The religious icon "the Rebirth of Lazarus", which was restored six months ago, will be donated to UNESCO following a decision taken by the Council of Ministers and also approved by Prime Minister Edi Rama.
The icon was created in the nineteenth century and belongs to the evangelical church. Appreciated by experts as a work of high artistic value, the icon ended in degradation over the years due to neglect. But since the restoration process began in March, the rich colors of the work are again evident.
The icon is linked to the Easter tradition, while the figure of Lazarus symbolizes the thin line between mortal life and the afterlife. Lazarus is considered the protector of forests in folk tales. There are a lot of songs and dances to the figure of Lazarus, which represent good wishes for good health and prosperity.
The decision of the Council of Ministers published in the official journal also lists the rest of the procedure for finalizing the donation of this cultural heritage.
The icon "Revival of Lazarus" represents the iconic art in Albania, which has had a new development between the 18 and 19 centuries.
The XVIII century in Albania is characterized by a crucial socio-economic development, by the increase in trade between cities, by the construction of many religious institutions and by their embellishment with pieces of art of various kinds.
The icons and murals of this period are about a thousand. They have adorned numerous monuments throughout the country: some illustrious painters of this era are David Selenica, Konstandin Shpataraku, Konstandin and Athanas Zografi, Gjergj and Joan Cetiri, etc.
The icons of 18th-century Albania belong to the Korçe school, which in addition to the local tradition also presents the characteristics of western methods. In the Zografi brothers, for example, you can see traces of the Baroque style.
Comparing with the icons of previous centuries, those belonging to the 18th century adopt a more complicated technique, which also includes some Byzantine coatings of graphics and symmetry. The drawings of the figures focus on realism and the portraits are modeled using plastic. The scenario also appears modeled and the ethnographic elements multiply.
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