Icons are holy pictures. Over the last decades the art of icon painting has become customary also in Evangelic-Lutheran contexts and today many churches have not only one but several icons. In all orthodox churches the Godmother has her place to the left of the middle doors in the iconostasis. To the right in the iconostasis is always the icon of Christ. For this reason the left/northern side of the church room in ancient times was spoke of as the female side and the right/southern side as the male side.
Way of expression. How can this be expressed in a picture?
The materials the icons are made of are taken directly from nature. Man sets his hands to work in service of God. Painting an icon is a religious act, a form of prayer. You very rarely find the painter's signature on the icon. He or she is anonymous, and should be - the painter is a tool in the production of a new copy. But other inscriptions can be found: the names of the characters on the icon. They must always be mentioned by their names so that the beholder will know whom he is meeting.
Knowledge of the artistic, technical aspect of icon painting is a basic requirement for the creative process as well as for the artistic result. For this reason artistic flair, knowledge of the painting techniques and good craftsmanship have always walked hand in hand. Over the centuries this has resulted in an acquired experience in the treatment of the material and technical knowledge which is impressive.
The icon painter's work-table: Eggs, water, colour pigments, sable's hair pencils, mixing cups and gold foil. When the foundation is prepared - a wooden plate that has been processed with glue - the painting procedure can begin.
This art offers its practisers a number of ways of expressions and in this lies the individual freedom of the artist. This is why we find the large number of various historical and geographical styles and schools. No doubt they exhibit an underlying common concept of art and a basic visual language, but in an equally high degree they show evidence of temperamental and individual creativity with regard to composition, form, colour and line which display all the originality associated with the liberal and fine arts.
It is the individual creativity within the framework of the extensive iconography; the whole universe of connections and ideas that the icon painter make his/her own, that fills his working day with a joyful freedom and instils the icons with life, charm and attractive force. All this speaks directly to our hearts, as one man to another.
Through integrating the visual language with his own and in finding his individual style in drawing and the expression of personal experiences in abstract shapes, lines and colours without violating the art, it becomes a place for many options; a creative paradise for the artist who strives to obtain freedom and maturity. In making this spiritual and artistic universe his/her own, the creative prospects are almost unlimited.
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