Műtárgyvédelem, 2009 (Magyar Nemzeti Múzeum)
Ruzsa György: Megjegyzések az orosz ikon technikájához, különös tekintettel a teológiai vonatkozásokra
Rúzsa György • Megjegyzések az orosz ikon technikájához ... Remarks on Russian icon technique with special attention to theological relevancies Rúzsa György The materials and production methods of icons are in the strongest possible connection with prayerful thinking. The pious icon painter prayed and contemplated in every phase of the preparation of an icon thinking first of all of the saint or the holy scene that he was about to paint. Four phases are differentiated in icon making: the first is the choice and preparation of the panel, the second is applying the gesso, the third is the painting, while the fourth is the completion. The study also deals with the pigments (especially with egg tempera), the colours the symbols and the moulded copper icons, which are very characteristic of the Russian icon art. The study describes the work of the dolichnik (simply put the “dress painter”), and that of the lichnik, the “face painter”, which is based on the former one. Regarding the latter one the concepts of “sankir”, “body colour” and dvizhok (an energetic short white stroke) are clarified together with their theological relevancies. The study introduces the uses of materials and the methods, which varied from period to period and from territory to territory. Thus this study can be useful for conservators just as well as for art historians. The majority of the examples are unknown or little known icons preserved in Hungarian collections. A szerző címe/'Author’s address: Rúzsa György Egyetemi tanár/Professor ELTE Művészettörténeti Intézet/Eötvös Loránd University, Institute of Art History e-mail: ruzsagyorgylajos@gmail.com 129
