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Russian Iconology
Paints
Every painter made his own paints by grinding and pulverizing
pigments in small wooden or clay dishes. This pigment was then mixed
with and egg-yolk and "Kvas", a popular drink (made from fermented bread,
currants and grain) or rye beer. From old painting guides we know what
mineral and organic pigments the painters used and where these pigments
were obtained. The most costly of these paints was sky blue made from
lapis lazuli. The best source of quality Lapis during this period was
Afghanistan, near the West Hindu Mountains near the source of the river
Amu-Darja.
When a painter was commissioned to make an Icon, he made use of
the guidebook. and traced the image onto the prepared panel. By the
seventeenth century, the artist scratched the image onto the gesso ground
with a stylus in what is called the graphic method. After the image was
transferred, the panel was gilded.
Ancient Icons were gilded with thin sheets of gold leaf. The areas to
be gilded were covered with a sizing which was sticky, and the sheets of
leaf were applied with special brushes and smoothed into place with a bone
spatula. In the late 16th century, powdered gold was painted onto the area.
After gilding was finished, the artist applied his colors. Icons were built up
from the background and the face and hands were painted last of all.
At first the artist outlined the picture with cinnabar, then he covered
all faces, hands and feet with sankir, a layer of flesh priming or shadow tint,
An Icon's date can be determined by the color of the sankir. Ancient
Byzantine sankir is grayish blue, from the 14th and 15th centuries, green;
later it becomes darker, turning tobacco brown in the second half of the 16th
century. After applying the sankir, the artist covered the layers of shadow
tint with a lighter ochre flesh color, outlining the contours of the face, hands
and feet, accenting the eyebrows, the eyes, the nose, the lips and the fingers.
The flesh color also changed with the changes in style: in the 14th century
it was bright red, becoming darker, yet remaining rather soft, before turning
all but black in the 16th.
The painter then began modeling the image, applying white highlights
to the most prominent parts, the forehead, cheeks and bridge of the nose and
chin. For this he used liquid flesh color diluted with white and containing
ochre. This process bears the name ochreing (vochreniye).
The last thing done by he painter was to paint the hair and accent the
faces, hands and feet by applying fine white lines and different kinds of
highlights (bliki). When they were shaped like tiny curved lines, they were
known as enliveners (ozhyuki), but later they consisted of tiny parallel lines
called flecks (dvizhki). Highlights on draperies were accomplished by
various colors and were known as "probely".
The Icon was then passed on to the calligrapher who inscribed it with
lettering and a narrow framing line (opush) which was usually bright red,
but occasionally two colors were applied to the outer edge of the panel.
The panel was allowed to dry for a long time, then coated with a
linseed oil varnish "olifa". This varnish enhanced the depth and intensity of
the colors and protected the paint against moisture. After the varnish was
dried (this process took a few months), the Icon was then taken to the
church and blessed.
Symbolism of Colors used in Icons
red: blood of Martyrs
blue: heavens and contemplation
green: youth and life
white: "divine color", purity
black: embodiment of death and the darkness of
Hell
gold: Divine energy.
The virgin always wears a dark cherry cloak, Apostle Paul, a bright carmine
cloak, Saint Peter wears an ochre cloak and holds a golden key, Saint
George and Saint Paraskeva Pyatnitsa wear red cloaks of Martyrdom.
Glossary
bliki: Fine white lines and highlights
Talbot Rice, David and Talbot Rice, Tamara, Icons, The Natasha Allen
Collection Catalogue The National Gallery of Ireland, Dublin, 1968.
Talbot Rice, Tamara, Icons: Art and Devotion, Barnes & Noble, New York,
1966
Vorobyev, Nikolai A., Lucy Maxym, ed., The History and Art of the
Russian Icon from the X to the XX Centuries, Siamese Imports Co. Inc.,
Manhasset, N.Y., 1986.