Christ Pantocrator

Type: Icon

Period: The beginning of the 19 century

Author: Dimiter Molerov

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.

School: Bansko Iconographic School

Dimmensions (cm): 58.5 / 46 / 3


Country: Bulgaria

Province: Montana

Town: Berkovitsa

Gallery: Art Gallery


Country: Bulgaria

Other source: Others


A traditional iconographic treatment. Christ is portrayed to his waist against a dark blue background, dressed in a red chiton and a blue mantle. In his left hand he holds an open book and with his right hand he is blessing.

Iconographical technique: Combined

With velaturas on the garment of Christ. Used had also been the "wet into wet" technique in the carnations of the face and the hands. The gilding is with gold-leaf on the aureole and the medallions.

Base material: Wood

The icon's base is of two softwood panels, joined by means of two inserted beams. The ground coat is of plaster, laid thinly and evenly.

State, restoration traces and comments

There are damages in the layer of the painting in the icon's lower part, and also on the face of Christ. The varnish cover is applied thinly and evenly, but is destructured and in some places badly cracked.