Can you please give us a definition of the concept of rhythm, how it relates to drawing, and how it is best implemented in the structure of a composition? You have also said that painting requires structure, otherwise, failing to grasp the whole, things remain in the realm of mere decoration. Silouan: In your book “Icon as Communion” you speak of “rhythm” in icon painting. Of course, we have to analyze in detail the process the artist followed in order for these goals to be realized.įr. Photius, the art of icon painting is a functional art that serves the Christian Community and helps the faithful to be in contact with the events and persons it depicts. He has to “invent”, to create a painting mode that is suitable and good. And then, the artist renders this purified form in an artistic manner which is appropriate to the sacred person. So the icon painter first makes the icon more abstract than a photo. First, the painter removes all elements that are inappropriate and satisfy only human curiosity, but do not serve the sacred mission of the icon. For that purpose this art elaborates and transforms the form under one condition, the image must always be recognizable by the faithful beholder. Photius, patriarch of Constantinople, icon painting uses the media of art and, following the Tradition of the Church, its goal is to render the external form of any person depicted. According to Orthodox Tradition, which is declared by the Seventh Ecumenical Council and the fathers of the iconoclastic era, icon painting is an art with specific goals and character. I believe that today in our postmodern world we have to rearticulate the meaning of icon painting in order to avoid any misunderstandings. Catherine, Greek Orthodox Church, Braintree, MA. George, Antiochian Orthodox Church, Fishers, IN St. His most recent commissions in the US include: Holy Trinity Church, Columbia, SC St Sophia, Valley Forge, PA Holy Trinity Greek Orthodox Church, Carmel, IN Holy Trinity Greek Orthodox Church, Pittsburg, PA St. It is worth noting as very useful, and one on the only practical guides available today for learning iconographic drawing. His book, “Icon as Communion: The Ideals and Compositional Principles of Icon Painting,” has been translated into English by Holy Cross Orthodox Press. Kordis periodically lectures as visiting professor and teaches icon painting courses in the US (Yale University & University of South Carolina), Romania (School of Theology of Bucharest), Ukraine (Pedagogical University of Odessa), etc.ĭr. Today he is assistant professor in Iconography (Theory and Practice) at the University of Athens. In 2003 he was appointed to the post of Lecturer at the same university. In 1991 he was awarded his Doctorate in Theology at the University of Athens. He then pursued his studies in theology and the aesthetics of Byzantine painting at Holy Cross Greek Orthodox School of Theology in Boston, gaining an MA in theology. This interview will serve to help us understand his methodology as the iconographer himself understands it.īorn in Greece in 1956, George Kordis studied theology at the University of Athens. His unique style, at times considered “too modern” or innovative, challenges our expectations of the possible. His approach to the icon is one that does not see working within Tradition as merely the repetition of old models, but rather as the application of immutable principles in solving contemporary pictorial problems. The Athens based iconographer George Kordis may perhaps be considered as one of the most important representatives of the revival of the icon. George Kordis painting the Fanerwmeni Church, Vouliagmeni, Greece.
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