L’icône (russe) à l’ère de sa reproductibilité technique: controverses, marché et procédés (fin XIXe-début XXe siècle)
| Autoři | |
|---|---|
| Rok publikování | 2025 |
| Druh | Další prezentace na konferencích |
| Fakulta / Pracoviště MU | |
| Citace | |
| Popis | In 1901, the new Committee for the Guardianship of Russian Icon Painting established under the patronage of Tsar Nicholas II issued a warning: ‘Industrial production will inevitably extinguish the Orthodox character of sacred images, so carefully honed over centuries. Once constrained by the mechanics of printing, the hand of the craftsman will overembellish the lines, imbuing the images with a mawkish and sentimental softness like that of Catholic engravings’. The concern was shared by the Byzantinist Nikodim Kondakov who, in 1901, travelled throughout the Vladimir Oblast to the villages of Palekh, Choluj and Mst?ra in search of the last remaining workshops maintaining the tradition of icon painting on wood. In 1902, the Holy Synod of the Russian Orthodox Church banned the printing of icons in churches and monasteries, then, in 1903, banned metal icons. Yet these reproduced images continued to gain popularity, soon forming an ontological opposition to the ‘authentic’ icons painted in the tradition of the centuries-old canon. This talk will explore three dimensions of this phenomenon. Firstly: the controversy surrounding mechanically produced icons. Secondly: the reasons behind their success, ranging from changes in taste to increased access to devotional images. Lastly: the use of technical methods, from the first chromolithographs in the 1860s to industrial production in the 1880s. Two key manufacturing companies in Odessa, including the Fesenko printing house, helped popularise these icons – even in major imperial cities. The Moscow-based company Jacquot and Bonacoeur (???? ? ???????), manufacturers of metal shoe polish boxes, pioneered a new method in the 1890s: printing icons on metal. These metal icons were lavishly decorated with imitation gemstones and brass embellishments, effectively replicating precious enamel icons. |
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