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Journal articles on the topic 'Wooden icon'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

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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7

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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9

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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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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Bucur, Mirel Vasile. "Restaurarea icoanei pe sticlă „Arhanghelii Mihail și Gavril” - Pavel Zamfir Zugravul. Studiu de caz." Anuarul Muzeului Etnograif al Transilvaniei 29 (December 20, 2015): 203–10. http://dx.doi.org/10.47802/amet.2015.29.11.

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The paper presents the elements that underpin the consideration of the painter Pavel Zamfir, author of the glass icon with the theme Archangels Michael and Gabriel, and the restoration work that we put in this case, presented in natural succession. It also presents how the dating of the icon was discovered, by the digital shooting against backlight. The following operations are presented in our paper: fragments gluing operations, consolidation of the paint layer, colour integration, consolidation and completion of the wooden cover. Finally, we expressed some recommendations regarding storage c

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Kosiv, Roksolana, and Andrii POCHEKVA. "Conservation and Attribution of the Early 18th Century Icon “St. Apostle Philip” from the Bonevychi Village (Lviv Region, Ukraine) using the Technique of Separation of Easel Painting." International Journal of Conservation Science 14, no. 3 (2023): 969–84. http://dx.doi.org/10.36868/ijcs.2023.03.12.

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The article studies the process of separation of the two layers of painting of the icon “St. Apostle Philip”, which is kept in the church in the Bonevychi village (Sambir district, Lviv region, Ukraine). The expediency of using the chemical method of separation for these work and similar ones, according to the state of preservation and technique of execution, is substantiated. The study shows that the upper layer of the icon was made in the late 19th – early 20th centuries in the technique of oil painting on top of the new gesso (levkas). The original painting of the icon was done in the techn

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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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15

Nica, Liliana, Viorica Vasilache, Ana Drob, Silvea Pruteanu, and Ion Sandu. "Preservation and Restoration of an Old Wooden Icon with Complex Carved Ornaments, in a Conservation State of Precollapse." Applied Sciences 12, no. 10 (2022): 5073. http://dx.doi.org/10.3390/app12105073.

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Wooden icons used in liturgical activities suffer a series of evolutionary deteriorations and degradations over time, due to improper storage and use conditions. The deterioration of the physical state of the structural-functional elements and degradation of the chemical nature of the components often lead old easel paintings to precarious preservation (almost close to pre-collapse), impossible to use or display as an artifact. In this study was included an old oil-painted icon on a carved linden wood support with fine gilded ornaments, which frames a central icon (“Coronation of Virgin Mary”)

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16

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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Astakhova, I. S., N. E. Plaksina, and S. V. Sokolov. "The mineral composition of colors of the carved wooden icon «Cross of Golgotha»." Vestnik of Institute of Geology of Komi Science Center of Ural Branch RAS 5 (2018): 55–59. http://dx.doi.org/10.19110/2221-1381-2018-5-55-59.

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18

Moldovan, Z., I. Bratu, C. Marutoiu, et al. "Characterization of an Eighteenth-Century Wooden Icon from the Ethnographic Museum of Transylvania." Analytical Letters 49, no. 16 (2016): 2597–605. http://dx.doi.org/10.1080/00032719.2015.1121394.

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19

Demori Staničić, Zoraida. "Prikaz Korčule na ikoni iz Bizantskog muzeja u Ateni." Ars Adriatica, no. 5 (January 1, 2015): 81. http://dx.doi.org/10.15291/ars.518.

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The icon of Miracle by the Virgin attributed to the circle of Theodore Poulakis from Byzantine Museum in Athens is known and published. It is divided in twohorizontal registers: the upper depicts Virgin Hodegetria with venerating angels under adorned pointed arch, while in the lower one there is a shipwreck in frontof the fortified town. Virgin is accompanied by the eloquent epithet „The Hope of Sinners”. The wreck below this celestial scene is realistically presented withpassengers of the ship perishing in the rough sea. Two of them clinging to wooden boards swim to nearby land with fortified

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Demori Staniči, Zoraida. "Prikaz Korčule na ikoni iz Bizantskog muzeja u Ateni." Ars Adriatica, no. 5 (January 1, 2015): 81. http://dx.doi.org/10.15291/ars.929.

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The icon of Miracle by the Virgin attributed to the circle of Theodore Poulakis from Byzantine Museum in Athens is known and published. It is divided in two horizontal registers: the upper depicts Virgin Hodegetria with venerating angels under adorned pointed arch, while in the lower one there is a shipwreck in front of the fortified town. Virgin is accompanied by the eloquent epithet „The Hope of Sinners”. The wreck below this celestial scene is realistically presented with passengers of the ship perishing in the rough sea. Two of them clinging to wooden boards swim to nearby land with fortif

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21

Sorea, Daniela, and Ionuț Mihai Popescu. "Glass Icons in Transylvania (Romania) and the Craft of Painting Them as Cultural Heritage Resources." Heritage 5, no. 4 (2022): 4006–23. http://dx.doi.org/10.3390/heritage5040206.

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The craft of painting icons on glass developed in the 17th century in Transylvania (Romania) following the spread of the news about the wooden icon of the weeping Mother of God in the church of Nicula. This news turned Nicula into a pilgrimage centre, and requests for reproductions of the icon led to the locals becoming glass painters. Because of the surplus of icons, some of the Nicula painters set up new icon-painting centres along the road to Brașov (to the south) and the other main trade routes of Transylvania. In order to highlight the potential for sustainable development associated with

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Chuvjurov, A. A., and A. B. Ostrovskii. "The religious tradition of the Vyg Community in the collection of the Russian Museum of Ethnography." Abyss (Studies in Philosophy, Political science and Social anthropology), no. 2 (28) (2024): 184–95. http://dx.doi.org/10.33979/2587-7534-2024-2-184-195.

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The article describes the collection of objects of traditional culture that existed among the inhabitants of the Vyg Old Believers community. The main attention is paid to subjects that embody the features of the religious tradition of the Old Believers. They are represented by the following products: cultic copper casting; wooden plastic with the plot “Golgotha Cross”, wall sheets with religious and edifying texts, and podruchniks. The most significant number of wooden plastic products, well-attributed, came from a well-known collector F.A. Kalikin in 1913. Objects of copper casting at the be

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Igoshev, Valeriy V. "The 19th century Old Believers’ chased icon “Cross of Calvary” as a heritage of Old Russian Staurotheke." Russian Journal of Church History 3, no. 1S (2022): 116–29. http://dx.doi.org/10.15829/2686-973x-2022-91.

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This article examines the chased relief icon “Cross of Calvary” made on a thin brass plate fastened to a rectangular wooden board. The chased icon compositional construction and the inscriptions-cryptograms are similar to the wood-carved Old Believers’ icons of the 18th — 19th centuries made by masters of the Russian North. The general composition, the style of the ornament, the technique of execution and the inset inscription on the engraved icon “Cross of Calvary” testify that this work was created by an Old Believers master, a follower of the Old Pomor community Filippovtsy in the Russian N

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Antonov, Dmitriy I. "SOVIET ICONS AS A RESEARCH PROJECT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2022): 155–64. http://dx.doi.org/10.28995/2686-7249-2022-9-155-164.

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The article is about the project of research into Soviet icons, which began at the Russian State University for the Humanities in 2021 at the Center for Visual Studies of the Middle Ages and Modern Period of the Faculty of Cultural Studies. The Soviet icon is a religious artifact created by village craftsmen (image painters) of the Soviet times – an icon, various in execution techniques, set in a wooden case (kiot). For the decoration of such icons both the traditional (for 19th – early 20th century) materials used – foil, paper, wax, paraffin etc. – as well as specific things that were availa

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NEMEȘ, Olivia Florena, Ion SANDU, Dan NEMEȘ, Marin COTEȚIU, Teofil TIA, and Constantin MĂRUȚOIU. "The Painting Materials and Conservation Status of an Old Romanian Orthodox Icon Atributted to Simon The Painter from Bălgrad." International Journal of Conservation Science 16, no. 1 (2025): 175–90. https://doi.org/10.36868/ijcs.2025.01.11.

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The orthodox wooden icon “Saint Archangel Michael” attributed to the painter Simon from Balgrad is the only one known in the Cluj county and it is kept at the Metropolitan Museum from Cluj-Napoca, with an inventory number dating from 1976. The icon recently underwent a basic cleaning process and its conservation status was studied, together with the materials used for its manufacturing. The information gathered will offer information for continuing the restoration process and to document the materials and techniques used by the painter, useful for further researches regarding the author. The i

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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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Antonov, D. I. "The New Year Tree and the Foil Icon: Non-Obvious Kinship and Social Biographies." State, Religion and Church in Russia and Worldwide 42, no. 3 (2025): 232–48. https://doi.org/10.22394/2073-7203-2024-42-3-232-248.

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The article examines two objects that spread in the Russian Empire in the first half of the XIX century and, it would seem, had little in common: Christmas trees and kiotki icons (religious images in wooden kiotki decorated with foil). As the author shows, from the very first decades of their existence, these hybrid artifacts turned out to be related to each other in many ways. They were united by the materials used — foil, paper, chromolithographic images, etc.; The principles of decoration are, first of all, imitation of precious metals, the use of inexpensive sparkling decorative elements;

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Skryl, Anton S., J. Bianca Jackson, Michael I. Bakunov, Michel Menu, and Gerard A. Mourou. "Terahertz time-domain imaging of hidden defects in wooden artworks: application to a Russian icon painting." Applied Optics 53, no. 6 (2014): 1033. http://dx.doi.org/10.1364/ao.53.001033.

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KOMOVA, M. A. "HISTORICAL AND CULTURAL EXPERTISE AND THE SOURCES OF THE RUSSIAN WOODEN SCULPTURE "NIKOLA MTSENSKY" ORIGINATION." JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 9, no. 3 (2020): 87–100. http://dx.doi.org/10.22394/2225-8272-2020-9-3-87-100.

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The purpose of the article is to present the history and the analysis of the Russian wooden sculpture “Nikola Мtsenskiy” results of the examination from Peter and Paul Cathedral in Mtsensk. For the first time, the author conducted a historical and cultural examination of this object for religious purposes. The article defines the historical and cultural context of this object existence, its veneration as a relic, the problem of comparing the “The Legend of the appearance of the miraculous icon of St. Nicholas Wonderworker in the city of Mtsensk” and the preserved sculpture. The author also exa

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Doronin, Dmitriy Yu. "SOVIET ICONS OF THE NIZHNY NOVGOROD SOUTHWEST REGION. GENESIS AND LOCAL TRADITIONS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2022): 70–93. http://dx.doi.org/10.28995/2686-7249-2022-4-70-93.

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The paper deals with the genesis and local traditions of handmade icons of the Soviet era in the Southwest of the Nizhny Novgorod region. It is based on the material from the expeditions carried in 2021. The Kulebak-Gremyachevsky tradition is characterized by Soviet icons decorated with silver foil with an abundance of small elements: foil and paper flowers, clusters of paraffin berries. Those are typical features of the so-called ‘rustic’ style. The main technique of applying an ornament to foil (honeycomb-shaped, finely-rounded, vegetable) is an imprint on a metal matrix base. The Arzamas tr

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Avram, Anamaria, Constantin Ștefan Ionescu, and Aurel Lunguleasa. "Some Methods for the Degradation-Fragility Degree Determination and for the Consolidation of Treatments with Paraloid B72 of Wood Panels from Icon-Type Heritage Objects." Forests 13, no. 5 (2022): 801. http://dx.doi.org/10.3390/f13050801.

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The main objective of this paper is to develop methods for assessing the deterioration of wooden panels of iconic heritage objects and the effectiveness of consolidation treatments, methods that are easy to apply to the field of wood restoration. During the research, four evaluation methods were identified, respectively: the density method, the excessive porosity method, the Brinell hardness method, and the Mark hardness method. Each method was exemplified on five wooden panels (icons), and when needed, degraded specimens were used and/or treated with Paraloid B72. One of the main conclusions

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Gajić-Kvaščev, Maja, Olivera Klisurić, Velibor Andrić, et al. "Anatomy of the Painting: The Study of the Serbian Orthodox Icon from the Turn of the Seventeenth to the Eighteenth Century." Coatings 14, no. 7 (2024): 854. http://dx.doi.org/10.3390/coatings14070854.

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The paper presents the results of the multi-analytical study of the painting on a panel from the icon collection of the Gallery of Matica srpska museum in Novi Sad, Serbia. It is part of the research aiming to set the methodology for the museum’s database on artistic materials and techniques present in the collection. Computer tomography (CT) scanning was used to understand the structure of the wooden panel support. Ultraviolet (UV) and infrared (IC) imaging, as well as visible (VIS) macro photography, were used to study the paint layer, both the original part and restoration treatments, as we

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Ratoiu, Lucian Cristian, Sister Serafima, Ioana Maria Cortea, and Octavian G. Duliu. "A Multi-Analytical Study of a 17th-Century Wallachian Icon Depicting the “Mother of God with Child”." Heritage 6, no. 10 (2023): 6931–48. http://dx.doi.org/10.3390/heritage6100362.

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As part of a detailed investigation project focused on the painting materials and technical features used in Wallachia during the 17th and 18th century, the imperial icon “Mother of God with Child” from the Orthodox Church of the “Annunciation” in Râmnicu Vâlcea, Romania, was investigated before the restoration intervention. A minimally invasive multi-analytical approach consisting of high-resolution digital radiography, hyperspectral imaging, UV fluorescence imaging, portable X-ray fluorescence, and Fourier transform infrared spectroscopy was used. The results emphasized several key features,

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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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Edgecomb, Sean F. "Performing Midsommar: Sweden Nationalism, Folkloric Pageantry, and the Political Power of Symbolic Divergence." Theatre Survey 64, no. 3 (2023): 324–53. http://dx.doi.org/10.1017/s0040557423000169.

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In June 2022, after a two-and-a-half-year COVID-19 hiatus, I joyfully returned to Europe for a research trip. My purpose was to develop further my next monograph on queering animal symbols, specifically investigating the history of the Dalecarlian (Dala) horse [Dalahäst]. Dala horses are brightly painted wooden toys that were carved and decorated by farmers through the long Swedish winters as early as the seventeenth century. Thereafter, Dala horses became a national icon and symbol of Sweden at the 1939 World's Fair in New York City. Scheduling also allowed me to attend Midsommar (Midsummer)

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O’Mara, Reed. "“On Golden Tablets”: The Cleveland Museum of Art’s Aṣṭasāhasrikā Prajñāpāramitā Manuscript as a Self-Referential Icon". Religions 11, № 6 (2020): 274. http://dx.doi.org/10.3390/rel11060274.

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This article examines the paintings on the five surviving illuminated palm-leaf folios and the interiors of the two wooden covers of the Cleveland Museum of Art’s almost complete Perfection of Wisdom in Eight Thousand Lines, or the Aṣṭasāhasrikā Prajñāpāramitā-sūtra, from the early twelfth century (CMA, Acc. No. 1938.301). Earlier scholarship on the CMA manuscript has overlooked the importance of the first folio, which depicts centrally a female personification of the Prajñāpāramitā text itself. Focusing on the details of the image and comparing it to the other instances of the figure in the m

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Avram, Anamaria, Constantin Stefan Ionescu, and Aurel Lunguleasa. "A consolidation of degraded lime wooden support from heritage objects using two types of consolidant,." BioResources 18, no. 3 (2023): 4580–97. http://dx.doi.org/10.15376/biores.18.3.4580-4597.

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The novelty of the research consists in the fact that the decayed wood was taken from an old icon, on which several consolidation treatments were applied, and the improvement indices of the decayed wood (by Anobiidae insects) were also determined. This research investigated two types of the most used consolidant (Paraloid B72 10% and Regalrez 1126 25%) solubilized in three types of solvents, to improve the properties of lime wood samples coming from cultural heritage objects that presented different degrees of degradation. Testing methodology for dimensional changes and wood swelling due to so

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Antonov, D. I. "Religious practices and church space in modern Russia." Journal of Visual Theology 5, no. 1 (2023): 93–105. http://dx.doi.org/10.34680/vistheo-2023-5-1-93-105.

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The article discusses current trends in the formation of the church space in post- Soviet Russia. The author focuses on religious practices that result in the presence of symbo-lically significant objects–relics, votive gifts, donators’ icons, notes, etc., –in churches. These objects build the space of the church as a space of communication with the saints; they form an environment in which parishioners and pilgrims clearly see the channels and means of this communication. Some practices are carried out primarily by the clergy–such as collections of relics and brandea or ordering various reliq

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Mironowicz, Antoni. "Najstarsze dzieje parafii mielnickich." Elpis 23 (2021): 147–53. http://dx.doi.org/10.15290/elpis.2021.23.18.

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The oldest history of the Orthodox parishes in Mielnik shows that they were closely related to the history of the city. The first brick temple was built in the Ruthenian stronghold in the 13th century. The tradition of the thirteenth-century temple was related to the wooden church of the Nativity of the Blessed Virgin Mary built in 1431 at Drohicka Street, and then another one erected on the Ruthenian hill in 1614 and the present one built in the years 1821-1823. The Orthodox Church of the Resurrection of Christ situated on Brzeska Street at the beginning of the 16th century was of great impor

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Свердлова, С. В., and Д. С. Першин. "Technical and technological features and reconstruction of the original appearance of the icon "Annunciation" ("Annunciation of Ustyug") dating back to the first third of the XII century from the collection of the State Tretyakov Gallery." Architectural archeology, no. 4 (February 12, 2023): 136–49. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-371-8.136-149.

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Статья посвящена результатам работы по исследованию техники и технологии, а также реконструкции первоначального вида иконы «Благовещенье» («Благовещенье Устюжское») первой трети XII в. из Государственной Третьяковской галереи. Рассмотрены этапы изготовления деревянной основы, изначально рассчитанной на другое изображение и подвергшейся значительной переделке. Последовательно описана сложная система живописи, включающая ряд редких технических приемов, характерных для произведений византийского круга. В процессе исследований выявлена специфическая особенность памятника в виде авторского изменени

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Ion, Rodica-Mariana, Lorena Iancu, Ramona Marina Grigorescu, Sofia Slamnoiu-Teodorescu, Ioana Daniela Dulama, and Ioan Alin Bucurica. "Degradation Products Assessment of the Wooden Painted Surfaces from a XVIIth Heritage Monastery." Applied Sciences 13, no. 4 (2023): 2124. http://dx.doi.org/10.3390/app13042124.

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Currently, approximately 70% of paintings in museum collections are affected by the presence of metallic soaps, evidenced by spherical globules visible on the surface of the paintings. They are responsible for altering the paintings’ surface through processes such as exfoliation and cracking, or even in the form of surface “skins” that appear in the pictorial layers. The objective of this study is the investigation of the icon paintings from Saint Mary Monastery, Techirghiol, Romania, which underwent some restoration procedures. This study is so important/significant, due to the presence of ef

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Ryndina, Anna V. "The Semantic and Artistic Evolution of Images of Nicholas the Wonderworker. Russia and the West." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (2022): 10–36. http://dx.doi.org/10.36340/2071-6818-2022-18-6-10-36.

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In the article, devoted to the research of the image of St. Nicholas the Wonderworker, the author focuses on new trends in the study of ancient Russian art and, above all, in the study of architectural monuments, "minor forms" of liturgical purpose and plastics. The author especially emphasises that at the present stage, the issue of content, the connection of form formation with the structure of symbolic thinking within the cultural space of the era is actively brought to the fore. In this regard, the work of Pavel Florensky, The Church Ritual as a Synthesis of the Arts, is perceived as a pro

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Utami, Yenni Sri, Oliver Samuel Simanjuntak, Vynska Amalia Permadi, and Agus Sasmita. "SWOT Analysis As An Instrument For Strategic Planning Of Batik Kayu Craft Small Medium-Sized Enterprises (SMEs) In Krebet Bantul Yogyakarta." Tourism and Sustainable Development Review 1, no. 2 (2020): 94–102. http://dx.doi.org/10.31098/tsdr.v1i2.14.

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Krebs Tourism Village is a tourism destination that specifically produces the creative industries of Batik Kayu crafts. Small Micro Medium-Sized Enterprises of Batik Kayu craft in Krebet have developed rapidly and become a specific icon of Krebet Tourism Village. The unique styles of Batik upon wooden media have attracted both domestic and international customers. This research purpose to formulate the efficient strategies that can be applied to extend the growth of Batik Kayu craft in Krebs. This paper adopts the method of SWOT analysis to obtain a comprehensive evaluation of this SME Industr

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Kushtan, D. P., and S. A. Gorbanenko. "UTILITY COMPLEX OF THE EARLY 15Th century FROM CHERKASY PODIL." Archaeology and Early History of Ukraine 48, no. 3 (2023): 257–67. http://dx.doi.org/10.37445/adiu.2023.03.16.

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This paper introduces the materials from archaeological explorations in 2022 at Gagarina str. 60 in Cherkasy. This area belongs to Cherkasy Podil (Lower Town) located in 200 m from the Lithuanian time castle at Dzelegora. Semi-pit-house or pit-storage (dwelling 2) dated to the beginning of 15th century is one of the most interesting features revealed by the excavations. The Feature is dated to the time when Cherkasy was shifted from a small border town of Podil principality (Lithuanian vassal) to an important administrative center of the Great Lithuanian Kingdom. The dwelling was destroy

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Bratu, I., O. F. Nemeş, V. C. Mãruţoiu, I. Kácso, and D. Gh. Vlasin. "Characterization of a Jesus Pantocrator Wooden Icon from Eighteen Century by Differential Scanning Calorimetry and Infrared and X-ray Fluorescence Spectroscopies." Analytical Letters 52, no. 1 (2018): 45–53. http://dx.doi.org/10.1080/00032719.2017.1411935.

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Adruh, Anatoliy. "Artistic ceramics and tempered glass in Chernihiv in the second half of the seventeenth and early eighteenth centuries." Siverian chronicle (2022) 5-6 (December 6, 2022): 30–44. https://doi.org/10.5281/zenodo.7406601.

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<strong><em>The purpose</em></strong><em> of the article is to highlight the features of Chernigov art ceramics and glassware of the second half of the </em><em>XVII</em><em> – </em><em>the </em><em>beginning of the </em><em>XVIII</em><em> c</em><em>.</em><em>, their development in relationships with other types of art. <strong>The research</strong> <strong>methodolog</strong>y is based on a systematic approach, on general scientific principles of objectivity and historicism, which allow a comprehensive study of the creativity of ceramists and potters of the specified period<strong>

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Kleimola, A. M. "The Paradoxes of Kozheozero." Russian History 39, no. 1-2 (2012): 232–46. http://dx.doi.org/10.1163/187633112x627166.

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The Kozheozero Monastery of the Epiphany was founded by the monk Nifont in the mid-16th century. Located in the impenetrable swamps west of the Onega River, it was one of the most remote religious houses in the Russian North and should have remained small in size and insignificant in cultural history. Yet it came to exemplify the complex and seemingly contradictory character of Muscovite religious life in the 17th century, when it attracted about a hundred seekers after solitude to a wilderness community where they found wooden churches surrounded by huts but also a rich sacristy, an extensive

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Valtchinova, Galia. "The Virgin’s Body and the Sheikh’s Head." Fieldwork in Religion 19, no. 1 (2024): 15–41. http://dx.doi.org/10.1558/firn.29308.

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The village of Bansko, in the Republic of North Macedonia, is known in historical-ethnological studies for its Muslim heterodox community. The Eastern Orthodox Macedonian community in the village started to gain visibility since the 1950s, to become dominant in the last decades. The village provides a good example of how the dynamics of religious communities living together is revealed through the activities of local religious virtuosi, who interpret and even may influence processes of peaceful or conflictual coexistence. This article is based on fieldwork conducted between 1999 and 2006, prim

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Plamen, Sabev. "TYPES OF ORGANIC SOLVENTS USED TO DISSOLVE OLD LAQUER COVERAGE OUT OF REVIVAL-TIME ICONS FROM THE DEPOTS OF THE REGIONAL MUSEUM OF HISTORY – VELIKO TARNOVO." Proceedings Regional Museum of History - Veliko Tarnovo 28 (November 20, 2013): 383–88. https://doi.org/10.5281/zenodo.4916306.

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The focus of this article is to examine contemporary and common issues – the unveiling and preserving of a specific type of valuable cultural heritage – icons created in the period of the Bulgarian Revival. These, in many cases, must be treated with caution, because of the risk to damage the original colour lacquer. This in turn leads to variations of the original colours, namely the dyes and the gold are pure at some places, while at others they are visibly marred. Most of the contemporary restoration technique would totally remove the original varnish, even at the places where th

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Gyurdzhoyan, K. G., Al Al Tkachev, and A. A. Tkachev. "On the issue of Christianization of the population of the Taz River Subarctic (by the materials of the burial ground of Num-hibya-siheri VIa)." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3(66) (September 15, 2024): 77–89. http://dx.doi.org/10.20874/2071-0437-2024-66-3-7.

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In recent decades, there has been a significant increase at the number of studies aimed at the research into archaeological sites dating back to the period of active development of Siberian territories by Russian explorers. The indication of this process is the commenced Christianization of local indigenous population. The study of the burial objects of the Late Medieval and Modern Times allowed assembling representative collections of stauro-graphic materials. The items retrieved during the study of the Num-hibya-siheri VIa burial ground reflect specific features of the use of Christian symbo

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