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"Jesus Christ of Sinai" Painting

Dimitrios Spanos

United Kingdom

Painting, beeswax on Other

Size: 17.3 W x 34.3 H x 1.2 D in

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Originally listed for $4,910
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About The Artwork

The oldest known surviving example of the icon of Christ Pantocratora painted in encaustic on panel in the sixth century. It was preserved in the remote desert of the Sinai, in Saint Catherine's Monastery. The light moves from left to right creating a sense of mystery on the right side of the image. In fact, although the figure is pretty much centered in the picture frame, there is a very noticeable asymmetry between the left and right sides of Jesus' face. The left side, bright and shiny, shows relaxed eyebrows and lips. On the right side, Jesus' face is contracted and shadows make it even more mysterious. This duality of a serene and compassionate Jesus, and a dark and severe one. These two different facial expressions, reinforce the human and divine natures orthodox Christians believe exist in Jesus Christ. He is simultaneously Mercy and Judge. Being one of the few encaustic Icons which survived through the centuries and the formost one that presents Jesus is de jure a challenge to copy.. It is made on "despotaki" wood with 100%natural Amorgian beeswax,Chios Mastic,Model Frame/Bunarroti/Art&Hobby pigments and 24KTS Gold leaf.

Details & Dimensions

Painting:beeswax on Other

Original:One-of-a-kind Artwork

Size:17.3 W x 34.3 H x 1.2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a multidisciplinary, self-taught emerging artist from Greece living in London. The last 25 years, I am experimenting with various forms of art and techniques of the Fine Arts of ancient Greece ,Egypt and Byzantium, whose civilizations still attract and conquer the minds and souls of the world. Specialising in the forms of fresco, encaustic, murals and mosaics, I have designed and produced unique artworks and installations for monasteries, churches and private clients in Greece, London, USA and Europe. My latest series, focuses on implementing those ancient forms and techniques on modern subjects with a critical view of social, political, financial and cultural issues ,exploring the relationship between the formal properties of antiquity and their cultural history and their development through the time, aiming to redefine styles and directions in an exhausted “con”-temporary art environment. Contemporary aggregates and building materials mixed and applied on a variety of surfaces, blended with natural pigments, acrylics, oils or hot wax, merge to form a single unit combined to tackle a variety of forms sculptured on surfaces as a bass or mezzo relief, painted in fresco, secco or encaustic, constructing a modern expression of eternity and monumental art. In an institutionalized world of mass consumption who neglects to account for the role of the traditional forms of art which are purposely downgraded and displaced, “traditionalism seems to be the only radicalism” Allegedly an Artist

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