Word: icon
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...first followers should not consider themselves free to draw as they see fit. Instead, the contemporary painter should respect "the collective memory of the Church" by following the traditional portrait guidelines that were laid down by the early Christian painters. These models are still followed by the icon makers of the Eastern churches-and, in the case of Christ, by most Western painters...
...continuing shift to European investments will be accelerated with the coming to power of Max Nokin, who has made his career in the offices of Brussels instead of under the joyless African sun. But though there will be innovations, there will be no icon smashing. Says Nokin: "We have to change with the prudence expected of a woman who is 139 years...
...conscious young Russian merchant (Georgy Yepifanstev) of the last century who asks himself: "Is a man born only to make money?" In an episode of shuddery weirdness and God-haunted irony, the sanctimonious serpent (Pavel Tarasov) who serves as the hero's guardian, glassily indifferent to the vast icon of Christ that looms behind him, replies: "Eat or be eaten. That is the law of life." Unable to accept such a law, unable to find a better one, unable to love a good woman (Alia Labetskaya), the hero plunges into dissipation. At the climax the wicked guardian orders...
...University of Wisconsin, long a fount of extreme liberalism, the four-year-old Conservative Club is a deliberately "small and articulate" group of 45 icon smashers. Members must not only master the works of conservative writers but also the art of meticulous grooming. In contrast to sweatered classmates, they wear suits and ties to class, which also sets them apart from liberal professors in old sports jackets...
Among the Romans, where power was frequently the only truth, superficial appearance was reality. Christianity restored the art of transcendent hidden meanings. With impressive erudition, Malraux traces the sacerdotal role of cathedral, mosaic and icon and the evolution of Christian art from the austere, stylized Byzantine Pantocrators to the benign, handsome "Beau Dieu" in the central portal of Amiens Cathedral. Despite the growing intrusion of realistic detail, Giotto, as late as the 14th century, "did not copy the sky men see, but transmuted it into a sky charged with Christ's presence." But a century later Botticelli plunged into...