On Service and Self-Realization: How a Vitebsk Woman Teaches Icon Painting to Children and Adults
Painting pictures and creating icons are completely different things, despite the fact that both are related to fine art. The difference between them is known by the professional artist and icon painter Elena Voroshilova from Vitebsk. She was the first in Belarus to organize an online icon painting school for adults and runs a similar club for children in the regional center. The mentor shared how icons should be painted, which paints on holy faces only get stronger over the years, and also what the difference is in teaching adults and children.
Elena Voroshilova dreamed of becoming a professional artist since childhood. She attended art school, and after the ninth grade, she entered the Vitebsk State College of Culture and Arts. Her father saw his daughter as an icon painter, and the rector of the church in the agro-town of Kirovskaya in the Vitebsk region, where Elena lived and studied, Father Valery Shchuka, also gave his blessing to this God-pleasing endeavor. For the girl, such a step was serious and responsible; she initially thought she wouldn't get into the icon painting department at the Vitebsk Women's Theological School, but everything turned out for the best. In her third year, the Vitebsk resident passed the entrance exams to the theological school for evening studies, and then simultaneously mastered both secular and spiritual professions, receiving a red diploma in her main specialty.
After that, Elena Voroshilova became a correspondence student at the art department of the Vitebsk State University named after P.M. Masherov. For her diploma work, she decided to paint an icon, despite the fact that high grades were usually not given for this. The girl depicted her patron saint and prepared the icon so that it could be immediately handed over to the church (which she later did, gifting her work to Father Valery for the church in Kirovskaya). The examining teachers were so impressed that the talented student received the highest grade.
After that, Elena Voroshilova became a correspondence student at the art department of the Vitebsk State University named after P.M. Masherov. For her diploma work, she decided to paint an icon, despite the fact that high grades were usually not given for this. The girl depicted her patron saint and prepared the icon so that it could be immediately handed over to the church (which she later did, gifting her work to Father Valery for the church in Kirovskaya). The examining teachers were so impressed that the talented student received the highest grade.
For five years, Elena Voroshilova studied at the seminary, instead of the usual three-year course. The Vitebsk resident believes that for her, this was a kind of test of humility. The icon painting teacher then recommended her as a mentor in her place, and her graduate passed on her knowledge to students of the icon painting department for several years.
When the idea to create her own icon painting school arose, the Vitebsk resident had some doubts. They were caused by negative feedback from acquaintances that it would not be a God-pleasing endeavor. Then she turned to the Vitebsk diocese and asked if she was really planning an unholy occupation. To this, the clergy, who knew her from her studies and work at the seminary, replied that who else but her should create such a school and help people get acquainted with icon painting, as she was not an accidental person in this field.
When the idea to create her own icon painting school arose, the Vitebsk resident had some doubts. They were caused by negative feedback from acquaintances that it would not be a God-pleasing endeavor. Then she turned to the Vitebsk diocese and asked if she was really planning an unholy occupation. To this, the clergy, who knew her from her studies and work at the seminary, replied that who else but her should create such a school and help people get acquainted with icon painting, as she was not an accidental person in this field.
"Even when I was studying at the College of Culture and Arts, I wondered how an ordinary artist could get involved in icon painting. Usually, an artist tries to express themselves in paintings, find their style, and show their inner world. But what about an icon? There are strict canons, everything must be subordinated to certain rules. After my studies, I realized that icon painting is more about service – to God, to a holy cause – than about self-expression. These are two completely different areas of art, and it's impossible to even compare them; each has its own role," shared Elena Voroshilova.
Her online school has about 10 adult students from different parts of Belarus. Among them are two wives of clergy, but mostly they are admirers of fine art – some with extensive experience, some with little, professionals and amateurs alike. "Adults come to this consciously. Usually, they are church-going people for whom icons are not just home decorations, but sacred objects that become a kind of guardian. In my family, for example, there is such a relic that I inherited from my grandmother. As I was told, the icon was created at the end of the 19th century. My grandmother took it with her to Germany during the Great Patriotic War when the Germans were taking everyone to concentration camps and forced labor. With the icon of the Mother of God, called 'O, All-Praised Mother,' they all returned home alive and unharmed. For my aunt's family, I made a copy of our family relic so that each of us would have a piece of God's blessing," shared Elena.
Her online school has about 10 adult students from different parts of Belarus. Among them are two wives of clergy, but mostly they are admirers of fine art – some with extensive experience, some with little, professionals and amateurs alike. "Adults come to this consciously. Usually, they are church-going people for whom icons are not just home decorations, but sacred objects that become a kind of guardian. In my family, for example, there is such a relic that I inherited from my grandmother. As I was told, the icon was created at the end of the 19th century. My grandmother took it with her to Germany during the Great Patriotic War when the Germans were taking everyone to concentration camps and forced labor. With the icon of the Mother of God, called 'O, All-Praised Mother,' they all returned home alive and unharmed. For my aunt's family, I made a copy of our family relic so that each of us would have a piece of God's blessing," shared Elena.
She said that her adult students create icons for both their relatives and churches. Not long ago, the mentor organized an exhibition of her works at the V.I. Lenin Regional Library so that as many people as possible could learn about this art form, which came from the spiritual sphere.
Elena began teaching icon painting to children by chance. She was offered to open such a club at the Regional Palace of Children and Youth, but at that time, the required number of participants was not gathered – only half of the required group. And when the parents of Elena Voroshilova's future students found out about this, they suggested the idea of opening a private school. By that time, Elena Voroshilova already had experience working with adults, so she decided to try becoming a teacher for children as well.
Elena began teaching icon painting to children by chance. She was offered to open such a club at the Regional Palace of Children and Youth, but at that time, the required number of participants was not gathered – only half of the required group. And when the parents of Elena Voroshilova's future students found out about this, they suggested the idea of opening a private school. By that time, Elena Voroshilova already had experience working with adults, so she decided to try becoming a teacher for children as well.
Boys and girls aged 5 to 12 attend her classes once a week. Currently, she has five students. She explains and demonstrates how to make paints, prepare the base for an icon (it must be a solid surface - wood, metal, or stone), paint the faces of saints, shadows, apply gold, and shares other intricacies. At the initial stage, the children learn to draw mountains and swirls on water – these details replicate elements of the saints' hairstyles and clothing.
"We only use natural paints that we make ourselves. We take pigments of various colors, grind them by hand into a microscopic powder to achieve a uniform consistency, and add egg yolk. Egg yolk has been considered the best binder since ancient times, including in construction, when eggs were added to mortar to strengthen masonry. Over time, the egg yolk makes the paint on icons even more durable, preventing cracking," Elena noted.
The teacher also explains how paintings were created on wooden boards in ancient times, which ones lasted longer and why. It turns out that the boards also needed thorough preparation: applying a glue base, attaching canvas, covering with several layers of gesso – a special primer made of chalk, linseed oil, and gelatin – and only then proceeding to apply the image. Children and adults first practice on cardboard to hone their skills, and then create the final piece on wood. "At different stages of history, icons were painted on boards not prepared in this way, and subsequently, the paint cracked, and in some places, even peeled off completely," Elena explained.
"We only use natural paints that we make ourselves. We take pigments of various colors, grind them by hand into a microscopic powder to achieve a uniform consistency, and add egg yolk. Egg yolk has been considered the best binder since ancient times, including in construction, when eggs were added to mortar to strengthen masonry. Over time, the egg yolk makes the paint on icons even more durable, preventing cracking," Elena noted.
The teacher also explains how paintings were created on wooden boards in ancient times, which ones lasted longer and why. It turns out that the boards also needed thorough preparation: applying a glue base, attaching canvas, covering with several layers of gesso – a special primer made of chalk, linseed oil, and gelatin – and only then proceeding to apply the image. Children and adults first practice on cardboard to hone their skills, and then create the final piece on wood. "At different stages of history, icons were painted on boards not prepared in this way, and subsequently, the paint cracked, and in some places, even peeled off completely," Elena explained.
With both adult and young students, the educator always recites prayers before starting work, so that the saints they depict give their blessing and help to complete the work according to all the rules.
At the final stage of icon creation, the mentor meets with her students in person – she receives them in her small studio or travels to other cities. Usually, she helps to apply gold leaf to the image. For such a craft, it is sold in the form of thin sheets resembling foil, only with a "backing" of waxed paper. The gold is used to cover the halos above the saints' heads, details of clothing, letters, as well as icon frames. "This is a painstaking process, and sometimes my students are afraid to do the 'gilding' on their own. I meet with my mentees and show them how to do it carefully and without loss," the educator explained.
Elena Voroshilova said that as a teacher, she is happy when her students succeed and their achievements encourage them to create more, better, improve, and strive for a craft that is not within everyone's reach.
At the final stage of icon creation, the mentor meets with her students in person – she receives them in her small studio or travels to other cities. Usually, she helps to apply gold leaf to the image. For such a craft, it is sold in the form of thin sheets resembling foil, only with a "backing" of waxed paper. The gold is used to cover the halos above the saints' heads, details of clothing, letters, as well as icon frames. "This is a painstaking process, and sometimes my students are afraid to do the 'gilding' on their own. I meet with my mentees and show them how to do it carefully and without loss," the educator explained.
Elena Voroshilova said that as a teacher, she is happy when her students succeed and their achievements encourage them to create more, better, improve, and strive for a craft that is not within everyone's reach.