Translation of the orthodox tradition of ecclesiastical art to Asian countries (from the experience of the Urals iconographers)

One of the most vivid pages in the work of iconographers from the Urals is considered to be the creation of monumental paintings and icons for Orthodox churches in Asia (Thailand, Uzbekistan). There is a fully justified level of interest in the work of Yekaterinburg’s leading iconographers, due to their high level of artistic skill, stylistic diversity, as well as the geography of their works (Rome, Malta, Mount Athos, inter alia). The development of ecclesiastical art abroad reflects important events of spiritual and cultural aspects of life, and hence the need for it to be explored further. The purpose of the article is to establish the specific artistic features of the ecclesiastical works created by Yekaterinburg iconographers Nikolai Shushalykov and the iconographers at the atelier of Tatiana Vodicheva in the countries of the Asian region. The artistic and stylistic method of the study has succeeded in determining stylistic diversity, and the use of diverse artistic solutions depending on the features of architecture, historical context, and local cultural traditions, among others. In general, the level of works created by Ural iconographers for the churches of Tashkent and Bangkok is the result of creative activity and high professional skill. Thus, the expansion of the geography of the transmission of ecclesiastical fine art to Asian countries bears witness to the importance of the modern stage of icon painting and the involvement of this process in the global context of the development of Orthodox culture.