Realizing that every architectural setting sets the mood of the given parish church he adapts his work to the existing space while arranging certain icons according to the standard placing in the Orthodox tradition he nevertheless, allows for specific variations according to the architecture of every unique interior. Father Theodore has painted numerous churches in most jurisdictions for professionally for about 50 years. Father Theodore has adopted both the “poeticness “ of the Slavic style and the “impact” of the Byzantine Style. He has become known for developing an aesthetic that involves elements of both Slavic and Greco-Byzantine traditions of iconography. Ever since that time, throughout his priesthood he has been painting or, as it is sometimes called “writing” icons. Father Theodore credits his work with both these masters at Holy Trinity Monastery, as sealing is interest in iconography. Father Theodore received his seminary training at Holy Trinity seminary, Jordanville and studied under two eminent masters of iconography archimandrite Cyprian and Archbishop Alypy of Chicago. Received a BA in Anthropology and a BA of Fine Arts degree from the state University of New York at Buffalo, and a Master in Fine Arts from the University of South Florida. Expanding Greek-Russian relations in the XVII Century contributed to create a new iconographic tradition in Russia.Father Theodore a native of Boston, MA.
#Theodor greek iconographer code
The hand gesture signifies a call for the utmost attention and points to open Code in the Savior's left hand, where nine liturgical texts of the evangelists John, Matthew and Luke alternate – a detail that is found on later Greek icons. The composition features - the shape of the “roll” sleeve, the cutout on the neck of the chiton, the chiaroscuro of shimmering specks of gold that form folds and open areas of the background, the characteristic paleography – were frequently repeated in the works followers of the artist. The iconographic type is one of the oldest and widespread in Byzantine and Old Russian art. The fine stylization, based on the Greek-Byzantine tradition, is combined with the “true imaging” of illusory personal visions, gradually playing an increasingly important role in the evolution of the artistic method of Russian icon painters. This image represents heyday of Simon Ushakov. The icon “Lord Almighty” was to the right of the Tsar’s (Royal) gates.
#Theodor greek iconographer pro
Pro Greek aesthetic concept became Central within system of murals of the Church of Gregory of New Caesarea. It was at this time that the Church councils were held in Moscow, which marked the victory of the grecophilic policy of Tsar Alexei Mikhailovich.
Originally the icon was in a stone cathedral of Gregory of New Caesarea, which was built in 1668 - 1669 under the supervision of the Confessor of Tsar Alexei Mikhailovich, the archpriest of the Annunciation Cathedral of the Moscow Kremlin, Andrey Savvinov. New vision of art were outlayed in the theoretical works of Simon Ushakov and his friend and associate, Tsar’s iconographer Joseph Vladimirov, who in one of the first treatises on art “The Message to Simon Ushakov from Joseph Vladimirov” defended realistic manner of painting icons and urged to paint “light and rosy, shadowy and beautiful”. The appearance of Christ loses its monumentality, as if approaching a human. In the icon “Lord Almighty” the artist, while maintaining the traditional type of Savior, used a new style of painting and techniques.
Simon Fyodorovich Ushakov (1626 - 1686) was a famous Russian iconographer and graphic artist.
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