Faces before future students, hands – guardians of the craft, people – inspirers. A column that introduces you to the future teachers of the crafts school, part of Sharena Fabrika.
She is an iconographer, restorer, and furniture recycling specialist. She graduated in icon painting and woodcarving from Veliko Tarnovo University. She speaks about iconography with dedication, inspiration, and respect. She knows the nuances of this art and talks about its intricacies with the energy of someone who loves what they do. She is ready to keep learning, but also prepared to pass on what she has learned so far.
Natalia Bilcheva will be teaching iconography courses at the future craft school "Sharena Fabrika." As part of the series of interviews we are preparing to introduce you to the people behind the "Sharena Zadruga" initiative, we now introduce you to her.
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How did you get into iconography?
In my family, there is a strong connection to Orthodoxy. We observe Bulgarian traditions and church holidays. I didn't choose my field of study just to study something; my choice was conscious and deliberate! Of course, I also had a foundation with the education I received at the High School of Applied Arts in my hometown of Tryavna, where I graduated with a specialization in furniture design. So, for me, this field was not foreign. My interest was sparked by how, with the help of all artistic techniques, church art is unique in its essence. Painting and artistic woodwork, stonework, literature, science (dogmatics, history, archaeology), and music all become part of and even create the visual and material representation of this beautiful and true part of our lives - faith in God! A string of feelings, emotions, materials, spirituality, and that higher sensation that you are part of something big!
How is this art developing in our country today?
Church arts are evolving just like any art and science! It is a combination of many components. The development of one component gives direction to the others.
Modern life provides opportunities for those involved in church arts to exchange experiences, travel, study iconographic examples in person, and communicate with colleagues, finding their place in the profession. Yes, today it is a profession. The introduction of these specialties in secular educational institutions allows more people to recognize themselves in this art and pursue it as a profession.
What don't we know about icons and their creation?
As cliché as it sounds, I believe that one learns throughout their entire life. Art is a constant search. When you are involved in art—or in this case, a combination of several arts—this is 100 percent true! Exact formulas exist only in mathematics and physics, although they are also part of the art. In our work as iconographers, we do a lot of experimenting. Each artist, based on their initial technical training, creates their own best recipes and ratios for bases, paints, and so on. As for the theoretical part, there is a lot of in-depth reading and studying required to bring us closer to the reality we need to recreate. For example, depicting an event from the first century AD in the 21st century. Given the skepticism of contemporary people, it is a challenge to present real events accurately without distorting them and without misleading those who will "read" our images.
What has iconography given you?
Iconography has given me—and continues to give me—a different perspective on life and how to navigate through it! It has provided me with diverse and rich knowledge, uniting various sciences. It has offered me a reversed perspective on life, built in me a faith that makes me feel good, and gives me direction to seek meaning and hope that we can be better!
Where did you study iconography and woodcarving?
I received my higher education at Veliko Tarnovo University “St. Cyril and Methodius,” with a Master’s degree and a Bachelor’s degree in Church Panel Arts—iconography and woodcarving.
Veliko Tarnovo University is the first “home” of this complex and unique specialization in higher education in Bulgaria. It is no coincidence that this field has developed in a city that has preserved the spirit and history of the Bulgarians! It is not an exaggeration to say that I have gained knowledge from the doyens in these specialties—people who have established the methodology, criteria, and standards in contemporary Bulgarian church art.
In addition to the practical specializations such as iconography, woodcarving, fresco painting, easel painting, decoration, art history, and others, our education also included theological disciplines such as Introduction to Theology, Study and Interpretation of the Old and New Testaments, Dogmatic Theology, Hagiology, and more. I was fortunate to have professors such as Prof. Nikolay Ruschukliev – Painting, Fr. Prof. Nikolay Shivarov – Biblical History and Biblical Archaeology, Prof. Simeon Zahariev – Woodcarving and Sculpture, Prof. Dr. Miglena Praskova – Iconography, a descendant of the founder of the specialization Prof. Lyuben Praskov, Prof. Ivan Kanchev – Fresco Painting and Mosaic, and others.
What knowledge and skills are needed for a furniture restoration expert?
For a furniture restorer, the most important thing is to understand how to recreate the same piece of furniture from scratch. This includes knowledge of material selection, processing, cutting, and joinery. One must be familiar with the development of individual components, the sequence of processes, and various finishing options. With this knowledge, a furniture maker has all the necessary skills to restore a piece of furniture. This covers the technical aspect.
What are the specific features in the restoration process?
There is another very important and valuable element for someone engaged in restoration: having a sense of commitment, pursuing research, tracking historical processes in furniture development, dedicating enough time to personal experimentation, and possessing a good dose of imagination. Imagination is crucial! Often, old and less well-preserved furniture may be missing decorative elements. Using the technological knowledge from above, the furniture maker/restorer must also apply their sculptural and artistic skills. They should be familiar with the spirit and era of the piece being restored. It is challenging when the client does not give you freedom and has specific expectations regarding form, functionality, and color palette. On the other hand, having the freedom to do what you deem necessary, according to your perception of form and detail, is equally challenging.
What emotions do you experience in your work?
Satisfaction! When you hold something you have created and invested a part of yourself into, it is a personal fulfillment.
Motivation! The drive to keep going despite the challenges and problems, which are not few.
Sharing! Knowing that you are part of someone’s celebration or happiness, that you are entering someone's home, whether you are painting an icon, repairing, restoring, or recycling furniture.
Responsibility! Ensuring that people speak well of you and knowing that what you have crafted with your own hands will endure over time.
Growth! Having the opportunity to build on your knowledge and work towards professional development.
What emotions did you experience upon receiving the offer to join the Sharena Fabrika project?
When I learned about the "Sharena Zadruga" initiative, I felt a surge of hope and inspiration within me. The moment felt like a summary after more than 10 years of efforts to develop, sometimes more successfully, sometimes less so. It made me reflect on how one can live as a craftsman and artist in Bulgaria and whether it is worth it.
Hope that beautiful things are still to come for art and crafts in Bulgaria.
Inspiration not just for personal growth and development, but as an opportunity to be useful. Of course, without the feeling of being great or irreplaceable, but with the chance to share what I have learned through my own perspective and world. To have the opportunity to pass on my knowledge to people with similar quests and beliefs, or those who are diametrically different but ready to learn something new about art and a small part of the world. And this is the next step in development.