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Journal articles on the topic 'An iconostasis'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Olianina, Svitlana. "The Iconostasis as an Image of the Garden of Eden." Culturology Ideas, no. 16 (2'2019) (2019): 36–45. http://dx.doi.org/10.37627/2311-9489-16-2019-2.36-45.

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This paper aims to substantiate the hypothesis that the design of the architectural and decorative organization of iconostases of the second half of the seventeenth — first half of the eighteenth centuries is based on the symbolic concept of the iconostasis as an image of a paradise garden. Methodology. The author uses semiotico-hermeneutical and iconological approaches as a methodological basis of this study. The iconological methodology allows to study the architectural and decorative organization of the iconostasis from new meaningful positions. The semiotico-hermeneutical approach was appl

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2

Chen, Lesya, and Yaroslav Rakochyi. "ARTISTIC FEATURES OF THE ICONOSTASIS IN THE BLESSED VIRGIN MOTHER CHURCH OF THE CATHEDRAL IN REMENIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2025, no. 1 (2025): 113–20. https://doi.org/10.23939/sa2025.01.113.

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Ukrainian iconostases of the early 20th century of the Galician region, preserved in their authentic form to this day, are of interest to art historians and scientists. The process of forming the architectonics and iconography of iconostases in the late 19th – early 20th centuries took place in difficult historical conditions on the principles of the national Renaissance. Research on Ukrainian iconostases of the early 20th century. Galicia, with its unique artistic solution, is becoming increasingly relevant in our time. The research aims to study the iconography and structure of the iconostas

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3

Odrekhivskyj, Roman. "Iconostases of Galicia: History and Features of Design." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 49–58. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235127.

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The meaning of sacral art in the spiritual culture of Ukrainian people is scarcely explored. Analytic review of iconostases in Galicia during 19th and the first half of the 20th cnturies as a phenomenon of Ukrainian artistic culture may be used during the restoration of ancient religious buildings, as well as in construction of new ones. The aim of the research is a historical comparison as well as artistic and culturological analysis. A series of iconostases have been introduced into scientific circulation. The meaning of carved décor in Galician Ukrainians’ sacral culture has been outlined.

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4

Yureva, Tatyana V. "Iconostases of the Russian abroad: monk Grigory Krug." Yaroslavl Pedagogical Bulletin 3, no. 120 (2021): 168–74. http://dx.doi.org/10.20323/1813-145x-2021-3-120-168-174.

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The article for the first time made an analytical review of the iconostasis work of the icon painter of the Russian Diaspora of the mid-twentieth century, Grigory Ivanovich (Fr. Grigory) Krug. The author notes the wide fame of the master with insufficient study of his heritage and proposes to connect the studied cultural phenomenon (the complex of iconostases of Fr. Grigory Krug) with the historical dynamics of culture, where the icon receives a new understanding and a new stage of development in the context of emigration culture. Correlating the work of the icon painter with the context of th

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5

Olianina Svitlana. "IMAGES-METAPHORS IN THE ORNAMENTATION OF UKRAINIAN ICONOSTASIS OF THE BAROQUE PERIOD." World Science 2, no. 12(40) (2018): 49–55. http://dx.doi.org/10.31435/rsglobal_ws/30122018/6276.

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   In this paper, I adduce new evidence that the decorative program of Ukrainian iconostasis contained the images-metaphors and one of them was a coat of arms of the donor. The iconoraphic programme of the Ukrainian iconostasis, during the 17th — 18th centuries is regularly complemented by coats of arms of Hetmans, Cossack leaders and high- ranking Orthodox clergy. These images are placed in the antependium of iconostases, usually there are several coats of arms and they belong to different family members. Accommodation of the groups of coats of arms in the iconostasis, not j

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6

Кадочников, И. В. "Иконостасы-реликварии Н. В. Султанова 1880-х годов". Scientific Papers of St Petersburg Academy of Fine Arts, № 71 (30 грудня 2024): 160–80. https://doi.org/10.62625/2782-1889.2024.71.71.011.

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В статье прослежена история появления в интерьерах русских храмов второй половины XIX в. иконостасных композиций, включающих в себя уникальные исторические артефакты – конструктивные и художественные элементы резных Царских врат утраченных иконостасов эпохи Средневековья. Предметом искусствоведческого анализа стали иконостасы церкви Рождества Богородицы на Куликовом поле и храма Св. царицы-мученицы Александры Римской во дворце великого князя Павла Александровича в Петербурге. Появление нового типа иконостаса – иконостаса-реликвария – связано с деятельностью архитектора Н. В. Султанова. The art

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7

Olianina, Svitlana. "The Counter-Reformation Art Serving the Orthodoxy: The Changes in the Artistic Concept of Ukrainian Iconostasis during the Second Quarter of the 17th Century." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 29–40. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294620.

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The paper analyzes the reasons causing the structural and plastic changes of Ukrainian iconostases during the second quarter of the 17th century and eventually resulting in the Ukrainian iconostasis of the Baroque period. During the period, the iconostasis achieved monumentality and plasticity in the interpretation of the façade side as a result of introduction of the broken entablature, deep niches for icons, and passages to the altar, as well as to exceptionally rich carved decor, which, in general, added spaciousness to its architectural composition. The specified structural and plastic ico

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Ženarju-Rajović, Ivana. "Icons of zograf Hajji Kostadin Krstev in Dobrotin and Kosovska Kamenica." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 263–84. http://dx.doi.org/10.5937/zrffp54-47747.

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In the churches of St. Dimitrije in Dobrotin near Lipljan and St. Nicholas in Kosovska Kamenica, there are iconostases whose icons were painted by the painter Hajji Kostadin Krstev from Veles in 1862. He worked on the territory of the Diocese of Raška and Prizren in the first half of the seventh decade of the 19th century, when he painted the church of the Devič monastery, created the iconostasis in the church of the Holy Archangel Gabriel in Veliko Ropotovo near Gnjilane, the iconostasis and wall painting in Dobrotin, as well as all icons, apart from those of the Great feasts, for the iconost

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9

Loyevskaya, Margarita M. "Iconostasis in the Liturgical and Church-Historical Contexts." Observatory of Culture 16, no. 5 (2019): 488–93. http://dx.doi.org/10.25281/2072-3156-2019-16-5-488-493.

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The article deals with study and attribution of rare portable iconostases (“movable church”). Their features include the Sovereign tier (with the Royal Doors) absence, the small size, and the four remaining tiers (Deisis, Great Feasts, Prophets, and Patriarchs) painted on one board. Portable iconostases were used during long pilgrimages, missionary trips, or military campaigns, as well as in Bezpopovtsy (priestless) houses of worship.In liturgical practice, both in ancient times and now, portable iconostases were used under certain circumstances for long journeys. They are easy to set up in an

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10

Misijuk, Tatiana. "Iconostasis." Elpis : czasopismo teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku, no. 23-24 (2011): 193–201. http://dx.doi.org/10.15290/elpis.2011.23-24.09.

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11

Shumka, Laura. "Particularities of wooden carved iconostases in selected post-Byzantine churches of Albania." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 79–88. http://dx.doi.org/10.46284/mkd.2022.10.4.6.

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This paper presents the data and study results of the post-Byzantine wood carved iconostases of different churches in Albania, which notwithstanding the circumstances of the communistic period have preserved to a considerable extent their typical characteristics. The paper aims to examine the stylistic and morphological aspects of the iconostasis in selected churches in relation to the architecture and tries to identify the relationships, sequences and reasons for such phenomena. The presence of iconostases in the Eastern Orthodox Church is based on the carried rituals and services that are ex

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12

Миттал, А. В. "Porcelain Iconostases of Churches in Saint Petersburg." Terra artis. Art and Design, no. 2 (July 1, 2023): 26–36. http://dx.doi.org/10.53273/27128768_2023_2_26.

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В статье рассматривается история появления в убранстве православных храмов фарфоровых иконостасов, а также их декоративные особенности. В качестве примера были рассмотрены иконостасы церкви Происхождения честных древ Креста Господня (Спасо-Бочаринской церкви) и Свято-Духовской церкви на Фарфоровском (Спасо-Преображенском) кладбище в Санкт-Петербурге, изготовленные на Императорском фарфоровом заводе и на фарфоровом заводе братьев Корниловых. Также был изучен первый в России фарфоровый иконостас, изготовленный на фарфоровом заводе А.М. Миклашевского для Покровской церкви в с. Волокитино Чернигов

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13

Helytovych, Mariia. "Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 73–88. http://dx.doi.org/10.37131/2524-0943-2019-39-05.

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The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechn

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14

Collins, Andrea. "Iconostasis/Iconomania." Feminist Studies 17, no. 2 (1991): 366. http://dx.doi.org/10.2307/3178342.

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15

Shulika, V. "The Altar Partition of the Okhtyrka Assumption Cathedral of 1738: The Stylistic Decision and Iconographic Program." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 94–98. http://dx.doi.org/10.33625/visnik2020.03.094.

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The article is dedicated to the iconostasis of the Assumption Cathedral in Okhtyrka (1738). The iconostasis was installed at the expense of O. Lesevytsky (a colonel of Okhtyrka regiment and a brigadier of Sloboda regiments). The icons were painted by Kharkiv icon painter V. Dmitriev. While painting he was working in Kiev‑Pechersk Laura. The iconostasis of the Assumption Cathedral became an example of an innovative decision of altar partitions not only in Slobozhanshchyna, but also in the whole of Ukraine. The altar partitions reflected the stylistic innovations relevant for the first half of t

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16

Olianina, Svitlana. "A Spatial Iconographic Program of Ukrainian Baroque Iconostasis." Art Research of Ukraine, no. 21 (November 29, 2021): 52–59. http://dx.doi.org/10.31500/2309-8155.21.2021.254672.

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The purpose of this article is analysis of the iconographic programs of iconostasis created in the Baroque period in the main church complexes of Ukraine - St. Sophia of Kyiv and Kyiv Pechersk monastery. It found that the iconostasis of the side altars of St. Sophia and Assumption Cathedrals and the iconostasis of other churches located on the territory of the monasteries had thematic iconographic programs related to the dedication. These thematic programs do not include Deisis compositions and other images necessary for the year-round cycle of divine service. Instead, they are intended for a

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Shulika, Viacheslav. "Sumy Regiment Iconostases of the First Half of the 18th Century." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (2022): 62–72. http://dx.doi.org/10.33625/visnik2022.01.062.

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The study of the iconostases of Slobidska Ukraine in the 17th century made it possible to establish that the altar septums in different regiments of Slobozhanshchina had their own specific features. Three groups of iconostases were discovered: Sumy-Ostrogozhska, Kharkiv-Izyumska and Okhtyrska. Despite the general similarity of the iconostases of Slobozhanshchina at different historical stages, each had its own peculiarities in the solution of the altar septums. Despite the small amount of visual material, it can be argued that in the first half of the 18th century, the Sumy group of monuments

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18

Ženarju-Rajović, Ivana. "About the iconostasis of the St. Nicholas Church in Velika Hoča." Bastina, no. 65 (2025): 257–73. https://doi.org/10.5937/bastina35-57237.

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The iconostasis from the Church of Saint Nicholas in Velika Hoča was made in 1825 and 1826, for the icon of Saint Nicholas painted by the monk and painter Longinus in 1576-77 and for the throne icons that were painted either at the time of the iconostasis' creation or were already in the church. The iconostasis was made by Petar from Debar, a Mijak master who left an inscription saying that he made it out of wood and painted it. There was an assumption that it was the famous wood-carver Petar Garka, but this cannot be confirmed based on his existing works in Macedonia, such as the iconostasis

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19

Богдан, Ворон. "Cтилістичні та композиційні особливості іконостасів майстерні Олександра Мурашка". ВІСНИК Львівської національної академії мистецтв, № 28 (19 травня 2016): 58–69. https://doi.org/10.5281/zenodo.51645.

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The iconostasis of Kyiv iconostasis workshop of Olexander Murashko are analyzed. It is an original phenomenon Ukraine religious art of the late nineteenth - early twentieth century. Works of workshops were a continuation of innovative ideas implemented in the design of the St. Volodymyr’s cathedral in Kyiv under the leadership of Adrian Prahov. There are low iconostasis, which bound together neo- Byzantine style carving and realistic painting. The works have quite free architectonic structure, which mostly subordinates not to canons but to artistic expression. Icons for the iconostasis w

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Flikop-Svita, Halina Aljaksandrawna. "«Local altars» ― a unique phenomenon of the Greek-Catholic church in Belarus (late 17th – early 19th centuries)." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 159–78. http://dx.doi.org/10.21638/spbu19.2020.210.

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The article discusses the unique cultural and religious phenomenon which was formed and existed for about a century and a half in the Greek Catholic (Uniate) Church of the Rzeczpospolita — altars, included in the iconostasis. To denote these sacred objects in the Uniate records of the 18th century, as it became known from numerous researched historical documents, the Polish-language term «ołtarze namiesne» («local altars») was used. «Local altars» was created with the setting of the throne to the icons of the local (lower) rank of the iconostasis — hence the name. Their occurrence is related t

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Olianina, S. "Architectural framing in the iconostasis as an instrument of commenting on the sacred image." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 44–49. http://dx.doi.org/10.33838/naoma.27.2018.44-49.

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Before the seventeenth century, the icons in the Ukrainian iconostasis did not have frames as an arch or a blind arcade. The epistyles with images of Deesis of fourteenth – sixteenth century have not frames at all or the figures are divided by the rectangular pictorial frames. However, from the beginning of the seventeenth century, the icons of apostles in a Deesis row had already framing by carved frames like as the blind arcade. This practice quickly spreads and becomes the rule for the representation of apostles at the iconostasis throughout the seventeenth century. The Christian origins of

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22

Otmachova, A. V. "UNIQUE AND LOST MARBLE ICONOSTASIS OF THE PERM SPASO-PREOBRAZHENSKY CATHEDRAL." Вестник Пермского университета. История, no. 2 (2024): 96–107. http://dx.doi.org/10.17072/2219-3111-2024-2-96-107.

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The Spaso-Preobrazhensky Cathedral in Perm, over 200 years old, underwent a complex construction process marked by numerous difficulties and prolonged completion. There were several reconstructions of the cathedral, expansions, and the addition of side chapels. Initially, the cathedral was divided into two churches – a summer church and a winter church. The summer church housed a magnificent Baroque wooden iconostasis, transported from the Pyskorsky stavropegial monastery. It has survived unaltered. The winter church (dedicated to St. Stefan) featured another iconostasis made of marble. It was

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23

Olianina, Svitlana. "Lost icons from the iconostas of the Cathedral of the Dormition of the Yelets Monastery (photo by Stephan Taranushenko)." Culturology Ideas, no. 25 (1'2024) (2024): 110–23. http://dx.doi.org/10.37627/2311-9489-25-2024-1.110-123.

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The article publishes for the first time archival photos of the icons of the lost iconostasis of the 1670s of the Dormition Cathedral of the Yelets Monastery in Chernihiv, as well as a description of this iconostasis and related historical research, which was carried out in 1916 by the outstanding art critic Stephan Taranushenko, at that time a student of Kharkiv university. The exceptional value of the published materials is because S. Taranushenko was the last researcher who examined and described the monument in detail before its destruction in the 1920s. Currently, it is believed that all

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24

Goryacheva, M. Yu, and M. V. Nikolaeva. "The Church of the Assumption of the Mother of God in Kotelnaya sloboda on Pokrovka in the 17th -18th centuries. An attempt of reconstruction of reconstruction of the iconostasis." Bulletin of the Russian Medieval Art Department, no. 1 (2024): 168–84. https://doi.org/10.51678/2658-543x-2024-1-168-184.

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The article attempts to show, based on published historical evidence and archival sources, the history of a unique architectural monument – the Church of the Assumption of the Mother of God in Kotelniki on Pokrovka – in the 17th -18th centuries. The little-studied architectural complex of the church is of special scientific concern, due to the fact that the iconostasis of the building destroyed in 1936 has been preserved almost completely (currently represents an iconostasis set). The reconstruction of the carved gilded iconostasis barrier will allow further study of the significant monument o

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25

Posternak, Kiril V. "TRADITION OR RENOVATIONISM? CONSTRUCTION OF ORTHODOX CHURCHES WITH OPEN ALTARS IN RUSSIA IN THE 1990S - 2010S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2024): 156–69. https://doi.org/10.28995/2686-7249-2024-4-156-169.

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Type of a through iconostasis, which opens the inner space of the altar to view, has repeatedly appeared in Russian church architecture. Its origins lie as far back as Byzantine architecture. In the 20th century the appeal to that type of iconostases turned out to be consonant with the ideas of liturgical revival, most popular among the Russian emigration. In the 1930s – 1960s in Europe, iconostases of Orthodox churches with very wide portals were created. In some churches, the iconostases disappeared, revealing the altar. In the Soviet Union, on the contrary, preference was given to high-blin

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Сергиева, А. В. "conostasis of the Dormition Cathedral of the Holy Trinity-St. Sergius Lavra: Renovation and Restoration." Вестник церковного искусства и археологии, no. 1(5) (June 15, 2022): 69–80. http://dx.doi.org/10.31802/bcaa.2021.5.1.004.

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Статья посвящена истории поновлений и реставрации второго иконостаса Успенского собора Троице-Сергиевой лавры. Иконы и резьба иконостаса Успенского собора за историю своего существования неоднократно поновлялись. Об этом свидетельствуют реставраторы, делавшие пробы на иконах (почти на всех иконах 3–4 слоя записей). В данной статье впервые публикуются архивные материалы, касающиеся реставрации икон и резьбы иконостаса, а также два рисунка планов иконостаса, на которых сделаны подписи всех икон иконостаса, включая подместный ряд. На основе архивных рисунков иконостаса можно предположить, что в к

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Čapnin, Sergej. "Die bewaffnete Ikonostase." osteuropa 72, no. 12 (2022): 183. http://dx.doi.org/10.35998/oe-2022-220.

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Михайло, Приймич. "Творчість Михайла Манковича як відображення нових мистецьких устремлінь на Закарпатті початку ХІХ ст." ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 22–38. https://doi.org/10.5281/zenodo.1313074.

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Many questions in the research of the Transcarpathia pictorial art remain not taken up and one of them is the uprise of the artists with academic education. In this work we present known and new facts of the life and work of Mykhailo Mankovych (1785–1853) – one of the first Transcarpathian artists who graduated from Vienna Academy of Arts. Among the researches that have promoted the artist's name we can mention those of S. Pap, O. Izvorin and H. Ostrovskyi. They hsve touched upon the artist's work analyzing the development of art in the region. Among recent researches it is

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Шилов, В. С., та И. В. Кадочников. "Иконостас собора Cвятых Петра и Павла в Новом Петергофе и его исторические прототипы". Scientific Papers of St Petersburg Academy of Fine Arts, № 72 (31 березня 2025): 30–51. https://doi.org/10.62625/2782-1889.2025.72.72.003.

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В статье прослежена история проектирования, возведения и бытования высокого иконостаса петергофского Петропавловского собора. Авторы статьи привлекают к рассмотрению архитектурные чертежи Н. В. Султанова разного времени и вы являют отличия в концепции художественного решения иконостасной композиции. По утверждению авторов, изменения в выборе исторического прототипа иконостаса придворного храма определялись сменой политических приоритетов и ориентацией церковного искусства на византийские образцы. Сравнительный анализ структуры иконостаса петергофского собора и иконостаса греческой церкви Сан-Д

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Vojvodic, Dragan, and Milos Zivkovic. "The Deesis row from Piva: A contribution to the study of the iconostasis and icon painting of the monastery of Piva." Zograf, no. 38 (2014): 203–20. http://dx.doi.org/10.2298/zog1438203v.

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The paper is devoted to the chronology of the genesis of the iconostasis and the choros of the monastery of Piva and to the attribution of some of their icons. It presents the hitherto unpublished Deesis row which formed part of the original altar screen and was painted sometime between 1586 and 1604. The Deeisis and the somewhat younger Crucifix (1606) were mounted on the old iconostasis above the despotic icons painted by Longin in 1573/1574. At least one of the two-sided icons from the subsequently made choros (1610/1611) is not his work. For the new carved wooden iconostasis (1638/1639) th

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Bykova, Ekaterina Vasilevna. "Iconostasis sculpture of the XVIII century churches of the Slobodsky district of the Vyatka province from the collection of the Slobodsky Museum and Exhibition Center." Культура и искусство, no. 12 (December 2023): 34–43. http://dx.doi.org/10.7256/2454-0625.2023.12.69175.

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The subject of the study is the peculiarities of carving of the iconostasis wooden sculpture of the XVIII century, made by the masters of Veliky Ustyug, as well as local artisans under their influence. The purpose of the work is to attribute and introduce into scientific circulation - iconostasis wooden sculpture, four figures of angels from the collection of the Slobodsky Museum and Exhibition Center. The paper makes an assumption about the source of receipt and origin of the sculpture, as well as a comparative analysis with Velikoustyuzhsky and Perm iconostasis carvings and wooden plastics.

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ZINNER, ANNA, MIKHAIL NASSONOV, and EVGENY PONOSOV. "ICONOSTASIS OF THE LORD TRANSFIGURATION MONASTERY CATHEDRAL: APPROACHING IN DETAIL." Культурный код, no. 2023-4 (2023): 37–51. http://dx.doi.org/10.36945/2658-3852-2023-4-37-51.

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The article describes the results of digitization of the iconostasis of the Transfiguration of the Savior Cathedral in Perm and describes the experience of digitalization of cultural heritage using 3D laser scanning methods. Two types of digital twins of the iconostasis were created: a highly detailed one for display and a web model for smartphone screens. The analysis of the obtained results allows further improvement of digitalization approaches for a wide range of different cultural artifacts.

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Đokić, Nebojša. "Prilog istoriji crkve Sv. Apostola Petra i Pavla u Grošnici." Šumadijski anali 19, no. 13 (2023): 98–110. http://dx.doi.org/10.46793/sanali19.13.098dj.

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Grošnica appears in sources for the first time in Ottoman registers from 1528 and 1530. Today's village has continuity from around 1690 - 1718. There was a large medieval church in the village that was renovated in 1734, 1836/37 and 1857-61. During the last renovation, its appearance was changed by the addition of a tower on the west side. This was one of the few churches that still had a complete iconostasis in 1734. Today's iconostasis is from 1959.

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Zivkovic, Milos. "Unknown and less known icons from Praskvica monastery: Works by painter Radul, Dimitrije Daskal and Maksim Tujkovic." Zograf, no. 36 (2012): 199–222. http://dx.doi.org/10.2298/zog1236199z.

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This paper deals with the attribution of several icons from the treasury of the Praskvica monastery in Pastrovici. The earliest is the icon of Great Deesis, painted in 1680 by the painter Radul, for the iconostasis of the monastery Church of the Holy Trinity. The works by his apprentice, Dimitrije of Risan - the Great Deesis, the Deesis icon, and the icon of St. Demetrius with an unknown holy woman - we repainted in 1693 and in tended for the earlier monastery church dedicated to St. Nicholas. The same painter was the author of the icon of the Mother of God with Christ and the Royal Deesis, in

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Reshetnikova, Tatyana Mikhailovna. "FORMATION AND EVOLUTION OF THE ICONOSTASIS." Вестник Восточно-Сибирского государственного института культуры 160 (September 20, 2022): 66–73. http://dx.doi.org/10.31443/2541-8874-2022-2-22-66-73.

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Misijuk, Tatiana. "The multilayer composition of an iconostasis." Rocznik Teologii Katolickiej 16, no. 3 (2017): 221–36. http://dx.doi.org/10.15290/rtk.2017.16.3.15.

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Guvakova, Elena V. "Old Believers’ icons “Image of the Catholic and Apostolic Church”." Russian Journal of Church History 3, no. 1S (2022): 56–75. http://dx.doi.org/10.15829/2686-973x-2022-87.

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The article discusses 19th century icons “The Image of the Church” known as picturing “a high iconostasis crowned by the Crucifixion with Passion icon row”. These icons are known in Russia since the last quarter of the 18th century. This special type of icons was in demand by popovtsy (accepting priesthood) Old Believers and according to contemporaries’ witnesses sacraments used to be performed before them. The article shows that, despite the authoritative protograph (the Assumption Cathedral of the Moscow Kremlin iconostasis), in these icons a number of interesting features have been preserve

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Đurić, Isidora, Ratko Obradović, Ivana Vasiljević, Nebojša Ralević, and Vesna Stojaković. "Two-Dimensional Shape Analysis of Complex Geometry Based on Photogrammetric Models of Iconostases." Applied Sciences 11, no. 15 (2021): 7042. http://dx.doi.org/10.3390/app11157042.

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Three-dimensional digitization technologies have been proved as reliable methods for detailed and accurate spatial data collection from existing cultural heritage. In addition, the point segmentation techniques are particularly relevant for contour detection and classification of the unstructured point cloud. This paper describes an approach to obtain 2D CAD-like visualizations of complex geometry from photogrammetric models so that the detected contours of particular object elements can be used for 2D shape analysis. The work process uses the point clouds derived from photogrammetric models t

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Горский, Иван Михайлович. "The Sculpture of the Iconostasis of the Smolensk Region the Temples of the eighteenth century." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 79–92. http://dx.doi.org/10.31802/2658-5111-2020-1-2-79-92.

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Статья посвящена малоизученной теме украшения иконостасов деревянной скульптурой в XVIII веке в Смоленской епархии. Рассмотрение ряда сохранившихся памятников иконостасного искусства Смоленщины позволяет увидеть особенности, присущие только местной традиции, и в то же время, обнаружить близость к повсеместной традиции украшения храмов скульптурой. Результатом сравнительного анализа скульптуры Смоленского региона с храмовой скульптурой других регионов (Украина, Белоруссия, Ростов Великий) стало выявление ориентира, руководствуясь которым, мастера создавали иконостасы барочной традиции на Смолен

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Yureva, Tatyana V. "Iconostases of Russian emigration: icon painter V. A. Tsevchinsky." World of Russian-speaking countries 1, no. 11 (2022): 98–111. http://dx.doi.org/10.20323/2658-7866-2022-1-11-98-111.

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The article is the first attempt to present the work of an artist of the Russian emigration, a member and secretary of the “Icon” society in Paris, and the creator of his own iconographic school, V. A. Tsevchinsky, who participated in the revival of Russian Orthodox culture in emigration through his icon-painting activities abroad. The study revealed a number of iconographic monuments that belonged to the iconographer's oeuvre. Despite the active creative, pedagogical and social activity, carried out by V. A. Tsevchinsky, his artistic heritage was little studied, which allowed the author of th

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Yudkin, Ihor. "The System of Sacred Images of Ukrainian Culture. Svitlana Olianina. Ukrainian Iconostasis: Symbolism and Iconology. Kyiv: Artek 5, 2019. 400 p." Culturology Ideas, no. 18 (2'2020) (2020): 185–87. http://dx.doi.org/10.37627/2311-9489-18-2020-2.185-187.

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Cristache, Raluca Anamaria, Andrei Victor Sandu, Viorica Vasilache, and Ion Sandu. "Thermal Degradation of a Wood Painting Support from XIXth Century." Applied Mechanics and Materials 754-755 (April 2015): 703–7. http://dx.doi.org/10.4028/www.scientific.net/amm.754-755.703.

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This paper presents the study of the thermal degradation of a wood painting support from the "Saints Constantine and Helen” church. As a cultural heritage monument, the iconostasis of the church has an artistic and historic value. In time it suffered a great deal from earthquakes, floods, wars and fire. In the XXth century a large fire burned big parts of the iconostasis and the original painting needed to be replaced. Small pieces of the burned iconostasis are kept for study and restauration in specialised institutions. The aim of this study is to bring new information on thermal degradation

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Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks

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Олена, Бакович. "Сюжет «Явління Христа св. Петрові Александрійському» у іконостасах середини XVIII – початку ХІХ ст. церков Східного Опілля: іконографічні та мистецькі особливості". ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 88–101. https://doi.org/10.5281/zenodo.1313092.

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In recent years, there has been an increasing interest in the iconostasis, as an art phenomenon. This problem is discussed in several studies though too little attention is paid to the study of individual theme compositions. One of them is «The Appearance of Christ to St. Peter of Alexandria».Objectives. The objectives of this study are to determine the iconographic and artistic peculiarities of the theme «The Appearance of Christ to St. Peter of Alexandria» in iconostases of the middle of the 18th - first half of the 19th century of churches of the Eastern Opillia. Met

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Golub, Xénia. "A pomázi szerb templom berendezésének kialakulása a 18. század végén." Művészettörténeti Értesítő 71, no. 1 (2023): 27–44. http://dx.doi.org/10.1556/080.2022.00002.

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Commission to build an Orthodox church in Pomáz was given around 1720 by the Serbian population demonstrably present in the settlement from the 1660s. The church dedicated to the megalomartyr Saint George was consecrated by the bishop of Buda Mihailo Milošević (1716–1728) in 1722, exactly 300 years ago. The orthodox church of Pomáz is one of the earliest surviving monuments of the Serbian Church after the great Serbian immigration (Seoba). Its history and artistic values have been dealt with by Pál Voit, Sztoján D. Vujicsics, Iván Jaksity sr., Dinko Davidov and Márta Nagy earlier. The church b

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Оляніна, Світлана. "Iconostasis as a Vision of the New Jerusalem." Artistic Culture. Topical Issues, no. 15(2) (December 6, 2019): 46–53. http://dx.doi.org/10.31500/1992-5514.15(2).2019.186126.

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Tanious Abdallah, Mary. "Iconostasis at Holy Virgin Mary Church in Luxor." مجلة الآداب والعلوم الإنسانیة 86, no. 4 (2018): 864–85. http://dx.doi.org/10.21608/fjhj.2018.174622.

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Duliu, Octavian G., Ana Emandi, Maria Marinescu, et al. "Assessing the Degradation Status of the Imperial Doors of the Ascension Church, Grindu Commune, Romania." Applied Sciences 14, no. 17 (2024): 7565. http://dx.doi.org/10.3390/app14177565.

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To asses the degradation status of the Imperial Doors of the early 19th century Ascension Church iconostasis, a complex study consisting of micro-optical and scanning electron microscopy followed by energy-dispersive X-ray fluorescence and Fourier transform infrared spectroscopy was performed. Accordingly, the entire left door and some small fragments of gilded wood were investigated. The final results evidenced a certain degree of degradation of the lime wood and gilded surfaces, mainly due to the bacterial and fungi attacks given the increased humidity and the presence of more than a century

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Zuenkova, Olga V. "Conservation and restoration of the frame to the icon of Descent from the Cross of the main iconostasis of the Upper Church of the Cathedral of the Vladimir Icon of the Mother of God in St. Petersburg." European Scientific e-Journal 1, no. 1 (2020): 253–78. https://doi.org/10.47451/her2020-08-005.

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The preservation of the Church’s cultural heritage is one of the most important tasks of the society today. The historical main Baroque iconostasis of the Cathedral of the Vladimir Icon of the Mother of God in St. Petersburg is a unique work of art of its kind, created in the middle of the 18<sup>th</sup> century by the famous F. Rastrelli. The Iconostasis needs conservation and restoration, and must be preserved in accordance with museum principles as an architectural monument of federal significance. The study object was the frame for the icon Removal from the Cross of the main iconost

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Pavlova, Lilia, and Lubomil Draganov. "Recovering Valuable Artifacts of the Cultural Heritage through Modern Technology and Equipment." Digital Presentation and Preservation of Cultural and Scientific Heritage 3 (September 30, 2013): 235–40. http://dx.doi.org/10.55630/dipp.2013.3.28.

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This paper presents the digital reconstruction of the carving of the iconostasis of the Assumption church in the town of Bansko in its original form, a research project of the Department of Mathematical Linguistics of the Institute of Mathematics and Informatics, Bulgarian Academy of Sciences.

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