Nikodim Pavlovich Kondakov

Language: English

Pages: 256

ISBN: B016XN156K

Format: PDF / Kindle (mobi) / ePub

Icon painting has reached its zenith in Ukraine between the 11th and 18th centuries. This art is appealing because of its great openness to other influences – the obedience to the rules of Orthodox Christianity in its early stages, the borrowing from Roman heritage or later to the Western breakthroughs – combined with a never compromised assertion of a distinctly Slavic soul and identity.
This book presents a handpicked and representative selection of works from the 11th century to the late Baroque period.

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evidently under the influence of Italian picture-painting and in answer to an idealistic religious movement, by which a worshipper came to require a spiritual communion with the picture to assist their devotions. To the Italo-Cretan school is due the development of the types of Our Lady’s Tenderness which were adopted by Russian art85. The idea of the new composition in Greek icons to express on the Mother’s face her sorrowful presage of her Divine Son’s passion. Seeing His Mother’s grief, hidden

coloured mask of the dead man. Later they substituted for this his portrait in the flat, painted on a separate board either from the life or after death, but with all the features and appearance of life. The board was slipped inside the tight mummy bands over the face: the picture gives sometimes just the head, sometimes the beginnings of the shoulders or the full bust. Cemeteries with such mummies have been found in the sandy shores of dried-up lakes 9. Faiyum Portrait, 4th century. Národní

brightness and pleasantness of the colour scheme. Still, for all the best innovations introduced by Dionysius, he made no break with the old type of Russian painting, he only made it prettier. That is why there is no comparison between the Therapon frescoes and those by Giotto in the church of Madonna della Arena at Padua. The new manner may have utilised the attractive surface of the Italians, but it kept the fundamental scheme, with the Byzantine tradition, untouched, much as the two schools of

of the Holy Apostle Peter showing a King, a Bishop, and other holy people adoring a set of fetters behind which is an icon showing S. Peter freed from prison. The background shows a church of fantastic architecture with a Deesis in its three front gables and a delightful bell turret above. Other churches of Nóvgorod have also preserved several precious icons with subsidiary scenes from the saints’ lives. Special mention is due to the very precious church of Ss. Boris and Gleb on the Trade Side on

shape of a Maiden, the circle of Time winged with the four seasons: the circle of the Creation; the Year in the form of a Man: Death with a trumpet in his hands; in a circle the subject from Proverbs, Wisdom hath builded her House; the Angels of the Seven Churches; the Sacrifice of Gideon; the Parable of the Sower, i.e. Jesus Christ upon a throne, before Him, people, birds pecking at seeds, a very literal illustration; Barlaam conversing with Joasaph the king’s son; the Parable of the Wedding

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