Library of the Romanian Academy, Bucharest Romanian manuscript () State Archives, Bucharest Sandulescu-Verna C () Erminia picturii byzantine. The Lighting. Milan: Fabbri. Dionisie din Furna. Erminia picturii bizantine. Trans. C. SandulescuVerna. Bucharest: Sophia. Dionysius of Fourna. Erminia picturii bizantine (The Painter’s Manual). by Dionysius of Fourna All descriptions from Byzantine painting manuals lead to the idea that this tone.
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The present paper is focusing on a detailed analysis of the chromatic Byzantine face, from an esthetic and technical perspective. From an esthetic point of view, we can distinguish two directions in the chromatics of the Byzantine face: The major chromatic differences lie in the colour accents used during the two periods. The chromatic analysis focuses both on tint fusions and on the chemical composition of the byzamtine used in the making of the respective tints.
Thus, we can compare each accent of the face originating in the Paleologos period with its correspondent from Crete, meaning: We erimnia distinguish visible differences that emerge in the level of proplasma or of the tint. The background of the face.
If in the Paleologos period, the face proplasma was shaded green, in the paintings originating in Crete, it changes into delicate, siena shades. Pictkrii, the detailed and optic analysis is based on the comparison of the traditional recipes, and then it is scientifically based on a sample of specific pigments, used in paintings originating in the two periods.
The pigments are spectrometrically analyzed through Pictugii fluorescence, constantly comparing the results. Thus, it results that the green proplasma Paleologos period is obtained by mixing black with green chromium green oxide, Cr and ochre natural, mineral pigments, earth or clay with a certain content of hydrated iron oxide, Fe2 03 n H2O. And the proplasmas of the faces in the paintings originating in Crete are obtained from clay substances called siena.
(Dionisie din Furna) Erminia picturii bizantine
The next accents the flesh colour and lights byzantinf pure ochres, afterwards being mixed with white. Over these two accents, we can identify a shift in the faces painted by Teofan of Crete. He uses the same proplasmas, but, in some paintings, he removes the flesh colour the ochrethe lights being directly applied over the proplasma.
This method is unique in the history of Byzantine painting, Teofan, thus, creating a byzntine light Impressionism. In conclusion, this paper, by following the traditional recipes embedded deep into the Byzantine painting, manages to create optic analysis of the chromatics of the Byzantine faces, strengthening them with the chemical analysis of the used pigments.
Thus, we witness the emergence of two directions: YearVolume 2, Issue 5, Pages – Abstract The present paper pictirii focusing on a detailed analysis of the chromatic Byzantine face, from an esthetic and technical perspective. The background of the face If in the Paleologos period, the face proplasma was shaded green, in the paintings originating in Crete, it changes into delicate, siena shades.
Byzantine face, chromatics, colour, pigments. I, II, Meridiane, Bucharest.
Dionisie din Furna, ,Erminia picturii bizantine, Sophia, Bucharest. A,Istoria Imperiului bizantin, Editura Polirom.