Here, there is a profound lesson for disciples in how we ought to approach the Gospels. But icons are anything but simplistic and naïve.) In iconography the perspective of horizon is not to be found starting with the viewer peering into the icon (as in classical Western art) rather it begins from the icon moving toward the viewer. (This is why icons can, on the surface, come across as simplistic to our eyes that have been trained in the classical Western notion of perspective and horizon in paintings. For this reason, the perspective of horizon is actually reversed in iconography. Even better, when I am before an icon, it is the saint or Mary or our Lord who is gazing upon me. When I look at an icon I am not just looking at some painting of a saint, Mary, or Christ himself when I look at an icon I am looking at the saint or Mary or our Lord. Rather, icons are a sharing in the very person(s) represented. Icons are not a representation separate and distinct from the original image. Icons should not be considered “paintings” in our modern, Western understanding of the term. Luke brings the reader of his writings into a direct encounter with the living Christ. Luke accomplishes through his account of the Good News what the iconographer seeks to do visually through the discipline and skill of writing an icon. Is it inconceivable that he might have met Mary herself? In the first few verses of his Gospel Luke establishes that his sources were some of the very people who were “eyewitnesses and ministers of the word.” Luke is the only one of the evangelists who lays out a full and in-depth account of the Annunciation and Incarnation to Mary as well as her visit to her cousin Elizabeth. Luke was obviously a well-educated and gifted man with many skills and abilities. Luke, but I for one have no problem with considering this tradition a possibility. Now, to my knowledge, there is no known or authenticated icon that can be directly traced back to the hand of St. In iconography, the verb “to write” is used rather than “to paint,” as an icon is considered visual theology. Luke is revered as the first (according to tradition) to write an icon of the Blessed Mother. Paul, an evangelist (the author of the Gospel that bears his name and the Acts of the Apostles) and a physician. Luke is known as a fellow worker with St. Through symmetry and repetition, patterns, figures and gestures become visual meditative aides, alternating between meaningful and meaningless connecting the physical world to pure consciousness a personal navigation system in hope of unearthing an ever present truth.St. From spiral motifs referencing natural geometry, magnetic vibrational states of subatomic particles, states of consciousness and the generative force of the universe, to figurative elements emerging as timeless, archetypal forms, Kelly’s imagery feels like a discovered message, a reassuring promise. Much like equations that aim to reduce complex calculations into “one-liners”, Kelly uses a vocabulary of symbols as a personal iconography to express the rituals and beliefs that form the fundamentals of the human experience. Whilst science seeks a list of ingredients, an instruction manual for the building blocks of the universe, humankind seeks its own fundamentals love, happiness, protection, abundance, freedom from suffering. Somewhat paradoxically, Kelly also draws on religious and prehistoric art, spirituality and mysticism, as well as on the field of natural sciences, reconciling seemingly conflicting viewpoints under the prism of the human condition. With roots in minimalism and modernity, Jonathan Kelly’s approach to painting is driven by the notion of the absolute, the reduced, pure, essential form.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |