![]() Thus to kiss an icon of Christ, in the Eastern Orthodox view, is to show love towards Christ Jesus himself, not mere wood and paint making up the physical substance of the icon. The Eastern Orthodox teaching regarding veneration of icons is that the praise and veneration shown to the icon passes over to the archetype (Basil of Caesarea, On the Holy Spirit 18:45: "The honor paid to the image passes to the prototype"). Today icons are used particularly among Eastern Orthodox, Oriental Orthodox, Copticand Byzantine Catholic Churches. It is far more common for an icon to be copied from an older model, though with the recognition of a new saint in the church, a new icon must be created and approved. Icon painting, in general, is not an opportunity for artistic expression, though each iconographer brings a vision to the piece. For this reason, icons tend to be formulaic, following a prescribed methodology for how a particular person should be depicted, including hair style, body position, clothing, and background details. are filled with symbolism designed to convey information about the person or event depicted. : Russian icons, Greek icons, Serbian icons etc. The Eastern Orthodox believe that the first icons of Christ and the Virgin Mary were painted by St. The term 'icon' - icona, ikona, икона (Russian) comes from the Greek word eikona (εἰκών, eikōn, ) which simply means image. ![]() South Carolina Department of Archives and History.Welcome to the world of Byzantine Iconography !īyzantine Iconography – is the oldest and only Christian art form survived unchanged for the past 2000 years. Please read ourįor further information on how to obtain a photocopy or how to cite an item. Images and texts on these pages are intendedįor research or educational use. Not all properties retain the same integrity as when originally documented and listed in the National Register due to changes and modifications over time. The privacy of owners should be respected. Most National Register properties are privately owned and are not open to the public. Nomination form for this National Register property. Listed in the National Register October 22, 2004. Kontoglou painted the twelve medallions hanging in the nave and the scene for “The Last Supper” on the Icon Screen, and also designed many of the stained glass windows in the dome. Most of the iconography in the church was designed by Kontoglou, a renowned iconographer from Athens, Greece. All three domes are surmounted with crosses. Two octagonal towers with similar domed roofs and cast stone accents flank a flat-roofed narthex. ![]() The nave is surrounded by a single-story aisle topped with a terra-cotta tile roof. ![]() The two-story nave is circular in plan and contains a space spanned by a large belcast, standing-seam copper covered dome. ![]() This is a two-story structure with a brick veneer and stuccoed brick foundation on a raised basement. Holy Trinity is typical of the Byzantine style, which is noted for its use of ornamental domes, large open spaces, and colorful mosaics an/or paintings featuring Christian subjects. He designed many of the interior elements of the church as well, such as the brass light fixtures hanging in the nave, the Iconostasion, the alter, and the Bishop’s Throne. Tatum, local Charleston architect, completed the design for the church in 1950. The Greek Orthodox Church of the Holy Trinity is significant as an excellent mid-twentieth century example of the Byzantine Revival style of ecclesiastical architecture designed by prominent South Carolina architect Harold Tatum, and also for its outstanding examples of Byzantine iconography designed by Photios Kontoglou, the most renowned iconographer of the twentieth century. Greek Orthodox Church of the Holy Trinity, Charleston County (30 Race St., Charleston) National Register Properties in South Carolina SCDAH South Carolina Department of Archives and History ![]()
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