Title of the article:



Petr V. Pshenichnyi

Information about the author/authors

Petr V. Pshenichnyi — Postgraduate Student, Lomonosov Moscow State University, Leninskie gory 1, 119192 Moscow, Russia.

ORCID ID: https://orcid.org/0009-0004-3704-0046

E-mail: pshenichniy321@gmail.com


History of Arts




Vol. 71


pp. 249–262


April 07, 2023

Approved after reviewing

October 15, 2023

Date of publication

March 25, 2024



Index UDK


Index BBK



Despite the fact that female saints were not the subject of particular scientific interest, one can found the vast array of the icons of the Our Lady of the Sign flanked by the female saints' representation, especially in the Novgorodian and Pskovian art culture. Due to their names semantic (St. Paraskeva — Crucifixion and St. Anastasia — Resurrection), female saints were not only patronesses of Christian faith as well as patronesses of certain activities or the most popular saints in medieval Novgorod, Pskov and the Northern provinces of Novgorod, but they also represented complicated allusions to Gospel events, Christ and Theotokos. Previously, the researchers believed, that the female saints were just patronesses of particular activity, however they were also symbols of Gospel events. In accordance with the iconographic analysis, the images of the female saints in juxtaposition with the other saints and especially with Our Lady of the Sign image emphasized certain aspects of veneration of Theotokos and Christ.


Female Saints, the Our Lady of the Sign, Icon Art, Medieval Rus’ Culture, Saint’s Images, St. Paraskevi, St. Anastasia.


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