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Some scholars have suggested the icon at Sinai could have been a possible representation of the Kamouliana icon of Christ [11] or of the famous icon of Christ of the Chalke Gate, [12] an image which was destroyed twice during the first and second waves of Byzantine Iconoclasm—first in 726, and again in 814—and thus its connection with the ...
Although the most famous acheiropoieta today are mostly icons painted on wood panel, they exist in other media, such as mosaics, painted tile, and cloth. Ernst Kitzinger distinguished two types: "Either they are images believed to have been made by hands other than those of ordinary mortals or else they are claimed to be mechanical, though ...
Christ Pantocrator mosaic in Byzantine style from the Cefalù Cathedral, Sicily. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words πᾶς, pas (GEN παντός pantos), i.e. "all" [4] and κράτος, kratos, i.e. "strength", "might", "power". [5]
The Annunciation icon is an example of the late Komnenian-era style and was likely produced in Constantinople. The icon, tempera on wood, is one of the largest icons on display at Saint Catherine's Monastery, at 61 cm high and 42.2 cm wide. Very similar Annunciation icons exist to help establish the date of the Sinai icon.
Byzantine icons (14 P) E. Eastern Orthodox icons of the Virgin Mary (42 P) R. Russian icons (1 C, 20 P) S. Serbian icons (2 P) U. Ukrainian icons (5 P)
Byzantine icons (14 P) ... Mosaic (2 C, 28 P) Byzantine mosaics (30 P) Pages in category "Byzantine art" ... Painted Churches in the Troodos Region;
Both evoke Byzantine tradition in terms of their medium, that is, the technique and materials of the paintings, in that they were originally painted in tempera (egg yolk and ground pigments) on wooden panels. In this respect, they share the Ancient Roman heritage of Byzantine icons. Second, they share iconography, or subject matter. Each image ...
Like icons believed to be painted directly from the live subject, they therefore acted as important references for other images in the tradition. Beside the developed legend of the mandylion or Image of Edessa was the tale of the Veil of Veronica , whose very name signifies "true icon" or "true image", the fear of a "false image" remaining strong.
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