Rich iconographer how to#

The way things are currently shaping up, it would seem unlikely that this kind of environment could be replicated in the contemporary Coptic context. Of course it is not the only way to study it, but it is by far the most preferable, as well as the most traditional/ancient. This is the ideal way to study iconography, getting hands on experience in a busy studio and most especially under a great master. Many of Dr Isaac’s icons now considered heirloom master pieces of contemporary Coptic art, were painted during this very prolific period of the 1980s ( See Fanous Claremont Coptic Encyclopaedia). Everything was done under his meticulous scrutiny, as there was no room for mistakes. The studio was a hive of activity: students were busy helping in the preparation of large icon panels, gilding, laying down the proplasmos (underpainting) after Dr Isaac had completed the designs. I was greatly fortunate to study there for 8 years in the 1980s and will never forget the powerful and highly inspiring atmosphere pervading the place. a place to study the liturgical arts of the Coptic Orthodox Church, both theory and practice. The Department of Art & Archaeology at the Institute of Coptic Studies Cairo, headed by Isaac Fanous was the epicentre of Coptic art for 50 years and provided precisely what my enquirers desperately seek, i.e. These basic practical studio activities are unfortunately not possible in a virtual classroom. But after careful consideration, I concluded that the online format failed to take into account that iconography is a studio-based practice and requires an analogue studio/building where students can try their hand at gesso making, drawing, using pigments, as well as attend lectures and discussions on its various aspects. It seemed like an excellent idea at first. So acute is the need that I once considered starting an online course, perhaps through an online Coptic academic platform. Entrenched in post-modern secularism and political correctness, Western art colleges do not consider Christian art as a living tradition, let alone worthy of a dedicated course. In the West, those who are specifically interested in studying Neo-Coptic iconography will not find anything remotely related to it on any of the available art college courses. That is why appropriate education is so important to hold the three in balance for optimum results.

Rich iconographer how to#

But if one of the three is subtracted from the equation, it immediately creates a problem – for example knowing what to do, but not how to do it or why, or any other permutation, will lead to the same negative outcome. These three aspects of knowledge (discipline), the know-what, know-how and know-why, perfectly complement each other like three facets of the same stone, so to speak. But the vast majority is mainly interested in learning painting technique, the know-how rather than the know-what or know-why. Still technique is one thing, but theory is another and the latter is arguably as important if not more important than the former. In addition, personal practice is of the essence and a rigorous regimen needs to be implemented under supervision if any progress is to occur. Even if they attend a 5 or 10 day course, they will learn nothing of substance in such a short time. Yet, there is generally no other choice available to them in most cases.

Although related through faith and history, the Byzantine and Coptic iconographic traditions are very different from each other, like the languages or spices of different cultures. What they do not realise however, is that they will not be able to switch from one style to the other, from one tradition to the other, when they feel like it. They lament the nearly total lack of information on the subject, leaving them with no choice but to go it alone using models and a plethora of techniques found online, or else join the nearest Byzantine course. There is an increasing number of Coptic youths eager to study and practice iconography. All are disappointed and perplexed as to why it should be so difficult, if not impossible, to find a decent course on the subject, while Byzantine icon courses are so plentiful, some even with excellent masters. As a senior practitioner of the Neo-Coptic Style as taught by Isaac Fanous, I receive regular enquiries from people seeking advice and/or tuition in this particular style of iconography.