It's spring!!! Daylight begins earlier, it's a good season for
Sunday markets and weekend drives to nearby country towns. High on our list of
favourite destinations is Daylesford, but this month, Ballarat (a pretty Victorian gold rush town) trumped it
hands down, with an must-see for icon-lovers - the Eikon Exhibition at the Ballarat
Art Gallery in Lydiard Street. The exhibition
features eighty mainly Byzantine and Russian icons, with a couple of Syrian and
Egyptian panels. It covers six centuries and contains items from the collection
of John McCarthy AO an Australian diplomat, contributions from the National
Gallery of Victoria and the Abbey Museum
of Art and Archaeology, Caboolture, Queensland.
Exhibits are categorized into four major groups - angels,
prophets and saints; great feasts of the Church, Mary (referred to as the
Mother of God) and Christ. Most of the icons on display were written in wooden
panels, overlaid with gessoed linen, coloured with egg tempera and embellished
with gold leaf. There are also coins and silver panels on display.
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Saviour of the Blessed Silence, Russia, c 1700 |
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St George - Russia - 17th century |
Icons are meant to be sacred depictions of an archetype (ie
a typical character or symbol or setting) and so the subjects are angels, saints,
the Mother of God figure and the Christ image. They are meant to assist in
private devotion and many are very tiny, as they were created to be portable.
Traditionally, icons are never signed, as they are not meant to be expressions
of the individual artist's personality or ego, but serve as a prompt to prayer.
Also, they are not meant to be photo realistic and often appear to disregard
the rules of perspective. This is because they have a 'grammar' of their own,
which is meant to be not of this world. Regardless of whether one engages with
their spiritual aspect or not, icons are intrinsically beautiful works of art.
When viewed through a haze of incense and flickering lamplight, against the backdrop of Byzantine or medieval music,
they have an almost hypnotic effect on the senses. In fact, I would recommend
that you take the opportunity to spend a few quiet moments in an Orthodox
Church if possible, only to experience the magical quality an icon exhibits in
the setting for which it was originally designed.
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The Mandylion or Holy Face of Edessa or 'The Image not made by human hands'- - Russia 17th century |
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Mother of God of the Burning Bush - Russia, c. 1800 |
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St George and the dragon, Crete, c. 1500 |
|
Mother of God and Child, Russia, late 16th centruy |
|
The nativity of the Mother of God - Greece, c. 1500 |
The Eikon exhibition creates a similar 'atmosphere' within a
gallery space, minus the incense, flickering light and the feeling of entering
a sacred space. What the gallery does
offer are concerts - by a chant group, a vocal ensemble and
instrumentalists - all arranged to augment the enjoyment of the icon
experience. Personally, I could not go past the EIKON calendar and the
hardcover souvenir published for the exhibition as it is packed with
high-quality enlarged reproductions of the actual icons, supplemented by
scholarly commentary and information to provide context for the exhibits. It is
a worthwhile acquisition for icon writers/artists, researchers and collectors.
In the Gallery shop we found a couple of little treasures - ceramic artifacts in the form of medieval and
Byzantine containers with a frieze relief of the Last Supper and an icon like
depiction of Christ Pantocrator - both by John O'Loughlin, a local ceramicist
who is well known for his Reliquary series. I was unable to source an image of
his works currently on sale at the gallery, so the attached images which give an idea of the style of his work, will have to
suffice.
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