![]() In addition, each studio has its own leader, an iconographer and teacher, its own creative field and its own particulars in teaching iconography where students get a special, interesting experience. Training takes place according to a generally approved curriculum, in which all tasks are distributed by year of study-from simple tasks to more complex ones. It is headed by the iconographer Ekaterina Dmitrievna Sheko. At our university, the Sub-department of Iconography of the Department of Church Art is very large-there are eight training studios. Vladimir Icon of the Mother of God- When do you let your students try their hand at creating new iconography? I also notice (and not only me) that living in a space saturated with information, with rapidly changing pictures on gadgets, modern students find it very hard to concentrate and immerse themselves in iconography, which requires deep concentration. Others have become priests, while others have been able to build a chapel according to their architectural drawings, or compose a service to a saint, or elaborate an icon with scenes around the sides. Many now run their own schools of iconography. They studied, putting their whole hearts into the work. My first students often came with an academic art education behind them, the experience of faith acquired through suffering, and a conscious and thought-out choice of the path of iconography. Some decide to study on their relatives’ advice and do not fully understand the chosen specialty, and understanding and zeal for classes come later. Many of them come from church families, and it is very pleasant for us teachers to work with them. ![]() Most students who decide to devote themselves to Church art, both then and now, are very good and diligent. Are modern students different from those who came in the 1990s? Eugene Nikolaevich Maksimov heads the arts councils at our university. ![]() His remarks and advice are highly professional-they create a special creative atmosphere of discussion and pose problems and tasks for young church artists. Sergei Alexandrovich has been the head of our state examinations commission for over twenty years, and the presentation of theses is very informative and interesting. I try to work in the same way, because teaching is a special activity: you help a person understand what the icon is, how to find himself in iconography, and fulfil his aspirations competently. I can say the same about my teachers at the school of iconography (now it is the Iconography Department). A teacher lives through every work of his student. My senior colleagues, artists Eugene Nikolaevich Maksimov and Professor Sergei Alexandrovich Gavrilyachenko are devoted to teaching, giving all their energies to training the younger generation of artists, and for me their teaching and experience is a valuable example. For future restorers and monument specialists this is a very important experience that will be useful in their profession. Training is built there on studying and copying icons in the halls of the Tretyakov Gallery and in the exposition of the Andrey Rublev Museum. I also taught students from the monumental studio for a long time. At the Department of Painting I teach the subject “Copying Tempera Painting” in the restoration studio under the guidance of A.A. Tikhon’s University, I teach at the Moscow State V.N. ![]() It literally takes three-fourths of my life. John of Shanghai- You have taught since 1995. Part 1: “When Designing the icon of a New Martyr, I ask the advice of his children and parishioners”
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