The problem of canon in US modern orthodox art on the example of Kordis’s workshop

The article is devoted to the specific features of interpretation of canon in the frescoes painting of Orthodox churches on the territory of the United States and the other foreign countries. The problem of canon in the Orthodox art of the 21th century is investigated on example of meanings offered by different specialists and the work of icon-painting art studio led by Georgios Kordis there are regarded the approaches to canon that are practiced by the contemporary icon-painters. Also there are characterized the reasons why the basic means of organization of fresco ensemble that were worked out in the Byzantium church art are frequently used at the beginning of the 21th century. There is emphasized that choice of origin that is used as handmark by G. Kordis and his work team is based on elegance and completeness of plastic language of the Byzantium monumental art. From the other side there is revealed the clearly defined individuality of master who is the leader of team of icon-painters and determines the choice of stylistic source and in one or another fresco. As well as that, it is paid attention to the problem of authorship in the Orthodox Church art. There are priest’s point of view about this issue.