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THE PAINTED MASONIC VISIONS OF ARI
ROUSSIMOFF By
Vivian Forlander Three
Roussimoff paintings, King
Solomon’s Vision and
Masonic
Apron: The Legacy of Hiram Abiff,
(both paintings are currently
displayed in the Robert R. Livingston Library and Museum in In King’s Solomon’s Vision Roussimoff creates a contemporary interpretation of Masonic history in accordance with the belief that the Craft dates back to Biblical times. Using contrasting light and dark, Roussimoff shows Master Hiram Abiff helping King Solomon fulfill his great vision. In this painting the planning for the Holy Temple of Jerusalem is interpreted as an ongoing search to build civilization and to better oneself through the attainment of light, understanding, love and knowledge. In the upper right is the Lodge, integral to Masonic life. Within the composition are Masonic symbols, the two columns, the brotherly grip, the beehive, the altar with the candles, the Holy Bible, and the square and compass. The three great lights of Freemasonry show the way to all who seek it, flickering through eternity. Above the city is the All-Seeing-Eye of the Great Architect. Roussimoff conceived this work as a message of hope for the future. In
Masonic Apron:The Legacy
of Hiram Abiff a
bustling metropolis, populated by industry and activity, serves as the
background for a monumental Masonic Apron (based upon historic
examples). The
Apron stands apart from and at the same time melds into the overall scene.
Master Hiram prophetically points to a multitude of
Masons, Master
Masons, Apprentices, as well as the Worshipful and Past Masters of various
Lodges, busily attending to their tasks, erecting pillars and laying foundation
for a
In
Masonic Apron:The Legacy of Hiram
Abiff the
All-Seeing-Eye is quite life-like in appearance. Because of the Deity's
centrality to Masonic belief, Roussimoff chose to paint the All-Seeing-Eye as a
realistic living entity, rather than a two-dimensional illustration. The Apron
features a Square and Compass alongside the glowing Sun, the pillars Jachin and
Boaz, the Checkered Floor, the
Beehive, and the Workman's
Trowel. Mortality is
represented by the Skull and
Crossbones. The overall composition is organized
into different planes, where cubistic triangles and squares have been discreetly
interwoven.
In
the very colorful Freemasonry: A
Musical Allegory, a fiddling
medieval court jester, symbolizing the arts, guides the viewer through a
landscape of Masonic philosophies. Noah's
Currently,
Roussimoff is completing a Masonic themed triptych. The three paintings,
designed to be displayed together, similar in concept, but smaller in size than
a medieval altar piece, tell one continuous story. Each canvas represents a
separate aspect of civilization, according to Roussimoff’s own interpretation
of Masonic lessons and history. The left panel deals with the past; the center
panel represents the present, and the right panel anticipates the future. Hiram
and King Solomon are fundamental presences in each piece.
Known
mostly for his colorful depictions of Russian and Ukrainian folk life,
references to Freemasonry are sometimes incorporated into the artist’s non-masonic
works. Roussimoff recently completed a series of oil paintings, entitled A Russian Views America,
devoted to American cities which impress him, and he included
Masonic elements in almost every artwork. Hollywood Eternal
is an homage to the legendary film stars of yesteryear. In the foreground stands
Harold Lloyd, dressed in his Shriner Potentate Uniform. Among the many actors
depicted are several Masons: Oliver Hardy, Harpo Marx, John Wayne and Clark
Gable. Prominent in the background is
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