![]() The principle behind the use of gold for backgrounds is that the background must seem flat and not create the illusion of space, in order to suggest the heavenly realm which is outside time and space. The underlying principle, on the other hand, is flexible, and is applied in different ways according the needs of the time and place. For example, a rule would be “only use gold for the background in an icon,” which is what I was told when I first started to learn iconography. In the way I am using these words, a “rule” is precise and unbending, the particular application of a “principle” suited to a particular time and place. I would characterize what they are doing in the following way: the artist may be breaking past rules, but they never contravene the timeless principles that define the tradition. Many incorporate stylistic features that might not have been seen in the icons of Rublev in the 15th century. What is interesting is the variety of styles on dsiplay that nevertheless all sit within bounds of what could legitimately be considered a holy icon. Thanks to Gina Switzer (an artist whose decorated Easter candles have been featured on the NLM to great interest) for drawing my attention to this write-up in the Orthodox Arts Journal of an exhibition that took place in Moscow earlier this year, a presentation of contemporary Russian icon painters. Seminar on the Role of Priests in Catholic Schools.The Rebuilding of St Elias Church in Brampton, Ont.Solemn Mass for Our Lady of Sacro Monte in Clifton.Visit to the Canons Regular of the New Jerusalem.Cardinal Sarah Calls for Ad Orientem Worship as th.400th Anniversary of the Dedication of Trinità dei.More Liturgical Treasures from Northern Italy. ![]()
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