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This icon and other works by Klontzas are currently preserved in the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice, Italy. Klontzas was a Byzantine Greek artist and émigré from the island of Crete in the period following the end of the Byzantine Empire, and member of the Cretan School. His artistic output was during the ...
The icon is considered by Orthodox Christians to be the patroness of Jerusalem. The commonly-held story regarding the origins of the Panagia Ierosolymitissa is that it miraculously appeared in the year 1870. This story became popular due to a leaflet released by the Greek Orthodox Patriarchate of Jerusalem verifying it. [19]
This category relates to religious Eastern Orthodox icons, icon painting, and icon painters. Subcategories. This category has the following 6 subcategories, out of 6 ...
The art of painting them has seen a revival after the end of the communist period, and today there are many active icon painters in Romania. In Romania, icons painted as reversed images on glass and set in frames were common in the 19th century and are still made. "In the Transylvanian countryside, the expensive icons on panels imported from ...
Russian icon of the Holy Trinity The icon of St Nicolas carved in stone (between c. 12 and 15th centuries), at the Radomysl Castle, in Ukraine [2] Luke painting the Theotokos of Vladimir (16th century, Pskov) A rare ceramic icon depicting Saint Arethas (Byzantine, 10th century) Image of the Saviour Not Made by Hand: a traditional Orthodox ...
The Panagia Ierosolymitissa icon (Greek: Παναγία Ιεροσολυμίτισσα) or the All-Holy Lady of Jerusalem icon of the Mother of God is an acheiropoieton located in the Tomb of Mary in Gethsemane in Jerusalem. The icon is considered by Orthodox Christians to be the patroness of Jerusalem. [1]
Greek Orthodox fresco of the "New Testament Trinity" The "New Testament Trinity" depicts the Father, the Son and the Holy Spirit distinctly, and although far more familiar from Western models, is actually of Greek origin. Christ may be shown either as an adult, (in this case he is sitting to the right of his Father) or as an infant sitting on ...
Most Western commentators in the Middle Ages considered the Transfiguration a preview of the glorified body of Christ following his Resurrection. [11] In earlier times, every Eastern Orthodox monk who took up icon painting had to start his craft by painting the icon of the Transfiguration, the underlying belief being that this icon is not painted so much with colors, but with the Taboric light ...