Traditional Technology of Icon Making

U ovom diplomskom radu predstavljena je tradicionalna tehnologija izrade ikona. Rad se sastoji od općeg dijela u kojem se obrađuje povijest razvoja, tipologija, ikonografija te upotreba ikona uopće i eksperimentalnog dijela u kojem je predstavljena izrada kopije ikone „Bogorodice s Djetetom“, tipa Hodegitrie – (ikonografski prikaz Bogorodice koja drži dijete Isusa uz sebe dok pokazuje na njega kao na izvor spasenja za čovječanstvo). Kopija je izvedena koristeći predložak ikone iz 19. stoljeća u vlasništvu Samostana službenica Milosrđa u Dubrovniku. Detaljno je opisan cjelokupni postupak izrade kopije navedene ikone - od pripreme drvene podloge koja se sastojala od preciznog mjerenja, brušenja, impregnacije, preparacije, izolacije, postavljanja polimenta, pozlaćivanja i poliranja pozlate na koju se zatim prenosila skica tupom olovkom uz minimalni pritisak kako bi se u podlogu utisnuli osnovni obrisi ikone kao i u izvorniku, pa sve do slikanja uljanim bojama te lakiranja koje je ujedno i završni segment praktičnog dijela rada. Ovim diplomskim radom nastojalo se što više držati tradicionalne tehnologije izrade ikona, no neke dijelove je ipak morao zamijeniti suvremeniji pristup radu što je uvelike pomoglo pri njegovoj realizaciji.In this master's thesis, the traditional technology of making icons is presented. The paper consists of a general part that deals with the history of development, typology, iconography and the use of the icons in general, and an experimental part that presents the making of a copy of the icon "The Virgin and Child", type Hodegetria - (iconographic depiction of the Virgin holding the child Jesus points to him as the source of salvation for mankind). The copy was made using the template of an icon from the 19th century owned by the Sisters of Mercy Monastery in Dubrovnik. The entire process of making a copy of the mentioned icon is described in detail - from the preparation of the wooden base, which consisted of precise taking of measures, sanding, impregnation, preparation, insulation, gilding and polishing the gilding, on which the sketch was then transferred with a blunt pencil with minimal pressure to the basic outlines of the icon are imprinted in the base, as in the original, right up to painting with oil paints and varnishing, which is also the final segment of the practical part of the work. With this master's thesis, an effort was made to keep as much as possible to the traditional technologies of making icons, but some parts still had to be replaced by a more modern approach to work, which greatly helped in its realization