Abstract: The research is focused on the analysis of the two understudied portraits of a religious figure, Hegumen of Novgorod Antoniev's Monastery of the 20s of the XXth century Vissarion painted by the Stalin Prize Winner Pyotr Konchalovsky. The purpose of the research is not only to provide an in-depth analysis of the portraits but also to extend the concept of Konchalovsky's creativity rather as a master of integral portait images created in the process of combination of the author's individual style and Russian national Christian tradition than an artist of color and shape. The researcher points out some specific interpretations of the aforesaid portraits by Soviet cultural experts. Starting from description of the historical background when those portraits were made, the author of the article also analyzes style, color, technology and composition and performs a comparative analysis of the two portaits. The author's contribution to the topic is the determination of the main role of the motive of the action in constructing an image of a clergy. The researcher compares the portraits to M. Nesterov's triptych 'Works of Sergius the Reverend'. As a result, Shokolo outlines the difference in searches for the spiritual ideal by modern artists. The researcher concludes that the artist deliberately created the integral image depicted in two mutually reinforcing genre paintings, thus achieving his goals through portrait. Konchalovsky depicts the clergy as a real man preaching eternal Christian values despite the tragic church crisis of the 20s. in conclusion the author describes a unique phenomenon of the artist's presenting his religious portraits at Soviet and international exhibitions.