Transcript Image Projection and Comparison Overlay Technique

Art History - Iconography
Presented by Dr. Michelina (Le Margie) Iannone and Joel Rosano-Alvarez
CHRISTI IMAGO: IMAGE PROJECTION AND COMPARISON WITH THE SHROUD
“VERA EFFIGIES SACHI
VULTUS DOMINI NOSTRI JESU
CHRISTI” from Rome with
Vatican City’s Seal. (Private
Collection).
Head of Christ .
2nd Century. Sacristy of St.
Peter’s Rome
Head of Christ 2nd. Century
Church of S.
Bartolomeo, Genoa
IN MEMORY
Br. Ambrose Carroll-Moorman, Orthodox monk at Mount Angel Abbey
Saint Benedict, OR
Introduction to Presentation
Russian Orthodox Center – Our Lady of Tikhvin – Saint Benedict, Oregon.
THE HOLY SHROUD EXHIBIT – This exhibit represents the work of IMAGO CHRISTI, A SHROUD INTEREST
GROUP, INC., P.O. BOX 50, MOUNT ANGEL, OR 97362.
The Holy Shroud has a place in the culture of the local Old Orthodox community due to the fact of its
influence on ikons of Christ, especially that of the “Image not made by hands” with an annual feast day
on August 29/16 each year. An ikon of Christ Enshrouded is also used in the services of the Orthodox
Church on the Holy and Great Saturday before the Easter or Paschal Service.
(GUIDE TO THE RUSSIAN MUSEUM – Our Lady of Tikhvin Center, Saint Benedict, OR 97373).
Theology of ICON – IKON
ICON - Image of the Invisible – Shroud of Turin
“THE HISTORY OF IKONS – The word “ikon” (also written “icon”) derives from the Greek word for “image” –
eikon. It is far from being an art form, but is a theological term centered on the Eastern Orthodox
understanding of the world in the sense that visible things reveal or make present images (ikons –
eikones) of the invisible.” A good example as to how an ikon is based on reality is that known as the
“Ikon of Christ Not Made by Hands”. (Byzantine Iconography by Brother Ambrose Carroll-Moorman,
Orthodox monk at Mount Angel Abbey).
Comparison of Christ the Pantocrator VI with the Shroud of Turin
This presentation suggests that the Pantocrator sixth century encaustic icon is the “Icon image of Christ” and has a
basic origin from the Battle of Constantine at the Milvian Bridge on October 28, 312 whereby Constantine (Roman
Emperor 306-337) won the battle that invoked Christianity. As recorded by Lactantius (c240-c320) who was the tutor
for Constantine’s son “Crispus”. Constantine (272-337) had a dream whereby he was told to mark the heavenly sign
of God on the shields of the soldiers. Constantine was successful and won the battle. The “mark” on the shields of his
soldiers was the Chi-Rho (“labarum”) that resulted in early images of Christ as Christ the King and Christ’s sovereignty
over the world. Starting with Constantine, we find these labarums, with the image of Christ and his vicar the emperor,
represented on ivories and medals - the image of Christ “not made with human hands” (acheiropoietos) shown on
the veil attached to the crossbar of the labarum. In 622, the emperor Heraclius carried this image and showed it to his
troops before a battle against the Persians. “The role therefore of this image, miraculously given over every enemy,
that is over evil”. (The Icon – Image of the Invisible - Egon Sendler).
ACHEIROPOETA
The Holy Face not made with Human
Hands
Pantocrator, sixth-century encaustic
icon. Mount Sinai
Saint Peter, sixth-century
encaustic icon.
Mount Sinai
Christ in the Center
At the beginning of the seventh century there developed a religious, rather than a purely commemorative, veneration of the
portrait of Christ. During the period of the Middle Ages, Christian art in the West underwent a change - the holy image
became the devotional image resulting in a more individualized form of religious art. The mystical image worked its way back
again into pictorial art shaped by the imaginative fantasy of the individual artist. In the East, the church still abided by
the ecclesiastical dogma; nothing could be changed in the heavenly prototypes. There was a contrast between the abstraction
of Byzantine art and the naturalism of western art. This "naturalism" was carried over into the period known as the
"Renaissance".
IMAGE COMPARISONS WITH THE SHROUD OF TURIN
AND
CHRIST PANTOCRATOR
With the first photograph of the Shroud by Lawyer Secondo Pia in 1898 and later by Giuseppe Enrie in 1931 comparisons could
be done with the Shroud image.
Professor Alan D. Whanger, M.D. of Duke University used his “Polarized Image Overlay Technique” in 1991. He makes use of a
twin projector and the use of a polarized filter for comparison by showing many points of “congruence” with the Shroud face
image and “The Icon of Christ the Pantocrator”.
Professor Whanger, was an adjunct professor on Dr. Iannone’s Doctoral Committee and introduced her to his technique giving
the necessary equipment for her use in comparisons with religious art.
Kept at the Icon Museum of Constantinople, this painting on polished wood (real size 0.84 by 0.45 m.)is from the Saint
Catherine’s Monastery on Mount Sinai. Kurt Weitzmann (photographer) dates it from the reign of Justinian I (527-565). Father
Heindrich Pfeiffer, German Jesuit Father and Professor of Art History at the Pontifical Gregorian University recognizes in
this admirable portrait the prototype of Christ the Pantocrator, dear to Byzantine iconography, prior to the iconoclastic
destruction. Its origin is easily discoverable; it is the “Face of Christ kept at Turin”. “But nothing demonstrates this
better than superimposing the positive photograph of the Holy Shroud on this painting”. Kurt Weitzmann.
Image Comparison Using the Computer
Recent computerized studies by Prof. Nello Ballosino of the Department of Information Technology, Turin University, seem to show that several faces of Christ produced in the first millennium
of the Christian era may have been derived from the Shroud image. Recent computerized studies by Prof. Nello Ballosino of the Department of Information Technology, Turin University, seem to
show that several faces of Christ produced in the first millennium of the Christian era may have been derived from the Shroud image.
In the four examples reproduced below, where the features of these ancient depictions have been superimposed on the Shroud face, the matching may suggest as much.
Reference: The Shroud A Guide (1998), Gino Moretto, Page 53, First published in 1998 by ST. PAULS, UK-Eire
Durer, copy of the Holy Shroud, 1516 - (Lier copy).
“Four groups of red stains are clearly shown on this copy. The artist assumed they were
bloodstains but they are instead, burn holes”. (Indiana Center for Shroud Studies). Pray Code
12th Century – Shroud – four holes can be seen.
“In 1454, Pope Sixtus IV authorized Louis I to build a sanctuary for it (the Shroud) at his seat in Chambery. During the
troubled times that followed, the Shroud was once again moved from one part of France to another, and at one time
it even travelled as far as Lier in Belgium, where in 1516, Albrecht Durer saw and copied it. His copy may be seen to this
day in the Church of St. Gomer, in Lier. Later on the Shroud returned to Chambery”.
Reference: R.W. Hynek, The True Likeness - London and New York, Sheed and Ward, 1951.
Albrecht Durer (1471-1528)
Self Portrait (1498)
Self-portrait by Albrecht Durer compared with the
Shroud Face.
- Overall Resemblance:
Frontal Pose
- Facial Configuration:
Symmetrical.
Self-portrait by Albrecht Durer compared with The Icon of Jesus .
- Overall Resemblance:
Frontal pose and stance similar.999999
Open eyed stare similar.
Symmetry of features.
Elongated face.
- Facial Configuration:
Wide forehead.
Nose prominent – similar in configuration except for the length.
Hairline reproduces hairline of shroud image.
Shape of lips congruent.
Forelock congruent to match blood stains on
shroud image.
Left eye larger – swollen in appearance.
Hairline at side of face in complete congruence.
Wide moustache – angles down from corners of mouth – joins beard.
Identical prominent nose.
Wide moustache-lines on upper lip complete
congruence.
Beard centered in a single point with shadow and point of beard growth over center of
the chin.
Wide set eyes with complete congruence.
Left eyebrow overlays with complete congruence. Right eyebrow is higher than icon
Swelling at upper right lid of eye – outer corner
congruent.
with swollen appearance congruent.
Long hair – parted in center.
Triangular shadow shape at the right corner of the eye overlays.
Growth of beard low on cheeks-lines of beard at
top and bottom.
Cheek at right side of face – shadow is congruent.
Shadow at right forehead overlays bloodstains on
shroud image.
Long hair – parted in center.
Outline of eyes complete congruence.
Forehead – width is congruent.
Double forelock (does not appear in the Icon of Jesus) incongruent.
Piero della Francesca (c. 1420-92)
(Piero di Benedetto dei Franceschi)
Resurrection by Piero della Francesca compared with
Icon of Jesus.
- Overall Resemblance:
Frontal pose and stance similar.
Transverse line (crease) at base of neck, line congruent.
- Facial Configuration:
Long oval face.
General shape and size of nose and length congruent.
Long prominent nose.
High cheekbones – line of cheekbones congruent.
Wide forehead.
Wide-set eyes with straight forwards gaze.
Long hair parted in middle.
Wide moustaches extending beyond angles of mouth-
The stigmata (wounds made by the nails) are visible on Christ's left
hand and foot and a narrow wound from the spear of the soldier
who pierced his side has drops of blood flowing from it. Christ holds
the red-cross banner of triumph in His right hand, symbolic of the
Cross of St. George of the Crusades. He represents the Resurrection
as an event of triumph and of truth. Christ stands, with one foot on
the sepulcher, with the fixed, hypnotic presence of a Byzantine
Pantocrator"
lines congruent.
Shape of beard congruent – similar configuration of beard
growth.
Line of shadows at side of cheek beneath cheekbones
congruent.
El Greco (Domenikos Theotokopoulos) (C. 1541-1614).
Christ Blessing (The Saviour of the
World) about 1600
El Greco makes the viewer aware of the mystery and the
miracle inherent in his versions of the crucifixion. El Greco
painted a "Christ" in the icon image of the "Blessing
Christ" with a triangularly shaped halo. Another example
of the Byzantine influence on his portrayal of Christ's
features is the Face of Christ of the Passion"(Mandylion)".
The same narrow, elongated form is shown in the icon in
encaustic at Mt. Sinai.
The Savior by El Greco compared with The Icon of Jesus.
- Overall Resemblance:
Pose similar with straightforward gaze.
- Facial Configuration:
Forehead – width and height congruent.
Cheekbones – shadows congruent.
Nose length and shape congruent.
Nose – tip of nose congruent.
Long hair – parted in center.
Lower lip line congruent.
Hairline at forehead nearly congruent.
Eyebrows nearly congruent – asymmetry in icon relic not
as evident.
Moustache – tips meet lines of beard at corners of mouth
– outer corners a little wider but nearly congruent.
Beard shape similar with growth beginning low on cheek
– beard lines nearly congruent – dark area on right cheek
congruent.
El Greco was in close contact
with
the
Croatian
miniature
painter
Giulio
Clovio,
who
painted
“Sacra
Sindone
Gesu
Coperto dal Sudario”.
Rembrandt van Rijn (1606-1669)
Supper at Emmaus (1648)
Detail of Supper at Emmaus (1648)
Christ at Emmaus by Rembrandt van Rijn (detail of the
Head of Christ) compared with the Shroud Face.
- Overall Resemblance:
Frontal pose – softer in contour – face upturned
slightly.
- Facial Configuration:
Long hair – parted in center.
Top hairline – congruent.
Eyebrows – lines nearly congruent.
Left eye – white area congruent with white area on
shroud image.
Left eye – shadow at outer corner congruent with
shadow on shroud.
Right eye – white area congruent with light area on
shroud image.
Right eye – dark line on upper lid congruent with dark
line on shroud image.
Nose – shadows congruent.
Cheek – shadows congruent.
Lip line – upper – meets the lower in congruency.
Lip line – lower – shape congruent – mouth more open.
Moustache – congruent with shadows of moustache on
shroud image.
Chin – highlight overlays beard shadow area on the
shroud image.
Note: Of particular note is the congruence of the light
and shadow areas. Rembrandt uses his technique of
light to depict similarities with the Shroud image in this
portrait of Christ.
Peter Paul Rubens (1577-1640)
Once the Shroud was known (1357 and afterward) and was well publicized throughout Europe
numerous artists utilized the Shroud’s features. Rubens and Durer did so more than once.
Reference: R.W. Hynek, The True Likeness - London and New York, Sheed and Ward, 1951.
Christ on the Cross (1610)
Detail of “spike” wounds
in the wrist as on the
Shroud
Nail wounds in the wrist
Acrylic on Wood 2000
Nicolas Oramas Solis
Benedictine Brother
Michelangelo Buonarroti (1475–1564)
Leonardo Da Vinci (1452 – 1519)
Only Michelangelo portrayed
Jesus rising naked from the
tomb. (1520-25)
Heads of Christ