Limited collection Tibaldi Tribute to Orthodoxy - precious writi

[http://www.tributetoorthodoxy.com/en] Home About Series First series Second series Third series Special boxes Our Father Media-center Contacts Blog Eng Рус The Orthodoxy and Icon The divine ikon, evocation, picture are the various characteristics of the icon — at the same time these are the attempts to approach to its understanding, but they are the ways of attainment of significance. It is quite difficult to imagine Christian religion, first of all the Orthodox one (though from the theological point view the catholic sculptural images are in the status of icons), if to deprive it monolatry to a holy ikon. Retained by the dogmata of the Sevens Ecumenical Council of 787 year, on the one hand the icon merges with the beautification of the cathedral and the dwelling and on the other hand with sacral, with divinity on whom the thoughts of a believer are directed (not in vain it at the same time «είκόνα», a picture and «είκών», and an image). Without a moment’s hesitation as for this a person simultaneously is emotional over during looking at and hyperdulia to the icon, the text of the Holy Writ and its symbolism, mysticism of unity with holiness — since all holies go down to him from the icons and he stay in the midst of them, and also effusion of the godly energy. That is why devout delight before the icon is the understanding of existence integrity, when the material commonness unites with the highest missing and enslavement to god's will. People's belief in the icon and it is the result of human seeking for communication with God, when impossibility of understanding finds expression for itself in more intelligible forms: for example, the icon of «The Unburnt Bush» guards from fires and «Inexhaustible Chalice» protects from Feathered Serpent. The icons with an image of Christ according to its number can be compared only with iconography of the Mother of God — who practically always holds baby Christ in her arms. Except these icons there are a great number of images of the holies, those in whom the Christ’s light has lighted up: these are the preachers, saints (Sergius of Radonezh), warriors- martyrs and also angels of heaven. Praying to a strange icon is encroachment on strange grace. Interweaving in the consciousness of godlike and his image on the one hand darken understanding of the essence but on the other hand it more than ever makes God's feeling personal for us our own. That is why names of the icons are so different in their detailed fetalization: these are temple, house and travelling icons, iconostasis and icons behind the abmo and also remote icons (for the Sacred procession), family (for handing down) and measuring (ordered after birth of a baby in honour of the Wakil and with size according to growth of a baby), wedding and dinning (for dinner execution). And although aniconic opposition is guided by the second commandment «Don't make the idol and nary ikons that is in the sky upwardly, on the grounds at the bottom and that is in the water under land: do not bow to them and do not serve them» trying to deny the truth of the icon, it does not lose its significance. Since before Ecumenical council of 789 year, in the fifth century there was established understanding of Areopogitivy studies about apofatithity — «dissimilar likeness». The Icon is not the copy of the deity, not his face; a perosjn see not the essence but an hypostasis equal to him as because of his weakness he can not comprehend greatness — as John Damascene wrote, «The essence of the icon is visible of invisible, that figures do not have, but bodily illustrated because of our weakness». As Eucharist — is not the image of communion, but the truth as itself of on the level of the human being, the same is icon — is the appearance of godlike one to a human eye. That is why we have such ambivalent attitude to the icon: it is just like a thing, material and available but on the other hand — it all the same «reminding» about godly. At the same time the icon is not only in connection with out-peaceful and also light up substance and thing by the light of godhood accompanying a human on the way to true Orthodox believe. Tibaldi Company is the famous Italian producer of exclusive pens for the connoisseurs of the high art created the limited collection Tribute to Orthodoxy. In the name of the collection is represented its recognition — devotion to Orthodoxy icon and high spirit of the founder of Orthodoxy tradition of icon painting. The limited collection of the writing instruments Tibaldi tribute to Orthodoxy unveil monuments of icon painting skill — the Kazan Mother of God, God Almighty, Nicholas the Wonderworker and Saint Sergius of Radonezh. More According to the certificate of incorporation «the first and one of the most significant Italian manufacturers of writing instruments» was founded in Florence, on October 20, 1918. The Company was named «TIBALDI&Co». Since this time and during the whole XX century people of all the professions, either great writers or ordinary people desiring to put down their ideas have been enjoying elegant and tested pens TIBALDI. Writing instruments is a way to write down and declare one's ideas. Writing is one of the means to express our individuality. One hundred years ago we used a printing machine, now we use computer, and who knows what will be tomorrow? Maybe electronic devices will transform our ideas into words. But when we are talking about writing we always face a characteristic writing instrument — a pen. The twentieth century brought a variety of technological improvements in the sphere of writing instruments. The market is full of pen models. Some of them made writing easier; others were real treasure created of rare materials deserving to become a relic kept with care. TIBALDI pens are luxurious accessories and are a subject of technological innovations. But in their heart they remained writing instruments. They are developed to be comfortable and reliable to the maximum extent. But, as well as the first TIBALDI pens, they can be easily imagined on tables of writers well known all over the world, many of which were born in Italy along with TIBALDI pens. Acknowledgements Authors of Tibaldi Tribute to Orthodoxy Project express their deep gratitude for assistance in project organization: To I. L. Buseva-Davydova , a Chief scientist of Department for the Old Russian and Church Art of the Research Institute of the Russian Academy of Sciences, doctor of art history, laureate of the State prize of Russian Federation; To О.М. Zdanovych , an expert of the Old Russian religious painting, collector; To G.V. Gusakov , an expert of the Old Russian religious painting, restorer. © Artetrading , Tibaldi , 2009. Contacts . Develope and support MID , 2009.