![]() ![]() Besides the frequent appearance of images and symbol in Beckett’s plays and novels, images and symbols that due to their polysemic nature can easily be ascribed to philosophical, religious and psychoanalytical systems belonging to the western tradition as well, in my opinion it is important to realize that very often Beckett’s thought covers individual paths that are its own, though to some extent similar to those belonging to the Buddhist Zen tradition. For instance, in the scarcely known essay Henry Heyden, homme paintre, the author underlines Siddharta Gautama’s declaration of the simultaneous existence and non-existence of the “I”. Applying Buddhism as a critical approach to Beckett’s works doesn’t mean neither assuming a Beckettian in-depth knowledge of the Buddhist issue, nor stating his precise intention to diffuse Buddhist doctrine in his own works, though there are several instances of Beckett’s explicit statement of the importance of Buddhist principles. Steven Rosen, in Samuel Beckett and the Pessimistic Tradition (1976), moves further, by analyzing Beckett’s works and stating that they reproduce a great variety of Buddhist conceptual elements. Richard Coes, in his Beckett (1964) infers it with authority, offering several relevant examples of a possible comparative reading. You can see his work in churches and private collections all over the United States from Florida to Alaska, Canada, Central and South America, France, Australia, Japan, Russia, Greece, and many other countries.""The first attempts to apply Buddhist and Zen systems of thought as critical methodologies in the examination of Beckett’s canon can be traced back to the first half of the Sixties. He is an active member of the International Union of Artists, and has collaborated with some of the most noted Russian iconographers, including Alexander Lavdansky, Alexy Vronsky, Anton Yarzhombeck, Constantine Bokarev and others. Since 1981 Dmitry Shkolnik has written over 3,000 icons, completed more than 20 iconostasis, and painted numerous church frescoes, murals and wall ornamentations. In 1988 Dmitry Shkolnik completed the Seminary with a Bachelors in Theology. In his time there, he apprenticed under the well-known iconographer Archimandrite Ciprian (Pyzhov) for many years. He enrolled in the Theological Seminary at The Holy Trinity Monastery in Jordanville, NY in 1983. In 1981 he immigrated to the United States with his family. In 1979-80, he began to work for the Russian Patriarchal Workshops (now known as SOFRINO). Concurrently, he cultivated a knowledge of Russian craft art in the form of lacquer miniatures and Icon restoration. Upon graduation, he pursued a higher education in the field of architecture. ![]() While studying in high school, he developed a keen interest in Russian religious art. ![]() Currently, Anastasiya draws and paints fervently in her studio in Dallas with support of her husband and children.ġ:00-1:30 Presentation: "Stories of an Iconographer"ĭmitry Shkolnik was born in Moscow, Russia in 1960. Her work is also found in private collections across United States and around the world. Anastasiya’s work is available at 33 Contemporary gallery in Chicago. Anastasiya’s work has been published in Beautiful Bizarre, and many Goss183 issues. Additionally she has been awarded recognition by the European Museum of Modern Art, National Portrait Society, Connecticut Society of Portrait Artists, Wausau Museum of Contemporary Art, Poets Artists, and many others. She is recognized as an Associate Living Master by the Art Renewal Center. The blending of architectural rigor, purity of realism and strong personal narrative define Anastasiya’s work today. She received additional training with established realist painters both privately and in workshops. Anastasiya’s meandering path in visual arts education took her through the rigor of earning Bachelors and Masters degrees in architecture from The Cooper Union and the University of Texas at Arlington, respectively. She started drawing and painting in her early childhood and received a figure-based atelier training. Anastasiya was born in Eastern Europe and immigrated with her parents to the US when she was fourteen. ![]()
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