Abstract
The article is concerned with topical issues and problem points of modern icon painting: understanding meanings and the mission of the icon in society, position of the Church, issue of the canon in icon painting, commercialization of the icon painter’s work, etc. The main tasks of modern icon painting have been determined. For example, ability to find a harmony of artistic creation and icon painting canon; mastering the icon painting language and icon painting thinking; development of new iconography. Today, development trends of icon painting are seen in the return and preservation of the icon painting canon culture and in the interaction of the state and the Church in terms of the spiritual and professional education of modern icon painters. Today, an example of such an interaction is the joint icon painting department of the Rostov Art College named after M.B. Grekov and the Don Theological Seminary.
Highlights
Today, icon painting is on the path of a dynamic return, when interest in the icon painting culture as the national spiritual heritage has not weakened, the need to preserve and disseminate widely the Orthodox traditions is growing, and a steady trend has emerged in a highly spiritual and artistic approach to the professional performance of icon painting objects
Particular attention is paid to the mission and understanding of the meanings of the icon, problem of the position of the Church, issue of the icon painting canon, tasks and prospects of the life of modern icon painting, development of modern iconography, which is reported in the conclusions of this research
The joint icon painting department contributes to the return of the canonical icon painting culture, which preserves the traditionally established icon painting objects by copying the patterns, and educates an icon painter on the basis of the canonical model consisting of a religious spiritual foundation, expressive-figurative symbolic language and of the author’s creative position, taking into account skills and knowledge of the academic school of drawing, painting and composition [13]
Summary
Icon painting is on the path of a dynamic return, when interest in the icon painting culture as the national spiritual heritage has not weakened, the need to preserve and disseminate widely the Orthodox traditions is growing, and a steady trend has emerged in a highly spiritual and artistic approach to the professional performance of icon painting objects. Philosophers, art experts, culture experts, icon painters continue to study the ecclesiastical art and canonical icon in particular. The issues of the Orthodox art evolution and the theory of modern icon painting are raised by Archimandrite Zinon (Theodor), A.V. Andreeva, L.A. Armeeva, T.N. Artsybasheva, O.V. Gubareva, E.V. Drobnaya, S.S. Ostapenko, E.I. Ryadinskaya, A.S. Trapeznikova, Priest Nikolai Chernyshev, A.G. Zholondz, I.K. Yazykova and others. The practical icon painting experience of Archimandrite Zinon (Theodore), L.A. Armeeva, Hegumen Luka (Golovkov), Priest Nikolai Chernyshev, A.G. Zholondz and others is of interest. Particular attention is paid to the mission and understanding of the meanings of the icon, problem of the position of the Church, issue of the icon painting canon, tasks and prospects of the life of modern icon painting, development of modern iconography, which is reported in the conclusions of this research
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