Thesis--Wisconsin. / Includes bibliographical references (leaves 29-30).

The thesis aims to prove, on the one hand that the second half of the nineteenth century was the period of maximum deviation from the traditional Romanian style of icon-painting and, on the other hand, that the process following the Romanian Orthodox Church's Synod of 1889, in spite of the proclaimed return to a pure Byzantine style, actually has involved the coexistence of at least two main styles of painting: Eastern Mannerist of Byzantine lineage and Western Mannerist of Renaissance persuasion. In addition to this, a mixture of various elements, even in the painting of the same building, is also present, reaching sometimes the point of kitsch. As steps towards this end, my thesis discusses the way in which the tradition of the Orthodox Church regarding icon and wall-painting manifested itself throughout Romanian history, with special emphasis on the period from the second half of the nineteenth century to the present day. I investigate whether or not, and how the Romanian modern icons (still) fit into the Byzantine conception of an icon. The thesis presents the same tradition regarding the requirements of the profession of an iconographer, how they were fulfilled in the past and how they are satisfied today in Romania, in both a monastic and a secular milieu. Traditionally, in addition to their skills and artistic training, it is essential that iconographers should be deep believers, have a solid theological training, and live a very pure life. In Chapter 6 I present the answers of 27 Romanian contemporary iconographers to a 17 item questionnaire regarding the way in which they are trained and keep the canonical rules today, the techniques they use in painting and their own attitude towards their work.

Thesis (M.F.A.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains v, 29 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 11).

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Thesis (Ph. D.)--University of North Carolina at Greensboro, 1982. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 243-260).

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2002. / "A thesis submitted for the fulfillment of a Master's Degree in Contemporary Arts" Includes bibliographical references (leaves 74-75).

The thesis interprets the icon Transfiguration by Theofan the Greek. It collects the information needed for the interpretation. The first part is devoted to the meaning of a religious picture - an icon in the context of historical development of Byzantine art and Christian thinking. It presents Theofan the Greek as the author of the icon and the doctrine about the uncreated nature of the Light of Tabor, that emerged in his time and might have influenced his work. The second part is devoted to the nterpretation of the Transfiguration icon. It consist of an explication of the biblical texts which are related to the Transfiguration and reflects other possible resources of depiction: apocryphal texts and liturgy. The conclusion of the thesis holds the interpretation of the icon.