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AN ICON TO BEAT THE DEVIL

On August 4, 2015June 19, 2018 By DavidLeave a comment

Today we will take another quick look at how to approach interpreting an icon. For that exercise, we will use this image:

The first step is of course to look at the whole icon, noticing what looks familiar and what does not. If you have been reading all the postings here, about two-thirds of this icon will already be familiar.

The second step is to look at and translate the inscriptions. That too should present no great difficulty if you have been reading this site.

Let’s begin with the top three images. You should already know that the image of Jesus in the center, with Mary at left and John the Forerunner (the “Baptist”) at right comprises a grouping known as the Deisis (from the Greek for “beseeching); the Russian term is just a variant of that, Deisus. The Deisis represents Jesus enthroned like an emperor in his heavenly court, with petitioners approaching at left and right to ask favors of him — in this case favors on behalf of humanity.

Now for the top inscriptions:

At left is the usual four-letter Greek abbreviation MP ΘΥ for Meter Theou, meaning “Mother of God,” the standard identifying inscription for Mary in both Russian and Greek icons. You will notice that it is right above the image of Mary.

Next is the inscription over Jesus. it reads ГДЬ ВСЕДЕРЖИТЕЛЬ. By now, you should recognize the first three letters as abbreviating the Church Slavic word GOSPOD’, meaning “Lord.” ВСЕДЕРЖИТЕЛЬ — VSEDERZHITEL’ — means “Almighty,” the equivalent of the Greek Pantokrator. So we can translate this as “The Lord Almighy,” which is the standard title for icons of Jesus seen as he is here, blessing with one hand and holding the Gospels in the other.

The inscription at upper right reads: СТ ИОАНН ПРЕ. CT abbreviates SVYATUIY, meaning “Holy/Saint.” IOANN is “John.” And ПРЕ abbreviates PREDTECHA, meaning someone who goes before, a “forerunner.” So this is “Holy John the Forerunner.”

At lower left is СТ КОЗМА БЕЗСРЕБР and at right СТ ДОМИАНЪ БЕЗРЕ. I mention them together because, if you have been reading recent postings, you will know they generally belong together. The inscription at left, in full, is Svyatuiy Kozma Bezsrebrenik, and that at right is Svyatuiy Domian Bezsrebrenik. Bezsrebrenik, I hope you recall, means “without silver,” usually translated loosely into English as “unmercenary.” So these two are the pair of physician saints Kosma and Domian, Cosmas and Damian.

That leaves only the lower central image, which is quite interesting. The letters above the saint’s head are quite small, but they read НИКИТА ВЕЛИКОМУЧЕНИК — Nikita Velikomuchenik. Usually the second word precedes the name, but in this icon it follows. Nikita is the saint’s given name, and Velikomuchenik means “Great (veliko-) Martyr (muchenik). So this is the Great Martyr Nikita.

The strange, greyish figure to his left has no halo, so we know he is not a saint. But what is he? Well, such figures with tail, long beard, and hair swept upward are the Russian way of depicting a devil. Often they are painted darker than here. And though it is rather difficult to see in this image, Nikita is holding a chain in his right hand as he grasps the devil’s beard with his left.

What does it mean? To know that, we have to know both the “official” story of Nikita (called Nicetas in the West) and the folk story.

It is said that Nikita was born into a wealthy family of the Gothic people who lived near the Danube River in the 4th century, in what is now Romania. He was baptized by Bishop Theophilus, said to have been a participant in the First Ecumenical Council. An intertribal war broke out, and Nikita became a soldier on the Christian side, that of the leader Fritigern. Their opponent was the leader Athanaric.

Fritigern’s forces defeated Athanaric, and Christianity was further spread among the Goths by Wulfila (Ulfilas), an Arian bishop who created a Gothic alphabet and translated the Bible into Gothic, an early Germanic language. Nikita also worked to spread Christianity and convert others to that belief. Given that both Wulfila and Fritigern were Arian Christians (not believing Jesus to be equal to God the Father) who did not accept the Nicene Creed, it appears that Nikita was also an Arian Christian, though of course that was downplayed when his cult was adopted into Eastern Orthodoxy. Some even think Nikita was ordained an Arian priest.

Over time, however, Athanaric regained power, massed forces and returned to attack and persecute the Christian Goths. Nikita was captured and tortured, and finally thrown into a fire (some say burnt at the stake in Moldavia in 378). In E. Orthodox tradition, he is said to have been martyred on September 15th in 372 (there is considerable difference in sources for dates in Nikita’s life and death). His relics were taken to Mopsuestia in Cilicia. After his cult of veneration spread, some of his relics were later sent to Constantinople, and some to Decani Monastery in Serbia, which still claims to have his “incorruptible” hand.

Now as to the tale of Nikita beating the devil, that is not part of the “canonical” story of Nikita. It is instead a product of the Byzantine Middle Ages that was adopted into Eastern Orthodox iconography. By this account, Nikita was actually the son of the Roman Emperor Maximilian. Persecuted by his father for holding the Christian faith, Nikita was severely tortured and cast into a prison for three years. While there, the Devil appeared to Nikita and tried to tempt him. But Nikita stepped on the Devil’s neck, and, broke his chains, and began beating the Devil with them. Then, called before the Emperor for questioning, he took the Devil with him to show the Emperor what he had been really worshiping. He also raised a couple of people from the dead, but Maximilian was still not convinced. Then his Queen and the people rose against the Emperor, and Nikita managed to baptize a huge number of people.

Because of this legend, in Slavic popular belief Nikita became Никита Бесогон — Nikita Besogon — “NIkita the Devil-beater,” and he became a very important saint because of his presumed power to drive away devils. Cast metal images of him, worn around the neck, were very popular.

Here is another example of Nikita beating the Devil:

(Courtesy of the Museum of Russian Icons, Clinton MA)

The title inscription reads:

АГ ВЕ МУ НIИКИТА
It abbreviates: ΑΓΙΟC ВЕЛИКОМУЧЕНИК НИКИТА
[H]AGIOS VELIKOMUCHENIK NIKITA

“Hagios” (Holy/Saint) is the Greek equivalent of the Slavic Svatuiy. One often finds it used in Russian icons. The remainder of the inscription is Church Slavic, and all together it reads:

“[THE] HOLY GREAT-MARTYR NIKITA”

Interestingly, the Patriarch Nikon, head of the Russian Orthodox Church in the mid-1600s, as part of his changes in the Church, declared that there was no “Devil-beater,” and that the name should not be connected with St. Nikita the Goth. However, the Old Believers saw this as just another deceit of the Devil, and they adopted the image of Nikita the Devil-beater as another sign of their “pure” faith, and so this type was preserved among the Old Believers right up to the present day.

Knowing that, let’s consider the icon pictured above again. We can see that not only is it painted in the stylized manner rather than the “Westernized” manner of the State Church, but the blessing hands of both Jesus and John the Forerunner show the fingers in the position used by and characteristic of the Old Believers, with the first finger straight up, the second finger slightly bent, and the thumb touching the bent last two fingers.

So, we see that:

1. The icon is in the stylized manner favored by Old Believers;

2. The icon uses the Old Believer finger position for the blessing hand;

3. The icon uses an iconography of Nikita preserved by the Old Believers as a sign of their “true belief” in contrast to the State Church.

All of those things tell us that is an icon painted by an Old Believer, not by a State Church painter.

Further, we should consider why the person ordering this icon would have asked for these particular figures to be painted on it. With the Deisis, the patron would have before him Jesus to receive his prayers; but also he would have the most important intercessors for humans, Mary and John the Baptist, to convince Jesus to answer his prayers. Then he would also have, to deal with any physical problems or illnesses, the two very important physician saints, Kozma and Domian (Damian). And finally, to keep away the powers of evil, he would have the most noted driver-away of devils, Nikita the Devil-beater. So to the Old Believer, this icon would have been a very good insurance policy for the difficulties of life.

Incidentally, you may sometimes see Nikita Besogon called Никита Чертогон — Nikita Chertogon (pronounced Chortogon); Chort is just the Russian term for “devil.” Both mean essentially the same thing — Nikita “Devil-beater.”

Here is an early 19th century Russian icon of Nikita”

We see the Nerukotvorrenuiy Obraz /”‘Not Made by Hands’ Image” of Jesus at the top, and the “family” saint Agripena/Agrippina in the left border.

ST. DUPLICATE: STYLIANOS THE POPULAR PROTECTOR OF CHILDREN

On July 29, 2014October 13, 2018 By DavidLeave a comment

Today we will look at a rather late Greek icon.

Greek popular icons, one finds, have far less variety of subject than Russian icons. Generally only a few patron saints are favored. That does not mean icons of many more saints do not exist, it just means one does not see them nearly as often as those of the popular patron saints and images of Mary and of Jesus.

This is an icon of Stylianos of Paphlagonia, a region in what is now Turkey. No one seems quite sure when this fellow actually lived, which should be a sign of caution to us, a warning flag, as we shall see; accounts place him somewhere in the 4th to 6th century. He is said to have inherited wealth from his parents, but he gave it all away and went to live a monastic life, then a hermit’s life in a cave. Nonetheless, he did not isolate himself from society, but could also be seen going about among ordinary people.

He became known as a healer, with his first cure that of a child. The healing and welfare of children became a major concern to him, and he is said to have begun, with the assistance of other hermits, a refuge for the care and tending of children.

Stylianos also became noted as something of a fertility specialist, after a young woman who could not bear children appealed to him for help. When she conceived and bore a child, that brought even more visitors asking for his miraculous assistance.

The consequence of all this is that Stylianos is regarded as the saint to go to for illness in children, for the ability to bear children, and for the protection of children. He is said to have been a happy and smiling saint, and completely unmercenary.

Unfortunately, in spite of this cheerful tale, Stylianos is one of those saints who likely never actually existed. Researchers in hagiography opine that his name is actually a misunderstanding. The confusion arose, apparently, because there is another saint, Alypios, who was celebrated on the same day on which Stylianos came to be celebrated (November 26). This Alypios was a stylite — a saint who lived atop a pillar, so his name and title were Ἀλύπιος ὁ Στυλίτης — Alypios ho Stylites — and it is the Stylites part that apparently was garbled into a Saint Stylianos. Alypios is said to have lived in Paphlagonia, and had a mother who gave her money to the poor. And strangely enough, Alypios the Stylite also became known as a “fertility” saint and a guardian of children. So it would appear that the very popular saint Stylianos found in so many Greek icons was created by error as a “duplicate” saint cobbled together from the account of Alypios.

But on to the icon.

It is not difficult to recognize icons of Stylianos. He usually holds a child wrapped in swaddling clothes in one arm (this odd practice of binding prevented an infant from moving), as well as a scroll with this inscription:

ΠΑΙΔΩΝ ΦΥΛΑΞ ΠΕΦΥΚΑ ΘΕΟΥ ΤΟ ΔΩΡΟΝ — PAIDON PHYLAX PEPHYKA THEOU TO DORON, meaning loosely “The Protector of Children is a gift from God.”

At the top we see the identifying title inscription: ΑΓΙΟΣ ΣΤΥΛΙΑΝΟΣ (Αγιος Στυλιανός); in old Greek it would be Hagios Stylianos, and in modern pronunciation Ayos Stylianos — “Holy Stylianos” — or as we would say, Saint Stylianos.

The icon depicted puts prayer beads in his other hand, which has the fingers loosely forming the letters IC XC (abbreviating “Jesus Christ”), a position used as a sign of blessing.

The image of Stylianos may vary slighty, with some examples including more than one infant being held, but one swaddled child is the norm.

Now that you know the iconography of Stylianos, you will easily be able to recognize him in this detail from another and even more folkish Greek icon:

The name inscription at left reads:

Ο Αγιος Στυλιανός — Ho Hagios Stylianos — “The Holy Stylianos.” Notice that in writing ος (-os) the painter has added the s as a very small cedilla-like appendage to the bottom right of the letter o. He has also combined the letters Σ (σ = s) and τ (t) at the beginning of “Stylianos,” with the bar of the t placed atop the s.

Here is an 18th century example from Mount Athos:

Icons of Stylianos are usually quite easy to identify because of the presence of the child or children, but there is one caution: do not confuse his icons with those of the lesser known patron of children, Iulian/Julian of Kenomania, who is very similar in appearance and also holds a child.

Here is a late icon — in the Western manner — of Iulian:

It is easy to see how he might be confused with Stylianos/Stylian of Paphlagonia, and indeed some icon painters seem to have done precisely that. One finds such icons at times with an odd spelling of the name, such as “Ustilian,” “Istilian,” and so on, sometimes intended as Stylian, sometimes as Iulian — and sometimes the painter just did not seem to know how to proceed.

This is an image — obviously with the iconography and even the inscription common to Greek icons of Stylian, though this icon is inscribed in Slavic with the title ИСТИЛИАН ЧАДОЗАСТУПНИК — Istilian Chadozastupnik — “Istilian, Patron of Children” (the wrapped child in this example always reminds me of a loaf of French bread). Obviously this image was intended — in spite of the odd spelling — to be Stylian of Paphlagonia. Nonetheless, some mistake it for Iulian of Kenomania.

Usually, however, icons of Iulian of Kenomania show him kneeling before a lectern or table, holding a child, and gazing up at an icon on the wall of Mary — as in this printed example:

Some newer images of Iulian attempt to portray him in a kind of Neo-byzantine style, and omit the lectern or table and the icon of Mary, showing him holding a child and gazing up at Jesus in the clouds. Unfortunately Stylian of Paphlagonia is often found represented in much the same manner, though generally without Jesus. It is very common to find icons of Iulian misrepresented as icons of Stylian by icon dealers, etc. Most old icons of Iulian one encounters, however, are generally late — from the 19th – early 20th century, and are often simple folk icons from the Ukraine and other western border regions of what was once the Russian Empire. This confusion of Stylian and Iulian makes it all the more important to pay attention to title inscriptions on such icons, as well as to the iconography.

Iulian, by the way, is said to have been made a bishop by St. Peter himself — or so the tale goes. He went to what is now northern Italy, and preached there among the non-Christian population. He is said to have so sympathized with parents who lost a child that he would restore dead children to life — basically resurrect them — and that is how he got the reputation as an advocate of children.

WHAT LIES BENEATH: ICON COVERS AND ORNAMENTS

On May 6, 2014May 7, 2016 By DavidLeave a comment

It is just a fact that collectors like icons with “fancy” metal covers. I am not a collector of icons but of information about them, so it is no surprise that I prefer to see an icon without its cover. Nonetheless, I suspect I am in the minority. People just seem to like icons with “bling.”

Today I want to talk a bit about icon covers. Technically, there is a general name for such ornamental additions, such fancy trimming. That name is OKLAD (Оклад).

Oklad literally means “trimming,” and it is used in referring to any ornamental covers and associated pieces added to the surface of an icon. An oklad is generally of thin sheet metal, but it may also be an embroidered cover, etc.

The kind of oklad one finds on very old icons, such as those from the 14th to the 16th and even into the latter half of the 17th century, are a specific type called a basmennuiy oklad (басменный оклад), a “basma” oklad.

BASMA (Басма) comes from an old Turkic word meaning to “imprint” or “impress.” A basma consists of pieces of thin metal plate embossed in relief (thus the name) with ornamental patterns by being beaten upon a metal form. These embossed plates and strips were then cut to shape and fitted together over the surface of the icon, being fixed in place with numerous nails. Inscriptions were often added by being engraved on separate strips of metal that were also attached by nails. Thus the use of the basma on very old icons accounts for the numerous nail holes left in the painted surface after the basma has been removed. It was consequently very damaging to the painted surface.

RIZA
The riza (Риза, meaning “robe”) though largely synonymous with oklad, is generally now the preferred term to indicate the one-piece metal ornamental covers that were used to decorate icons from the latter part of the 17th century onward. Instead of being composed of individual sheets of metal stamped with ornamentation, as in the basma, the riza was a solid, single metal piece with edges bent at a right angle to fit over the sides of the icon. The riza was affixed to the icon by nailing it to the sides of the icon panel, thus avoiding the damage to the painted surface caused by use of the older basma. A riza was commonly decorated in repoussé work and engraving and chasing with a simplified form of those parts of the painted surface that it covered — garments, and even buildings and trees etc. in some cases, as well as inscriptions. A riza could be made of anything from gold to silver to gilded silver to silvered brass to tin, depending on what the patron desired and could afford. On gold or silver examples, one generally finds the hallmarks used on Russian works of precious metals — stamped maker’s initials, grade of metal, etc. Absence of such marks generally means one is looking at a riza of cheaper metal. In the late 19th and early 20th centuries a riza was sometimes made of inexpensive metal with machine-stamped ornamentation.

A repoussé chased and engraved silver or gold riza, sometimes with added filigree work and colorful cloisonné enamel, can be considered a work of art in itself. Nonetheless, it is important, when considering an icon for any purpose, to know precisely what is under the riza. Some very cheap icons consisted only of a panel with faces and hands on it, the rest of the unpainted surface being hidden by the riza. And of course a riza may be used to disguise fakes, such as paper lithographs glued to a board and varnished over to make them appear to be painted icons. By the way, the word cloisonné is often mispronounced, even by those who should know better. It is pronounced klwa-son-nay, not kloi-son-nay.

Here is an icon of Nicholas the Wonderworker, covered with a gilt silver, somewhat neoclassical-influenced riza:

A riza can sometimes be a helpful adjunct in dating an icon, but should never be taken as the final determinant. A riza could be added to an icon many years after the icon was painted, making the painting much older than the riza. Also, an old riza can be placed over a newer painting, which again will mislead the unwary. And of course with the amount of fakery practiced in Russia today, a new riza may be placed over a new painting, with the riza having old hallmarks that are simply modern fakes, making both icon and riza forgeries. When buying an icon, it is best to see it both with and without the riza, so that the entire painted surface, sides, and reverse of the icon may be examined.

WHAT TO CALL IT?

It can be seen that these three terms “oklad,” “basma,” and “riza” may easily lead to some confusion. The question often arises, should one call a single-piece icon cover an oklad or a riza? The answer is that while technically one may use either, riza is commonly to be preferred now, keeping oklad as a more general term. Originally the riza was just an element of the oklad, a metal covering in the shape of a robe that was nailed over the painted robe of a saint, etc. on an icon. But gradually it came to signify the entirety of a solid metal icon cover.

It is not uncommon to find “jewels” added to icon trimming. Sometimes these are genuine gems, sometimes semiprecious stones, but more often just colored glass. One may also find pearls, sometimes real, sometimes false. Filigree work and cloisonné enamel may also be found on better riza examples.

Among features included in an oklad may be a separate (but attached) VENETS (Венец), or halo. The diminutive form is VENCHIK (венчик); a halo is also called a nimb (Нимб), from Latin nimbus.

Please note that there is some ambiguity in the use of the terms venets and venchik. A venets can be a halo, but in the podlinniks it is often used to mean a crown; and a venchik can be a nimbus or halo.

A feature seen on some icon covers, particularly those of icons of Mary, is a KORUNA (Коруна) or crown of metal, from the Latin corona. One also sees, as part of the oklad ornamentation, a metal crescent suspended from the neck of Jesus or Mary, called a TSATA (Цата).

Both the basma and the riza are ornamentation affixed to an icon. But there is another kind of ornamentation that surrounds the icon while not being affixed to it. That is the glass-fronted case in which some icons were kept in the 19th and early 20th centuries. It functioned rather like a clock case, both ornamenting and protecting the icon. Such a case is called a KIOT, from the Greek word kivotos (κῑβωτός), meaning “ark” (do not confuse this with the “kovcheg” ark, the recessed surface on which the central image of an icon is painted). A kiot could be simply a shaped box with a glass front, or it could be more elaborate, with added ornamentation to frame the icon, such as the gilt woodwork in the example below:

There is much more to say about icon covers and the ornamentation of icons, but that will wait for another day.

STARTING WITH JOHN: MORE ON READING ICON TITLES

On January 21, 2014April 16, 2020 By DavidLeave a comment

In old Russian icon painting workshops, it was traditional that when a young apprentice was felt to be ready to actually learn to paint an icon (other than just sweeping the floors, etc.), he would be given an icon of the Evangelist John to copy.

There was a reason for this, and it was largely theological. As I have mentioned before, the earliest Christians neither made nor venerated icons. Icon veneration was a practice that developed gradually in the centuries following the legalization of Christianity in the Roman Empire. The actual doctrine that attempted to justify the religious use of icons came even later — centuries later — as a result of conflicts over the spread of the making and veneration of icons in the Eastern Orthodox Church.

To simplify the matter, we can say that the doctrine justifying icons was based essentially on the premise that because Jesus, considered to be God in Eastern Orthodoxy, had taken on flesh and become incarnate, it was therefore permitted to paint and venerate images of him. Of course no one in the beginning days of painting “portrait” icons had any idea what Jesus looked like, but over time a standardized image developed that was taken to be Jesus and came to be accepted. The important thing for our purposes today is to note the relationship between the belief that God became incarnate as a man in Jesus, and the making of icons. What is that relationship exactly? Well, it was believed that just as Jesus took on visible, material flesh to become human, an icon painter used paints to give material form to Jesus as well as other saints. So through his art, the icon painter gave the spiritual material form, it was believed. A common popular term for an icon painter in old Russia was “God-dauber.”

Why, then, was the Evangelist John selected as the first and “foundation” icon for the beginning icon painter? It is because John’s gospel (or rather the gospel given the name “John” — no one knows who really wrote it) starts with the words, “In the beginning was the word, and the word was with God, and the word was God.” Then it goes on to describe how “the word was made flesh and dwelt among us,” which was seen as an analogy to the icon painter making Jesus and the saints visible in material paints.

That is why in icons of John, as in the two examples on this page, one sees him with a gospel book open to the words “V NACHALE BE SLOVO…” “IN THE BEGINNING WAS THE WORD…” etc.

The two icons on this page represent the icon “type” of John popularly called “John in Silence.” That is because John holds the fingers of his right hand meditatively to his lips in silence, while an angel behind his shoulder whispers into his ear. That is understood as the angel telling him — inspiring him — with the words he was to write in his gospel.

The title inscriptions on such icons, however, generally do not use the “John in Silence” title. Instead they say, as this first example does in Church Slavic,

СВЯТЫ АПОСТОЛ И ЕВАНГЕЛИСТ ИОАННЪ
Svyatui Apostol i Evangelist Ioann
HOLY APOSTLE AND EVANGELIST JOHN

If you look closely at top right of the image, you can see a word written below ИОАННЪ in smaller letters. It is actually the ending of the main title inscription, and here it is abbreviated as БОГО — BOGO; that is short for BOГОСЛОВ — BOGOSLOV, meaning “Theologian.” So if we translate the identifying title of this icon into normal English, we would have:

THE HOLY APOSTLE AND EVANGELIST JOHN THE THEOLOGIAN.

Why, then, does the title of this next icon, also of the “John in Silence” type, look somewhat different?

That is because it begins, as do countless icon inscriptions, with the word ОБРАЗ — OBRAZ. Obraz means “Image.” And what this icon title is saying is that this icon is the IMAGE OF THE HOLY APOSTLE AND EVANGELIST JOHN THE THEOLOGIAN. You need not worry about the grammatical details if you do not wish to, but the important thing you should know is that beginning the inscription thus, with this ” Image of the” necessarily alters the form of the words following it. Svyatuiy becomes “Svatago,” Bogoslov becomes Bogoslova, etc. These endings just reflect the “of the” form given the title here: The Image OF THE Holy Apostle and Evangelist John the Theologian. But in Church Slavic, “of the” is not shown by actually writing it in separate words. Instead, it is shown by changing the ending of words. Change the ending of Svyatuiy — “Holy” to Svyatago, and it becomes “of the Holy,” just as Bogoslov becomes instead “Bogoslova.” We of course are not used to forming words this way in English, but it is characteristic of Church Slavic, and once you know it, you will recognize it.

OBRAZ (“image”), like SVYATUIY (“HOLY”/”SAINT”) is one of the important words you should remember in order to form the basic vocabulary necessary to read countless icon inscriptions. Most icon titles of saints will thus begin either with Svyatuiy (for a male, Svyataya for a female) — meaning “The Holy…” (so and so), or with Obraz Svyatago “[The] Image of the Holy” (so and so). There are variations on this, but you will generally recognize them easily if you keep this in mind.

By the way, if you are wondering why the second image on this page has additional figures at the sides, then you should know they are not a part of the main icon image. Instead, following Russian practice, they were the “angel saints” — that is, the “name” saints — for whom the members of the family owning the icon were named. Such various name saints are often found as border images outside the main image in old Russian icons.

BLACK BOARDS AND STICKY OLIFA

On December 13, 2013July 15, 2019 By DavidLeave a comment

What is olifa? Well, when the painting of an icon was completed and dry, it was time to put a transparent coating — a “varnish” — over the surface to protect it and to enhance the colors. That coating was called OLIFA, pronounced ah-LEE-fah. Its chief ingredient was cooked linseed oil. Often a dessicant (substance to make it dry faster) was added — frequently lead, which of course is toxic. Adding a lead dessicant aided drying, but it also made the olifa darken faster.

Here is a video (in Russian) of a fellow applying olifa to a newly-painted icon using a two-step process. As you can see, he pours on a bit of olifa, then smooths it out, eliminating any puddles or dry islands, until the whole surface is covered. Then he blots the excess, lets the surface dry, and repeats the process:

Now the interesting thing about olifa is that though it initially made the painting bright and offered a protective surface when it had dried, as the years passed, with time and candle smoke and so on, it gradually turned dark — so dark that it obscured the painting beneath, and resulted in a “black board,” an icon that was completely dark on the painted side.

During the Communist era in Russia, one might find such “black boards” stored in attics or other out-of-the-way places where they did not suffer the destruction that so many icons did during that time.

Of course this blackening of icons took place long before the Communist era, and when it happened one could either dispose of the icon in some acceptable manner, or more commonly one could have it repainted on top of the blackened varnish. That is the reason why very old icons are sometimes found under several layers of later paintings. As each new “icon” surface darkened, another was painted over it, sometimes the same image, sometimes one completely different.

This practice of repeated painting over old icons made looking for really early Russian icons into a kind of treasure hunt. One had to destroy the later paintings, however, in order to uncover the earlier painting.

One clever fellow who discovered this during the Communist period was Vladimir Soloukhin, whose book Searching for Icons in Russia (Harcourt Brace Jovanovich,1972) is a fascinating account of just such a treasure hunt for old icons, in a period when officially they were not appreciated. Soloukhin’s book was originally titled Black Boards in Russian, and that is very descriptive of what he was searching for. He looked for old icons, many of them completely blackened by time, and then he proceeded to remove a bit of the surface to see what was beneath. If there did appear to be an old icon beneath, he removed all of the surface layers of olifa and painting that had been placed over it.

In this manner Soloukhin amassed one of the most important collections in Russia of very old icons, and of course in the process he preserved a significant part of Russia’s artistic and cultural heritage, in a time when so many old icons were destroyed deliberately or by neglect.

Today, when one looks at a lot of old icons, one will often notice a little strip at the edge where the varnish and some paint have been removed. The reason for that is precisely what I have described here. Someone was hoping to find an even earlier icon beneath the obvious painting, and when that did not happen, they left (fortunately) the rest of the icon quite intact, and eventually it was restored or sold. That seems to be the case with the “test strip” on this icon of St. Nicholas, but actually it is more likely a remnant of the old varnish left behind when the image was cleaned in this particular case.

Of course many very pleasant and interesting icons from the 17th century to the early 20th century were destroyed to uncover the older painting underneath, which in some cases might not have been as well done as the surface painting, but that is what happens. In the case of paintings, particularly of icons, “older” often means “more valuable” monetarily. It is one of the sad aspects of the whole matter of old paintings, icons, and antiques.

There is a peculiar icon, a variant of the type called “Joy of All who Suffer,” that became known as “miracle-working” partly because it survived in a chapel (near a glass factory in St. Petersburg) that was struck by lightning. The other icons in the chapel were charred, but this icon survived because it fell from the wall onto the floor and onto some coins that had fallen from the broken money box. The coins stuck to the surface, and so that event was the “miraculous” origin of the Marian icon type called “The Joy of All Who Suffer — With Coins” (Всем скорбящим Радость с грошиками — Vsem Skorbyashchim Radost s Groshikami)) Copies of the icon (and there are countless copies made, given its “wonder-working” status) all show the coins sticking to the surface of the icon, painted on, of course, in the copies.

Now my own opinion of this event is that the heat of the lightning softened the olifa coating and made it sticky, so that when it fell on its face, the coins stuck to the surface. So olifa can even play a role in so-called “miracles,” it would seem. To me, discovering a medieval Russian painting under a far more recent overpainting is rather miraculous in itself.

If anyone shows you an icon of the “Joy of All Who Suffer — With Coins” icon and claims it is older than 1888, do not believe them, because that is the year in which the event happened that made the image famous and led to all the copies being made.

AN ICON BEGINS WITH WOOD…

On December 13, 2013July 15, 2019 By DavidLeave a comment

As with most any craft, there are certain jargon words that anyone interested in old icons, particularly Russian icons, should know. They involve just how an icon panel is made.

The panel itself — the DOSKA (Доска) — the foundation of the icon — is of course made of wood. Sometimes it is made of a single wooden board, sometimes of more than one board glued together. The side to be painted may be either flat (which is common), or it may have a square or rectangular recessed indentation carved into it, so that the main image of the icon is painted in the recess, leaving a raised outer border around it.

When an icon panel (and the finished icon) has a recessed square or rectangular central area for the main image, that recessed area is called a KOVCHEG (Ковчег). That is the Russian word for “ark” but it is an old-fashioned word, as is “ark” in English. By “ark” is meant a box or chest in which something may be placed and kept. We can think of it as a box, which is why in very old paintings, Noah’s ark from the biblical story looks like a floating box more than a ship, and why old chests from medieval times and somewhat later were also called “arks.” An ark can be a box or coffer in which something sacred is kept, like a relic of a saint. But the simple thing to remember is that an icon with a recessed central area is said to have a KOVCHEG. You can just call it an “ark” in English if you wish, but you should know the Russian term. Some icons may even have a double ark, with the inner recessed more than the outer.

When an icon has a KOVCHEG — an ark — the outer edge of each side of the kovcheg slants up sharply to meet the raised outer border of the icon that is left when the kovcheg is carved into the panel. That slanting edge around the ark is called the LUZGA (Лузга), meaning literally the “husk.”

The outer, raised, flat border all the way around an icon having a KOVCHEG and LUZGA is called the POLYA (Поля). It means “field.” The polya forms a kind of frame around the main painted portion of the icon, though often secondary images of saints, etc. may be found painted on the polya. There is often a strip of color (frequently red) extending around the very outer edge of the polya. This is the OPUSH (Опушь), meaning “border” or “trim.”

(Photo Courtesy of Jacksonsauction.com)

Above you see an old icon of St. Nikolas (Nikolai), with his image painted in the central KOVCHEG. Around that kovcheg is a very narrow LUZGA (it was often highlighted with a separate color), and beyond that is the raised outer border, the POLYA. Notice that the old and cracked LEVKAS (gesso ground) on this icon is easily visible. That is because the icon was once gilded with gold leaf, but the thin layer of gold wears off over time as an icon is repeatedly wiped clean of dust or exposed to the elements. So in this photo we see clearly the gesso on which the painting itself was done. The little network of cracks all over the ground are a sign of age, but some clever fakers of early icons took the time to paint on little cracks, and others knew how to age an icon by creating the cracked surface artificially, so a network of cracks is not invariably a sign of age, nor is a whitish gesso surface necessarily a sign that gold leaf has been worn away. Fakers would often create such a “bare” gesso surface around the painted saints to make people think an icon was so old that the gold leaf had been worn away.

In the image of St. Paraskeva Piatnitsa below, you can easily see the white and predominantly red OPUSH (опушь), the painted “trim” that forms the outermost part of the icon surface.

Most icons you will see are from the 18th and 19th and early 20th centuries, and tend to be flat-surfaced, with no kovcheg. The kovcheg is actually more characteristic of earlier icons, those from the 1600s or earlier, but in the 1600s the kovcheg began to be less used, and that is why later icons tend to be flat, and without a kovcheg. Nonetheless, the presence of a kovcheg is not an accurate means of dating. One may find icons now and then from the 18th, 19th, and even early 20th centuries that have a kovcheg.

The other term you really need to know is the word for the wooden slats inserted into the unpainted back of an icon panel. These wooden inserts were used in an attempt to keep the wooden panel from warping. They did not always work, so one sees many icons that are convex in shape when seen from the front, and often the paint surface in the front of the panel may have a vertical crack running through it where the panel has begun to split apart where two boards were glued together to make the panel, because of the warping of the panel over time. Careful icon makers chose from just which part of the tree their panels were cut, because that affected how likely the panel was to eventually warp. The best panels were cut from right across the central heart of the tree.

Those were least likely to warp. But again, the thing to remember here is the name of those slats inserted in the back to prevent warping, and that name is SHPONKI (Шпонки– plural). One usually finds two SHPONKI, one coming in from either side toward the center, but occasionally just one SHPONKA (Шпонка — singular) is found. You may call them “slats” in English if you wish, but again, you should know the Russian term. You should also be aware that some very cheap icons had no shponki at all, and some icons that appear at first not to have them really have them inserted into a groove cut into the top and bottom ends of the icon panel, making them hidden. So be sure to examine the panel carefully.

Which wood was used depended on what was available in a locale and on the standards of the individual painter or studio. Linden was commonly used, but so (particularly in the North) were fir, larch, cedar, pine and oak. Where obtainable, cypress was considered a very suitable wood. Boards with knots and pitch were generally avoided, but one finds old icons painted on “knotty” wood nonetheless.

In the above photo, showing the reverse of the old St. Nicholas icon, you can easily see the SHPONKI inserted to prevent warping. You can also see the vertical lines where separate boards were joined to make the single panel. The wire hanger is of course a recent addition.

So that comprises the raw wooden panel on which an icon is painted. But before the painting could actually begin, a linen cloth was glued over the surface of the icon. This is the old equivalent of a modern painter’s canvas. The cloth glued onto the icon surface is called the PAVOLOKA (Паволока), but you may just call it the “canvas” if you wish to use English. Sometimes, on late icons, even paper was used for this purpose.

So we now have the wooden icon panel with a canvas or cloth glued to its surface, but it is still not ready for painting. First, a thin, white mixture of glue and chalk is brushed onto the surface. This is the POBELKA (побелка). Then begins the levkashenie (левкашение), the application of layer upon layer of a thick glue and chalk or alabaster (gypsum) mixture called LEVKAS (Левкас). This is smoothed down to a mirror finish. We can simply call this LEVKAS layer by our ordinary Euro-American term for it (originally Italian) — “gesso.” It is the ground on which the actual icon image is painted. Even though LEVKAS is the term used in Russia for the gesso, it is actually originally a Greek word, leukos, meaning simply “white,” and of course the gesso is white. It relates to a Greek island called Leukos (Levkos/Lefkos in later pronunciation), where a particularly fine kind of chalk was found and used in making the ground for painting. When you see a damaged icon, you will see the white LEVKAS showing through where the paint is missing or where there is a crack and the paint has fallen away.

Traditionally, the background of an icon image — the space between people and trees and buildings and ground — is called the SVYET (Свет), literally the “light” of an icon. This is particularly appropriate not only because icons often had gold-leaf backgrounds, but also because in icon aesthetics, the icon represents the heavenly world, a place of light without shadow. Now one often sees a different term applied to this element, calling it the “FON” (Фон), meaning simply “background.” I favor the older and more expressive term.

So now you know the basic vocabulary one should have when talking about icon panels. In another posting, I hope to discuss the application of the paint to the surface.

To better understand the preliminary stages of preparing the panel for painting, here is a video (in Russian, but you can easily tell what is happening without the audio):

The lady in the video clearly shows the stages of scratching the board so the glue and pavoloka can more easily adhere, applying the pavoloka cloth (ткань/tkan’), brushing on the glue, and then comes the thin whiting called pobelka, followed by the application of the thick levkas/gesso. You can see that this lady uses a very gauze-like cloth for the pavoloka.

BEGINNING TO READ GREEK ICONS; IS IT ALL GREEK TO YOU?

On November 13, 2011April 16, 2020 By DavidLeave a comment

To read Greek icon inscriptions, one must learn the Greek alphabet, which is easy and requires only a little time. The sound of the letter is more important to the reader of icons than its name. Here is the Greek alphabet with its sounds (approximations). For some letters I give the “old” generally-accepted pronunciation as well as the “new” modern Greek pronunciation, which one may ignore unless one is learning modern Greek.

Αα = A as in ah

Ββ = B Old: B as in boy; New: V as in very

Γγ = G Old: G as in go; New: G as in go but pronounced farther back in the throat when followed by α, ο, ω, ου; like Y in yet when followed by any of these: ε, η, ι, υ, ει, οι, υι, αι. When doubled (γγ), in both old and new Greek it is like ng in longer

Δδ = D Old: D as in dark; New: Th as in this

Εε = E as in epic

Ζζ = Z as in zone

Ηη = E Old: e as in epic (or like a in mate); New: Ee as in peel

Θθ = Th as in thick

Ιι = I ee as in meet

Κκ + K as in kin

Λλ = L as in lamp

Μμ = M as in mill

Νν = N as in no

Ξξ = X as in dixie

Οο = O Old: O as in not; New: O as in post

Ππ = P as in past

Ρρ = R as in (Spanish) Rosa

Σσς S as in sack. σ is used within a word, ς as the last letter of a word
(Σ is commonly written as C on old icons)

Ττ = T as in time

Υυ = Y Old: German umlaut ü as in über ; New: ee as in peel

Φφ Ph as in phone

Χχ = Ch as in (German) Bach

Ψψ = Ps as in tips

Ωω = O as in pole
Ω as a capital letter is often written as a large ω on old icons.

Those are the basic letters. It is important to note that what looks like an apostrophe in English, when used in Greek over a vowel, indicates that the vowel is to be pronounced (old system) with an “h” before it. All you really need to know of Greek accent marks is found in the words ὁ φίλος, ho philos, meaning “the friend.” The apostrophe-like accent above the o gives it the added “h” sound, and the accent above the i in philos indicates that the first syllable is stressed. Modern Greek ignores the rough breathing (the initial “h” sound), but in writing about icon inscriptions it is usually kept in transliteration.

The Greek Orthodox Church uses the modern Greek pronunciation.

Those who want to go beyond that brief introduction to the Greek alphabet will find plenty of information elsewhere on the Internet.

What one does not often find elsewhere is information on the peculiarities of Greek icon inscriptions. Among these is the practice of abbreviation, generally indicated by a long, curving horizontal line over the word that looks somewhat like an extended tilde (~) in Spanish. That tells us letters have been omitted in writing. The other important peculiarity is ligature — the joining of letters that are not ordinarily joined. One letter may be attached to the next, for example an A may be joined to an N, or a T may be placed atop an o, etc. The alert student will quickly become accustomed to these.

Now we can move on to actual inscriptions.

The most common word in Greek inscriptions is ἉΓΙΟC (ΑΓΙΟΣ) – HAGIOS, meaning “holy.” It is the Greek word used for “saint.” So an inscription above the head of a saint that reads Ὁ ἉΓΙΟΣ ΟΝΟΥΦΡΙΟΣ — HO HAGIOS ONOUPHRIOS — means literally THE HOLY ONOUPHRIOS, which we can just shorten in translation to “Saint ONOUPHRIOS.” Often when Greek saints’ names are put into English the Latin form is used, so you may see this name translated as “Saint Onuphrius.” — the “-os” Greek ending often changes to the “-us” Latin ending. The “ou” combination is pronounced like “oo” in “moon.” And remember that on old icons, the letter Σ –“s” — is generally written as C, as in the last letter of the name of Saint Onouphrios on the icon at the bottom of this posting.

Things change only slighty when a saint is female. The “HO” becomes “HE,” as in Ἡ ἉΓΙΑ ΔΡΟΣΙΣ — HE HAGIA DROSIS — THE HOLY DROSIS –“Saint Drosis.” So HO HAGIOS is used for a male saint, HE HAGIA for a female saint.

Another useful word to add to your beginning vocabulary is ΤΟΥ — TOU — which means “of” or “of the” in Greek. So an inscription like Ἡ ΦΙΛΟΞΕΝΙΑ ΤΟΥ ΑΒΡΑΑΜ –HE PHILOXENIA TOU ABRAAM — contains two words you already know. The first is Ἡ, the feminine word for “the.” The second is “TOY” meaning of. So if I tell you that Philoxenia means “hospitality” and Abraam is just the Greek form of Abraham, you know immediately that this inscription reads “The Hospitality of Abraham,” which is the Greek name for the icon type the Russians call “The Old Testament Trinity,” the appearance of the three Angels to the Patriarch Abraham in the book of Genesis. And you may wish to know that in the word Philoxenia, the accent is on the last “i.”

That is enough for right now. In the near future I will add more on the essential Greek icon inscriptions you need to know to gain a knowledge of the basics of reading Greek icons.

Адописные иконы? биография .Как развод ..

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символы Адописные иконы 6 043 порно Адописные иконы 1 061 секс актриса индия 626 индия актриса фото 477 фильм актриса индия 383 красивые Адописные иконы 377 самые красивые Адописные иконы 271 индия актеры актрисы 128 индия актриса имя 128 голые Адописные иконы 124 ким индия актриса 121 актрисы болливуда индия 113 молодые Адописные иконы 96 актриса индии айшвария 94 индия актриса рай 94 актрисы кино индии 94 секс порно актрисами индия 85 каджол актриса индия 83 актриса индии айшвария рай 81 индия мур актриса 80 эротика актриса индия 79 табу актриса индия 78 Адописные иконы фото +и имена 75 наргиз актриса индия 74 лучшие Адописные иконы 71 индия саммер актриса 70 рекха актриса индия 69 индия актриса мандакини 68 актрисы сериалы индия 68 бобби актриса индия 64 известные Адописные иконы 62 шридеви актриса индии 58 порно актрисы индия саммер 56 чопра актриса индия 56 умершая актриса индии 54 ххх индия актрисы 53 жизнь Адописные иконы 53 сурайя актриса индия 52 сексуальный актрис индия 50 смотреть индия актриса 48 Адописные иконы википедия 48 великая актриса индия 45 знаменитая актриса индии 44 видео секс актрисы индия 42 популярные Адописные иконы 41 голосования лучшая актриса индии 37 красивые порно актрисы индия 37 актриса индии капур 35 актриса жажда мести индия 34 ким актриса индия биография 34 Статистика по словам Показов в месяц катрина индия актриса 33 фильм великая актриса индия 33 самая известная актриса индии 31 актриса манорама индия 30 малина актриса индии 30 фото порно актрис индии 30 индия актеры +и актрисы фото 29 самая богатая актриса индии 29 картинка актриса индия 28 индия актрис порно видео 28 малини актриса индия 28 индия актриса секс скачать 27 заина вастани актриса индия 27 индия актрисы список 27 актрисы болливуда индия имена 27 актрисы болливуда индия фото 27 савитри актриса индии 26 самая популярная актриса индии 26 актриса индии мандакини песни индии 25 ийола бали индий актриса фото 25 самые красивые порно Адописные иконы 25 хема малини актриса индия 24 индия актриса сколько лет 23 фото красивых актрис индии 23 актриса индии нити тейлор 23 дороги индии актриса 23 хелен актриса индия 22 индия актриса порнуха 21 актриса индия айли 21 индия актрисы голые фото 21 актрисы голливуда индия 21 фото секс актриса индия 20 секс индия кино актриса 20 актрисы болливуда индия имена +и фото 20 карина капур актриса индии 20 актриса каджол индий песни 19 фильмы порно индия актрис 18 красивые девушки индии актрисы 17 индия актриса табу фильмы 17 индия актриса каджол секс 17 самая красивая актриса индии фото 17 индия актриса 18 17 актриса индии айшвария рай фото 17 актриса индий приянка чопра песни индий 17 индия актриса ххх сех 16 санайя ирани актриса индия 16 индия актриса очаровательная табу фильмы 16 современные Адописные иконы 15 индия актриса танцуй танцуй 15 наргиз актриса индия биография голи актриса индия 14 актрисы южной индии 14 каиф актриса индия 14 скачать пряника чопра секс эротика актриса индия 14 тамань индия актриса сколько лет 13 актриса наргис индия 13 самая молодая актриса индии 13 пунам дхиллон актриса индия 13 радха актриса индия 13 молодые актрисы болливуда индия 12 актриса индии танви бхатия 12 актриса индий анушка шарма индий песни 12 зинат аман актриса индия 12 тануджа актриса индия 12 мадхури дикшит актриса индии 12 самая красивая актриса индии айшвария 11 индия лето актриса 11 самая сексуальная актриса +в индии 11 актриса индия рекха песни индии 11 самая красивая актриса индии айшвария рай 11 района мальхотра актриса индии 11 индия актриса ракул прит сингх фильмы 10 Адописные иконы интим 10 актриса бобби индия фото 10 актриса манорама индия фото 10 актриса ниту сингх индия 10 актриса +из фильма жажда мести индия 10 шашикала актриса индия биография 9 бесплатные порно актриса индия 9 актрисы ин индии ххх 9 индия звезда актриса секс 9 список порно актрис индии 9 актриса индии раздета айшвария рай фото 9 актриса наргис индия биография 9 Адописные иконы 80 90 годов 9 секс порно актриса кино индия 9 скачать всх актриса индия 9 актриса мумтаз индия 8 актриса ким индия биография фото 8 секс индия актриса катрина кайф 8 садхана актриса индия 8 индия актрисы 18 порнуха 8 актриса уехала +в индию 8 актриса дипика падуконе индий песни 8 актриса индий дия мирза песни индий 8 актриса виджаянтимала индия фильмы 8 актрисы +и певицы индия 8 самые красивые Адописные иконы +всех времен 8 +все про актрису индии мандакини 7 саманта актриса индии Статистика по словам Показов в месяц умершие актеры +и Адописные иконы фото 7 редха индия актриса 7 индия актриса дивья бхарти 7 катрина +и другие Адописные иконы +с лифчиком 7 актриса манорама индия википедия 7 нимми актриса индия 7 актриса сушмита сен индий песни 7 художник картинка индия актриса 7 сурайя актриса индия википедия 7 табу актриса индия личная жизнь 7 каджол индия актриса секс видео 7 индия фильм эротика актриса 7 парнуха какая актриса индия снимал 7 индия актриса екатерина порно секс 6 какие сурбхи +есть актрисы +в индии 6 актриса индии +один король +и +одна королева 6 сексуальные фото актрис индии 6 понил диколон актриса индия секс эротика порно 6 актриса индия любовницы шахрукх кхана порно 6 актриса индий карина капур песни индий 6 фильмы эротическую индия актрис 6 пунам дхиллон актриса индия фото 6 порно +с крупным планом индия актрис 6 тануджа актриса индия биография 6 полни актриса индия 6 Адописные иконы без макияжа 6 актриса индий мадхури дикшит песни индий 6 порно актриса индия самер 6 актриса индий катрина каиф песни индий 6 актриса индий амала пол индий песни 6 +все +об индии самые красивые актрисы болливуда 5 димпл кападия актриса индия биография 5 каджол секс прямой индия актриса 5 актриса айшвария рай баччан индий песни 5 скачать порно индия актрисы 5 неха актриса индия 5 актриса индийская таманна бхатия песни индии 5 загрузить актрисы голые +из индии скачать бесплатно 5 прабхупада +об актрисах +в театре +в индии 5 индия актриса элайя фурнутиревала фильмы 5 индия телегу актриса сакши чоудхари фильмы 5 кино актриса индия важинтимала биография 5 ким актриса индия википедия 5 порно секс чобра индия актрисы айшвария рай картинки д
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Адописные иконы?

Ах, какие ножки

Спросил

Tag: Icon

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Просто Демо:

Выдвигающееся боковое меню на чистом CSS

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