![]() ![]() ![]() Though the whole interior may be completed many years from now, the altar and east wall had to be designed as a part of this overall program. ![]() Joseph, and I discussed the comprehensive iconographic vision and specific requests of the monastic brotherhood. In our time, it is simply not enough to copy murals of historic churches and place them with no particular order on the walls of contemporary buildings, stating that this would be a “preservation of tradition.” Such a simplistic approach only leads to poorly-organized wall decoration, which leaves churches cluttered with images, distracting our prayer instead of helping it.ĭuring our initial meeting in January 2020, the monastery Abbot, Fr. Such compositions must take into consideration every architectural element and spatial feature of a given church structure, the spiritual needs and vision of the local church community, together with other technical and historical elements. My philosophy is that every single mural in an Orthodox church must be a part of complete iconographic composition – one that would testify about the Orthodox vision of God and his church. Closely resembling historical murals made in true fresco, silicate paint is the only paint which could be so successfully applied onto these textured surfaces. These mineral paints have exceptional durability for indoor and outdoor application, forming a perfectly matte breathable coating. In order to preserve the natural beauty of these walls, KEIM silicate paints were used for the mural project. A new material for the local craftsmen, the KEIM surface was somewhat overworked, resulting in a more ‘sandy’ texture than expected. These plastered walls, with their natural off-white color, soft edges, and lively texture, produce the simple and authentic appearance of ancient church buildings. The interior surfaces were plastered with a lime-cement plaster produced by KEIM USA. My hope is that the uniqueness of the instruments’ look will inspire others as it has inspired me.The interior before beginning the murals. ![]() I have paid close attention to the size of the triangle as seen in the image, relative to what or who is around it. The instruments have been made by hand, one at a time, and have all been hand-hammered, hand-bent, and hand-finished. I have chosen several pieces of triangle iconography that I found inspiring, and set about the process of bringing them to life. It is this variety that has inspired me to create these instruments. Rather, what we DO have, is extraordinary, beautiful VARIETY-variety in size, shape, dimension, proportion, level of craftsmanship, and ornamentation, as seen in iconography. We do not have an exemplary “triangle of Mozart’s day”. There does not exist a quintessential “baroque triangle” or “renaissance triangle”. There is no archetypal instrument from centuries past acknowledged as the world’s finest. There is no known triangle craftsman with a similar reputation as Stradivari. Conversely, the triangle has taken a different path through history. The workmanship and sound of his instruments are unparalleled to this day. Antonio Stradivari has long been known for creating the finest violins ever made. For example, looking at the history of the violin we know of master builders and craftsman. The history of the triangle is a bit different from the history of other musical instruments. Iconography is the primary source for our knowledge of the history of the triangle, and provides insight into the musical and social context in which the instrument developed. The beater depicted in the fresco is uniquely large relative to the triangle and to the human-like angel.Ī FREE “floating wall-mount” print of the iconographic subject that has been printed onto a 12” x 12” or 11” x 9” piece of rigid aluminum.Ī FREE carrying case featuring custom-cut foam, lockable zipper, and shoulder strap. The beater is 24” long and is hand-hammered. The decorative handle has been modeled after the H ärnevi fresco and other methods of suspension found in iconographic images of the time-period. It has been hand-hammered and hand-shaped. The instrument is extremely large, measuring 17”h x 15”w x 5/8”d. It is made of brass and has a white patina finish, in varying shades, which has been distressed to match the fresco. The H ärnevi triangle is inspired by the church frescoes. This angel playing triangle is found within a Coronation scene, surrounding the Virgin Mary with several other angels playing musical instruments. Albertus Pictor and his associates painted the walls and ceilings of over thirty churches throughout Sweden. 1507) and depict biblical figures and scenes. The frescoes were made by Albertus Pictor (Albert the Painter, c. H ärnevi church is a fifteenth-century church in Uppland, Sweden containing frescoes which date to the early 1480s. H ä rnevi Angel Playing Triangle fresco-secco by Albertus Pictor, H ärnevi church ca. ![]()
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