Sinai Spas

Icon on the Jerusalem stone
Sales price: $60.00
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Сharacteristics
Product dimensions: 10 * 12.5 * 1 cm
Weight of packing: 43 g
Package dimensions: 11 * 15 * 3,5 cm
Description

The icon of Christ the Almighty (Pantocrator) "Sinai", a list of the icon of the 11th century.

Christ Pantocrator of Sinai Monastery - encaustic icon of mid-VI century with the image of Jesus Christ in the iconography of the Pantocrator. Is the oldest known iconographic image of Christ.

The icon was created in Constantinople in the middle of the VI century, the Emperor Justinian sent a gift to the Sinai monastery, for which at this time he built the basilica and the fortified walls. The icon was found in a monastery in the XIX century. It was found that, presumably, in the XIII century icon refresh (draws) of tempera painting. The original surface of the wax has been cleared in the restoration of the icons in 1962.

Icon of a realistic image, and a sensitivity of the image, but physiognomic traits that painter has given to Jesus, have become resistant to its iconography. The features of the face of Jesus in the icon is individual and bring it to a realistic image, but the image is "dominated by motifs of contemplation, peace, tranquility, necessary for the iconic image from his prayer focus, and rigor." Because of this iconic image already shows the transition from the real to the ideal characteristic iconography image.

The icon noticeable influence of ancient artistic techniques, in particular the Roman tradition and the Fayum. This is particularly evident in the different eyes of Jesus - one miluyuschy and the other rejected. The very image of Christ differs Triumph, which emphasized both his traditional purple clothes (made in the purple robe "Color of Night" and fold it out of the traditional bloody purpura), precious settings of the Gospel in his hand, and a concave Exedra behind him, which is the traditional association with the imperial cult.

In the use of light shows symbolism light moves from left to right, creating a sense of mystery. Very noticeable asymmetry between the left and right sides of the face of Jesus. The left side, full of light and shine, shows relaxed brow and lips, right side, on the contrary, made darker. This duality between the calmness and compassion of Jesus, and his dark and harsh features reflect church and public debate at the time, when the hotly debated concept of the dual nature of Jesus Christ. The use of light, and different facial expressions, reflecting the idea of the human and divine natures of Christ, his mercy, and the role of the judge.

In contrast to the Faiyum portraits, on the Sinai icon Almighty eyes of Jesus have no reflections and glare, because Jesus is the source of light. This has become a common practice in the later Orthodox iconography of Jesus Christ, and was used in the iconography of saints.

Color is used to reinforce the idea of unearthly light and the kingdom of heaven. Warm shades of ocher to brown, with a focus on golden tones. Circular golden halo may, who had inlay, clearly shows that the image is "not of this world." This resembles a halo of the sun-god of past polytheistic traditions. In this case, Jesus appears as the one who replaced the last of the gods, as the new "Sun of Righteousness." On Kreschaty halo stars are shown, which in later iconography, will be key elements of the image of God, symbolizing purity. This is probably their importance in this case as well, but then the icon of Christ to replace the inscriptions in Greek, but the development of this style.

Posture and gestures of Jesus Christ also have symbolic meaning. The figure of the Almighty is a big part scenic plane, controlling space. Gospel in his left hand symbolizes his power over the universe, but also a reminder of his ministry on earth. His right hand blesses the faithful, fingers folded in a sign of teaching and authority, in groups of two or three fingers, which simultaneously reflects the belief in the dual nature of Jesus Christ and in the Holy Trinity.

Art critic Galina Kolpakov said:

In the Sinai icon no canon, no regard for the samples. And it is not only because the samples did not exist. Spontaneity and individuality created perceived as the result of a clairvoyant, as evidence of a strong and living faith and can not be translated into the calculated system.

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