ICONS / IKONE


     ...The starting point of the artistic inspiration of Natasa Djurovic, be it the images of saints or religious compositions, is based on the intuitive choice of a characteristic iconographic represetation as an artistic model from our local or general Christian history. Within the chosen thematic framework, the artist crystalises her own specific phenomenon of transferring and recreating the image, or more precisely the primeval-image, and the genuine expression of the already seen paintings/icons onto the new ones. Applying a supreme talent of an icon painter, coupled with her unusual knowledge of the authentic medieval painting techniques, Natasa Djurovic recreates and re-establishes the essential »enlightening« revelation of the afore-given Holy Image – the Primeval Image. Therefore, according to the theoretical essence of the iconostasis, the artist, while painting, actaully reshapes the a priori given representation, »the representation of spiritual reality«, embodied in the material substance. Or, as Leonid Uspenski noted: »Through the material means visible to human eyes, the icon represents the divine beauty and glory. Therefore, our Fathers say that the icon is sacred and dignified because it transmits the sublime state of its Primeval-Image and carries His name, and so it is as holy as was its Primeval-Image«. The very representation of the Holy Image or event in an icon does not exhaust its being, because the icon, apart from the physical, contains a metaphysical onthological dimension as well, which makes it a holy, prayer related object, thus singling it out from the category of common painting. When it comes to icon painting, the observer does not experience the icon through the senses only but deeply spiritually as well, connecting with it actively through a prayer whose aim is personal ethical divinization.

     Not diverging in essence from the canonized Byzantine rules, Ms Djurovic, with the knowledgeable and subtle approach, brings in some new iconographic and coloristic solutions, contributing to the overall, centuries long and generations cherished icon painting. Her fascinating red, ample with mystic Christian symblism, often carries the axis of the composition. What is particularly attractive and captivating in these icons, however, are the eyes of the saints, which radiate deep and intangible divine energy, creating an intimate synergy with the eye and the soul of the observer...

Lucija Djuraskovic, art historian,
Museums and Galleries Budva director





















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