I think it is even fair to say that were it not for him, there would have been no such renewal and Coptic iconography would have carried on fumbling in the dark. The importance of Isaac Fanous however, cannot be over-estimated with regard to the glorious renaissance of Coptic iconography in the late 20th century. Is a man ever a prophet in his own country? (For more background, see Contemporary Coptic iconography, Monica Rene, Coptic Civilization, edited by Gawdat Gabra, AUC 2013). Wedding of Cana, Fanous, 1977 at St Mark’s Coptic Church, LondonĪpart from being an unusually talented individual, the fact that he formally studied Orthodox iconography/logy, de facto separated him from his Coptic peers back in Egypt, who unequivocally refused to study under him after his return, being content with copying his techniques and materials, but not the theory, which they regarded as unimportant. Thus, he enrolled on Ouspensky’s course at L’Institut Saint Serge in Paris, an institution under the aegis of the Russian Patriarchate in exile. It was during a two year restoration course at Le Louvre in 1962, that Isaac Fanous found the Russian iconographer and theologian, Leonid Ouspensky, and took this God sent opportunity to study iconography under him. However, I have tried to be as accurate, objective and succinct as I could and hope that I will not offend anyone in my candid answers and analysis.Īfter years dreaming of rediscovering the Coptic iconographic tradition, Isaac Fanous had become convinced that the only way to retrieve the technique, visual grammar and symbolic vocabulary of Coptic iconography was to study it under a master from a living Orthodox tradition. The process of answering your pointed questions have raised many issues that could not be properly addressed in this format. René – First, I would like to thank OAJ for requesting this written interview about the Coptic iconographic tradition, which I have been studying and practicing for more than half my life. Fanous, a figure that stands large but of whom we know little about in the West? Can you tell us a bit about how you came to Neo Coptic iconography, how you learned, and we would also like to get a better glimpse of Dr. The style is very vivid, referring all at once to ancient Christian prototypes, to modern composition and abstraction, but also to a pan-Egyptian identity. His creation of the Neo Coptic movement has reinvigorated Coptic iconography and his style is being continued by several students. One of the figures that has shone like a beacon for Coptic art has been Dr. Certain figures shine, like Photios Kontoglou for Greece, Leonid Ouspensky or Mother Juliana for Russia. Pageau – The second half of the 20th century saw a rediscovering and renewal of sacred arts. He took some time to answer our questions as he prepares for an exhibition of his own icons for the Prince’s School of Traditional Arts (PSTA), where he also teaches.Ĭhrist Pantocrator by Stephane Rene 2015 – to be shown at upcoming PSTA exhibition. He has painted several churches and icons and is also the director of the Sacred Space Gallery under the patronage of the Anglican bishop of London. Stephane René, a disciple of Fanous who lives and works in London. I am very happy to have the opportunity to present an interview I did with one of the most prominent representatives of this school, Dr. Isaac Fanous and the Neo Coptic style of iconography. There are also those who have attempted to renew and adapt this ancient art for modern times, at the forefront of which is the late Dr. These jewels of ancient art shine as testimonies to the vibrancy of this tradition. It is only recently that the old monuments are being rediscovered, cleaned and restored properly. So many of the ancient monuments were destroyed or came to disrepair as Copts in Egypt were subject to Islamic rule in the 7th century. The Coptic tradition of iconography is one of which we know very little about in the West.
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