Icon-making proceedings
The wood used for an icon must be well prepared and reinforced in such a way that it might not shrivel in the further phases of creation.
On the piece of wood prepared like this, I lay my prayer for blessing for those who will have the icon at home, who will pray in front of it or just look at it.
I stick a piece of linen by means of glue to the wood processed like this.
Subsequently, I dash a mixture of glue and floated whiting in several layers and, finally, I smooth the surface out using a fine sand paper.
On the layer prepared, I will make a sketch using either pencil or Indian ink.
I prepare a mixture of poliment, whipped egg whites and water.
This poliment is laid at those places, where sheets of gold will be placed subsequently by means of surgical spirit. The gold may be further polished or left dim.
When writing an icon, I will first apply dark tones. Gradually, I add further tones, up to the lightest ones. Principally, the icons are made with tempera colours. In compliance with the ancient tradition, natural pigments are used; these are connected with yolk and white wine or acetum.
Icons are full of symbols. Three stars on the forehead and on shoulders of the Virgin Mary indicate her virginity.
In conclusion, I put a description on the icon, which constitutes its inseparable part.
Varnishing is the very finish of the works. By means of varnish, the icon is protected.
Now, the icon may start to live its proper life. I believe that every icon has its inner life, which is a great treasure and also a great mystery. We cannot have an icon in property, we may just accept it as a gift, a part of our lives, which exceeds us and which will certainly outlive us in our earth-pilgrimage.
