Nikodim Pavlovich Kondakov
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Icon painting has reached its zenith in Ukraine between the 11th and 18th centuries. This art is appealing because of its great openness to other influences – the obedience to the rules of Orthodox Christianity in its early stages, the borrowing from Roman heritage or later to the Western breakthroughs – combined with a never compromised assertion of a distinctly Slavic soul and identity.
This book presents a handpicked and representative selection of works from the 11th century to the late Baroque period.
Icons Nikodim Pavlovich Kondakov Text: Nikodim Pavlovich Kondakov BASELINE CO LTD 33 Ter - 33 Bis Mac Dinh Chi St., Star Building; 6th floor District 1, Ho Chi Minh City Vietnam © Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective
apprehension. The base of the composition is Italian; in its first form the Child was clothed only in a shirt short enough to show His legs, but the Greek and Russian painters in their copies kept to the traditional ‘apostolic’ vesture, chiton and himation; the legs being left bare, this has meant a meaningless massing of drapery. The type of Virgin is also different; the face is fuller, more like Duccio’s work than Cimabue’s. The three Angels who ate at the table of the hospitable Abraham came
over Greco-Oriental icon-painting that there even came into being an icon of Our Lady of the Passion121 which afterwards passed to Moscow, where, in honour of a miraculous icon of this name, was founded the great nunnery of the Passion. The Virgin, bearing the Child upon her left arm, sees Angels bringing the instruments of Christ’s Passion, the cross and spear. The Archangel Gabriel has likewise brought a cross and the Virgin turns to the Child who has half shrunk away and caught hold of her.
Sobor at Moscow dating from various years of the sixteenth century. However, the cleaning of its icons has only just begun, one only having been completed, and that not quite successfully, and in the Moscow church only two big icons have so far been touched and of these photographs are not yet available. Thus, full material for criticism is not accessible. However, the subjects and their general treatment have their own share of interest. As a matter of fact not all the 110. Saint Peter and
regard for exact dogma in the details of representations cannot be marked before the Council of 1667, that is, just before the collapse of icon-painting. Nevertheless at the end of the sixteenth century it was customary to place at the top of many icons the composition called Paternity (Otechestvo), or the well-known Western type of God the Word in the form of the Great High Priest after the order of Melchisedec, a theme much in favour in the sixteenth century, or God of Sabaoth in a similar form