Principles of Drawing in Iconography (II)

This second-semester course deepens the study of graphic language and structural synthesis within sacred and iconographic art. The theoretical lectures advance beyond introductory drawing concepts to examine value contrasts, light-shadow relationships, local tone levels, and spatial perspective mechanisms. Students critically analyze drapery morphology and dynamism from 6th–14th century ecclesiastical traditions in contrast with 15th–16th century Western Renaissance realism. Special emphasis is placed on historical drawing tools, positive versus iconic negative space perception, 14th-century Byzantine anatomical canons (facial features, hands, feet), and rhythmic linear dynamics within geometric and floral friezes.

In the practical studio seminars, students engage in advanced observational drawing and structural synthesis. Working from plaster casts, still life setups, and historical iconographic models, students practice complex layout strategies, auxiliary axis systems, and tonal scale construction. Practical exercises focus on rendering materiality, croquis drapery studies using alternative graphic instruments, and comparative studies contrasting volumetric plaster features with 14th-century sacred counterparts. Additionally, students execute hands-on exercises in restoringlacunae within repeating decorative friezes and translating naturalistic motifs into stylized iconographic compositions.

Students will synthesize visual reality into refined geometric and structural forms, mastering advanced light-shadow mechanics and perspective in sacred art. They will demonstrate high precision in constructing 14th-century Byzantine anatomical features, dynamic drapery, and decorative friezes. By critically analyzing the contrast between Western naturalism and iconic spatial representation, students will develop advanced observational skills, alternative graphic techniques, and independent creative competence in composing complete iconographic graphic studies.