The icon in case also provides evidence for the migratory reaches of painters from the south of the Balkans in the early and mid-18 th century and their influence on the creation of a specific brand of popular visual culture in the Orthodox communities in Slavonia and Croatia. His distinct figurative style belonged to the so called zograf painting in Serbian 18 th century art, standing at the touching point of the post-Byzantine tradition and European baroque and forming a specific format of popular art. Starting with the latter, the analysis of the painter's style suggests that he could have been a close disciple or an associate of the famous Hristofor Žefarović who migrated to the Metropolitanate of Karlovci from Macedonia in the 1730s. 1 The icon is interesting in several aspects considering its iconography, stylistic characteristics and possible origins of the painter. The paper presents an icon from Slavonia (Croatia) dating from the first half of the 18 th century and featuring the most popular miracle of Saint George-the slaying of the dragon and saving the princess. In particular, the study explores the successful integration of Western elements in their work the third part examines the return of iconography post-1950 to the Byzantine tradition, with frescoes of the Crucifixion painted by native icon painters, students of Kontoglou and successors to the Cretan school tradition. The study consists of three parts: The first examines icons of the 17th century depicting the Crucifixion and the Epitaph, painted by the prominent post-Byzantine iconographers of Chania, Konstantinos Paleokapas and Theodoros Poulakis, considered as successors to the tradition of the Cretan School the second part refers to important local iconographer-painters who followed western standards and lived at the turn and the early decades of the 20th century. The critical analysis is based on the specific terminology of Art History. Historical and social factors are also highlighted, as well as the iconographic types that marked the aesthetic orientations of visual hagiographers. The iconography and technique of the works are characterized at times by elements surviving from the Byzantine tradition or of Western art influences. The aim of this study is to examine representative works of religious art from the thematic cycle of the Holy Passion which illustrate the evolutionary course of local religious painting. The iconography of the Crucifixion and the Holy Passion, as depicted in icons and frescoes of historical churches in the city and the prefecture of Chania, provides an interesting journey in local iconography. The Crucifixion of Jesus as part of the process of salvation and victory over death is of central importance in Orthodoxy.
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