tag:blogger.com,1999:blog-6294744150606571617.post2417711288196080640..comments2024-01-16T07:07:11.166-08:00Comments on Bridal Pearl Necklace : Wedding Pearl Jewelry: Pearl Necklacehttp://www.blogger.com/profile/01857152720762307589noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-6294744150606571617.post-62464279688770853962020-01-01T22:26:15.593-08:002020-01-01T22:26:15.593-08:00or oblagodetel, more "calm" in God or ju...or oblagodetel, more "calm" in God or just<br />under the purpose of his life's journey, often depicted in icons<br />extremely moving" (P. 232). As you can see, the symbolism of movement/stillness<br />built E. Trubetskoi quite clearly.<br /> Here again we return to the already mentioned dependencies of the icon from<br />temple. E. Trubetskoy says: "the Icon of her idea is indissolubly<br />the whole is a temple, and therefore subject to its architectural design.<br />Hence our amazing architectural religious painting:<br />the subordination of the architectural form is felt not only in the temple a whole, but<br />in each icon image: each icon has its own special,<br />internal architecture, which can be observed outside of the immediate context<br />her Church' building in the narrow sense of the word" (p.233).<br /> Very interesting analysis of icons depicting the evangelists, in which<br />there is a change of one semiotic channel to another: from vision to hearing.<br />The type of posture of man as it shows that "the Evangelist is drawn to the light<br />not by sight, and hearing. Sometimes it's not even a turn, and pose of a man<br />fully in-depth into myself, listening to some inner, unknown<br />where outgoing voice, which cannot be localized in<br />space. But always is listening is displayed in<br />icons, how to turn invisible. Hence the evangelists are<br />otherworldly expression of eyes that do not see the surrounding" (P. 258).<br /> In the icon of the beginning and middle of the XIV century E. Trubetskoy sees the period<br />when the "painter still does not dare to be Russian. The faces they have<br />oblong, Greek, beard short, sometimes slightly pointed, not<br />Russian. Even icons of Russian saints-princes Boris and Gleb, -- in<br />the Central Museum of Alexander III play not Russian, and<br />Greek type. The architecture of the churches-also or Greek, or wearing<br />print transitional stage between Russian and Greek. The head of the Church still<br />poorly sharpened and are of almost round form of the Greek dome: Russian<br />the bulb apparently is still in the process of education" (p.271).<br /> In the aftermath, and it is a XV and XVI century, is the national rise<br />who touched and painter. All obrasilo -- "in the icon of this change<br />mood affects primarily the appearance of a broad Russian face,Pearl Necklacehttps://www.blogger.com/profile/01857152720762307589noreply@blogger.com