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historians. Icon painting was and is a conservative art, in many cases considered a craft, in which the painter is essentially merely a tool for replication. The painter did not seek individual glory but considered himself a humble servant of God. That is why in the 19th and early 20th centuries, icon painting in Russia went into a great decline with the arrival of machine lithography on paper and tin, which could produce icons in great quantity and much more cheaply than the workshops of painters. Even today large numbers of paper icons are purchased by
Orthodox rather than more expensive painted panels.
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painter, then the image falsely aged to match the panel in order to create an icon that could pass as a 17th- or 18th-century masterwork. In reality, it is nothing more than a 20th- or 21st-century masterwork on a 17th- or 18th-century panel. With the rise in the values and prices of authentic icons in recent decades, this is now also done with lower quality 19th-century folk icons that are repainted by contemporary masters and then artificially aged to appear to match the age of the panel.
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109:", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and non-realistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. These types of icons, while found in Russian Orthodox churches, are also sometimes found in various sui juris rites of the
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advances in materials negated the need for these cross members, thus, are seen either on icons painted after this time period when the intent of the artist was to deceive by creating an "older looking" icon, or on icons which are rendered according to traditional means as a way of honoring the old processes. Back slats are sometimes necessary on newer icons of large size for the same reasons (warping and stability) as existed pre-1900.
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done, were artificially aged through skillful techniques and sold as authentic to Old
Believers and collectors. Some still turn up on the market today, along with numbers of newly painted intentional forgeries, as well as icons sold legitimately as new but painted in earlier styles. Many icons sold today retain some characteristics of earlier painting but are nonetheless obviously contemporary.
216:
563:
Ahlborn, Richard E. and Vera Beaver-Bricken
Espinola, eds. Russian Copper Icons and Crosses From the Kunz Collection: Castings of Faith. Washington, DC: Smithsonian Institution Press. 1991. 85 pages with illustrations, some colored. Includes bibliographical references pages 84-85. Smithsonian Studies
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Pursuant to
Russian law, it is presently illegal to export any Russian icon that is over one hundred years in age. Any and all icons being exported from Russia must be accompanied by a certificate from the Ministry of Culture of the Russian Federation, attesting to the age of the icon. While Russian
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Since the 1990s, numerous late 19th- and early 20th-century icons have been artificially aged, then purported to unwitting buyers and collectors as being older than they really are. Often these "semi-forgeries" are perpetrated by master-level
Russian icon painters, highly skilled in their ability to
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Many
Russian icons were destroyed, or sold abroad, by agents of the Soviet government; some were hidden to avoid destruction, or were smuggled out of the country. Since the fall of communism, numbers of icon painting studios have again opened and are painting in a variety of styles for the local and
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in
Russian icon painting and religious use than of any other figure; Marian icons are commonly copies of images considered to be miraculous, of which there are hundreds: "The icons of Mary were always deemed miraculous, those of her son rarely so". Icons of Mary most often depict her with the child
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Panels that utilize what are known as "back slats" — cross members that are dovetailed into the back of the boards that make up the panel to prevent warping during the drying process and to ensure structural integrity over time — are usually older than 1880/1890. Subsequent to 1880/1890,
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As the painter did not intend to glorify himself, it was not deemed necessary to sign an icon. Later icons were often the work of many hands, not of a single artisan. Nonetheless, some later icons are signed with name of the painter, as well as the date and place. A peculiarity of dates written on
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Another problem area in the field of icon collecting is the "recomposing" of legitimately old icons with newly painted then falsely aged images that exhibit a higher degree of artistry. For example, a primitive or "folk art" icon from the 17th or 18th century might be repainted by a modern master
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In the late 19th and early 20th centuries, the market for icons expanded beyond
Orthodox believers to include those collecting them as examples of Russian traditional art and culture. The same period witnessed much forgery of icons painted in the Pre-Nikonian manner. Such fakes, often beautifully
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Because icons in
Orthodoxy must follow traditional standards and are essentially copies, Orthodoxy never developed the reputation of the individual artist as Western Christianity did, and the names of even the finest icon painters are seldom recognized except by some Eastern Orthodox or art
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not only paint extraordinary works of art, but to "create age" on the finished icon. While the resulting icon may very well be a fine work of art that many would be glad to own, it is still considered to be a work of deception, thus lacking value as an icon beyond its decorative qualities.
267:риза, meaning "robe") of gilt or silvered metal of ornate workmanship, which were sometimes enameled, filigreed, or set with artificial, semiprecious or even precious stones and pearls. Pairs of icons of Jesus and Mary were given as wedding presents to newly married couples.
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Russians often commissioned icons for private use, adding figures of specific saints for whom they or members of their family were named gathered around the icon's central figure. Icons were frequently clad in metal covers (the
150:, писать in Russian) means both to paint and to write. Icons are considered to be the Gospel in paint, and therefore careful attention is paid to ensure that the Gospel is faithfully and accurately conveyed.
161:, явление) of an icon is its supposedly miraculous discovery. "A true icon is one that has 'appeared', a gift from above, one opening the way to the Prototype and able to perform miracles".
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countries, or as a result of corrupt
Ministry of Culture officials who are willing to certify an otherwise unexportable icon as being "100 years old" in order to facilitate its transfer.
120:, often small, though some in churches and monasteries may be much larger. Some Russian icons were made of copper. Many religious homes in Russia have icons hanging on the wall in the
341:, which they decorated with ornate depictions of Russian fairy tales and other non-religious scenes. This transition from religious to secular subjects gave rise, in the mid-1920, to
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icons is that many are dated from the "Creation of the World", which in Eastern Orthodoxy was believed to have taken place on September 1 in the year 5,509 before the birth of Jesus.
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were largely lacking in Russia before the 17th century, when Russian icon painting became strongly influenced by religious paintings and engravings from both Protestant and
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Since the collapse of the Soviet Union, many Russian icons have been repatriated via direct purchase by Russian museums, private Russian collectors, or as was the case of
432:, either immediately after the paint is dry, or later on. The majority of hand-painted Russian icons exhibit some degree of surface varnish, although many do not.
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law regarding the exportation of icons is quite clear, examples of Russian icons over 100 years of age are regularly introduced into the open market by way of
279:", "Vilna", "Melter of Hard Hearts", "Seven Swords", etc., along with icons that depict events in Mary's life before she gave birth to Jesus, such as the
208:(1360 – early 15th century), who was "glorified" (officially recognized as a saint) by the Moscow Patriarchate in 1988. His most famous work is
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Russians sometimes speak of an icon as having been "written", because in the Russian language (like Greek, but unlike English) the same word (
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in Russia. Over time, Russian iconography evolved, incorporating local styles and elements that expanded its visual and symbolic vocabulary.
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Jesus in her arms; some, however, omit the child. Examples of these include the "Kaluga", "Fiery-Faced" "Gerondissa", "
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international market. Many older, hidden icons have also been retrieved from hiding, or brought back from overseas.
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in AD 988. Initially following Byzantine artistic standards, these icons were integral to religious practices and
735:- One of the most extensive collections of Russian Icons from the 17th, 18th and 19th century outside of Russia.
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resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" or "
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exterior facades that are usually highly embellished and often multi-dimensional. These facades are called
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There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the
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Some of the most venerated but whole icons considered to be products of miraculous
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and background areas; however, in some icons, silver leaf, sometimes tinted with
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images, all of the Virgin Mary, usually referred to by Orthodox Christians as the
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543:(in Russian). Saint Tikhon's Orthodox University of Humanities. pp. 10–13.
518:(in Russian). Saint Tikhon's Orthodox University of Humanities. pp. 10–11.
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Example of panel cross members or "back slats" used in pre-1890 Russian icons
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on specially prepared wooden panels, or on cloth glued onto wooden panels.
349:. Most distinguished within this relatively new art form are the intricate
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Hidden and triumphant the underground struggle to save Russian iconography
630:(1). The American Institute for Conservation of Historic &: 17–22.
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are those known by the name of the town associated with them, such as the
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icon to the Russian Orthodox Church, returned to Russia in good faith.
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The personal, innovative and creative traditions of Western European
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A regular aspect of icon painting is to varnish over the image with
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During the Soviet era in Russia, former village icon painters in
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to look like gold, is used instead, and some icons have no
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658:"The handover of the icon of Kazan is an historic event"
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Behold the beauty of the Lord : praying with icons
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at all. Russian icons may also incorporate elaborate
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There are far more varieties of icons of the Virgin
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represent a form of religious art that developed in
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Mother Russia: the Feminine Myth in Russian Culture
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50:; tempera on panel; 1.1 x 1.4 m (4 ft 8 in x 3 ft 8
679:Nouwen, Henri J. M. (Henri Josef Machiel) (1987),
624:Journal of the American Institute for Conservation
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620:"Russian Icons: Spiritual And Material Aspects"
660:. AsiaNews.it. August 26, 2004. Archived from
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493:giving an 18th-century copy of the famous
705:I. K. I︠A︡zykova; Grenier, Paul (2010),
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204:The preeminent Russian icon painter was
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541:The History of Ancient Russian Painting
516:The History of Ancient Russian Painting
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747:- Museum of Russian Icons Clinton, MA.
618:Espinola, Vera Beaver-Bracken (1992).
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381:Most Russian icons are painted using
36:Holy Trinity, Hospitality of Abraham
124:, the "red" or "beautiful" corner.
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564:in History and Technology: No. 51.
369:Painting techniques and collecting
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539:Sarabianov, V.D.; Smirnova, E.S.
514:Sarabianov, V.D.; Smirnova, E.S.
153:Icons considered miraculous were
440:Age, authenticity, and forgeries
337:transferred their techniques to
131:is typically separated from the
84:Eastern Roman (Byzantine) Empire
574:Father Vladimir Ivanov (1988).
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261:оклад, or more traditionally,
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76:Eastern Orthodox Christianity
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597:. Indiana University Press.
171:List of oldest Russian icons
116:Russian icons are typically
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157:The "appearance" (Russian:
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741:- The Russian Art Gallery.
201:, the Birth-Giver of God.
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210:The Old Testament Trinity
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1157:Russian Orthodox Church
814:Kholmogory bone carving
745:Museum of Russian Icons
578:. Rizzoli Publications.
389:is frequently used for
589:Hubbs, Joanna (1993).
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482:into the neighboring
448:Darkened icon of Ss.
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353:paintings on a black
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283:or Mary's own birth.
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27:Russian religious art
874:Kasli iron sculpture
252:Museum and Gallery).
250:Bob Jones University
952:Pavlovo Posad shawl
829:Fedoskino miniature
824:Russian lacquer art
683:, Ave Maria Press,
343:Russian lacquer art
88:cultural traditions
695:Henri J. M. Nouwen
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379:
315:
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221:Christ Pantocrator
78:after Kievan Rus'
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1065:Bird of Happiness
856:Zhostovo painting
839:Mstyora miniature
799:Gorodets painting
739:Old Russian Icons
720:978-1-55725-564-8
709:, Brewster, Mass
690:978-0-87793-356-4
664:on June 19, 2006.
495:Our Lady of Kazan
491:Pope John Paul II
155:said to "appear."
118:paintings on wood
80:adopted the faith
62:Tretyakov Gallery
16:(Redirected from
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834:Kholuy miniature
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1070:Cheburashka
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1009:instruments
932:Kosovorotka
783:handicrafts
383:egg tempera
339:lacquerware
303: 1360
292:Crucifixion
277:Bogoliubovo
193:Częstochowa
177:thaumaturge
137:iconostasis
122:krasny ugol
48: 1411
1146:Categories
987:Telnyashka
972:Sailor cap
957:Peaked cap
473:Legalities
430:drying oil
169:See also:
1095:Petrushka
1017:Balalaika
927:Kokoshnik
912:Budenovka
866:Tableware
819:Khokhloma
480:smuggling
454:Paraskeva
450:Catherine
387:Gold leaf
225:enamelled
198:Theotokos
141:ikonostas
139:(Russian
133:sanctuary
82:from the
982:Stalinka
907:Afghanka
899:Clothing
781:Russian
219:Icon of
191:and the
185:Smolensk
181:Vladimir
159:yavlenie
69:Russian
64:(Moscow)
1121:Shashka
1007:Musical
997:Valenki
992:Ushanka
977:Sarafan
889:Samovar
697:, from
644:3179608
399:gilding
395:shellac
355:lacquer
331:Mstyora
165:History
55:⁄
1022:Garmon
937:Kaftan
917:French
717:
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484:Baltic
422:oklads
411:silver
407:bronze
335:Kholuy
333:, and
327:Palekh
240:collar
238:) and
236:venets
187:, the
183:, the
148:pisat'
135:by an
1104:Other
1032:Bayan
1027:Gusli
942:Lapti
804:Gzhel
673:Books
640:JSTOR
501:Notes
458:Pskov
416:rizas
391:halos
311:Paris
259:oklad
245:tsata
223:with
189:Kazan
71:icons
60:in);
39:; by
1111:Izba
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