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"In 2007, Vladimir Denshchikov suffered a stroke, right before a theatrical premiere, which led to his taking a teaching job at the Simferopol Institute of Culture. While recuperating from this terrible condition, the artist continued working on an icon for the church of Malorechenskoye village, and as he struggled to weave little knots, he felt his partially paralyzed hand moving ever more freely, as if God was guiding it Himself. The artist made a miraculous recovery and continues to create wonderful macrame artworks."
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the rest of this story here ht to
@ChrissiHrt on
Twitter.comI do want to note that this particular artform is not correctly an icon according to
traditional Orthodox iconography. Instead, the artist is here reproducing in macrame what used to be done in precious metal as a not only an adornment but also protection of the painted icon against wear and tear caused by veneration in the form of kissing. Here is an example in metal:
With the acceptance of the icon as a religious tool well established, the icons’ religious use was further dictated and refined by Church doctrine. The form of the religious icon as it is recognized today, both by art history and the Church, is still easily traceable to these doctrines, the most famous of them being the Byzantine aesthetic rules of “clarity and recognizability,” which limited both the scope of the images which were reproducible and the form these reproductions could take. Functionally, this increased the images’ ability to be recognized as of the church and increased their circulation. First adopted from the Byzantines by the Greek Orthodox church, the images soon after became a central part of
