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Journal articles on the topic 'Byzantine Icon painting'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Олена, Рудич. "ЦЕРКОВНІ РОЗПИСИ ВИПУСКНИКІВ ЛЬВІВСЬКОЇ НАЦІОНАЛЬНОЇ АКАДЕМІЇ МИСТЕЦТВ". ВІСНИК Львівської національної академії мистецтв, № 27 (18 листопада 2015): 191–201. https://doi.org/10.5281/zenodo.33957.

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The article examines the influence of sacred art department on the development of modern iconography Ukraine. For twenty years the department has produced many talented painters such as D. Horditsa, D. Movchan, S. Bishop, A. Cherednichenko engaged easel and monumental sacred painting, creating their own farm, are modern Ukrainian iconography at various exhibitions. Stylistic comparisons paintings and leading workshops search common featuresmodern Lviv school of icon painting found that painters organically combine the tradition of Byzantine iconography of folk crafts and Ukrainian modernism, r

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Лесів, Т. В. "ВІЗАНТИЗМ ЯК ПАРАДИГМА САКРАЛЬНОЇ ТВОРЧОСТІ (НА ПРИКЛАДІ ЦЕРКОВНОГО МАЛЯРСТВА ГАЛИЧИНИ XX — ПОЧАТКУ ХХІ СТОЛІТТЯ)". Вісник ХДАДМ, № 4 (3 листопада 2018): 60–68. https://doi.org/10.5281/zenodo.1477429.

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Many iconographers and art historians in Ukraine are convinced that Eastern Christian (Byzantine) iconography is a national artistic tradition since Christianity had been introduced on this territory from Byzantium. It has been widely noted that church art in Ukraine followed the Byzantine tradition until the 18 th century, after which it evolved under the influence of European classicism and academism. The idea of Byzantinism as a return to the tradition’s origins arose at the beginning of 20 th century. Since then many theologians, scholars and artists have tended to emphasize the uniq

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Ginting, Alex Cristian Justisia. "Relasi Narasi Visual dan Teks dalam Ikon Transfigurasi Paroki St. Dionysios Yogyakarta." Journal of Contemporary Indonesian Art 7, no. 2 (2021): 57–63. http://dx.doi.org/10.24821/jocia.v7i2.6078.

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Seni lukis Byzantine adalah salah satu warisan kesenian dunia yang belum banyak dibahas oleh kalangan akademisi seni di Indonesia. Warisan seni lukis Byzantine sering disamakan dengan Ikonografi, yaitu gambar-gambar suci yang sampai hari ini masih dipertahankan fungsinya dalam gereja-gereja yang menggunakan ritus Byzantine (Gereja Orthodox dan Gereja Katolik Ritus Byzantine). Seni Byzantine dibagi tiga periode, yaitu awal, tengah, dan akhir, dimana pada periode Tengah-Akhir muncul ikon berjenis Menologion. Seni lukis Byzantine dikaji menggunakan Ikon Pesta Transfigurasi yang merupakan digitali

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4

Khlystun, Yuliia. "Reasons for Changing the Painting Style of Orthodox Churches in Eastern Ukraine at the Turn of the 20th–21st Centuries." NaUKMA Research Papers. History and Theory of Culture 5 (September 6, 2022): 38–46. http://dx.doi.org/10.18523/2617-8907.2022.5.38-46.

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Orthodox churches in the east of Ukraine, built (or restored) during the period of the state independence, are painted either in the style of academic painting or in the Byzantine style. Moreover, the style of academic painting is more typical of temples painted in the 1990s and the early 21st century; and in the last two decades, the customers and icon painters prefer the Byzantine style of painting. Answering the questions related to the reasons for changing the style of painting of Orthodox churches in the east of Ukraine at the turn of the 20th–21st centuries, the author offers her point o

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Mocanu, Alina Viorela. "The Byzantine Icon Hermeneia." Review of Artistic Education 22, no. 1 (2021): 200–205. http://dx.doi.org/10.2478/rae-2021-0025.

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Abstract In the context of the flagrant mistakes that are encountered in ecclesiastical painting and the lack of basic knowledge in this field, this study comes to present how Hermeneia has evolved throughout history. Starting from the Byzantine period, passing through the post-Byzantine period and reaching to the present day, Hermeneia and her predecessors, manuscripts and sketchbooks, aimed to help and maintain a canonical-artistic-ecclesial unity throughout the Orthodox Christian area. Another aspect of the article presents some ways of approaching Hermeneia from various points of view: tec

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Arkhypova, Ye I. "BYZANTINE STONE ICON OF THE VIRGIN HAGIOSORITISSA FROM VSHCHIZH." Archaeology and Early History of Ukraine 35, no. 2 (2020): 361–67. http://dx.doi.org/10.37445/adiu.2020.02.28.

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The fragment of stone icon with the image of Virgin, outstretching her arms in prayer, has been found in 1949 during the excavations of B. A. Rybakov on the site of Vshchizh, the small city of Chernigov principality. After the invasion of Batu Khan in 1238 it was destroyed and depopulated until the 16th century. T. V. Nikolaeva included the icon into the catalog of Rus stone icons as local craftsman’s production of 12th (?) century, exquisitely made and preserved the painting. The icon has been reproduced on the poor-quality black and white photography and for a long time did not attract the a

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Evseeva, Liliya M. "The 13th century icon ‘The Mother of God Eleousa’from a private collection in Moscow." Journal of Visual Theology 6, no. 2 (2024): 400–410. http://dx.doi.org/10.34680/vistheo-2024-6-2-400-410.

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The origin of this ‘Eleousa’ icon is unknown. In 1949, the image was in a private col-lection in Rome. The icon suffered losses. The board was sawed off at the bottom; the back-ground was re-primed; the layers of paint are incompletely preserved. The iconography of the image is Byzantine and the manner of painting complies with Byzantine canons. However, the holy faces and naked body parts are statuesque and impress the viewer with their materiality. A likely provenance is Sicilian, artist’s familiarity with Byzantine tradition being the strong-est evidence. The master was likely influenced by

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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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Илья Николаевич, Луковцев. "ЭСТЕТИКА ЖИВОПОДОБИЯ В «ПОСЛАНИИ К СИМОНУ» ИОСИФА ВЛАДИМИРОВА И ЦЕРКОВНАЯ ТРАДИЦИЯ". Культурное наследие России, № 4(31) (11 лютого 2021): 93–105. http://dx.doi.org/10.34685/hi.2020.31.4.012.

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В статье рассмотрен вопрос о ключевых идеях живоподобной иконописной эстетики в трактате XVII века «Послание к Симону» Иосифа Владимирова. К исследованию привлечены сочинения византийских богословов и образцы церковного иконописного искусства, чтобы отследить основные иконописные традиции как в теории, так и на практике, определить отношение к ним русского живоподобия. The article discusses the issue of the key ideas of an icon-painting aesthetics in the 17th century treatise "Epistle to Simon" by Joseph Vladimirov. The study is also based on the works of Byzantine theologians and samples of c

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Chibikova, Inga Yu, and Olga S. Naumova. "Iconography and plot features of the Syzran Old Believer icon." Sphere of culture 4, no. 4 (2023): 73–82. https://doi.org/10.48164/2713-301x_2023_14_73.

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For a long time, Syzran icon painting, accomplished in the traditions of Byzantine and Ancient Russian art, has remained one of the least studied phenomena of Russian art culture of the XVIIIth – XXth centuries. Syzran icons were created by several generations of Old Believers (Pomorian and Fedoseyan Creeds) and were intended for Old Believers’ churches. This article is devoted to the works of the Syzran icon-painting center of the Middle Volga region, their iconographic and plot features.

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Etinhof, Ol’ga E. "“CHRIST PANTOCRATOR” OF THE 13TH CENTURY FROM THE COLLECTION OF RUBLEV MUSEUM IN THE CONTEXT OF GREEK-RUSSIAN RELATIONS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 98–113. http://dx.doi.org/10.28995/2686-7249-2022-1-98-113.

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It still seems to me correct to date the icon “Christ Pantocrator” from the Rublev Museum back to around 1200 or to the first quarter of the 13th century, that is, the pre-Mongol period. Masterfully painted, but far from the refined roots of the Constantinople style, the icon bears clear signs of the art of Northern Greece and Macedonia, and the tradition of Kastoria seems to be especially close. The origin of the object remains unclear; it could have been the work of both a Greek and a Russian master. However, even if we consider both the icon board and its painting to be by Russians, it is v

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Wang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.

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The field of Leonardo da Vinci Studies has seen rapid advancement in recent years. Multiple research projects have been conducted on Leonardo’s observation of the natural world in relation to his inventions and painting techniques. Nonetheless, there lacks a consensus on how nature has impacted Leonardo’s interpretation of religious icons, such as the Virgin and the Christ Child. Therefore, this paper emphasizes Leonardo’s recreation of visual narrative using symbolism and natural setting within his series of icon paintings. The study opens with an inspection of the preceding Byzantine style a

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Trifonova, Alexandra. "A miraculous icon of virgin Hodegetria with twelve great feast scenes (third quarter of the fourteenth century) from Nessebur, Bulgaria." Zograf, no. 46 (2022): 137–53. http://dx.doi.org/10.2298/zog2246137t.

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In this article a miraculous icon of the Virgin Hodegetria with twelve Great Feast (Dodekaorton) scenes (third quarter of the fourteenth c.) in the church of the Dormition of the Virgin in Nessebur (Mesembria) in Bulgaria is presented. The icon, which belongs to the category of inlaid icons, bears a silver revetment (eighteenth-nineteenth c.). The iconography, as well as the style and the technique of painting, seems closely related to the Palaeologan icons of the second and mainly the third quarter of the fourteenth century. This allows us to suppose that the main icon, as well as the framing

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ДАДИАНОВА, Т. В. "THE INFLUENCE OF BYZANTIUM ON CHURCH ARCHITECTURE AND ICON PAINTING." Kavkaz-forum, no. 11(18) (September 20, 2022): 38–51. http://dx.doi.org/10.46698/vnc.2022.18.11.003.

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В статье предпринимается попытка описания различных аспектов византийского влияния на средневековое церковное зодчество и изобразительное искусство (иконопись) аланских храмов, расположенных на территории Северного Кавказа. Анализируются проблемы сохранения этого уникального культурного наследия, а также работа художников-реставраторов, осуществляемая в этом направлении. Эта проблема актуализируется датой празднования 1100-летия Крещения Алании, к которой приурочена активизация исследований аланского христианского наследия. Поскольку учреждение Аланской митрополии осуществлялось Византией, то

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Lymberopoulou, Angeliki. "Post-Byzantine Cretan Icon Painting: Demand and Supply Revisited." Arts 12, no. 4 (2023): 139. http://dx.doi.org/10.3390/arts12040139.

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Since Manolis Chatzidakis’s pivotal publications on post-Byzantine Cretan icon painting in the 1970s, research in the field is, by now, very well established. In turn, these studies have demonstrated the contribution of Venetian Crete’s artistic production to European culture. Despite Giorgio Vasari’s condemnations of the ‘Greek style’, Byzantine icons remained popular in Renaissance Europe among Western patrons. Research on Venetian Crete has greatly benefitted from the survival of its archives, presently housed in Venice (Archivio di Stato di Venezia), an incredibly rich and invaluable sourc

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Burkovska, Liubov. "The Icon Prophet Elijah In The Desert With Life And Deesis of the Late 12th – Early 13th Centuries: Features of Iconography and Attribution." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 151–66. http://dx.doi.org/10.15407/mue2021.20.151.

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The icon Prophet Elijah in the Desert with Life and Devotion of the late 12th – early 13th century from the village of Vybuty near Pskov is the oldest living icon of the Kyivan Rus. The close connection of the icon with ancient Byzantine traditions is indicated by its unusual composition, where the author combines the images of Elijah in the center of the icon, the scenes from his life are on both sides and below, and above there are prayers with angels and apostles. In the scholars’ opinion, this rare plot combination is inspired by an ancient tradition – the icons are placed on the architrav

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Хребтенко, М. С. "ЗОБРАЖЕННЯ ОДЯГУ І АТРИБУТІВ СВЯТИХ В ІКОНОПИСІ ЛІВОБЕРЕЖНОЇ УКРАЇНИ ТА КИЇВЩИНИ ДРУГОЇ ПОЛОВИНИ XVII – ПЕРШОЇ ПОЛОВИНИ XVIII ст." Art and Design, № 2 (21 вересня 2020): 129–46. http://dx.doi.org/10.30857/2617-0272.2020.2.11.

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To identify and analyze ways of depiction of clothing in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th - the first half of the 18th centuries. The author conducted a field exploration of painted icon monuments from the mentioned period in the collections of Ukrainian museums. The data obtained was supplemented with information from published scientific papers and archival sources. The analysis performed made it possible to trace the peculiarities of the depiction of different fabrics in the iconography of the Left Bank Ukraine and Kyiv region in the se

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Bacci, Michele. "On the Prehistory of Cretan Icon Painting." Frankokratia 1, no. 1-2 (2020): 108–64. http://dx.doi.org/10.1163/25895931-12340003.

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Abstract The present paper offers some thoughts on the complex issue of Italianate elements in Cretan icon painting by emphasizing the extent to which they can be considered to stem from motifs worked out in the mid-to-late fourteenth century in the wider, fluid space between Venice and the Eastern Mediterranean. It focuses on a cluster of Marian panels that, on account of their mixed Byzantine and Western character, have been hitherto confined to the margins of art-historical research and improperly labeled as works of a so-called “Adriatic” school. The critical reassessment of these works il

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Koprowski, Piotr. "Malarstwo ikonowe tradycji bizantyjskiej." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 85–98. http://dx.doi.org/10.14746/seg.2015.12.4.

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The article seeks to reflect upon the manner of perceiving reality (the so-called reversed perspective) associated with the Byzantine tradition of icon painting which was in evidence in the Ruthenian and Russian cultural circle from the 12th to the first half of the 17th century.

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Udris, Iryna. "To the Problem of Determining the National Forms of Ukrainian Fine Arts: the Grounds of Cossack Era Icon Painting in the Scientific Researches of the Early XX Century." Demiurge: Ideas, Technologies, Perspectives of Design 1, no. 1 (2018): 110–21. https://doi.org/10.31866/2617-7951.1.2018.146827.

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The aim of the research. The problem of the systematic knowledge formation of the national forms of art is vividly investigated in the modern national art science including the sacred painting as a leading direction in the development of Ukrainian art at the various stages of its history. The important component of scientific art formation requires a thorough scientific and theoretical coverage and generalization. The following article is devoted to the process of the concept formation of Ukrainian icon painting national forms evolution of the Cossack era in the scientific research of the earl

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Kovalyukh, N., J. van der Plicht, G. Possnert, V. Skripkin, and L. Chlenova. "Dating of Ancient Icons from Kiev Art Collections." Radiocarbon 43, no. 2B (2001): 1065–75. http://dx.doi.org/10.1017/s0033822200041722.

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Icon painting in the Ukraine is rooted in the Byzantine culture, after the conversion to the Christian religion. During the medieval epoch, Kiev became the artistic center for highly skilled icon painters. The icons were painted on wooden boards, specially made for this purpose. Historic dating of some even well-known icons is uncertain or not precise. Here we present for the first time radiocarbon dates for selected icons. Both liquid scintillation counting (LSC) and accelerator mass spectrometry (AMS) dating methods were applied, allowing intercomparison.

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Gajić-Kvaščev, Maja, Olivera Klisurić, Velibor Andrić, Stefano Ridolfi, Una Galečić, and Daniela Korolija Crkvenjakov. "Multianalytical Study of the Blue Pigments Usage in Serbian Iconography at the Beginning of the 18th-Century." Coatings 13, no. 7 (2023): 1200. http://dx.doi.org/10.3390/coatings13071200.

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Traditional Serbian religious art originated in Byzantine culture and conserved Byzantine elements until modern times. However, since the end of the 17th century, many changes in traditional icon painting have been introduced. Previous studies focused on the changes in iconography and style, but very little attention was paid to the changes in painting materials and techniques. This research focuses on the blue pigments on icons from the first half of the 18th century. Eight icons with blue areas of a different hue were selected for the study. Due to its rarity in nature, price, and iconograph

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Pentcheva, Bissera. "Painting or relief: The ideal icon in iconophile writing in Byzantium." Zograf, no. 31 (2006): 7–14. http://dx.doi.org/10.2298/zog0731007p.

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This text is focused on the transformation of the definition of the icon in Byzantine image theory from an identification of graphe with painting in the writings of John of Damascus (ca. 675-754) to the equation of graphe with typos understood as the imprint of an intaglio on matter in the theory of Theodore Studies (759-826). The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator. Is it not true that painting is the mistress of all the arts or their principal ornament? If I am not mistaken, the architect took from the

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Demori Staničić, Zoraida. "Ikona Bogorodice s Djetetom iz crkve Sv. Nikole na Prijekom u Dubrovniku." Ars Adriatica, no. 3 (January 1, 2013): 67. http://dx.doi.org/10.15291/ars.461.

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Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearan

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TUCĂ, Nicușor. "THE BYZANTINE ICON, A CULMINATION OF ART – THEOLOGY, SYMBOL AND REALITY." International Multidisciplinary Scientific Conferences on the Dialogue between Sciences & Arts, Religion & Education 6, no. 6 (2022): 75–81. http://dx.doi.org/10.26520/mcdsare.2022.6.75-81.

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The Byzantine icon has a complex language because it comprises true iconic hierophanies or sacred images, with a profound theological symbolism, hard to express. The image and the symbol are two indissoluble realities by which the human spirit is helped to feel and know the mystery of the real presence of God. By means of the symbol, the icon and the liturgical realism, in general, do not contain only the epiphanic anamnesis or the representation of the evangelical and ecclesial events in symbolical portrayals or aesthetic figures, but their very accomplishment, continual topicalization. The B

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Penkova, B. "Two Post-Byzantine Icons from the Rozhen Monastery." Bulletin of the Russian Medieval Art Department, no. 2 (2024): 89–103. https://doi.org/10.51678/2658-543x-2024-2-89-103.

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The article examines two icons of the Mother of God kept in the Rozhen Monastery of the Nativity of the Mother of God, located near the medieval town of Melnik in southwestern Bulgaria. The icon of Our Lady of Tenderness is a fairly accurate reproduction of a copy of the miraculous Vladimir Icon of the Mother of God, which came to the Balkans shortly after its creation in Moscow in the first half of the 16th century. Dendrological analysis of the icon board showed that it was probably made in the region from a local species of pine. On the other hand, the rare epithet Alithini has its roots am

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Mastrotheodoros, Georgios P., Marios Theodosis, Eleni Filippaki, and Konstantinos G. Beltsios. "By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon." Heritage 3, no. 4 (2020): 1360–72. http://dx.doi.org/10.3390/heritage3040075.

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A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron microscope coupled with an energy dispersive analyzer (SEM-EDX), μ-Raman and X-ray diffraction (XRD). The data were evaluated in the light of the findin

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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.

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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contem

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Maslov, Konstantin. "In search of the lost tradition: towards a history of Church paintings in the 1840s — first half of the 1850s." St. Tikhons' University Review. Series V. Christian Art 49 (March 31, 2023): 91–120. http://dx.doi.org/10.15382/sturv202349.91-120.

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The last decade of the reign of Nicholas I (1845 - 1855) was the time when the projects of renewal of church paintings in Russia appeared. Public discussion of the problems of the tradition of the Russian art started with the publication in 1845 of a brochure "On Icon-paintings" by the Ostrog bishop Anatoly, who wasn't, however, a zealous adherent to the traditional icon-paintings, his "theory" of icon-paintings tending towards neoclassicism. In difference from the Right Reverend Anatoly's approach in his brochure, the Rev'd Grigoriy Debolsky argued for the inseparable connection between the n

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Varfi, Georgia T., Spyridoula Farmaki, Georgios P. Mastrotheodoros, et al. "A Multidisciplinary Non-Invasive Approach for the Examination of a Wooden Panel Painting." Heritage 8, no. 7 (2025): 271. https://doi.org/10.3390/heritage8070271.

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In this article, a multidisciplinary methodological approach for studying a wooden panel painting is applied. The theoretical framework, within which this research has arisen, is the application of state-of-the-art non-destructive techniques for addressing issues concerning the constituting parts and composing materials of the artwork. Hereby, a post-Byzantine icon was studied, which was dated back to 1836. It is a painting executed on a wooden panel, with a decorated wooden frame attached. The artifact was thoroughly investigated through the application of infrared thermography (IRT), multisp

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Mastrotheodoros, Georgios P., and Konstantinos G. Beltsios. "Original Varnish Recipes in Post-Byzantine Painting Manuals." Heritage 4, no. 4 (2021): 3572–82. http://dx.doi.org/10.3390/heritage4040197.

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During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to tho

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Zielińska, Paulina. "The Icons of Military Saints in Rus’. An Attempt at Classifying Iconographic Types from before the Beginning of the 17th Century." Ikonotheka 27 (July 10, 2018): 55–70. http://dx.doi.org/10.5604/01.3001.0012.2316.

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Depictions of military martyrs were among the most popular subjects in icon painting in Rus’. Between the 11th and the 17th century local workshops adopted canonical Byzantine models and gradually developed and changed them depending on local factors and conditions. The present article attempts to classify the most common iconographic types and to describe the dynamic of the changes in the iconographic canon on the basis of a qualitative and quantitative analysis of extant and known works.

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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.

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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches o

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Tomovic, Gordana. "Who was despot Tornik in the graphite of the scribe Nestor." Zbornik radova Vizantoloskog instituta, no. 41 (2004): 257–69. http://dx.doi.org/10.2298/zrvi0441257t.

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In the church of Saint George in the village Gornji Kozjak near Stip on the fresco-icon of Jesus Christ Antiphonetes (the Guarantor) on the south face of the northwest pier there was found the graphite inscription made by the scribe Nestor in the time of despot Tornik. The analysis and the quality of fresco painting as well as the morphology of letters indicate the period between the last decades of XIII and the very beginning of the XIV century. These enable the identification of despot Tornik with the famous apostate from Byzantium Kotanitzes Tornikios who twice run over to Serbian territory

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Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME." Ethnic History of European Nations, no. 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.

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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the

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Stamboliyska, Bistra, Stefan Tapanov, Evelina Velcheva, et al. "Materials and Techniques of the Mural Paintings in the Church-Ossuary of the Rila Monastery, Bulgaria." Minerals 14, no. 11 (2024): 1115. http://dx.doi.org/10.3390/min14111115.

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This presented research examined the wall paintings in the Church-Ossuary Presentation of the Blessed Virgin, part of the most important Rila Monastery complex in Bulgaria, painted by the painters from Mount Athos in 1795. The painting materials used to create the unique murals were studied for the first time by optical microscopy (OM), attenuated total reflectance Fourier transform infrared (ATR–FTIR), scanning electron microscopy energy dispersive X-ray spectroscopy (SEM–EDS), and enzyme-linked immunosorbent assay (ELISA). The vibrational and elemental analysis showed that the color palette

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Maslov, Konstantin. "In search of the lost tradition: towards a history of church painting of the 1830s — 1st half of the 1840s." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 74–94. http://dx.doi.org/10.15382/sturv202248.74-94.

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Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the

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Михайлова, Л. Б., and А. Н. Михайлов. "Search for a religious and philosophical justification for icon painting in Byzantine Iconoclastic disputes." Социально-гуманитарные знания, no. 1 (March 4, 2022): 165–74. http://dx.doi.org/10.34823/sgz.2022.1.51756.

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Статья посвящена анализу специфики развития христианской теории символического образа в период византийских иконоборческих споров в трудах Иоанна Дамаскина, патриарха Никифора и Феодора Студита. Внимание сосредоточено на религиозно-философском обосновании принципа подобия иконописного образа архетипу, интерпретирующего категорию «подобия» как соответствие вочеловеченному, а не трансцендентному первообразу. This work is devoted to the analysis of the specifics of the development of the Christian theory of the symbolic image during Byzantine Iconoclastic disputes in the works of John of Damascus

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Voulgaropoulou, Margarita. "Artistic, Commercial, and Confessional Exchanges between Venetian Crete and Western Europe: The Multiple Lives of an Icon of the Virgin and Child from Harvard Art Museums." Arts 12, no. 4 (2023): 130. http://dx.doi.org/10.3390/arts12040130.

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In the collections of the Harvard Art Museums there is an icon of the Virgin and Child with Saints John the Baptist and Roch. Although a typical product of Cretan icon painting of the turn of the sixteenth century, the icon stands out from similar contemporary artworks due to its unusual subject matter and materiality. The iconographic analysis of the icon places it at the intersection of the Latin and Byzantine traditions and suggests that it was intended as a votive offering against the plague, featuring one of the earliest depictions of the anti-plague saint, Roch of Montpellier in Eastern

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Dobrolyubov, Petr. "Painting as a prayer of the spirit." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 113–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-113-132.

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The article is devoted to the work of the Russian painter Dobrolyubov Vladimir Petrovich, who in 2020 marks the centenary of his birth. Special attention is paid to the presentation of his ideals, which inspired the artist to create wonderful paintings depicting the world around him, landscapes and landscapes, urban environment, monuments of ancient Russian architecture, decoration and interiors of the oldest churches from Moscow to Yaroslavl, Pereslavl Zalessky, Staraya Ladoga. From the Russian North to the Crimean mountains and Tsemeskiy Bay. Vladimir Petrovich Dobrolyubov (05.07.1920-24.02.

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Собкович Ольга. "ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ". International Journal of Innovative Technologies in Social Science, № 2(23) (28 лютого 2020): 3–9. http://dx.doi.org/10.31435/rsglobal_ijitss/28022020/6942.

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   This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impr

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Vitaliotis, Ioannis, and Ahilino Palushi. "At the beginning stages of the “School of Gramos”. The frescoes of the church of transfiguration (Shen Sotiri) in Tremisht, South Albania (1560)." Zograf, no. 46 (2022): 191–212. http://dx.doi.org/10.2298/zog2246191v.

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The murals of the single-aisle timber-roofed basilica of the Transfiguration (Shen Sotiri) in Tremisht (Permet, southern Albania) date from 1560. Several features, such as the Theotokos Blachernitissa, the Passion cycle, the courtiers? hats and clothes of certain military saints, as well as the style of the frescoes, lead us to the artistic tradition of the Ohrid Archbishopric. Moreover, a few iconographic peculiarities seem to be associated with Ioannis from Gramosta (before the mid-sixteenth century). Consequently, the ?Tremisht painter? might have been a member of Ioannis? workshop, represe

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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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Stosic, Ljiljana. "The bay of Cattaro (Kotor) school of icon-painting 1680-1860." Balcanica, no. 45 (2014): 187–202. http://dx.doi.org/10.2298/balc1445187s.

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Relying on post-Byzantine tradition, eleven painters from five generations of the Dimitrijevic-Rafailovic family, accompanied by Maksim Tujkovic, painted several thousand icons and several hundred iconostases between the late seventeenth and the second half of the nineteenth century. They worked in major Orthodox Christian monasteries in Montenegro, Kosovo and Metohija, Bosnia and Herzegovina and Dalmatia, but their works can mostly be found in modest village churches in the Bay of Kotor (Cattaro) and on the South Adriatic coast. The decoration of these churches was financially supported by th

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Mercier, Franck. "Salvation in Perspective: A New Interpretation of Piero Della Francesca’s Flagellation of Christ." Annales. Histoire, Sciences Sociales 72, no. 3 (2017): 489–523. http://dx.doi.org/10.1017/ahsse.2020.2.

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An absolute masterpiece of linear perspective as well as a true icon of the Renaissance, Piero della Francesca’s Flagellation of Christ (conserved at the Galleria Nazionale delle Marche in Urbino) is one of the greatest enigmas of the Italian Quattrocento. Uncertainty surrounds not only the date and the original intended location of the painting, but also the subject matter itself. Despite long-running disputes about the overall significance of the picture, and in particular about the identification of the three figures in the right foreground, the Flagellation remains an unsolved puzzle. Cont

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Burkovska, Liubov. "Synthesis of Word and Image in the Religious Art." Folk art and ethnology, no. 3 (September 30, 2022): 70–77. http://dx.doi.org/10.15407/nte2022.03.070.

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The problems of synthesis of religious art and literature in medieval culture are considered in the article. The nature of interactions of the artistic material and its text basis is investigated. Historical lore and the descriptions of the eyewitnesses of the Jesus Christ, the Mother of God, Apostles have been of a great significance at the early stages of icon painting images development. The period of iconography formation on the base of the evidences, memories and sacred texts has lasted till the 8th century. Gradually the icon is transformed into a peculiar sacred matrix, independent cult

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Marius, Munteanu, Ion Sandu, Ioana Huțanu, and Liliana Nica. "The Study of Stages and Operations Involved in the Preservation and Restoration of two XIX-th Century Icons, on Wooden Support." Present Environment and Sustainable Development 8, no. 2 (2014): 131–50. http://dx.doi.org/10.2478/pesd-2014-0030.

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Abstract The paper presents the stages and the operations involved in the preservation and restoration of two icons on wooden support, from the XIX-th century, which are part of the heritage of the ”Sfinții Arhangheli Mihail and Gavriil” church, from Galați. The two icon have inventory numbers as part of the collection as followed: 112 for the first icon and 113 for the second one. Both icons have the same theme, ”The Grieving Mother from Rohia” and are made by anonymous painters in egg tempera, on lime wooden support, without ground. Being part of the same collection, they were deposited in t

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Zaprzalska, Dorota. "Byzantine and Post-Byzantine Composite Icons Reconsidered: Their Past and Present-Day Role and Use." Mediaevalia 45, no. 1 (2024): 176–204. http://dx.doi.org/10.1353/mdi.2024.a940414.

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Abstract: The phenomenon of adding a new, larger panel to an older work, thus creating a work of art consisting of two pieces from different periods, is well known in Western European art and is often referred to by the German term Einsatzbild. A similar type of reuse by insertion can be observed in Byzantine and post-Byzantine art, although it has received far less scholarly attention. Panayotis L. Vocotopoulos was the first to note its occurrence in icon painting and to propose a classification, calling such panels "composite icons" (σύνθετες εικόνες). Since then, these works have been spora

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Голицына, Н. Л. "Collection of icon painting of the State Art Museum of Yugra." Iskusstvo Evrazii [The Art of Eurasia], no. 4(31) (December 29, 2023): 44–69. http://dx.doi.org/10.46748/arteuras.2023.04.003.

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Коллекция иконописи поступила в Государственный художественный музей Югры в 2011 году из собрания Художественной галереи Фонда поколений. Большинство предметов были крайне мало изучены, так как долгие годы находились в частных собраниях и практически не публиковались. Целью настоящей статьи является введение в научный оборот ряда произведений, что даст возможность в последующем исследовать их в контексте развития иконописания в России в период c XVI по XIX век. Несмотря на то что здесь не представлена иконопись Урало-Сибирского региона, коллекция дает возможность познакомиться с иконописью Пов

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Chumak, Maria. "An Expressionist Painter of the Fourteenth Century." OPEN JOURNAL FOR STUDIES IN ARTS 4, no. 2 (2021): 47–62. http://dx.doi.org/10.32591/coas.ojsa.0402.02047c.

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Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophan

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