8/18/2023 0 Comments Theodor greek iconographer![]() After the restoration the such adhered original is then sold for a high price. To make a worth-while profit he separates the top layer of 3mm of the picture and adheres it onto a new wooden tablet. The painter’s job is to restore a particular valuable Icon for a collector. Here the example of the painter of Icons matches who now works with fraudulent intent as a restorer 31. 35, 36.)ġ4Vstavka: (similar to vrezok = to cut in.) 30 Not only to meet the exploding demand for old Icons, but also for purely lucrative reasons painters of Icons have taken up forgery. ![]() 30 Friendly translation by E-Mail: Zarlung, J., 1 august 2008.The purchaser is deceived about the real condition of the object as he will expect a complete painting underneath the metal cover. Now one could say that the motives of the Oklad complete the missing painting iconographically, yet, the risk for the metal cover to get lost is high. Strictly seen, this is religious fraud in favour of economical advantage. By removing the Oklad „flying hands and heads“ become visible, which have not any iconographic connection. Thus the Icon loses its cult-value by being produced in mass production 29.ġ3Icons with Oklad, but without any painting underneath: Underneath the metal cover is not as expected an intact painting found, solely the parts which had been spared from the metal covering were painted. This manner of working stands on principle in opposition to the demands of the orthodox doctrine for masterly painting-ability and religious piety 28. Icon forgery – 19th centuryġ2Work-sharing: For the purpose of a more rapid production model, inferior work-material and/or a reduced working-technique are practiced or used 27. Furthermore, a condition is feigned which, strictly taken, from the art-historical and historical point of view, no longer exists. Iconographically and religiously seen these Icons are considered unproblematic, nevertheless the former relationship of the fragments with each other is now changed. Proceeding in this manner shows the ease with varying images. They place an older fragment of an Icon of pre-reformed days into a newly painted Icon (onto a spot especially kept free for that purpose), where the joining sections are then over-painted to complete the table 24. 23 Old-Believer: During the 17 th century a group, called the Old-Believers, separated from the Orthod (.)ġ0Vrezka: (Russian, vrezok = to cut in.) 22 After the reformation of the church in the 17th century the group of „Old-Believers“ 23 still prefers the pre-reformed way of painting.22 Friendly translation by E-Mail: Zarlung, J., 1 august 2008. ![]() Uspenskij compares this with the translating of mediaeval texts into contemporary colloquial language 21. While over painting the present picture with its same image, the original outlines of the figures or the exact architectural elements are never copied exactly, also there are some minor improvements to be found in respect of the painting skill or a „modernisation“ of older stylistic elements can be demonstrated 20. The over painting with the identical underneath lying present picture is already considered a sacred act 19. An intact iconographic condition guaranties the symbolic completeness and thus also the liturgical function of conveyance (which would be refuted by multiple sections of voids) 18. This kind of treatment is closely tied up with the symbolic content of the Icon 17. Cult-images with multiple losses within the paint layer and/or voids within the painting structure or a strongly darkened Olifa (a kind of oil varnish in Russia) have been over painted with economic 15 and religious aspects taken into consideration 16. 174.)ĩOver-painting: Into the second third of the 19th century all treatments (conservation, restoration) on the Icon are aimed at the function of the Icon 14.
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