Painting of the Resurrection Chapel – the burial place of Archbishop Sofony (Sokolsky) – completed

August 11, 2025. Almaty. The painting of the chapel in honor of the Resurrection of Christ has been completed.

Located on the grounds of the Iveron–Seraphim Convent, the Resurrection Chapel became the burial place of Archbishop Sofony (Sokolsky) – a prominent church figure and spiritual enlightener of the 19th century, Apostle of the Great Steppe, the first hierarch of the Turkestan Diocese, whose successors today are the Metropolitan Districts of Kazakhstan and Central Asia. Archbishop Sofony headed the newly established and, at the time, largest diocese of the Russian Orthodox Church from 1871 to 1877. In his advanced years, he undertook truly apostolic labors, organizing church life across vast territories. The significance of his personality in the history of the Central Asian region cannot be overstated. Among Orthodox believers there is still a deep veneration for Archbishop Sofony, whose life serves as an example of selfless service to Orthodoxy.

With the blessing of the Head of the Orthodox Church of Kazakhstan, Metropolitan Alexander of Astana and Kazakhstan, the chapel painting was carried out by a group of Almaty iconographers led by G. P. Kiseleva – a master of traditional church Palekh painting. Over the course of four months, 134 square meters of walls and vaults were decorated.

The completion of the work is timed to the commemoration of the 225th anniversary of the birth of Archbishop Sofony.

The chapel dome is adorned with four compositions united by the theme of the victory of life over death and the power of Christ’s Resurrection. In the center of the eastern side is The Resurrection of Our Lord Jesus Christ. This composition occupies the main place and symbolizes the triumph of Divine love that grants salvation to all mankind. Christ is depicted in the radiance of glory, descending into Hades, breaking its gates, and leading forth the souls of the righteous. To the right of it, moving clockwise, is The Raising of the Widow’s Son at Nain. This composition depicts the Gospel event when the Lord Jesus Christ, passing by the city of Nain, brought back to life a young man – the only son of a widow. This miracle was a manifestation of Christ’s special compassion for human grief. Next is The Raising of Lazarus. Christ is depicted at the moment when He calls His disciple and friend Lazarus – dead for four days – to come forth from the tomb. This scene reveals the Savior’s power over death. The raising of Lazarus was not only a manifestation of Divine power but also a foreshadowing of Christ’s coming Resurrection and the general resurrection of all mankind from the dead. The circle is completed with The Raising of Jairus’ Daughter, showing the moment when Christ, with three of His disciples, enters the house of the synagogue ruler and takes the hand of the deceased girl, restoring her to life. This composition is filled with quietness, faith, and hope.

Below, around the circle, are images of saints who suffered for the faith on the land of Kazakhstan. Their faces recall the strength of spirit, steadfastness, and sacrifice shown during the years of persecution. Depicted without halos are righteous men revered by the people but not yet canonized – Metropolitan Joseph (Chernov) and Archbishop Sofony (Sokolsky).