Christ Pantocrator
Type:
Icon
Period:
1841 year
Dimiter T. Molerov, born in 1780 in Bansko, son of Toma Vishanov the Moler. One of the best-known painters, a representative of the Bansko school of art, a disciple of his father, influenced by the art of Athos. Author of the murals of the naos in the St Archangels' paraclete in the Rila monastery, the murals in the Church of the Assumption of the Virgin in the Pchelino dependance. In 1840 and 1841 together with his son Simeon Molerov he paints the murals and the sponsors' portraits in St. Nicholas' and St. John of Rila's paracletes in the principal church in the Rila monastery. Among D. Molerov's major achievements in iconography are the following icons: St. Nicholas (1816) from St. Archangel Michael's church in the village of Leshko, Christ All-triumphant with Angels and Cherubim (1833), The Nativity and a Crucifixion from St Elijah the Prophet's church in the village of Usenovo. He has also worked in Belgrade on an invitation by Prince Milosh Obrenovich of Serbia. He died in 1870 in Bansko.
Dimmensions (cm):
98
/ 80
/ 2.5
Location
Country: Bulgaria
Province: Blagoevgrad
Town: Bansko
Church: St. Trinity
Source
Country: Bulgaria
Province: Blagoevgrad
Town: Bansko
Church: St. Trinity
Description
A traditional iconographic treatment of the theme. Christ is portrayed to his waist, blessing with his right hand and holding a closed book in his left one. He is dressed in a black chiton, with a dark-blue mantle on his shoulders. His figure is painted against a pale blue background, flecked with white cloudlets. There are on both sides of his aureole two medallions with the initials of Jesus Christ.
Iconographical technique: Combined
A rich gilding with gold-leaf and velaturas. Used had also been the "probaster" technique on the gilding of the garments. There is on the aureole a rich Baroque engraving. Used also had been the "wet into wed" technique in the carnations. The varnjsh cover is applied thinly and evenly.
Base material: Wood
The icon's base is made of two white-pine panels. The ground coat is of plaster, laid thinly and evenly.
State, restoration traces and comments
There are damages in the painting layer on Christ's face, in the area of his right hand and in some places on the garments. There are, in the places where the layer of the painting is damaged, traces of very unprofessional attempts at puttying and restoring.
