sloping foot reminds us of the two thieves who were crucified on either side of Christ, and represents the balance beam of the scales at the Last Judgment. One end is dragged down by the sins of the unrepentant thief, relegating him to hell, whilst the other is freed by the repentance of the wise thief and soars upward, lifting him up to Heaven, as promised by the Savior. In a figurative way, this highlights the importance of repentance as the path to salvation.

Furthermore, the reminder about the crucified thieves recreates a complete picture of the Crucifixion with three crosses. This composition has an important symbolic significance, since it illustrates the regaining of the lost paradise with two trees in the middle, as evidenced by the traditional four-letter inscription decoded as “the place of execution has become paradise”. Here, the Cross of Christ is a symbol for the Tree of Life, while the crosses of the thieves represent the duality of the tree of knowledge of good and evil. It is possible that, in combining the symbolism of the trees in Eden, the eight-pointed cross with the oblique foot becomes the “Holy Tricomponent Tree” sung about in the Canon to the Precious and Life-Giving Cross (Song number 8).

The reverse side of the cross contains the prayer to the Precious and Life-Giving Cross in Church Slavonic, in the pre-reform spelling: “Let God arise, and let His enemies be scattered; and let those who hate Him flee from His face. As smoke vanishes, let them vanish.”

* The spelling of Christ’s name on these crosses was used before the church reform of 1651-1685 and remains common practice among the Old Believers to this day.

 

Cross “BLOSSOMING CROSS” (for women)

This cross recreates a model that is widely popular among Old Believers and is considered to be “feminine”, more suitable for women. It originated in Russia in the 17th century, during the Baroque period.

In staurography it is known as the blossoming or leaf-shaped cross, while collectors call it a “spade”.

Its basis is a four-pointed cross with rectangular bars, where the vertical bar is longer than the horizontal. The cross is framed along the entire perimeter in a rich baroque ornament that gives the bars the semblance of leaves. This enables one to convey the symbolism of the Cross as the Tree of Life. It is this floral ornamentation that caused the Old Believers to identify it as feminine, based on the words of the Psalmist: “Thy wife shall be as a fruitful vine by the sides of thine house” (Ps. 127:3).

This is further reinforced by the praise to the Holy Cross, which is inscribed on the lateral facet: крcтъ хранiтель всей вселеннэй, крcтъ красота церковнаz (“the cross is the guardian of the entire universe and the beauty of the church”). The central and main element of the frontal composition is the eight-pointed cross set on Mount Golgotha, a replica of the Lord’s Precious and Life-Giving Cross. Inside the mountain there is a skull that stands for the head of Adam, since, according to legend, Adam’s remains had been buried in this exact location. In addition, a connection is made between Adam and Christ. The Fathers of the Church referred to Christ as the new Adam, Who redeemed the original sin and revealed to humankind the path to eternal life. On either side of the Calvary Cross one can see the Instruments of the Passion – the spear and the cane with a sponge at the tip. They are subject to adoration along with the Cross, and, as a result, are invariably present on any wearable crosses used by Old Believers and form a single composition with the eight-pointed cross and Mount Golgotha. As for the actual figure of the Savior, a common opinion shared by Old Believers is that it cannot be portrayed on pectorals, as the cross is meant to be worn constantly and cannot be taken off under any circumstances, whereas the wearer may be forced to visit places where it would be obscene and blasphemous to bring the Savior’s image. 

Cross “CALVARY CROSS. PRAYER TO THE HOLY CROSS” (Old Believers)

This cross recreates a model that originated in Russia in the 17th century and is widely popular among Old Believers.
 
It is characterized by a simple four-pointed shape and straight bars, with the vertical bar being somewhat longer than the horizontal one. The fixed rounded top of the cross includes an element shaped like a two-level pyramid.

Its basis is a four-pointed cross with rectangular bars, where the vertical bar is longer than the horizontal. The cross is framed along the entire perimeter in a rich baroque ornament that gives the bars the semblance of leaves. This enables one to convey the symbolism of the Cross as the Tree of Life. It is this floral ornamentation that caused the Old Believers to identify it as feminine, based on the words of the Psalmist: “Thy wife shall be as a fruitful vine by the sides of thine house” (Ps. 127:3).

The central and main element of the frontal composition is the eight-pointed cross set on Mount Golgotha, a replica of the Lord’s Precious and Life-Giving Cross. Inside the mountain there is a skull that stands for the head of Adam, since, according to legend, Adam’s remains had been buried in this exact location. In addition, a connection is made between Adam and Christ. The Fathers of the Church referred to Christ as the new Adam, Who redeemed the original sin and revealed to humankind the path to eternal life. On either side of the Calvary Cross one can see the Instruments of the Passion – the spear and the cane with a sponge at the tip. They are subject to adoration along with the Cross, and, as a result, are invariably present on any wearable crosses used by Old Believers and form a single composition with the eight-pointed cross and Mount Golgotha. As for the actual figure of the Savior, a common opinion shared by Old Believers is that it cannot be portrayed on pectorals, as the cross is meant to be worn constantly and cannot be taken off under any circumstances, whereas the wearer may be forced to visit places where it would be obscene and blasphemous to bring the Savior’s image. 

Easter Egg “HIDDEN TREASURE”

This miniature cast-metal egg is decorated with hot enamel in two distinct colors. The ornament on the surface of the egg is typical for the jewelry (hoops) found among the unearthed Russian treasures dating back to the 11-th-12th centuries. It is comprised from a series of tiny metal plates with images of the Tree of Life and fantastical birds, along with a band of floral ornament.
 
In Christianity, a blossoming tree is associated with the Tree of Life that used to grow in Eden, and with the Resurrection and the re-claiming of the lost paradise. The bird is a symbol of the immortal soul: “Our soul hath been delivered as a sparrow out of the snare of the fowlers” (Psalm 123:7). As we have mentioned above, the image of a bird on the egg is a direct reference to the Resurrection.
 
The combination of birds and the Tree of Life has often been used in ecclesiastical art since ancient times to depict the souls of the righteous in Heaven.

Egg “Blossoming Cross”

This miniature, solid cast-metal egg is decorated with hot enamel in 4-5 different colors. The surface of the egg contains two medallions with the Blossoming Cross framed in a floral ornament. The shape of the Cross is somewhat similar to an anchor, with two flowering shoots growing from the same base.

Cast metal egg “Birds”

This miniature, solid cast-metal egg is decorated with hot enamel in 5–6 different colors. The surface of the egg is covered in a so-called teratological ornament that combines stylized images of birds, knotted plaiting and plant elements.

Easter Egg “RESURRECTION”
 
This miniature cast-metal egg is decorated with hot enamel in 3 or 4 different colors. Its main artistic and semantic focus is the relief icon of the Resurrection and Descent into Hell. For this item, we have used the iconographic copy from Constantinople, or, to be more precise, the more concise version limited to three figures. The oval medallion depicts Christ as standing upon the crushed gates of hell and reaching out to the kneeling Adam and Eve. The extremely laconic composition helps the viewer see the Resurrection of Christ not so much as a historical event as an ontological one, a deed that restored the fallen human nature to its original condition.
 
The hand of the Savior, which is stretched out toward our forefathers, is also reaching out to us, to humankind as a whole, and to anyone willing to follow Christ. After all, hell is a place devoid of God’s presence, much like our hearts when they are torn apart by passions and do not know the Lord. This is why St. Maximus the Confessor described Easter as “the coming of the Word into the human mind”. Only in accepting Christ can a person experience spiritual rebirth.
 
Another visual element found on the egg is a medallion with the image of the Holy Cross in Bloom, the “weapon of victory” that struck down death and gave us resurrection and life. The space between the medallions with the icon and the cross is decorated with floral ornaments in the Byzantine style.

Egg “Little fish”

This miniature, solid cast-metal egg is decorated with hot enamel in 4-5 different colors. The surface of the egg carries a duplicated motif: a four-pointed cross with widening beams, which is flanked by two stylized dolphin-like fish.

Egg “Flowers”

This miniature, solid cast-metal egg is decorated with hot enamel in three different colors. The ornament consists of recurring five-petal flowers and is divided by several partitions.

Egg “Spiral”

This miniature, solid cast-metal egg is decorated with hot enamel in 4-5 different colors. The surface of the egg is covered in various types of interconnected spirals. The composition is divided into three identical parts, with a dynamic triangle as a base and a triple helix (triquester) as the chief element that seems to give birth to the rest of the pattern.

Egg “Lily Blossom”

This Easter egg has a solid outer shell and a cavity inside. The surface of the egg is decorated with hot enamel in 3-4 different colors. The ornament is a floral pattern, where the main element is a lily blossom with three petals.

Egg “Christ is Risen”

This Easter egg has a solid outer shell and a cavity inside. The surface of the egg is decorated with hot enamel in four different colors. It is covered in a pattern with the recurring motifs of the blossoming cross and the lily flower. The ornamental belts are separated by a band with the repeating Slavic letters XB, which stand for the Easter greeting Христос воскресе, or “Christ is risen!”.

Egg “Cross”

This Easter egg has a solid outer shell and a cavity inside. The surface of the egg is decorated with hot enamel in 5-6 different colors. The main element of the pattern is a four-pointed cross with ends blossoming into three-lobed lilies. Another recurring element is a triangular flower with three petals.

Bracelet

The bracelet is composed of interconnected circular medallions linked by two openwork ornamental elements in the form of a stylized lily flower and a four-pointed cross with expanding beams. The bracelet may include a medallion with Our Lady of Kasperovo. We are planning to expand the range of decorative medallions in the foreseeable future.

Pendant “FISH”

This small pectoral pendant has been made after the stylized image of a fish using the technique of hot multicolored enamel.

In ancient times, the fish used to be a symbol of fertility for many different peoples, and with the advent of Christianity it quickly became one of the most important symbols for the first Christians. This occurred due to the Greek spelling of the word “fish”: ІHΘΥΣ. These five letters formed an acrostic that contained the most ancient formula of the creed: Іηϭος - Jesus, Χριϭτος - Christ, Θεου – of God, Υιος - Son, Σωτηρ - Savior. Therefore, the image of a fish was first and foremost a symbol of Christ, and, as we shall see, it could point at the main sacraments. In addition, depending on the context, fish could also represent Christians or their souls.

This is confirmed by the Gospel (Matt. 4:19; Mark 1:17) and by the early Fathers of the Church (2nd century). For example, in the hymn to Christ the Savior, written by St. Clement of Alexandria, we find the following words: “The fisherman who pulls all mortal folk out of the sea of iniquity; the one who ensnares pure fish with the promise of a sweet life”. Similarly, while interpreting the sacrament of Baptism, Tertullian writes: “We are fish, led by our ΙΧΘΥΝ, we are born in the water and will be saved by none other than staying in the water”. Thus the image of the fish is associated with the sacrament of Baptism.

There were a number of images that drew a connection between the fish and the sacrament of Communion. They employed a well-known parallel between Communion and the miraculous augmentation of the loaves and fishes described in the Gospel (Matt. 15:33-38).

The image of the fish had a prominent presence in the life of the early Christians until the 4th century and occupied a special place as a pectoral decoration. According to Duke A. S. Uvarov,
“they cast small fish from bronze and glass, or carved them out of rock crystal, mother of pearl, ivory, or other more or less valuable substances, and wore them on a cord around their necks”. In effect, pendants shaped like fish served as a pectoral cross, which for obvious reasons could not be widely used until Emperor Constantine came to power. The fish-shaped pendant represented Baptism and was a sign used by Christians to recognize one another. The prayers for salvation to Christ, which could sometimes be encountered on these pendants and were supposed to play a protective role, could later be seen on crosses.

As a symbol of Christ, the fish carried the same symbolism of Light and Life as the cross. This was expressed through the laconic decorative elements. The theme of Eternal Life was developed through the connection between the fish and the sacrament of Communion, such as when the fish was accompanied by one or more loaves of bread, depicted as a circle with an equilateral cross inside, similar to modern Orthodox Communion bread. The idea of Light, on the other hand, was closely linked for the early Christians with the sacrament of Baptism. According to St. Clement of Alexandria, “Baptism is called illumination, because through Baptism we contemplate the holy and saving light - that is, God”. Therefore, the fish is a symbol of Christ, who is Himself the “light of the world” and “the light of life” (John 8:12), as well as a symbol of Baptism, and can be seen as a symbol of the Divine Light. This meaning is most convincingly confirmed by the numerous clay lamps that were decorated with images of fish or even shaped like fish. The symbolism of light could be emphasized through using decorative elements, such as solar signs, which could later also be encountered on crosses.

You can see many of these traditions reflected on our pendant. In the center there is a circle with a four-pointed cross, which is a symbol of the Eucharistic Sacrifice. To express the idea of light, we have filled the entire free space on the body of the fish with multicolored solar signs in the form of a circle with a dot in the center.

Of course, a fish-shaped pendant can by no means replace a pectoral cross today, but it is a miniature sacred ornament that has a long history and profound spiritual content. We hope that it will help us to become at least a little closer to the first Christians - people who lived in a cruel pagan world, but had qualities that we tend to lack: an exceptionally strong faith, inner freedom and capacity for all-conquering sacrificial love.

The pendant can be complemented with a pair of earrings, identical in design save for a hook used to insert the earring into the ear. Together, the earrings and the pendant form a single set.  

Lunar earrings

These crescent-shaped earrings are suspended from rings and decorated with a curling filigree pattern. The earrings are supplemented by moveable circular medallions with the image of the cross inside.

Prayer rings:

Prayer rings represent the union between the individual and the Church and help one establish a relationship with God through prayer. Since ancient times, these rings have played has a protective role and encouraged pious deeds.

Ring with a prayer to the Theotokos (The Blessed Virgin Mary)

Inscribed upon this particular ring are the words from a penitential song to the Blessed Virgin Mary, which is sung in church from the week of the Publican and the Pharisee until the fifth week of Lent:   “Mother of God, guide me on the path to salvation”.

In this prayer, we admit to our sins and ask the Blessed Virgin Mary to guide us on the path to salvation. Salvation (σωτηρια) in Christianity is understood as the healing of sin, which results in the person’s return to their pristine condition. This is an arduous and time-consuming process. Only God may help us complete it, but only if we wish Him to do so, and with our prayers and the prayers of our patron saints and the Blessed Virgin.

Ring with the prayer “Lord, have mercy”

This ring carries the short prayer, “Lord, have mercy”, the oldest and common to all Christians, which is inscribed thrice, to the glory of the Most Holy Trinity. One is supposed to utter this prayer while recalling one’s sins. According to St. John Chrysostom, “He who says: Have mercy on me, has been absolved, for those who have been pardoned shall not be punished. He who says: Have mercy on me, has gained the Kingdom of Heaven, for those pardoned by God are not only spared punishment, but are granted all things good in the future”.