Icons of the Piirissaare Old Believers’ prayer house – from fire to restoration

Autor: 
Kristina Aas
Number: 
Anno 2019/2020
Rubriik: 
Conservation
TrükiPDF
ill 1. Piirissaare palvela ikonostaas.

ill 1. Piirissaare palvela ikonostaas.

© Arne Maasik

ill 2. Piirissaare vanausuliste palvela.

ill 2. Piirissaare vanausuliste palvela.

© Arne Maasik

ill 3. Piirissaare palvela põleng 2016. aasta 16. mai varahommikul.

ill 3. Piirissaare palvela põleng 2016. aasta 16. mai varahommikul. 

© Lõuna päästekeskus

ill 4. Palvela pärast põlengut.

ill 4. Palvela pärast põlengut.

© Kadri Tael

ill 5. Kunstimälestised ja muud sakraalsed esemed jäätmejaama abiruumi põrandal.

ill 5. Kunstimälestised ja muud sakraalsed esemed jäätmejaama abiruumi põrandal.

© Kadri Tael

ill 6. Konserveerimistalgud SA Eesti Vabaõhumuuseumi Setu talu laudas.

ill 6. Konserveerimistalgud SA Eesti Vabaõhumuuseumi Setu talu laudas.

© Urmo Treisalt

ill 7. Talgud.

ill 7. Talgud.

© Urmo Treisalt

ill 8. Näide säilinud ikoonist. „Püha Vaimu väljavalamine“, reg. nr 21670

ill 8. Näide säilinud ikoonist. „Püha Vaimu väljavalamine“, reg. nr 21670

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ill 9. "Tihvini Jumalaema", reg. nr 21659. Ikooni on võimalik restaureerida, kuid Jumalaema pale on hävinenud.

ill 9. "Tihvini Jumalaema", reg. nr 21659. Ikooni on võimalik restaureerida, kuid Jumalaema pale on hävinenud.

©

ill 10. "Ristija Johannese pea maharaiumine", reg. nr 21676. Ikooni ülaosa on tõenäoliselt hävinenud, allosa aga säilinud.

ill 10. "Ristija Johannese pea maharaiumine", reg. nr 21676. Ikooni ülaosa on tõenäoliselt hävinenud, allosa aga säilinud.

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ill 11. "Issandamuutmine", reg. nr 21672. Ikoon on tõenäoliselt suuremas osas hävinenud.

ill 11. "Issandamuutmine", reg. nr 21672. Ikoon on tõenäoliselt suuremas osas hävinenud.

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ill 12. „Ülestõusmine Põrguhauda laskumisega“, reg. nr 21667, Mark Grigorjevitš Solntsev.

ill 12. „Ülestõusmine Põrguhauda laskumisega“, reg. nr 21667, Mark Grigorjevitš Solntsev.

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ill 13. Avariitööde II etapi konserveerimistööde aruandest leiab järgmise informatsiooni: „maalingu ülaosa tõenäoliselt hävinenud, allosa aga säilinud“.

ill 13. Avariitööde II etapi konserveerimistööde aruandest leiab järgmise informatsiooni: „maalingu ülaosa tõenäoliselt hävinenud, allosa aga säilinud“.

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ill 14. Kattekihi eemaldamine. Tumenenud kattekiht eemaldati etanooli ja tärpentini lahuse (1:1) kompressidega. Selleks immutati u 4x3 cm suurune filterriide tükk lahusega ja asetati töödeldavale pinnale, millel lasti mõjuda umbes 2 minutit. Kompressi tulemusel muutus maalingut kattev kiht pehmeks/natuke kilejaks omaette kihiks, mille sai väga hõlpsalt mehaaniliselt skalpelliga eemaldada.

ill 14. Kattekihi eemaldamine. Tumenenud kattekiht eemaldati etanooli ja tärpentini lahuse (1:1) kompressidega. Selleks immutati u 4x3 cm suurune filterriide tükk lahusega ja asetati töödeldavale pinnale, millel lasti mõjuda umbes 2 minutit. Kompressi tulemusel muutus maalingut kattev kiht pehmeks/natuke kilejaks omaette kihiks, mille sai väga hõlpsalt mehaaniliselt skalpelliga eemaldada.

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ill 15. Krundikaod täideti 10% kalaliimi ja kriidi seguga. Ulatuslikele krundikadudega aladele kanti 5–7 õhukest krundikihti üksteise peale pärast eelmise kihi kuivamist, et vältida kuivamisel tekkida võivad pragusid. Krundi kuivades viimistleti pinda liivapaberiga.

ill 15. Krundikaod täideti 10% kalaliimi ja kriidi seguga. Ulatuslikele krundikadudega aladele kanti 5–7 õhukest krundikihti üksteise peale pärast eelmise kihi kuivamist, et vältida kuivamisel tekkida võivad pragusid. Krundi kuivades viimistleti pinda liivapaberiga.

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ill 16. Tratteggio põhitoonides vertikaaljooned.

ill 16. Tratteggio põhitoonides vertikaaljooned.

©

ill 17. Lasuurselt toneerimine.

ill 17. Lasuurselt toneerimine.

©

ill 18. Enne ja pärast tratteggio toneeringut.

ill 18. Enne ja pärast tratteggio toneeringut.

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ill 19. „Ülestõusmine Põrguhauda laskumisega“ enne ja pärast restaureerimistöid.

ill 19. „Ülestõusmine Põrguhauda laskumisega“ enne ja pärast restaureerimistöid.

©

ill 20. “Smolentski Jumalaema”, reg. nr 21657, G. J. Frolovi koolkond.

ill 20. “Smolentski Jumalaema”, reg. nr 21657, G. J. Frolovi koolkond.

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ill 21. Usklik ei saa leida lohutust ega tuge pühapildist, millel kujutatu on moonutatud või hävinenud. Põlenud näoga Neitsi Maarja ei vii usklikku kõrgemasse hingelisse seisundisse, pigem tekitab see temas õudu. Muinsuskaitseameti kunstimälestiste peainspektor Linda Lainvoo tõi välja ühes pärast põlengut antud intervjuus kujundliku võrdluse. Piirissaare palvela põlengut kajastavates uudislugudes ei näidatud kordagi põlenud ikoone. Võrdluseks tõi Lainvoo, et niisamuti ei näidata avalikkusele fotosid

ill 21. Usklik ei saa leida lohutust ega tuge pühapildist, millel kujutatu on moonutatud või hävinenud. Põlenud näoga Neitsi Maarja ei vii usklikku kõrgemasse hingelisse seisundisse, pigem tekitab see temas õudu. Muinsuskaitseameti kunstimälestiste peainspektor Linda Lainvoo tõi välja ühes pärast põlengut antud intervjuus kujundliku võrdluse. Piirissaare palvela põlengut kajastavates uudislugudes ei näidatud kordagi põlenud ikoone. Võrdluseks tõi Lainvoo, et niisamuti ei näidata avalikkusele fotosid autoavariis hukkunud inimestest.

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ill 22. Materjalid peegeldavad ja neelavad infrapunakiirgust nähtavast valgusest erinevalt, mis võimaldab näha läbi mitmete ainete. Maalide puhul lasevad mustus, paljud laki- ja värvikihid infrapunakiirgust (osaliselt) läbi, krundikihilt peegeldub IR-kiirgus aga tagasi. Ikoonist tehtud infrapuna fotodel on silmade, suu ja nina piirjooned selgelt loetavad.

ill 22. Materjalid peegeldavad ja neelavad infrapunakiirgust nähtavast valgusest erinevalt, mis võimaldab näha läbi mitmete ainete. Maalide puhul lasevad mustus, paljud laki- ja värvikihid infrapunakiirgust (osaliselt) läbi, krundikihilt peegeldub IR-kiirgus aga tagasi. Ikoonist tehtud infrapuna fotodel on silmade, suu ja nina piirjooned selgelt loetavad.

© Andres Uueni

ill 23. Maalipinnalt söestunud kattekihi eemaldamise käigus tulid näo piirjooned arusaadavalt välja. Värvitoonide gradatsioon on küll kuumuse tõttu kadunud, ent Jumalaema pale on selgelt loetav.

ill 23. Maalipinnalt söestunud kattekihi eemaldamise käigus tulid näo piirjooned arusaadavalt välja. Värvitoonide gradatsioon on küll kuumuse tõttu kadunud, ent Jumalaema pale on selgelt loetav.

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ill 24. „Kõikide Kurbade Rõõmu Jumalaema“, reg. nr 21664, enne ja pärast restaureerimist.

ill 24. „Kõikide Kurbade Rõõmu Jumalaema“, reg. nr 21664, enne ja pärast restaureerimist.

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ill 25. „Ülestõusmine Põrguhauda laskumisega“, reg. nr 21667, enne ja pärast restaureerimist.

ill 25. „Ülestõusmine Põrguhauda laskumisega“, reg. nr 21667, enne ja pärast restaureerimist.

©

ill 26. „Kõikide Kurbade Rõõmu Jumalaema nelja evangelistiga“, reg. nr 21668, enne ja pärast restaureerimist.

ill 26. „Kõikide Kurbade Rõõmu Jumalaema nelja evangelistiga“, reg. nr 21668, enne ja pärast restaureerimist.

©

ill 27. „Nikolai Imetegija kaheteistkümne elustseeni ja nelja pühakuga“, reg. nr 21665, enne ja hetkel veel töös olev ikoon.

ill 27. „Nikolai Imetegija kaheteistkümne elustseeni ja nelja pühakuga“, reg. nr 21665, enne ja hetkel veel töös olev ikoon.

©

ill 28. „Sissesõit Jeruusalemma“, reg. nr 21656, enne ja pärast restaureerimist.

ill 28. „Sissesõit Jeruusalemma“, reg. nr 21656, enne ja pärast restaureerimist.

©

ill 29. „Kristuse sündimine“, reg. nr 21663, enne ja hetkel veel töös olev ikoon.

ill 29. „Kristuse sündimine“, reg. nr 21663, enne ja hetkel veel töös olev ikoon.

©

ill 30. „Püha Vaimu väljavalamine“, reg. nr 21670, enne ja pärast restaureerimist.

ill 30. „Püha Vaimu väljavalamine“, reg. nr 21670, enne ja pärast restaureerimist.

©

ill 32. „Tihvini Jumalaema“, reg. nr 21662, enne ja pärast restaureerimist.

ill 32. „Tihvini Jumalaema“, reg. nr 21662, enne ja pärast restaureerimist.

©

ill 33. „Prohvet Eelija“, reg. nr 21666, enne ja pärast restaureerimist.

ill 33. „Prohvet Eelija“, reg. nr 21666, enne ja pärast restaureerimist.

© Malle-Reet Heidelberg

ill 34. "Apostlid Peetrus ja Paulus", reg. nr 21680, enne ja pärast restaureerimist.

ill 34. "Apostlid Peetrus ja Paulus", reg. nr 21680, enne ja pärast restaureerimist.

© Malle-Reet Heidelberg

ill 35. „Maarja kuulutus", reg. nr 21660, enne ja pärast restaureerimist.

ill 35. „Maarja kuulutus", reg. nr 21660, enne ja pärast restaureerimist.

© Carol Katkof ja Malev Toom

This article deals with the events that followed the tragic accident in which one of the Estonian Old Believers’ prayer houses caught on fire. The main emphasis lies on the conservation/restoration process of the icons that had been in that building. The dilemmas of finding suitable methods for restoration of two icons as an example have been presented in greater detail. In addition a brief overview presents the destiny of the invaluable bibliographic heritage.
The article also provides a list of all the restored icons with before-and-after photos, including the icons on which the restoration work is still continuing.

The Old Believers’ prayer house and its iconostasis before the fire

The prayer house in Saare village was probably built when the Old Believers’ congregation was registered in the 1920sJ.Plaat, Vene vanausulised ja nende pühakojad Eestis. (Russian Old Believers and their houses of worship in Estonia.) Tallinn: Tallinna Raamatutrükikoda, 2016, pp 114-119.  and it retained its functions until the fire in 2016. It was the only building of worship on the island. The iconostasis had probably not been completed as an entirety [photo 1]. It seems to have been a longer process during which the icons were obtained in different ways, donated by various people, for instance. The icons have been dated to different periods, most of them are from the second half of the 19th up to the first half of the 20th century, but the oldest has been dated to the 17th century. The theme of some icons is repeated, for instance, Mother of God, Joy of All Who Sorrow has been depicted twice. It is known that at least one icon belonged to a private person before becoming a part of the iconostasis.Kultuurimälestiste riiklik register (The Register of Cultural Heritage), https://register.muinas.ee/public.php?menuID=monument&action=view&id=21668 (viewed11.06.2019) The author of five icons is known – Mark Solntsev (1899–1957), a student of the well-known icon-painter Gavriil Frolov (1854–1930). 

The fire and its consequences

In the early morning, at 1.05 a.m., on 16th of May, 2016 the emergency centre got a phone call that two living-houses are on fire in Saare village, on Piirissaar in Lake Peipus. When the professional fire brigade arrived at the island, three households were already on fire and the roof of the Old Believers’ prayer house had caught fire, too [photos 2, 3 and 4]. Firemen who entered the burning prayer house brought out books, icons, crosses and miscellaneous ritual paraphernalia. Several phenomena worked against rescue on this fatal morning – the wind was strong and the traditional way of building on the island (auxiliary buildings are joined to the living-house and all the households are placed closely together) only made the situation harder. The ferry that keeps connection between the island and the mainland was out of order which meant that the firefighters had to find other means of transportation. Most of the people had left the island for work on the mainland, so there was a need for helping hands. The fire was localised at 4.33 a.m.Piirissaarel hävis tules kolm elumaja ja vanausuliste palvemaja (Three living-houses and the Old Believers’ house of worship perished in fire on Piirissaar), (Delfi Rahva Hääl 16.05 2016, http://rahvahaal.delfi.ee/news/pildid/fotod-sundmuskohalt-piirisaarel-ha... (viewed on 11.06.2019). The prayer house was completely destroyed. Most of the icons, all damaged by the fire, extinguishing water and heat were managed to be brought out from the building.

The prayer house contained 40 art monuments, all under the protection of the state: 31 icons and 3 crosses on wood, one icon and four crosses on metal and one Gospel Book. There were also a lot of objects not listed as items of art monuments. The most noteworthy part of them was the valuable books.The inspector general of the National Heritage Board, Linda Lainvoo’s record after the fire and mail-correspondence with the senior inspector Grete Nilp. All the rescued objects were taken to the auxiliary room of the local waste disposal station [photo 5]. The first task of the advisors of art heritage from National Heritage Board was to list the monuments and determine their situation. 6 of the 32 icons were noted as perished and two of them were lost (they were probably totally destroyed).

The severe condition of the damaged icons demanded immediate action to stop the new damage from appearing. The layers of ground and paint had started to separate due to the heat and extinguishing water. The first stage of emergency work took place in June 2016 – the icons were safely transported to the mainland.81MKA, A-12728: Tartu County, Piirissaare Civil Parish, Piiri village. Plan for the conservation of memorials from Piirissaare Old Believers’ house of worship. Tule- ja vee kahjustused kunstiteosel – konservaator kui päästja (Conservator as a rescuer in case of fire and water damage on a relic of art), 2016. Supervised by Viljar Vissel, conservators Üüve Vahur, Marika Mängel and Mart Verevmägi from painting, wood and metal conservation department of the SA Estonian Open Air Museum Conservation and Digitisation Centre Kanut (further on Kanut) properly carried out the evacuation. All the icons and crosses on wood (23 in total) were secured by a facing and transported in special boxes and frames onto the mainland.

Simultaneously with work on icons specialists of the National Archives of Estonia were assessing the damage of the valuable books and deliberating how to stop it spreading. Conservators from the Estonian National Museum, Tartu University Library and Estonian National Library were also engaged in restoring the bindings.Rescue and conservation of books from the Piirissaare house of worship – National Archives’ blog, 9.09.2016, http://blog.ra.ee/piirissaare-palvemaja-raamature-paastmin-ja-konserveer... (viewed on 14.06.2019). The Gospel Book that had been registered as the only art monument among the books was conserved at the Kanut.

A month after the fire the National Heritage Board decided to arrange an icon conservation workshop with all the Estonian conservation specialists.

The second stage of emergency work – icon conservation workshop

The five-day workshop took place on the Setu farm at the SA Estonian Open Air Museum on 24–28 October 2016. Over 40 people, conservators from the Open Air Museum, Estonian Museum of Art, Estonian National Museum, Tartu Art Museum and students from Estonian Academy of Arts and Pallas University of Applied Sciences participated in the project [photos 6 and 7]. In Estonian context the gathering was rather special – it was the first time ever when professional conservators from all over the country came together to deal with the results of an accident.

Three main aims were set for the icon conservation workshop:MKA, A-12728: Tartu maakond, Piirissaare vald, Piiri küla, Piirissaare vanausuliste palvela kunstimälestiste konseveerimistööde tegevuskava. Tule- ja vee kahjustus kunstiteosel – konservaator kui päästja ( Damage of fire and water on a relic of art – conservator as a rescuer), 2016

  1. Assessing the extent and character of damage;
  2. Recording the damage;
  3. Stabilising the condition of the icons.

Thus it was vital to stop the damage spreading on the icons and balance their current situation. Every icon was assessed separately. Becoming aware of the extent of the damage allowed to plan further work.

As a result of the workshop all the 23 icons were assessed and it became clear that:MKA, A-12754: Tartu maakond, Piirissaare vald, Piiri küla, Piirissaare vanausuliste palvela kunstimälestised. Konserveerimistööde aruanne. Avariitööde II etapp, 2016. (Report on the conservation. The 2nd stage of the emergency work)

  • 11 icons could be restored and returned to the prayer house [photo 8].
  • 4 icons could be restored but the faces of the saints have perished [photo 9].
  • on 3 icons the upper part of the painting have perished, but the lower part is preserved [photo10].
  • 6 icons have lost the majority of their painting layer [photo11].

When the emergency work was completed, all the icons were packed up and taken for storing in three Estonian museums.

Restoration of the icons

Today (summer 2019), 12 icons out of 23 have been restored/conserved or are still being worked on. Some restored icons gave a pleasant surprise. It has become clear that the initial assessment at the above-mentioned workshop was not totally correct. It appeared to be possible to remove some or the entire charred layer. Thick layer of oil varnish has protected the paint layers from heat and even the straight flames. The layer of traditional varnish based on linseed oil has been, so to say, on the fire-line. The layers of paint underneath may have changed/tarnished but are still readable. This discovery has been already made on two of the icons, increasing the hope that the other icons initially considered perished might still yield to restoration.

Resurrection with descending into Hell, Mark Grigoryevich Solntsev [photo 12]

The observation record from 16th of May 2016 states that the icon is considered to be perished. According to the report from the conservation workshop “the upper part of the painting has evidently perished but the lower part has preserved” [photo 13].

The icon was chosen as a sort of restoration model to see to which extent restoration is possible with the icons that were partly destroyed. Eight more icons are in the same condition. It was expected to create a precedent for further decisions on dealing with the same kind of damage. The concept of restoration was based on the object as a piece of art and not as a sacred object, thus the aim was to restore the visual entity of a painting.

Getting on with the cleaning of the surface step by step it began to appear that it is possible to cleanse even the upper part of the icon, that earlier had been considered totally perished [photo 14]. Having completed the cleansing it became clear that the surface beneath the coating had mostly preserved. This demanded rethinking of the initial restoration concept. Icon was still treated as a piece of art and not as a sacred object. For the further works two main value categories were followed – historical and esthetical one. The latter means the visual readability of the piece and its author’s proficiency. The historical aspect is concerned with the author, place, time, authenticity and originality of the piece. With respect to the authenticity of the piece and the author’s original layers, certain principles were followed in order to prevent the conservator from taking liberties. The third principle was added to the first two – as extensive losses in the layers of grounding and paint existed [photo 15], it was decided that the conservator’s interference should be visually noticeable but, at the same time, not so visible from the point of the painting’s entirety.K. Aas, Piirissaare vanausuliste palvela ikoonid – põlengust restaureerimiseni. Magistritöö (Icons of the Piirisaare Old Believers’ house of worship from the fire up to restoration. MA thesis). Tallinn: Eesti Kunstiakadeemia Muinsuskaitse ja konserveerimise osakond, 2018.

This dictated the decision to retouch the losses with watercolours in trateggio technique [photos 16 and 17]. Discussions with the National Heritage Board led to the conclusion that this solution should not hinder using the icon in its sacral function. In trateggio, as based on a principle of Cesare Brandi’s philosophy, historical and esthetical dimensions are considered equal. When the icon is used for sacral purposes the historical dimensions and authenticity are not important but they are significant in the aspect of an art monument. Retouching in trateggio technique means using fine lines, parallel to each other in primary colours (red-yellow-blue) integrating them layer by layer to the same tonality as the surrounding original [photo 18]. This makes the retouching optically the same with the original at a distance and gives the idea of pictorial entity [photo 19]. At close viewing, however, the restorer’s work is separable from the original.

Our Lady of Smolensk, school of G.J. Frolov [photo 20]

The essence of an icon depends on its appearance. When the appearance changes then the characters of an icon do not work for the purpose anymore and its sacral function disappears. A believer does not find solace in an icon the image of which has been destroyed. The Virgin Mary with a burnt face would not take the believers onto higher spiritual planes but rather gives them a gruesome feeling. Linda Lainvoo – Director of Art Heritage Field at the National Heritage Board, presented a good comparison in one of her after-the-fire interviews – just like we have not shown the burnt icons from the Piirissaare prayer house, the public never sees photos of people perished in car-crashes.The inspector general of art monuments – ‘our houses of worship are rich indeed in relics of art’ – Terevisioon, ETV, https://etv.err.ee/v/ meelelahutus/terevisioon/terevisiooni_lood/8d82488b-fded-4235-b96b-ee5fb43859c3/kunstimalestiste-peainspektor-meie-kirikud-on-vaga-rikkad-kunstimalestiste-poolest (viewed on 06.11.2019). 

The following can be found in the report on the second stage of emergency work: “The layer of paint in the face area has turned dark from the heat and detached from the grounding” [photo 21]. The restoration of the previous icon described above, awakened hope that there might be something left of the Virgin’s face under the charred layer. Infrared photos that showed the contours of the eyes, nose and mouth rather clearly encouraged further on [photo 22]. When the charred layer was being removed these contours became quite clear. The heat had destroyed the gradation of the colours but the visage of the Virgin was completely readable [photo 23].

What will happen to the icons further on? Director of Art Heritage Field Linda Lainvoo said that the final (ideal) aim is to display the icons again in the Piirissaare prayer house in their original context. But the prayer house is not there any longer and nobody knows whether a new one will be built and if it is, when. What will happen to icons which are not usable for religious purposes any longer? Several ideas have been offered starting with arranging an exhibition up to founding a museum. It should be deliberated together with the local congregation what to do with icons that have been damaged so seriously that they have lost their sacral functions, but that have still preserved to this extent that some of their characteristics of art monuments have survived. There is actually no scale that would allow determining universal characters and non-characteristic features of an art monument. To declare an object a non-monument demands deliberation and discussions that do not bring a consensus. Such decisions are rather rare in the practice of the National Heritage Board. Linda Lainvoo thinks that an art monument remains a monument even if only a fragment of it has survived.

The fire caused a rise in public interest that, in its turn, helped to explain the particularities in the operations of the National Heritage Board. The media helped to educate the general public about the art monuments in Estonia and the dangers facing them. The media interest also gave the officials who, more often than not, have been reflected in a rather negative way, an opportunity to prove the significance of the role they have in the protection of art monuments. A noteworthy part of the Piirissaare heritage was rescued only thanks to the immediate reaction from the National Heritage Board. The fate of the icons would have been much more tragic if they had not had the status of art monuments, protected by the state.

Icons already restored or still worked on at the Kanut

  1. Mother of God, Joy of All Who Sorrow, no of reg. 21664 [photo 24]
    Conservator – Kristina Aas
  2. Resurrection with Descent to Hell, no of reg. 21667 [photo 25]
    Conservator – Kristina Aas
  3. Mother of God, Joy of All Who Sorro with the four Evangelists, no of reg. 21668 [photo 26]
    Conservator – Kristina Aas
  4. Twelve Scenes from the life of  Nicholas the Miracle-Worker and four saints, no of reg. 21665 [photo 27]
    Conservator – Ingrid Pihelgas
  5. The Entry into Jerusalem, no of reg. 21656 [photo 28]
    Conservator – Marika Mängel
  6. Nativity, no of reg. 21663 [photo 29]
    Conservator – Üüve Vahur
  7. Effusion of the Holy Spirit, no of reg. 21670 [photo 30]
    Conservator – Marika Mängel
  8. Our Lady of Tihvin,  no of reg. 21662 [photo 31]
    Conservator – Egle MikkoE. Mikko, “Tihvini Jumalaema” ikooni uuringud ja konserveerimine. Lõputöö. Tartu: Tartu Kõrgema Kunstikooli maaliosakond, 2017.   Supervisors – Marike Laht and Mariliis Vaks
  9. Our Lady of Smolensk, no of reg. 21657 [photo 32]
    Conservator – Kristina Aas

Restored outside the Kanut

  1. Prophet Eliah, no of reg. 21666 [photo 33]
    Conservator – Malle-Reet Heidelberg
  2. Apostle Peter and Paul, no of reg. 21680 [photo 34]
    Conservator – Malle-Reet Heidelberg
  3. Annunciation of Virgin Mary, no of reg. 21660 [photo 35]
    Conservator – Kristel-Kai KooskoraK-K. Kooskora, Ikooni”Maarja Kuulutus” konserveerimine. Lõputöö. Tartu: Tartu Kõrgema Kunstikooli maaliosakond, 2018.   Supervisors Marike Laht and Merike Kallas

Viited: 

References and Comments

  1. J.Plaat, Vene vanausulised ja nende pühakojad Eestis. (Russian Old Believers and their houses of worship in Estonia.) Tallinn: Tallinna Raamatutrükikoda, 2016, pp 114-119.
  2. Kultuurimälestiste riiklik register (The Register of Cultural Heritage), https://register.muinas.ee/public.php?menuID=monument&action=view&id=21668 (viewed11.06.2019)
  3. Piirissaarel hävis tules kolm elumaja ja vanausuliste palvemaja (Three living-houses and the Old Believers’ house of worship perished in fire on Piirissaar), (Delfi Rahva Hääl 16.05 2016, http://rahvahaal.delfi.ee/news/pildid/fotod-sundmuskohalt-piirisaarel-ha... (viewed on 11.06.2019).
  4. The inspector general of the National Heritage Board, Linda Lainvoo’s record after the fire and mail-correspondence with the senior inspector Grete Nilp.
  5. 81MKA, A-12728: Tartu County, Piirissaare Civil Parish, Piiri village. Plan for the conservation of memorials from Piirissaare Old Believers’ house of worship. Tule- ja vee kahjustused kunstiteosel –   konservaator kui päästja (Conservator as a rescuer in case of fire and water damage on a relic of art), 2016.
  6. Rescue and conservation of books from the Piirissaare house of worship – National Archives’ blog, 9.09.2016, http://blog.ra.ee/piirissaare-palvemaja-raamature-paastmin-ja-konserveer... (viewed on 14.06.2019).
  7. MKA, A-12728: Tartu maakond, Piirissaare vald, Piiri küla, Piirissaare vanausuliste palvela kunstimälestiste konseveerimistööde tegevuskava. Tule- ja vee kahjustus kunstiteosel – konservaator kui päästja (Damage of fire and water on a relic of art – conservator as a rescuer), 2016
  8. MKA, A-12754: Tartu maakond, Piirissaare vald, Piiri küla, Piirissaare vanausuliste palvela kunstimälestised. Konserveerimistööde aruanne. Avariitööde II etapp, 2016. (Report on the conservation. The 2nd stage of the emergency work)
  9. K. Aas, Piirissaare vanausuliste palvela ikoonid – põlengust restaureerimiseni. Magistritöö (Icons of the Piirisaare Old Believers’ house of worship from the fire up to restoration. MA thesis). Tallinn: Eesti Kunstiakadeemia Muinsuskaitse ja konserveerimise osakond, 2018.
  10. The inspector general of art monuments –  ‘our houses of worship are rich indeed in relics of art’ – Terevisioon, ETV, https://etv.err.ee/v/ meelelahutus/terevisioon/terevisiooni_lood/8d82488b-fded-4235-b96b-ee5fb43859c3/kunstimalestiste-peainspektor-meie-kirikud-on-vaga-rikkad-kunstimalestiste-poolest (viewed on 06.11.2019).
  11. E. Mikko, “Tihvini Jumalaema” ikooni uuringud ja konserveerimine. Lõputöö. Tartu: Tartu Kõrgema Kunstikooli maaliosakond, 2017. 
  12. K-K. Kooskora, Ikooni”Maarja Kuulutus” konserveerimine. Lõputöö. Tartu: Tartu Kõrgema Kunstikooli maaliosakond, 2018.