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Иконное наследие Пимена Софронова в Шеветонском монастыре

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Paaver-Potashenko M.-L.

Acta Neophilologica

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2022

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vol. 1

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issue XXIV

267-276

EN

This article offers an art analysis of the collection of icons by the Estonian icon painter Pimen Sofronov housed in the Monastery of Chevetogne in Belgium. Sofronov’s icons found their way to this monastery in different ways. All of the seven icons were created in the 1930s, when he taught the orthodox icon painting and worked in various places in Europe and personally acquired an abundance of new knowledge. The author examines the development ofSofronov’s artistic language during these years and discusses the European artistic and cultural context of that time, which is essential to understanding his work. Despite his acquaintance with different cultures and traditions of icon painting, Sofronov remained true to his roots as can be seen in his icons in Chevetogne. Sofronov found his own way of developing and renewing the Old Believers’ icon painting tradition. This can also be perceived as a deeper understanding of the traditional Russian Old Believer icon painting.

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Między tradycją a nowoczesnością. Ikony rosyjskie w XIX w.

99%

Walczak D.

Saeculum Christianum. Pismo Historyczne

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2019

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vol. 26

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issue 2

162-169

EN

The aim of this article is to address the polemics about the long-standing stereotype in the history of art that Russian iconic paintings of the 19th century were secondary and mediocre in artistic terms and, therefore, of little interest for researchers. The author tries to show that this stereotype was largely created by Russian intellectuals of the second half of the nineteenth century, who betray an extremely critical attitude to contemporary iconic painting, despite the fact that the overall picture of Russian iconic painting of the nineteenth century is very complex and combines features of different visual traditions. The author defends the thesis that in the Russian iconic painting of the nineteenth century, tradition and contemporaneity are seamlessly combined, visible both at the level of theological reflection and at the level of artistic performance, and also that the nineteenth century is characterized by the ever-widening difference between the so-called folk icon” (“krasnuszka”) and the aesthetics of intellectual elites, shaped under the influence of realistic Western European painting.

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Malarstwo ikonowe tradycji bizantyjskiej

86%

Koprowski P.

Studia Europaea Gnesnensia

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2015

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issue 12

85-98

EN

The article seeks to reflect upon the manner of perceiving reality (the so-called reversed perspective) associated with the Byzantine tradition of icon painting which was in evidence in the Ruthenian and Russian cultural circle from the 12th to the first half of the 17th century.

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Ikona czy obraz sakralny? Pisać czy malować? – kilka dylematów słownych wokół pojęć związanych ze sztuką prawosławną w Polsce

71%

Michalska A.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

147-159

EN

The first and especially the second decade of the 21st century resulted in the creation of many iconographic schools in Poland. These were schools of various ranges, in different regions and addressed to various groups of people. They developed in a formally regulated manner in secular and ecclesial institutions, but also in private art studios or parishes. Depending on the experience and educational background of the teacher, icon writing can be a science consistent with canon and developed on the basis of the Orthodox religion it can deviate significantly from the models adopted in that culture. There are also innovative tendencies in the iconography represented by theologically aware artists. All of them, however, are united by the fact that there is a dispute over the Polish nomenclature of activities related to making icons. One basic linguistical dilemma among theorists is whether we should use the term „to write an icon”. The word „icon-writer” already exists in the Dictionary of the Polish Language, but „icon-writing” is replaced with „iconography” or „icon painting”. Is the reference to „Russianism” or „Greekism” in this case justification for not introducing the word „icon-writing” into the formal circulation as well? And so what about the use of the word „icon”, which in Greek means „a picture”? Being aware of the complexity of the problem, I would like to outline the lexical dilemmas related to the spreading of the art of creating icons in Poland, recalling the theological dimension of icons in cultural context.

Refine search results

1 Acta Neophilologica

1 Latopisy Akademii Supraskiej

1 Saeculum Christianum. Pismo Historyczne

1 Studia Europaea Gnesnensia

1 Koprowski P.

1 Michalska A.

1 Paaver-Potashenko M.-L.

1 Walczak D.

1 2022

1 2021

1 2019

1 2015

Иконное наследие Пимена Софронова в Шеветонском монастыре

Między tradycją a nowoczesnością. Ikony rosyjskie w XIX w.

Malarstwo ikonowe tradycji bizantyjskiej

Ikona czy obraz sakralny? Pisać czy malować? – kilka dylematów słownych wokół pojęć związanych ze sztuką prawosławną w Polsce