![]() The whole research and the pictures, in particular, brought me to depression, but it did not last long. They looked more alive and less betraying their medieval models. It’s not to be mentioned here, that the students’ works which I saw often had better colors and composition, than the works of their instructors. What I was seeking for was a kind of structure, which could help to see iconography as a living theology in color, and I only found commercial schools of sacred craftsmanship with very little understanding of the very techniques they teach. I saw dozens of students bending over their tiny little tables, overloaded with dozens of prints, plastic palettes, and other staff, dying to perform most unexplainable actions with most unexplainable pre-mixed hues of colors, composed by their teachers. Most of the photographs were showing iconography students copying photocopies of their teachers’ icons, where the most beautiful, deepest, most powerful, and breathtaking old icons were rudely reduced to plainest simplified patterns. It was so disappointing, that it even became the saddest news of the day.įlipping through photos of different workshops taught in Russia, Italy, the USA, Australia, Greece, and Canada I saw a great deal, and it was not even close to what I was dreaming about. I searched really hard, but in the end, I did not find a single one to sign for. The ads said you can learn “technique of Byzantine art”, gilding technique, the “language of icons” and their “meaning”, and even to work as a team member with renowned master-iconographers for several days… I was so amazed, how many opportunities open up when you google “icon painting workshop” or “course”. ![]() Inĭiscovered an extensive number of icon retreats all over the world, ![]() Programs, offered by fellow iconographers. Ready to teach a series of iconography workshops I decided to check ![]() Icon the Mother of God Smolenskaja by Olga Shalamova ![]()
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