Relevant bibliographies by topics / Wooden icon

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Wooden icon'

Author: Grafiati
Published: 2 June 2025
Last updated: 31 July 2025

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Journal articles on the topic "Wooden icon"

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Marutoiu, Constantin, Ioan Bratu, Mircea Gelu Buta, et al. "Multidisciplinary Investigations of a Double Sided Wooden Icon from Nicula Monastery, Romania." Revista de Chimie 70, no. 8 (2019): 2747–52. http://dx.doi.org/10.37358/rc.19.8.7420.

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A two-sided wooden icon from a monastery in Transylvania was submitted for multidisciplinary investigations involving X-Ray Fluorescence, Radiographic Photographyand Fourier Transform Infrared Spectroscopy. The most important part of the icon is St. Nicholas wooden icon, painted over forty years ago. The spectroscopic methods used revealed the painting materials composition, the status of the wooden stage, and the presence of resins as varnish (Fourier Transform Infrared Spectroscopy). On one side, the St Nicholasicon was painted over an old icon, St. Arch. Michael, which was evidenced by X-Ra
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Tonca, Maria, and Mioara Mihaela Sîntiuan. "Restaurarea icoanei pe lemn „Maica Domnului a Semnului”." Anuarul Muzeului Etnograif al Transilvaniei 34 (December 20, 2020): 335–42. http://dx.doi.org/10.47802/amet.2020.34.19.

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"The Restoration of the icon on wood “Our Lady of the Sign” The paper describes the state of conservation of a Lipovan icon, with the theme “Our Lady of the Sign”, presenting the degradation forms, and also describes the restoration stages, characterized by specific techniques and materials. The icon dates from the beginning of 19th century and it is painted in tempera technique on wooden panel. It is one of the oldest Russian Orthodox Mariological Iconography celebrated on November 27. Keywords: conservation, restoration, icon, wooden panel, ”Our Lady of the Sign” "
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KOSENKOVA, Natalya A., Denis V. LITVINOV, and Elizaveta V. KOSENKOVA. "THEORETICAL EXPERIENCE OF RESTORATION OF THE WOODEN TEMPLE OF THE KAZAN ICON OF THE MOTHER OF GOD IN POKROVKAVILLAGE, BORSKY DISTRICT OF SAMARA REGION." Urban construction and architecture 10, no. 3 (2020): 70–79. http://dx.doi.org/10.17673/vestnik.2020.03.10.

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The key aspects of Russian wooden temple architecture a reconsidered. Analyzed are wooden churches of the XVIII-XX centuries of the Samara region. Examples of surviving temples are given, which had a great infl uence on the historical and cultural heritage of the region. A project is proposed for the restoration of the wooden church of the Kazan Icon of the Mother of God in the village of Pokrovka. In order to identify the lost elements of the temple, the analysis of archival data and similar wooden temples of the Samara region is carried out. Similar temporal, stylistic, constructive, plannin
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Stojanovic, Sofija, Maja Gajic-Kvascev, and Ljiljana Damjanovic. "Spectroscopic study of an icon painted on wooden panel." Chemical Industry 69, no. 4 (2015): 387–93. http://dx.doi.org/10.2298/hemind140430053s.

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Russian icon painted on wooden panel analyzed in this work is interesting for art historians because there is no precise information in which workshops it was made or who the author was. Similar icons are often found in churches and monasteries in our region. In order to obtain information about materials used for creation of investigated icon two micro-analytical techniques were used: Energy-Dispersive X-Ray Fluorescence spectroscopy (EDXRF) and micro-Raman spectroscopy. Obtained results confirmed presence of following materials: lead-white, vermilion, minium, ultramarine, brown and green ear
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Nemes, Olivia Florena, Ioan Bratu, Constantin Marutoiu, et al. "Spectroscopy Investigation of Triptych Icon from the Borsa Church, Maramures County." Revista de Chimie 69, no. 1 (2018): 76–79. http://dx.doi.org/10.37358/rc.18.1.6047.

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A triptych icon from the 18th century from Borsa Maramure�s County, Romania was investigated by physical-chemical destructive and nondestructive methods: Fourier Transform Infrared (FTIR) spectroscopy, X-ray Fluorescence (XRF), X-Ray Diffraction and thermal analysis by Differential Scanning Calorimetry (DSC). There were identified: gypsum as ground, wooden stage (lime wood), egg yolk as binder, pigments from the painting layer (red lead, green malachite and white lead), silver foil, iron bolus and animal glue for ground. The scientific investigation of various religious objects in general, thi
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Liakos, Dimitrios. "Steatite icon with the Deposition at the monastery of Iveron on Mount Athos." Zograf, no. 34 (2010): 65–70. http://dx.doi.org/10.2298/zog1034065l.

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This paper deals with a steatite icon of the Deposition, which is enshrined in the sacristy of Iveron monastery. The icon consists of two parts, one rectangular of light grey-greenish colour, with a smooth surface, and one arched of a darker colouring, porous texture and a rougher surface. The rectangular, older part of the icon is a fragment of a twelfth century icon from which the lower left angle and fragments of the right and upper side are lost. The fracture of this twelfth century icon led to its restitution which took place in the fourteenth century (the arched part), as it appears by t
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Sîntiuan, Mioara. "Restaurarea icoanei „Maica Domnului Îndurerată” din patrimoniul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 33 (December 20, 2019): 241–47. http://dx.doi.org/10.47802/amet.2019.33.14.

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The paper describes the state of conservation of an oil painted icon on wooden support, with the theme “Mother of God of Sorrows”, from the collection of the Transylvanian Museum of Ethnography, presenting the degradations forms, and also describes the restoration stages,Troșan characterized by specific techniques and materials. The icon was painted in 1840 according to an inscription written on the back of the object.
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Bratu, Ioan, Olivia Florena Mărunțoiu, Daniela Toader, Laura Troșan, and Claudiu TĂNĂSELIA. "Investigarea științifică a icoanei pe lemn Bunavestire din patrimoniul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 278–92. http://dx.doi.org/10.47802/amet.2016.30.15.

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In order to preserve and restore the wooden icon “Bunavestire” belonging to the Transylvanian Museum of Ethnography, non-destrictive (XRF) and destructive (FTIR spectroscopy) investigation methods were employed. Spruce fir is the wood species for the icon and several painting materials were employed: Scheele green, diluted with lead white, red iron mixed with Vermillon, gold foil for gilded areas and copper oxide for black. For restoration malachite, titanium white, lead white, orpiment, lead yellow and red iron were employed. Before restoration a scientific investigation is necessary.
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Lavrentyeva, Elena V., and Irina F. Kadikova. "Technological Features of the Group of Nev’yansk Icons from Nev’yansk Icon Museum." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 122–41. http://dx.doi.org/10.21638/spbu15.2024.107.

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The article is devoted to the technological examination of eight icons from the largest collection of Ural icon painting in Russia. For the first time the subject of study is the material component of Nev’yansk icons of the first half of the 18th century. The authors determined the painting techniques and artistic materials used by the first icon painters of the mining and metallurgical Ural. The phenomenon of the Old Believers’ Ural Region icon school of this period is doubted and questioned by some modern experts, but in fact this phenomenon is confirmed by the coincidence of technological f
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Guvakova, Elena V. "Liturgical wooden carved cross from the collection of the Russian Icon Museum." Russian Journal of Church History 1, no. 1 (2020): 47–56. http://dx.doi.org/10.15829/2686-973x-2020-1-9.

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The paper considers a carved priestly cross of the XIX century from the representative collection of Ethiopian art of the Russian Icon Museum. This is one of the typical Ethiopian crosses with a characteristic rhomboid shape, with the image on the front side of the liturgical procession and the icon of the Mother of God, and ornamented on the back with a braided pattern with cross-shaped ornaments woven into it. The image of the dancing participants of the liturgical procession with drums and sistra represents a unique fusion of different traditions, the influence of the Old Testament traditio
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Dissertations / Theses on the topic "Wooden icon"

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Abdel-Ghani, Mona H. "A Multi-instrument Investigation of Pigments, Binders and Varnishes from Egyptian Paintings (AD 1300-1900): Molecular and Elemental Analysis Using Raman, GC-MS and SEM-EDX Techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multiinstrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigm
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Abdel-Ghani, Mona Hussien. "A multi-instrument investigation of pigments, binders and varnishes from Egyptian paintings (AD 1300-1900) : molecular and elemental analysis using Raman, GC-MS and SEM-EDX techniques." Thesis, University of Bradford, 2009. http://hdl.handle.net/10454/4315.

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The focus of this study was analytical investigations of Egyptian paintings, mainly Coptic icons and Islamic wooden ceilings, dating from 1300-1900 using multi-instrumental techniques. Twenty three Coptic icons and three wooden ceilings dated from different periods and painted by different painters in case of icons were examined. The materials used including pigments, media, varnishes, ground layers and gold layers. The surface stratigraphy of paint samples, their layered structured and the composition of materials used in each layer were analysed. Variations in painting techniques, pigments p
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Books on the topic "Wooden icon"

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Plaksina, N. Ikonopisʹ, derevi͡annai͡a reznai͡a plastika, mednoe khudozhestvennoie litʹe XVII-nachala XX veka: Iz sobranii͡a Nat͡sionalʹnoĭ galerei Respubliki Komi Syktyvkar : katalog = Icon painting, wooden carved plastic arts, copper ornamental castings of the XVII-early XX centuries from collection of National Gallery of the Komi Republic Syktyvkar : catalogue. "Komi Respublikanskai͡a tipografii͡a, 2008.

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Prakaptsoŭ, U. I., and Alena Karpenka. Belaruski ikanastas: Tvory ikanapisu i draŭli︠a︡naĭ plastyki kantsa XVII--pachatku XIX st. = Belarusian iconostasis : Icons and wooden sculpture of the late 17th--the early 19th c. Natsyi︠a︡nalʹny mastatski muzeĭ Rėspubliki Belarusʹ, 2015.

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Mușlea, Ion. Icoanele pe sticlă și xilogravurile țăranilor români din Transilvania =: Les icônes sur verre et les xilogravures des paysans roumains de Transylvanie = Icons on glass and xylographs, the art of Romanian peasants in Transylvania. Editura "Grai și Suflet--Cultura Națională", 1995.

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Vlasova, O. M. Derevi︠a︡nnai︠a︡ khramovai︠a︡ skulʹptura iz kollekt︠s︡ii V. N. Selivanova: Wooden temple statuary of V. Selivanov collection / [author-made, O. Vlasova]. OOO "Studii︠a︡ ZëBRA", 2010.

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Vladimirov, A. P. Restavrat︠s︡ii︠a︡ i issledovanie tempernoĭ zhivopisi i derevi︠a︡nnoĭ skulʹptury: Sbornik nauchnykh trudov. Vserossiĭskiĭ khudozh. nauchno-restavrat︠s︡ionnyĭ t︠s︡entr im. I.Ė. Grabari︠a︡, 1990.

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ICOM Waterlogged Wood Working Group Conference (2nd 1984 Grenoble). Les bois gorges d'eau: Etude et conservation = : Waterlogged wood : study and conservation : proceedings of the 2nd ICOM Waterlogged Wood Working Group Conference. Centre d'Etude et de Traitement des Bois Gorgés d'Eau, 1985.

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ICOM Group on Wet Organic Archaeological Materials Conference (4th 1990 Bremerhaven, Germany). Proceedings of the 4th ICOM-Group on Wet Organic Archaeological Materials Conference: Bremerhaven 1990. ICOM, Committee for Conservation Working Group on Wet Organic Archaeological Materials, 1991.

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Conference, ICOM Committee for Conservation Working Group on Wet Organic Archaeological Materials. Proceedings of the 10th ICOM Group on Wet Organic Archaeological Materials Conference: Amsterdam 2007. Rijksdienst voor Archeologie, Cultuurlandschap en Monumenten, 2009.

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ICOM Committee for Conservation. Working Group on Wet Organic Archaeological Materials. Conference. Proceedings of the 10th ICOM Group on Wet Organic Archaeological Materials Conference: Amsterdam 2007. Edited by Strœtkvern K, Huisman D. J. 1967-, Grant Tara, and Netherlands. Rijksdienst voor Archeologie, Cultuurlandschap en Monumenten. Rijksdienst voor Archeologie, Cultuurlandschap en Monumenten, 2009.

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Ilisan, Mihaela-Corina. Icoanele pe sticlă şi xilogravurile populare din Transilvania în viziunea lui Ion Muşlea. Editura Mega, 2019.

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Book chapters on the topic "Wooden icon"

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Sénina, T. "Warren T. Woodfin, The Embodied Icon. Liturgical Vestments and Sacramental Power in Byzantium." In Syrians and the Others, edited by Nikolai N. Seleznyov. Gorgias Press, 2014. http://dx.doi.org/10.31826/9781463236601-026.

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Herrin, Judith. "The Icon Corner in Medieval Byzantium." In Unrivalled Influence. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691153216.003.0013.

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From classical times onward, one of the basic tasks of women was to take care of the household lares, representatives of the ancient gods, whose presence was felt to protect and assist the family. In every dwelling with a hearth female members attended these deities with appropriate rituals. In the form of statuettes, often gilded, as well as framed wooden panel paintings, local deities occupied a prominent domestic space long into the Christian era. When the family converted to Christianity the ancient household gods were replaced by Christian icons, which took over the same role and protecte
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Godlewski, Włodzimierz, Urszula Kusz, and Adam Łajtar. "A fragmentary wooden icon from the Church of Archangel Raphael (SWN.B.V)." In Dongola 2015-2016. Fieldwork, conservation and site management. Warsaw University Press, 2019. http://dx.doi.org/10.31338/uw.9788323534877.pp.147-154.

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Vélez, Karin. "Anonymous Renovators of Icons." In The Miraculous Flying House of Loreto. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691174006.003.0006.

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This chapter begins by examining how two peripheral artworks of the Virgin of Loreto, the eighteenth-century wooden statue from the Moxos missions and the seventeenth-century Roman painting by Caravaggio, each tapped into outside streams of Marian art. The same impetus for transformation is observed for the original icon of the Madonna of Loreto at the Italian shrine. Updates to this icon were spurred by an awareness of the world outside Loreto. The chapter concludes with a return to the frontier, to Canada, to consider some significantly named but lesser known Huron women converts who contrib
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Lee, Christina H. "Our Lady of Caysasay, the Chinese Goddess of the Sea." In Saints of Resistance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190916145.003.0003.

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This chapter examines the foundation and growth of the devotion to a foot-high wooden icon of the Immaculate Conception who has also been identified as Ma-Cho, the Chinese goddess of the sea and seafarers, since the seventeenth century. It argues that Tagalogs, Spaniards, and Chinese embraced the devotion to Our Lady of Caysasay as a means to protest the indiscriminate massacre of the Chinese of 1639. Tagalog and Spanish grievances over the mass killings of the Christian Chinese in the Taal region were recorded in an investigation conducted by the Manila Church in 1640. The investigation conce
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Remillard, Arthur. "Making Icons." In Bodies in Motion. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197789766.003.0014.

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Abstract This chapter considers the relatively recent tendency of interpreters to designate certain athletes as sports icons. From the earliest days of the company’s existence, Nike founder Phil Knight wanted his products to carry a sense of mythological greatness. In the years to come, figures like Steve Prefontaine, Michael Jordan, Tiger Woods, and Serena Williams would help to further this through the assistance of marketing campaigns designed to break the mold on how companies move product. Nike would even become involved in reputation repair, such as with Tiger Woods after revelations of
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Mask, Mia. "Football Heroes Invade Hollywood." In Black Rodeo: A History of the African American Western. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252044878.003.0002.

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This chapter is dedicated to western films starring Woody Strode and Jim Brown. Woody Strode was the first Cherokee African American, postwar western icon. Sergeant Rutledge was his initial star vehicle and represented a turning point in his career. Strode pried open the doors for Black actors who came shortly thereafter. Jim Brown was chief among the football-heroes-turned-movie-stars who followed. Viewing these subjects through their performances in westerns sheds light on how they became iconic figures on a continuum of Black masculine superhero archetypes who were deemed marketable as main
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Simaika, Samir, and Nevine Henein. "A New Museum." In Marcus Simaika. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774168239.003.0016.

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This chapter discusses Marcus Simaika's role in the establishment of the Coptic Museum. It was in 1908 that Simaika made his first attempt to start a small Coptic museum. While engaged in the repair and restoration of the ancient churches as a member of the Comité, Simaika had collected a large quantity of interesting carved wood and stone fragments. He had asked Patriarch Cyril V for permission to move the objects he had collected, along with any spare icons, manuscripts, and carved wooden screens, into two rooms adjoining the Muʻallaqa Church in Old Cairo. When it was constructed, the Coptic
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Săsăran, Patricia, Ancuța Țenter, Bety Burghele, Marin Cotețiu, and Loreley-Diana Jianu. "The Movable Heritage of Drăghia." In Heritage - New Paradigm [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.100211.

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The movable heritage of the Drăghia village, Maramureș County, is still around today thanks to a handful of people who diligently tended to the aged objects forsaken long ago. The old wooden church, built in 1706, is today a museum in which some of the age-old ritual objects, as well as other type of objects, are conserved. The decorations of the church, an important aspect over time, include various objects which today can be considered movable heritage. In this regard, the icons or paintings were highlighted by decorating them with decorative towels, woven by the village’s women. Other cloth
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Wills, John E. "Islam and a Wider World, 1450–1490." In The World from 1450 to 1700. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195165173.003.0002.

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Abstract The Ottoman forces outnumbered the defenders at least four to one, perhaps ten to one, and were far better organized. They had brought in materials by ship and built in a few weeks a strong stone fortress at the narrowest point of the Bosporus, the key strait between Constantinople and the Black Sea. They had built a wooden slipway and moved small ships overland into an inner harbor, bypassing a great chain protecting it. Their cannon were bigger and more intelligently used than anything inside the city. Several times the cannon had shattered a piece of the great walls, but each time
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Conference papers on the topic "Wooden icon"

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Mosneagu, Mina Adriana. "Conservation and restoration of some icons from the collection of church objects of Agapia Monastery, Neamţ, Romania." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.08.

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Agapia Monastery – the remarkable Moldavian monastery painted by Nicolae Grigorescu – has a precious heritage of icons, books and documents, liturgical textiles, goldsmithing. Among these, the main place is occupied by the icons painted in the XV-XIX centuries, either in post-Byzantine style, in tempera technique, or in realistic style, in oil technique. Some icons from the XVIII-XIX centuries have been preserved and restored in the Icon Restoration laboratory of the Faculty of Theology in Iaşi. In time, the icons kept in the storage of the Monastery Museum have suffered of degradation caused
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ARDELEAN, Elena. "30 years of artistic education in “Alexandru Ioan Cuza” University of Iași." In "Ştiință și educație: noi abordări și perspective", conferinţă ştiinţifică internaţională. Ion Creangă Pedagogical State University, 2024. https://doi.org/10.46727/c.v3.21-22-03-2024.p298-301.

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Founded in 1993 within the "Alexandru Ioan Cuza" University in Iași, the section of Cultural Heritage (later called Sacred Art) will become the first accredited section of university education in Romania, with the aim of training specialists in the field of conservation and restoration of mobile cultural heritage (old book icon and polychrome wood). In 1999, a new specialization appeared, Painting, and in 2017 the study program was accredited according to the standards in the field of Visual Arts. During the 30 years, the Sacred Art section carried out an intense didactic, artistic creation an
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Shen, Jun, and Jianqin Zhou. "Optical scattering polarization measurements of fiber orientation of wood with rough surfaces." In Optical Engineering for Sensing and Nanotechnology (ICOSN '01), edited by Koichi Iwata. SPIE, 2001. http://dx.doi.org/10.1117/12.427052.

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Pei, Zhijian. "Research on application of various regression prediction models in Wood Composite Products." In 2020 8th International Conference on Orange Technology (ICOT). IEEE, 2020. http://dx.doi.org/10.1109/icot51877.2020.9468776.

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Silvennoinen, Raimo V. J., Jari Palviainen, Seppo Kellomaeki, Heli Peltola, and Kari Sauvala. "Detection of wood density by a diffractive-optics-based sensor." In ICO XVIII 18th Congress of the International Commission for Optics, edited by Alexander J. Glass, Joseph W. Goodman, Milton Chang, Arthur H. Guenther, and Toshimitsu Asakura. SPIE, 1999. http://dx.doi.org/10.1117/12.354762.

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Novita, Novita, Hasbi Amiruddin, Husaini Ibrahim, and Teuku Jamil. "Wood Carving Motifs On Traditional Aceh Houses In Delima District (Pidie, Indonesia)." In Proceedings of the 3rd International Conference on Economic and Social Science, ICON-ESS, 17–18 October 2018, Banda Aceh, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.17-10-2018.2294159.

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Taufan, Muhammad, Mujiman Mujiman, and Yulianto Petrus Krisologus. "The effect of squeezing force to the shear strength of sengon wood and coconut wood using Poly Vinyl Acetate adhesive." In THE 3RD INTERNATIONAL CONFERENCE ON NATURAL SCIENCES, MATHEMATICS, APPLICATIONS, RESEARCH, AND TECHNOLOGY (ICON-SMART2022): Mathematical Physics and Biotechnology for Education, Energy Efficiency, and Marine Industries. AIP Publishing, 2024. http://dx.doi.org/10.1063/5.0214732.

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Rezeki, Pamella Meidina Sri, and Mujiman Mujiman. "Analysis bending capacity of camphor wood-concrete composite beams with carbon fiber reinforced polymer." In THE 3RD INTERNATIONAL CONFERENCE ON NATURAL SCIENCES, MATHEMATICS, APPLICATIONS, RESEARCH, AND TECHNOLOGY (ICON-SMART2022): Mathematical Physics and Biotechnology for Education, Energy Efficiency, and Marine Industries. AIP Publishing, 2024. http://dx.doi.org/10.1063/5.0203212.

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Susanto, Velicia Oktaviani, and Joniarto Parung. "Blockchain technology in wood raw material supply chain management – A bibliometric analysis and review." In THE 3RD INTERNATIONAL CONFERENCE ON NATURAL SCIENCES, MATHEMATICS, APPLICATIONS, RESEARCH, AND TECHNOLOGY (ICON-SMART2022): Mathematical Physics and Biotechnology for Education, Energy Efficiency, and Marine Industries. AIP Publishing, 2024. http://dx.doi.org/10.1063/5.0202067.

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Ludwig, Ryan. "Of Life and Death: The Interior Atmosphere-Environments of the Greenhouse and the Gas Chamber." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.78.

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This paper considers architecture as the creator of interior atmosphere-environments capable of cultivating spaces conducive to maintaining life through the mediation of variable external stimuli, but equally as possible is the articulation of this potential towards the construction of spaces intent on occasioning death. Architecture conceived with this awareness requires a rethinking of parameters, moving beyond the visual modalities of geometry, composition, icon or style, to instead utilize various qualitative materials like temperature, light intensity, relative humidity, air composition,
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