7 Comments

  1. Nancy Forderhase

    This icon is breathtaking. Congratulations on creating a most beautiful work of art, worthy of spiritual contemplation for generations to come.

  2. Helena

    Maravilhoso. Muito lindo! Parabéns l

  3. This was an amazing project and the final product is astonishing. The face is wonderful – very subtle work. The frame and the background are perfect. I have a couple of comments. It was a huge undertaking and the first, I hope of many of these. In my opinion, the changes to the folds on the lower part of the tunic – especially below the knee – were not successful. Also, I think the ornament on the stoles would have been better if it was a little flatter, more engraved like a fabric or embroidery. I think this is true of the flowers in the ‘grass’, too. These Byzantine flowers are notoriously difficult to get right in modern iconography.

  4. I love the Byzantine work — and it is so sad that that contemporary patronage/art is at a place where a) this was NOT commissioned, and b) such a collaboration was an experiment, not something that you regularly do or is regularly required. Well done, thank you for your work.

  5. John

    Really wonderful. Thanks for the pictures of the process !

  6. Fr. Silouan

    Great work! I’m glad you’re experimenting with basma. It complements the carving very well. I’ve seen basma used very effectively by some contemporary iconographers in Russia, but it seems to be a terrain unexplored in the U.S. So I’m pleased to see that you’re serving as a bridge to bring the technique here. I would love to see how you inmplement it on painted icons. Thanks for sharing the wonderful record of the process.

    Fr. Silouan

  7. Aidan Hart

    Great work Jonathan and Andrew. The basma is a great success. It offers enough detail to create a worthy setting for the Archangel without being so fancy that it draws attention away from him.

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