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Eastern Mysticism and Western Scholastics in Glass Painting Iconography

Domenii publicaţii > Stiinte umaniste + Tipuri publicaţii > Articol în volumul unei conferinţe

Autori: Diana Barbu

Editorial: 2015.


The aim of this work consists in the widening and deepening of the knowledge about the influence of the Western cultural trends, the Byzantine ones (coming from the Southern and Eastern Orthodox Europe) and the native ones exerted on the Glass Painting of the 19th in the Romanian Countries. The research is based on a comparative study on Glass Painting in Transylvania and Banat with its modes of expression in the European space. Besides its apotropaic and thaumaturgic, the Glass Painting has also an axiological role, keeping its proper place in the traditional house, especially in the corner of the house, standing beside the other usual decorative elements as well. Themes of Western origin as the Crowning of the Virgin manage to make their way in the Eastern Painting. Secular elements also as: crinoline dress, long furtrimmed jackets, cuffed appliques slipped into the (exclusivist) religious subjects approached by the painters of icons of the Romanian Countries.
The characteristics by which the art of a nation differ from the others does not stand necessarily in novelty, but are the outcome of a selection and interpretation process in a view proper to some traditions and artistic elements, sometimes very well-spread. In the period in which in the Romanian Provinces the Glass Painting was developing, the artistic environment of the epoch was determined, on the one hand, by the tradition of Byzantine Art – which stood at the foundation of the Romanian Feudal Art – and on the other hand by the Western Art.
The icon on glass in its turn reflects the complexity of “the Transylvanian artistic environment of the nineteenth century in which Western Baroque and Romano-Gothic influences could be observed, either in the activities of the Catholic monastic orders or in the itinerant work-shops coming from the Eastern Germany and Central European Countries, along with the influences of the South-Danubian Byzantine Art”. The present study, making us of the iconographic analysis, offers significant pieces of information regarding the place and role of the Romanian Popular Art (with strict reference to the Glass Painting) in the European context as well as the impact and repercussions of the European culture in the Romanian Countries

Cuvinte cheie: Reverse Paintings on Glass