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Iconostasis (14)

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In Eastern Christianity, an iconostasis (Greek: εἰκονοστάσιον) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon, a process complete by the 15th century.

Iconostasis - Wikipedia

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Data Points with Word "Iconostasis"

The historic Greek Orthodox Church of San Nicolò dei Greci in Trieste, was constructed between 1784 and 1787 and later redesigned by architect Matteo Pertsch. Also referred to as the Greek Orthodox Church of San Nicholas and Most Holy Trinity, it boasts an iconostasis painted by Spyridon Sperantzas.The Greek community's roots in Trieste go back to 1714 when a Greek merchant settled there. Trieste's appeal as a free port and its tolerant atmosphere drew in more Greek traders in the 18th century. The Orthodox community, founded in the 1750s, initially shared a church with Serbian Orthodox believers but separated due to language conflicts in 1781. They established their Greek Orthodox community and built a church by Trieste's Old Port, completed in 1795 and later refined by architect Matteo Pertsch. This church, dedicated to Saint Nicholas and the Holy Trinity, represents the enduring Greek presence in Trieste.San Nicolò dei Greci church in Trieste showcases a classicistic façade by architect Matteo Pertsch. Its interior houses a richly adorned iconostasis, separating the presbytery. The church features a blend of Empire-style architecture and baroque decorations. The iconostasis exhibits icons depicting saints and scenes from Jesus' life, complemented by gold frescoes by Giovanni Trigonis. The ceiling portrays Christ in Glory, created by an unknown Greek painter influenced by various artistic styles. Additionally, Cesare Dell'Acqua's altarpieces grace the walls. Adjacent facilities include the Greek Orthodox community's museum, historical archive, and library.

The Saint Nicholas Church of 'Şcheii Braşovului,' believed to date back to the 13th century according to tradition, played a central role in the spiritual, cultural, and artistic life of the Romanians in Ţara Bârsei. Archaeological excavations and historical documents indicate that the present-day structure replaced earlier wooden (1399) and stone (1440) buildings, funded by donations from Moldavia and Greater Wallachia princes, notably Neagoe Basarab (1512-1521). The current appearance of the church reflects extensive renovations during the 18th century, led by chronicler dean Radu Tempea IInd (1691-1742). Notable additions included the expanded triconical nave (1740) and two lateral oratories: Buna Vestire (The Annunciation) on the northern side (1733-1734) and Înălţarea Domnului (the Ascension of Our Lord) on the southern side (1750-1752). The interior was adorned with mural paintings by Grigore Ranite of Craiova (1738-1740) and Ioan, Iancu, Constandin, and Irimia (1752), influenced by the Hurezi School, a significant post-Brancoveanu art hub. In 1751, a clock tower was constructed on the western side of the church, financed by a donation from Tsarina Elisabeta Petrovna of Russia. Further modifications were made based on requests from voivodes across the Carpathians, Grigore Ghica and Constantin Mavrocordat. In 1940 and 1946, the ancient frescoes inside the church were replaced with a mural assembly by painter Costin Petrescu. Additionally, the post-Brancoveanu style iconostasis from the 18th century was gifted to the church of Predeluţ.

Saint Charalampius served as the bishop of Magnesia, Thessaly, during the reign of Emperor Septimius Severus (196-210). Despite the Christian persecutions of his time, he fearlessly preached, healing his wounds through prayer and converting many pagans to Christianity. He was martyred in 198 at the age of 113. In the early 19th century, a temple dedicated to St. Haralampius was located in Plovdiv's 'Marasha' district. In 1874, it was extensively renovated with generous contributions from the kaftan guild. The temple's architecture included a distinctive three-nave pseudo-basilica design with a remarkable dome. The iconostasis, pulpit, and princely throne were beautifully crafted, and the icons were painted by renowned artists. A fire in 1970 damaged the church, leading to restoration work overseen by architect Nikola Ovcharov. A new dome was added, harmonizing with the existing belfry. The interior was adorned with frescoes, and the church was reconsecrated in 1977.

Nestled at the base of 'Cetățuia' hill, historically a place of refuge for the city's residents, this exquisite church took shape between 1934 and 1937 along the thoroughfare bearing the name of the renowned historian, Nicolae Iorga. To its right, it shares its border with the road leading to 'Cetătăuie,' while to the left stands the parish house, a contemporaneous construction. The church received its consecration from Metropolitan Dr. Alexandru Niculescu in the year 1937. The architectural design for both the church and the parish house was the handiwork of Octavian Smighelschi, while the construction itself was entrusted to the skilled engineer, Wildmann, hailing from Braşov. The church exemplifies a pure Byzantine style, constructed using a combination of brick and granite stone, its roof adorned with tin. The intricate iconostasis, crafted from carved wood, was a generous donation from the 'St. Nicolae' parish in Şcheii Braşovului, a gesture made in the spirit of religious unity. The church measures an impressive 24 meters in length and spans 19 meters in width.

The Church of St. Nicholas, also known as the Serbian Orthodox Church, is situated in Szeged, Hungary. Serbs migrated to Szeged after the Battle of Kosovo, leading to the establishment of the Serbian Orthodox presence. A wooden church was built in the 16th century, followed by subsequent structures. The current Church of St. Nicholas, designed by Jovan Dobić, was constructed rapidly near the site of its predecessor. Bishop Arsenije Radojević gave his blessing in 1775, with construction commencing around that time. The base was consecrated in 1778, the nave completed in 1780, and the tower in 1781. The church's interior was finalized in 1805 by Bishop Jovan Jovanović. The Church of Saint Nicholas in Szeged features an ornate iconostasis that divides the altar from the nave. The iconostasis is designed in the rococo style and consists of 74 icons. The upper part was created by unknown artists, while the lower part was made by Jovan Popović, a Serbian Baroque artist. The iconostasis includes three sets of doors: the Deacon's Doors depicting Moses and Aaron, the King's Door with depictions of Gabriel, the Evangelists, and other figures, and the holiday icons depicting various events from Jesus' life. The iconostasis also features icons of the Father, Son, and Holy Spirit, as well as depictions of Apostles, Church Fathers, prophets, and the Last Judgment. The church underwent renovation and restoration after the 1879 flood, including the addition of a fresco depicting the creation of the world on the ceiling.

Great female martyrs have traditionally been honoured ever since the times of Bulgarian medieval kings. During the reign of the Assens (12th-13th centuries) the relics of St Nedelya and St Petka were moved to Turnovo, the medieval capital of Bulgaria. The churches built in their honour were later demolished by the Muslim conquerors. Nevertheless, these saints were honoured by all Bulgarians even during the Ottoman rule. The Passional of St. Nedelya, written by Patriarch Euthimius of Turnovo, is still preserved. St Nedelya Church, one of the oldest in Plovdiv, received a new wood-carved iconostasis in 1766 and it is still preserved inside the chapel located in the churchyard.The church was rebuilt in 1831-1832 by the Bratsigovo builder Petko Petkov. The exquisite walnut tree iconostasis, made by the master carver Yane Spirov, is in complete correspondence with the wood-carved throne of the bishop. Above the three-nave pseudo basilica rises the beautiful belfry, well visible from a distance, which was built in 1905 by the architect Mihail Nenkov.This place reminds not only of the struggle for independent Bulgarian church, but also of the death of the martyr St Rada of Plovdiv. She was the sister of Vulko Tchalukov from Koprivshtitsa whose family moved to Plovdiv and became famous for their generous donations. All members of Rada's family fell victim to the Turkish atrocities. First, her husband was killed; later on, in 1837, she was slain in her home together with her children. The Orthodox Church declared them New Martyrs. There is a memorial plaque outside the wall to remind of their martyrdom.

The Monastery Saint Archangel Michael was built in 1818 between the two old churches, 'St Gjorji' from the right side at about hundred meters and 'Saint Bogorodica' on the left, at the entrance of Bregainica gorge, where Berovo was located in the 19th century. The construction method of the monastery is associated with a legend that the Berovo citizens proudly narrate. The church with a large porch, built in the architectural opus in the 19th century, dominates the monastery courtyard. In its interior the characters of saints are painted in a distinctive style that deviates from Byzantine canons. The iconostasis that separates the altar from the middle section has built in 10 so-called royal icons with superb artistic achievement. In its most thriving period, the monastery numbered up to sixty (nuns) in a rich developed economy, a theological school, and weaver. The nuns' chambers are located on the south, west and northern side of the church. They were built in genuine old Maleshevo architecture of basements, with 16 rooms in total and 560 square meters area. The monastery activities are closely connected to the Razlovec (1876) and Kresnen (1878) uprisings. The monastery is available and open to each well-intentioned visitor.  

The Holy Sunday Church (Св. Недела) is positioned on the left side of Bitola's northern entrance, in close proximity to the Holy Sunday cemetery. This church, constructed in 1863, takes the form of a three-naved basilica and features a central octagonal dome. Inside, an intricately crafted wooden iconostasis graces the space, showcasing predominantly modern icons. Similar to other churches in Bitola, local guilds played a significant role in its construction, and in 1864, the church's dome was adorned with vibrant paintings. Subsequently, another layer of artwork was added towards the late nineteenth century, although it has suffered considerable damage over time. Within the churchyard of Holy Sunday lies the Ilinden cemeteries, serving as the final resting place for Macedonian insurgents from the Ottoman era, including Komitas Dimko Nikolov and Aleksandar Turundzhev.

The Church of Saint Demetrius (Macedonian: Црква 'Св. Димитриј') is the main Macedonian Orthodox church of Bitola, North Macedonia, part of the Prespa-Pelagonia Dicoese. It was built in 1830 and its most remarkable feature is considered to be its wood-carved iconostasis. The church bell tower was built in 1936. Saint Demetrius is listed as an Object of Cultural Heritage by the Ministry of Culture. The iconostasis includes icons from 1842, done by Mihail Aganost and his son Nikolai Mihailov. Icons depicting Jesus Christ, the Introduction of the Virgin, the Baptism of Christ, the Entering into Jerusalem, the Crucifixion, Pentecost, and the Denial of Thomas, dated around 1730 and painted by David Selenica are today housed in the Museum of Macedonia in Skopje.

The monastery of Holy Apostles Peter and Paul constitute a compact constructive ensemble, composed by the catholicon of the Holy Apostles, the chapel of the physician saints Cosmas and Damian which functioned as a coemeterium, and the living quarters for the monks. The construction of the monastery was rendered in different phases, beginning from 1709 when the church of Sts. Peter and Paul was built by Hadji Athanasios Rimara. The adjacent chapel of Sts. Cosmas and Damian was built in 1736 under hegoumenos (abbot) Methodios, manciple Ioannes from the village Aidenohores near Serres and the monk Anthimios. The architectural design of the two buildings differs from that of the other churches of Vithkuqi and this difference stems from their function. Both church and the chapel were decorated with the donations of Siropoulos from Aidenohori and Panayot Desin from Vithkuqi, while for the painting was engaged one of the most eminent workshops of the period, of Constantine and Athanasios from Korçë (and their assistants). On the whole, the art of Constantine and Athanasios is influenced by the paleologan painting tradition, revived in Mt. Athos, and adopts elements of western art. The wooden iconostasis of the chapel of Sts. Cosmas and Damian is another piece of artwork of outstanding values. Some of the icons are works of hierodeacon Constantine of Spatheia.

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