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The Koren Picture-Bible (1692–1696)
The Koren Picture-Bible is a series of 36 woodcuts illustrating Genesis and Revelation. It is the outstanding example of Russian woodcut artistry in the 17th century and of the "Koren-style" woodcut, which is characteristic of the best of the religious and secular popular prints or ''lubok'', pl. ''lubki'' in the first half of the 18th century. The Koren Bible may be considered an example of the (misnamed) Biblia Pauperum. Twenty blocks illustrate the Creation and the Life of Adam and Eve, while sixteen illustrate Revelation.〔The Koren Bible may originally have consisted of forty woodcuts, intended, as was Piscator's Picture-Bible, to provide material for personal devotions during the forty days of Lent.〕 The Koren Bible survives in a single copy.〔This copy is located in the Rare Book Room of the National Library of Russia in St. Petersburg. D.A. Rovinskii published a facsimile of it in his ''Russkie narodnye kartinki, 1881-1893'' and A.G Sakovich published a high-quality facsimile in color paired with a scholarly study in 1983: ''Narodnaia gravirovannaia kniga Vasiliia Korenia, 1692-1696'', (Moscow: Izdatelstvo "Iskusstvo"),〕 The woodblocks of the Koren Bible were engraved by Vasily Koren of Moscow. A.G Sakovich cites evidence that the artist or designer was Gury Nikitin Kineshemtsev, whose abbreviated name appears on several of the Apocalypse blocks.〔Sakovich, ''Narodnaia gravirovannaia kniga'', pp.118-119〕
==Sources of Iconography==
The Koren Bible has as its immediate prototype that of the Kievan, Iereia Prokopii's, apocalyptic woodcut series (1646–1662).〔D. A. Rovinskii, ''Russkie narodnye kartinki'', 5 vols. and 8 folios, St. Petersburg, 1881-1893. [
*See Rovinskii, vol. 3, Supplemental materials, for Prokopii's Apocalypse. 4 See Dianne E. Farrell, "The Origins of Russian Popular Prints and their Social Milieu in the Early Eighteenth Century," ''The Journal of Popular Culture'', Vol 17, No. 1 (Summer 1983),pp. 12-14.〕 Prokopii's Apocalypse in turn follows the Luther-Piscator iconography, and the Piscator Bible draws on the original Albrecht Dürer iconography. The connection to Prokopii is evident, not just deduced from the close correspondence of the iconography in most of the pictures, but from the fact that each of Kineshemtsev's pictures bears the number of the corresponding print in the Prokopii Apocalypse. In one instance,where Kineshemtsev combined elements from two pictures of Prokopii's series, that print bears both numbers.〔Rovinskii, ''Russkie narodnye kartinki'', vol. 3. Prokopii, nos. 21-22 are combined in Koren no. 810/35.〕 Although Kineshemtsev more or less follows Prokopii's iconography in all his drawings, his artistry is unique and far superior to Prokopii's. Prokopii can be said to have done half the work of adapting Dürer to the Old Russian style, while Kineshemtsev made of them "''freski-lubki''." For example,the figures become more icon-like and certain folk design elements are introduced, a grainfield is substituted for a cityscape, and the prophets Enoch and Elijah are introduced, .
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