The optimal type of wood used for icon boards is cypress.
There are several types of cypress trees. Common, swamp and Levzon cypress. The common cypress is a sapwood species, the rest are heartwood. It has yellowish-pink wood with a characteristic pleasant odor. The structure is dense, homogeneous, without resin passages. The advantages of cypress include resistance to warping and the effects of atmospheric changes (temperature, humidity). It is resistant to damage by grinders, which is explained by the presence of aromatic resins in cypress wood that repel insects. The disadvantage of cypress is the large number of knots usually present in its wood.
Of the varieties of wood growing in temperate climates, the best in quality is linden. Linden wood is homogeneous, soft, has low density and, therefore, weight, which is important in icon painting since painting an icon requires a horizontal position of the board and it has to be rotated frequently during work. Among other things, linden is very easy to process, has few knots, is less susceptible to warping and is ideal for icons with carved decorations, as it is the best material for wood carving. The disadvantages of linden include its poor resistance to damage by borers. Sometimes you can find icon boards made of linden with thin cypress boards glued to the back, as well as boards treated with various compounds that repel insects.
Some Western European manuscripts from the 17th century describe compositions for treating boards to protect them from damage by insect pests. Such formulations mainly contain garlic juice. Sometimes there are icon boards with the back side having a dark brown or black color. It is believed that these are traces of the board being treated with these compounds; in addition, it is quite possible that the brown color is traces of impregnation with drying oil, which also provides some protection from grinders and atmospheric moisture. Since the 1st century, it has been known that the wood of some trees is not affected by borers due to the presence of various aromatic substances in it that repel insects. It was these types of wood that were preferred. In later times, the back side of the icons was often covered with oil paint, which, in addition to providing some protection from grinders, protected the board from warping, preventing it from drying out on one side. However, this method of protection against warping is not 100% effective.
Returning to the description of the choice of material for the icon board, it is worth noting that the two types of wood described above, although ideal for use in icon painting, are not used very often, since cypress is not readily available, and linden is relatively expensive. Therefore, mostly low-value wood species are used for icon boards.
Poplar: sound breed. The sapwood is white, the heartwood is light brown, the annual layers are visible in all sections. The wood is soft, light, and cracks little when dried. In terms of properties, poplar wood is similar to linden, but is too soft, which makes it less resistant to impacts, which leave dents. Without taking into account softness, it can be argued that poplar is practically not inferior to linden wood and can be successfully used as a material for icon boards.
Alder: sapwood species. Sometimes has a false nucleus. The color when freshly cut is white, but in air it darkens (reddens) and becomes yellowish-red. The growth rings are inconspicuous, the medullary rays are not visible to the naked eye; on a cross section they appear in the form of light, radial lines. The wood is soft, light, warps little, and is very resistant to moisture.
Maple: sapwood. Has white wood. Homogeneous with small sparkles, or with a characteristic pockmarkedness and silky shine. It is similar in quality to alder, but harder.
Ash: soundwood. The core is light brown, gradually turning into wide yellowish-white sapwood. Has dense wood. It is of little use as a material for icon boards, as it cracks when it dries.
Oak: has many good qualities. There are different opinions regarding the use of oak wood for icon boards. Some sources indicate the unsuitability of oak as a basis for icons. This opinion is based on the fact that oak wood has a special structure, which is why it can crack under the soil layer, causing its destruction. Other sources do not mention this and recommend oak for use in icon painting, citing its strength. It is unknown what caused such disagreements, but oak boards are still used. Thus, the author of these lines has repeatedly seen icons made on oak boards in the Kiev Pechersk Lavra. The icons were painted approximately 100-120 years ago, but there were no defects associated with the wood used.
Due to its strength, oak wood is ideal for use as dowels and wooden pins, which are used as fastening elements for icon boards.
Aspen: it is soft, has a uniform structure, and is resistant to grinders. It can be used for icon boards, but very often it has hollows and rot inside the trunk, which can cause difficulties in making a board of the required size.
Birch: sapwood. It has a homogeneous fine-structured structure. Due to its looseness, it is of little use for icon boards, although it is used; in addition, it reacts to changes in temperature and humidity, which leads to warping in large masses of wood. Not resistant to rot and pests.
Fir: coreless species. It has the softest and lightest coniferous wood. Does not have resin passages.
Larch: soundwood. It has a pronounced large dark core. In many ways it is similar to pine (see below), resistant to rot, and has exceptional frost resistance.
Pine and spruce: different in appearance, difficult to distinguish in the form of wood.
Spruce: coreless species. Mature wood, has resin passages, but is low in resin. The wood is uniform, white with a slight yellow-pink tint, soft, light.
Pine: soundwood. With resin passages. The sapwood is yellow-white, the annual layers are clear on all sections with a sharp transition from early light to late dark.
Pine, spruce and larch are some of the most commonly used types of wood in icon painting due to their availability and low cost. However, when using these types of wood, it is necessary to take into account that the resin passages present in them, when the temperature rises, the resins contained in them are released, which can appear on the surface of the board, sometimes even through the painting. Such a defect is practically irreparable.
Ancient icon painters used a variety of technologies to make carved icons, to embody the images and faces that appeared before their eyes after long prayer fasts that preceded the start of work. A Christian believer in God, a master of creating images, could not even begin to select a board without a blessing from above and obtaining the permission of the church fathers.
The history of the appearance of carved icons is long and varied. The technology for producing three-dimensional bas-relief images on stone was known back in the ancient world. Egyptian, Greek and Roman stone carvers left wonderful examples of carved and sculptural images. In most cases, the prototypes were gods, mythical and real heroes. Christian miraculous icons in their time became a worthy continuation of the traditions of antiquity; artists used the best techniques and technical methods for applying images.
Today's production of carved icons has significantly surpassed ancient images in terms of purity of execution, the use of modern technologies for recreating the image and professional tools. The volumetric bas-relief section itself came to our country at the dawn of the adoption of Orthodoxy from the artists of the great Byzantine Empire, which back in the 11th century was known for masters of three-dimensional images, and carved wooden icons and stone were the most common in temples and houses of townspeople. This is evidenced by the annals and chronicles of those times, as well as the results of modern archaeological excavations of Byzantine cities.
At the time of the baptism of Rus', carved icons from Constantinople, originally made of stone and more reminiscent of ancient cameos, were the most valuable gifts and a guarantee of friendship between the two large states of the Christian world.
Old Russian craftsmen subsequently adopted and improved the technique of stone processing. The ability to decorate with local precious and semi-precious stones, pearls, gold and silver made it possible to make carved icons perfect works of art. Thanks to the achievement of amazing external effects, the images had a powerful impact on believers, allowing them to instill obedience and humility before the greatness of God. The cost of such icons was fabulous, and only rich churches and monasteries, wealthy nobles, merchants and wealthy citizens could afford to have them.
Therefore, to obtain more accessible faces for the common people, relatively cheap, quick-to-produce carved icons, local materials began to be used. For a long time, wood has been the most accessible raw material in our area. Valuable wood species with certain technological characteristics have become an excellent means for expressing the faith and artistic inspiration of craftsmen. Time passed, and the specifics and tools for the job improved. By the end of the 15th century, which became the peak of the popularity of carving and other applied arts, carved wooden icons became the most widespread images of the Savior, the Mother of God and saints in Orthodox Rus'.
Everyone knows how alive and warm any wooden product can be. This is due not only to the natural characteristics of wood, but also to the amazing positive energy that such an image brings to any family. A house or apartment, even a small room, where such masterpieces are located, such as the variety of faces on carved icons, receives a large share of peace, tranquility, God's grace and goodness. Blessed faces, full of universal love and forgiveness, looking with genuine warmth at us, sinners in deeds and thoughts, become practically alive.
This artistic effect is achieved by using wood of strictly defined species, which have powerful annual rings with different shades of color inherent in this type of wood. The technique of making carved icons, or as they were also called “icons on carves,” today makes it possible to obtain products of the most varied scales, purposes and expressions of creative understanding of Christian values. Wood is aesthetically pleasing everywhere - from large monumental works to tiny icons that, according to Orthodox tradition, Christians take with them on long journeys. A very interesting effect is metal inlay, applications from wood of different colors, as well as the creation of frames and frames that match the style and design.
The master always chooses the highest quality wood that meets his requirements and artistic design. Usually a variety of varieties are used. Nevertheless, carved wooden icons and scorched, are most often produced from the following rocks:
The special aesthetics and unique warmth of wood will allow you to create truly living images and faces. Goodness, the light of God's love and indescribable grace descends from them onto the believer. The main aspect was and remains the strong faith and high skill of the artist, as many centuries ago.
WHAT WOOD WAS USED FOR PAINTING?
The best tree for painting is linden, but spruce, alder and cypress are sometimes used. The boards are always made from seasoned, dry wood and are well glued together with wood glue. Knots from the boards are cut out, otherwise they constantly dry out, and this causes cracks to appear on the ground. Inserts are glued into the places of the cut knots with wood glue. This is always done from the front side and no deeper than half the thickness of the board. To keep the soil on the board more firmly, its front side is planed with a tsinubel (toothed plane). The back side of the board is also cleanly planed, and oak dowels are cut into it. This prevents the board from warping.
HOW TO MAKE A WOOD BASE
For the manufacture of base boards, they preferred thin-layered wood - linden, southern poplar, willow. They also used oak, beech, cypress, walnut, and sometimes birch. The use of various woods for making boards is associated both with the growth of certain species in different climatic zones and with local traditions. The most used species in the manufacture of boards in Russian icon painting was linden, and in the northern regions of Russia quite often coniferous species - pine, spruce, larch, cedar.
Boards for painting were made by specialists in wood processing - woodworkers, rarely by the artists themselves. Boards made by non-specialists are of poor quality.
Already in the 11th-12th centuries, icons appeared in Russia, the height of which sometimes reached two meters or more. Their sizes were determined by the size of the church premises. For example, an icon of the 11th-12th centuries depicting Peter and Paul, painted for the Novgorod St. Sophia Cathedral, has a size of 236 x 147 cm, the “Annunciation” of the 12th century for the St. George Cathedral of the Yuryev Monastery in Novgorod - 229 x 144 cm, “George” from the same cathedral - 230 x 142 cm; the first icon is kept in the Novgorod Historical and Art Museum, the other two in the State Tretyakov Gallery. For military campaigns and travel for diplomatic purposes, Russian people ordered icons of small and medium sizes. For example, the icon “Spas” from the beginning of the 13th century (Yaroslavl Art Museum), which belonged to Yaroslavl Prince Vasily, has a size of 44.5 x 37 cm.
The boards were hewn from the block with an ax and planed with an adze. Longitudinal sawing of logs into boards in Russia probably began only in the 17th century (information in written sources dates back to this time). During archaeological excavations in Chernigov and Novgorod, saws like a modern hacksaw were found in the cultural layer of the 11th century. These saws could only be used for cross-cutting boards.
Traces of a tool when processing a board are a reliable sign in determining the time of creation of the icon. Different tools used to make a board leave different marks. An ax leaves nicks, a scraper leaves hole-shaped grooves, a plane leaves flat grooves. During later renovations of the icons, the back side of the icons could be repeatedly aligned - re-hewn. Therefore, judging their initial processing by the back side must be done with caution. But on the exposed parts of the front side of the board, where the gesso is lost in places, you can see the initial surface treatment. Using the example of processing the front side of an 11th-12th century icon depicting Peter and Paul, it can be seen that after hewing out the boards with an ax, they were hewn along the fibers with a staple, and after joining them into one shield, the front side was additionally hewn in the transverse direction to smooth out unevenness at the junction of the boards .
A recess was made on the front side of the board, which is called an ark. The edges of the boards rising above the ark are the field, and the bevel between the field and the ark is the husk.
The base for the small icon was cut out from one board; to make a large icon, several boards were combined into one shield.
For greater strength, small, short strips were cut between the inner sides of the boards. Planks of various configurations were cut into the front or back side of the board. They were called depending on their shape - “crucians”, “frying pans” or “swallows”. “Swallows” embedded in the front side of the board have been manufactured since the 16th century.
On the back side of the icon or on its end sides, the boards were additionally fastened with long slats with different cross sections - dowels. At different times, dowels that differed in both their configuration and methods of fastening were used. For Byzantine and Russian icon boards of the 11th and subsequent two centuries, it is typical to attach dowels to the end parts and back of the board using wooden tenons or forged iron nails. Such keys are called overlaid end keys and overlay keys on the back side.
Since the 14th century, overhead dowels have been gradually replaced by mortise dowels, inserted into specially cut grooves on the back side of the icon, which made it possible for shrinking or swelling boards to slide along the dowels and not burst. In the 14th-15th centuries, grooves were most often cut from one edge of the icon to the other. The groove and key were usually made not straight in cross-section, but wedge-shaped, which held the key when it dried out. In the 15th century, grooves for dowels began to be made shorter than the width of the icon board by 5 - 10 cm. Dowels, slightly tapering in length, began to be inserted towards each other - one under the other. However, the cross-sectional shape of the dowel remained trapezoidal, and it itself was quite thick the dowel protruded high above the back of the board. In the 16th century, dowels were made thinner and protruded less above the plane of the board. In the 17th century, they were also made flat, protruding slightly above the back surface, but wide, in order to further enhance their resistance to deformation (bending) of the board.
From the very end of the 17th century, dowels cut into the ends of the boards appeared. Such dowels provide good resistance to deformation only for small and medium-sized boards. They were not used in large icons.
When examining the back side of icons, you often encounter painting with oil paints. This was done at a later time in order to protect the boards from warping and damage by grinding bugs. The back sides of the boards often have a specific brownish or blackish coating. It is believed that these are traces of special treatments of the boards with drying oil or garlic juice (the use of the latter for protection against grinding beetles is described in Western European manuscripts of the 17th century).
Already in ancient times it was known (encyclopedic notes of the Roman scientist Pliny, 1st century) that boards made of cypress, pine and some other trees are not affected by grinder beetles, since their wood is impregnated with cedar, lavender oils and other repellent substances. From the second half of the 17th century, in the Armory Chamber of the Moscow Kremlin, some small icons were painted on cypress boards, and sometimes cypress boards were glued to the linden icon boards on the back side. From this time until the beginning of the 20th century, small icons were made, painted on imported cypress boards. From the second half of the 19th century, icons on cypress boards, taken from the monasteries of Athos (Greece), appeared in Russia.
The time of painting of the icons can be judged by the features of the ark and the fields. For example, the fields of icons of the 11th-12th centuries are, as a rule, wide, and the ark is deep. Since the 13th century, the fields have been made narrower. Starting from the 14th century, icon boards were sometimes made without arks. From the 14th to the 16th centuries, boards for icons with a center surrounded by stamps (scenes) of the life were made with a double ark. The main image of the icon was placed in the internal recess; on the surrounding higher plane scenes of the lives or selected saints were written, and selected saints and texts dedicated to them were also sometimes placed in the margins. In the 16th century, the ark was usually shallow and the husk smoothly passed into the recess of the ark. In the 17th century, the transition between field and husk again becomes sharper. In the 18th-20th centuries, all of the listed types of processing of the front side of the board existed. Their choice depended on the tastes of the customers.
The decoupage technique has been known since ancient times. At first it was used to decorate furniture. The peak of its popularity came in the 17th century. The Venetians skillfully inlaid furniture in oriental style. The craftsmen cut out pictures and pasted them onto the surface and secured them with 30-40 layers of varnish. Compared to those times, it was a particularly inexpensive pleasure.
After Germany and France, decoupage conquered England, and during the war, America. In Victorian England, almost every family had a scrapbook with pastoral pictures and angels. Young misses decorated their home in this style.
Today this technique is again very popular. Anything can be decorated in it. Most often this method is used when decorating gifts. An ordinary bottle can turn into a beautiful vase, and an old shabby box into an example of sophistication.
Why, in this case, when preparing a gift, for example, for Christmas or New Year, not turn to this technique? We invite you to try with us to make an icon painting in decoupage style.
2. printed drawing,
3. PVA glue,
4. brush,
5. spatula,
6. scarf or any fabric.
Photo: AiF/ Lyudmila Maksimova
1. Select an image to apply to the tree. We edit it in any illustrator, increase the contrast for printing. Flip the picture horizontally to create a mirror image. Print the picture on good glossy paper.
Photo: AiF/ Lyudmila Maksimova
Important: Flip horizontally, print on glossy photo paper.
2. Select the surface of the desired format. You can cut the wood yourself, in which case, do not forget to “sand” the board to protect it from unevenness.
Photo: AiF/ Lyudmila Maksimova
3. Apply a thin layer of PVA glue evenly onto the board and spread it with a brush.
Photo: AiF/ Lyudmila Maksimova
4. Attach the printed drawing to the board. Smooth it with a cloth.
5. Squeeze out the air. A spatula or other hard object is suitable for this. In the absence of a spatula, we use a flat wooden comb.
Photo: AiF/ Lyudmila Maksimova
Important: If you squeeze out the air poorly, the image will not stick to the board.
We put a weight on the board. After ten hours we remove and begin the last stage of work.
Photo: AiF/ Lyudmila Maksimova
6. Tear off the glued pattern. If a layer of paper remains on the board, carefully peel it away from the image with your finger; you may need to moisten the surface slightly (!) with a damp cloth.
Let's look at the result. The image was not completely reflected on the surface; we probably did not squeeze out the air well enough. But, nevertheless, the decoupage was a success, the result was an ancient icon.
Photo: AiF/ Lyudmila Maksimova
Of course, in this way you can make not only an icon, but also any other picture.
By the way, in the Middle Ages, icons were decorated in the Orthodox Church using decoupage. In icon painting, this technique is called applique on a wooden base: images cut out of wood, leather, fabric, paper were glued or attached to the icon. In Russia, such decoupage began to be used from the 17th century, when Western artists transferred this technique to the masters of the Armory Chamber.
Let's give an example of another method of decoupage - with napkins.
Photo: AiF/ Daria Krainova
All these tips are very simple, but the results are impressive. Get creative, friends. Give joy to yourself and your loved ones by decorating what surrounds you.
To be continued…
Mother Rus' has always been famous for its craftsmen and folk craftsmen. Icon painters were especially revered. An icon is a shrine, for the production of which it was necessary to receive a blessing in the church. Now this rule is not so strictly observed, but, nevertheless, when making an icon with your own hands, you must strictly follow certain commandments. This is a symbol of Faith in God, so you must read the prayer and, with God’s help, get to work.
People come to God in different ways. Some feel the need to paint icons after a long illness, when the Almighty granted healing. The main thing is that this is not blasphemy.
There are many options for transferring photo icons to a wooden surface. The easiest way is to print using a printer on a well-treated wooden surface.
But the most valuable crafts are those made by a person with his own hands. He puts his soul, skill, and energy into them.
Here are several options for applying an image from a photo to a wooden surface:
A photograph of the icon “Mother of God with a baby in her arms” is printed on a paper backing using a laser printer. Take clean plywood or a wooden plank cut to the size of the photograph.
The surface of the wood is smeared with diluted PVA glue at the rate of 3 parts glue and 1 part water. This is done so that the glue is absorbed into the wood texture.
The photograph is applied face down to the surface of the board and carefully smoothed so that there are no air voids. You can use a sponge for this. You need to smooth it very carefully so as not to tear the photo.
Leave to dry for 8-10 hours. The surface should be moistened with water and the paper should be gently wiped away from the image. Varnish the image.
Some people use parchment for printing in order not to rub off the paper. The technique is the same, only after wetting the parchment comes off completely as a sheet, leaving the image on the wood.
You can stick photos printed on paper to a hard surface. There are a lot of options.
We will make the icon “Mother of God with Hand” on a tree:
This is a miraculous icon that gives people healing from many diseases.
Many people ask how to make an icon with their own hands using beads. There is nothing complicated about this:
This work will bring a lot of joy and happiness. Gradually, the icon will come to life under your skillful hands, shimmering with magnificent beads. To begin with, you need to learn a simple technique, and then, as your skill grows, you can master more complex methods.
Believe me, after embroidering one icon, you will want to continue working. This is a lifelong passion.
Think about it, it’s not for nothing that your soul reached out to God. This means it is necessary. Embroidery will give peace of mind and joy. Gradually, the tormenting fears and worries will go away, because you already have a purpose and meaning.
When reading prayers, thoughts come into harmony, worries recede away. Internal attitude is very important. You need to ask the saints for help and healing for yourself and your loved ones. Your prayers will be heard and you will receive comfort.
The finished embroidered icon must be beautifully decorated. It is better to give it to professionals in a framing workshop. The icon must be consecrated in the church. If you wish, you can ask for a blessing.
But, if you do not embroider the face and hands, but only the background and clothes, then permission is not required for this. This is necessary when embroidering with threads, when the entire icon with the image of saints is embroidered.
You can give the icon as a gift or keep it.
