Expanding Greek-Russian relations in the XVII Century contributed to create a new iconographic tradition in Russia. The hand gesture signifies a call for the utmost attention and points to open Code in the Savior's left hand, where nine liturgical texts of the evangelists John, Matthew and Luke alternate – a detail that is found on later Greek icons. The composition features - the shape of the “roll” sleeve, the cutout on the neck of the chiton, the chiaroscuro of shimmering specks of gold that form folds and open areas of the background, the characteristic paleography – were frequently repeated in the works followers of the artist. The iconographic type is one of the oldest and widespread in Byzantine and Old Russian art. The name was popular among early Christians and was borne by several saints. ![]() The fine stylization, based on the Greek-Byzantine tradition, is combined with the “true imaging” of illusory personal visions, gradually playing an increasingly important role in the evolution of the artistic method of Russian icon painters. This name derives from the Ancient Greek name Theódros (), composed of two elements: theós () (divine, a deity, a god, God)plus dôron () (gift). This image represents heyday of Simon Ushakov. The icon “Lord Almighty” was to the right of the Tsar’s (Royal) gates. Pro Greek aesthetic concept became Central within system of murals of the Church of Gregory of New Caesarea. It was at this time that the Church councils were held in Moscow, which marked the victory of the grecophilic policy of Tsar Alexei Mikhailovich. Originally the icon was in a stone cathedral of Gregory of New Caesarea, which was built in 1668 - 1669 under the supervision of the Confessor of Tsar Alexei Mikhailovich, the archpriest of the Annunciation Cathedral of the Moscow Kremlin, Andrey Savvinov. New vision of art were outlayed in the theoretical works of Simon Ushakov and his friend and associate, Tsar’s iconographer Joseph Vladimirov, who in one of the first treatises on art “The Message to Simon Ushakov from Joseph Vladimirov” defended realistic manner of painting icons and urged to paint “light and rosy, shadowy and beautiful”. The appearance of Christ loses its monumentality, as if approaching a human. ![]() In the icon “Lord Almighty” the artist, while maintaining the traditional type of Savior, used a new style of painting and techniques. 4John, To the seven churches in the province of Asia: Grace and peace to you from Him who is and was and is to come, and from the seven Spirits before His throne, 5and from Jesus Christ, the faithful witness, the firstborn from the dead, and the ruler of the kings of the earth.Simon Fyodorovich Ushakov (1626 - 1686) was a famous Russian iconographer and graphic artist. ![]() ‘Additionally’, pun intended, if one has the Breadth of Sight, reading ‘allah’ IN THE ARABIC/ ٱللَّٰه from left-to-right: all 1ģBlessed is the one who reads aloud the words of this prophecy, and blessed are those who hear and obey what is written in it, because the time is near. Thus: in iconography, the lower case omega with the small alif placed above Christ’s head in the cruciform around his head, depicts His baptism by John in the Jordan: the Lam(b) upon whom the Holy Spirit, like a dove, descended!!! □: John 1: 29-35 “Behold! The Lamb of God….The one upon whom the Holy Spirit descends & remains….He will baptize with the Holy Spirit & fire…” I recently noticed something AWESOME to be considered: The Lord’s Baptism as the Lam(b) of God is DEPICTED in the Name allah, as written IN ARABIC!Īrabic: The/al:J I…Lam:J …+ ώ (shadda + small alif) over the Lam:J….ah/o = ٱللَّٰه !!! Victor (Greek:, 1630/16351697) was a painter active during the 17th century. The Victory over Death is ώ Ό Ν by Christ, thus are we his Ό ώ Ν…bought & paid for (لآ) with His Blood:la dam/l Adam: لِآدَمَ
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