Tradition maintains that the vera icon is just that, a true image of the sacred personage, accurate in every way. The currently much-abused word icon means ‘image’ whilst in the art of iconography it is the vera icon the ‘true image’ which is its ultimate expression. The icon is not just a religious painting: it is sacramental and plays a sacramental role in the lives of those who venerate it. From Ouspensky.Īs one might expect of an artist who has dedicated most of his life to this art, Michael is deeply committed to the essential two-way communication between the icon and the viewer. ‘The Holy Face’, a 20th century Russian Saviour Made Without Hands (Acheiropoietos), Holy Trinity Church, Vanves, Paris. His prodigious output of icons painted in the traditional manner continues at an impressive rate today. By the time he arrived in Australia in 1990 he had travelled widely and experienced much that positively influenced his thinking and his practice. Born in Belgrade in 1949 and educated at the Belgrade Academy of Applied Arts, he was drawn to icon painting early in his education. One such practitioner of the art is Michael Galovic. Adopted and perfected by the icon painters of the early church in Byzantium, the technique has been passed down almost without change to be employed by the few icon painters in our age whose practice remains true to the tradition. The method that aligns best with the essence of the icon is classical painting with egg tempera, a technique of unknown origins from deep within the ancient world. The traditional art of making an icon is an exacting process requiring much skill and knowledge that can only be acquired over a long period of dedicated commitment to the art.
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