Вот это международное богословское учреждение пригласило о. Медведя выступить с докладом и в прениях. Он у них там некоторое время посостоял в он-лайн группе, поговорил о том о сём, теперь позвали выступать.
На тэму об иконе.
В качестве моего мужа, ага.

Его официальными оппонентами выступят двое лиц, украшенных докторскими степенями, из них одно ( Read more... )

Два слова о надолго накрывшей всю Европу махровой глупости о том, что якобы «в иконописи ему (понятию тени) нет места: иконописец этим тёмным делом не занимается и теней, конечно, не пишет» ( Павел Флоренский. Иконостас. Избранные труды по искусству. СПб, 1993. С.145 - 168). Напоминаю на всякий случай, что иконописцами Флоренский и его ( Read more... )

An iconographer expresses him self naturally in images, and the reader will have noticed how many times that author has used stories and anecdote to make her point.  We shall do the same in this chapter.

(картинка для привлечения внимания отсюда:
http://www.lsuagcenter.com/~/media/system/e/8/e/5/e8e5a2174f06374448abc7bde9347f0f/jwm_1970jpg.jpgкак ( Read more... )

On the veneration of icons  and the assessment of their artistic level

In this chapter we discuss a matter that lies outside the field of art history, but concerns rather the life and use of the icon within the Church, the people of God.


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In order to study the Russian iconographic tradition outside Russia, it is worth making the effort to define who it was that transmitted this tradition, what structures served as the link in the chain, and what part of the Russian iconographic treasury was known in Europe at the time. Who then, on leaving Russia, brought the ecclesiastic cultural ( Read more... )

This chapter will examine a unique situation in the transmission of icon painting. It is a known fact that Russian icon painting, on both sides of the iron curtain, found itself in a difficult situation after 1917.  More exactly, there were two situations, neither of them normal.

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Let us start by stating that in the visual arts all schools not just those of icon painting, are also schools of spirituality, because by channeling a student in a certain stylistic direction you imprint on him or her ipso facto a particular spiritual direction, in the broader sense of the term. By adopting one or the another recipe for ( Read more... )

Spiritual canonicity of the icon, spiritual physiognomy of the iconographerNot all images created and presented by an artist are accepted by the Church. Indeed it even happens that among icons already blessed and exhibited in a church, some are so disturbing that they are rapidly adjusted or repainted, and even destroyed, even if the iconographic ( Read more... )

...This unconditional enthusiasm for the “old” style is characteristic of individuals or groups (through ignorance or out of totally "earthly" interests), but the Church has never made any decision concerning style, prescribing one or proscribing another. The canonicity of and the admissibility of a particular style are evaluated by the Church on a ( Read more... )

So, is it sufficient for the iconographic canon to have been observed impeccably and unquestionably, for a painted wood panel on a religious them to be an icon? Are there other criteria? For some rigorous spirits and with the blessing of well-known twentieth century authors, style has also become a criterion, and indeed an essential element of ( Read more... )