orthodox
imitating architectural and sculptural motifs.
-
-logical analysis helped to decode the messages. The choice of traditional, not to say
-
influenced not only the contents of this book, but also, directly, its structure. The -
of the church. The second chapter focuses on the history of finding the paintings
-
and textual characteristics can be seen in this book. In religious art, style is almost -
--
--
, representations of prophets, and the The
icon from
-
landscape and architectural motifs. The paintings in the orthodox church in Posada could be described in the same
-antine painting, and at the same time it is marked by traits characteristic of local
-nomena also happen in the field of iconography. It is dominated by compositions
-
to some extent, natural.
-
-
-
not coincidence that some pictures, such as and
deeper and hidden meaning, such as the and , belong -
are placed. On the other hand, though, such an arrangement of paintings creates a
on earth, all the articles of faith cannot be understood. Therefore, representations
-
traditional scheme of decoration of orthodox churches, it has many features in com--
-cessful attempt at including representations depicted on the icons of the altar screen
-
departures from the arrangement of the scenes in the sanctuary typical of the mon-
-
its clear and logical arrangement, clear thematic cycles and understandable ideolog-
an important source in understanding the spirituality of the Ruthenian people, and
-
-
-
-
-
und --
und
-
-
-
-
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dennoch die meisten Gemeinsamkeiten mit Dekorationen in russisch-orthodoxen
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