Iconography of Mary

The Iconography of Mary

Icon of the Virgin and Child with Saints Theodore and George, St. Catherine’s Monastery, Mt. Sinai, 6th century

That there are many different types and genres of Mary icons that attest to the need of all Christians to be able to relate to different aspects of her humanity and divinity at different times in their lives.     Some images of Mary depict her in a time of peace, apparently apart from the drudgery and strife of our every day world, but others, like the Virgin of Tenderness and Loving Kindness, evoke the loving and kind aspects of God in ordinary life.

As the Christian Church began to split into factions with emphasis on slightly different aspects of the faith, so too, the iconography of Mary, the Mother of Jesus, has different interpretations within the denominations.  To establish a common ground, I first put forth a history of Mary, both Biblical and inclusive of denominational differences when appropriate.

Mary in the Bible

Saint Luke painting the Virgin and Child with an Angel, Russian Icon

The earliest New Testament account of Mary is in the Epistle to the Galatians, which was written before the Gospels. She is referred to as “a woman” and is not named: “But when the fullness of time had come, God sent his Son, born of a woman, born under the law” (Galatians 4:4).[47]

But Mary is specifically mentioned several times in the canonical Gospels and the Acts of the Apostles:

  • The Gospel of Luke mentions Mary the most often, identifying her by name twelve times, all of these in the infancy narrative (Luke 1:27–2:34).[48]
  • The Gospel of Matthew mentions her by name five times, four of these (1:16, 18, 20: 2:12)[49] in the infancy narrative and only once (Matthew 13:55)[50] outside the infancy narrative.
  • The Gospel of Mark names her once (Mark 6:3) and mentions Jesus’ mother without naming her in Mark 3:31–32.
  • The Gospel of John refers to the mother of Jesus twice, but never mentions her name. She is first seen at the wedding of Cana (John 2:1–12. The second reference has her standing near the cross of Jesus together with Mary Magdalene, and Mary of Clopas (or Cleophas), and her own sister (possibly the same as Mary of Clopas; the wording is semantically ambiguous), along with the disciple whom Jesus loved.” (John 19:25–26). John 2:1–12  is the only text in the canonical gospels in which the adult Jesus has a conversation with Mary. He does not address her as “Mother” but as “Woman”. In the Acts of the Apostles, Mary and the brothers of Jesus are mentioned in the company of the eleven apostles who are gathered in the upper room after the Ascension of Jesus (Acts 1:14).
Crucifixion Icon, From ancient Russian Icon, Christine Hales. 2020

However, most of the details we know about the early life of Mary, and the birth of Jesus taking place in a cave come from the Proevangelism of James, a non-canonical treatise of the second century.

How did canonical imagery for the Mother of God develop?

Vladimir Mother of God Icon , 12th century, currently in Tretyakov Gallery, Moscow

In the early formation of Mary’s iconography, there were three main aspects of her mystery, that is, her pure virginity, her fertile motherhood, and her divine sanctity that contribute to attributes and characteristics visible in depictions in her icons.

As early as the fifth century churches were being dedicated to Mary in Constantinople and the term “Theotokos”,  God Bearer, Mother of God, was introduced at the Council of Ephesus in 431. After the sixth century, more and more icons of various aspects of the Blessed Mother were seen, and attributes of military power were seen as people brought icons of Mary to the battlefield for protection against invaders.  Prayers relating to Mary are found as early as the Gospel of Luke.

Hodegitria Icon, 16th century, Russia

Although there are exceptions, most of the Russian Orthodox icons of Mary can be found within four categories:   Hodegitria, “the Guide, or she who shows the way”; the Eleusa, “Virgin of Tenderness, or loving kindness”; the Oranta, Our Lady of the Sign; and the Akathist “Hymn”. 

Within these categories there exists many iterations named primarily after the town or village that housed them, such as in the Tenderness category there is the Kazan icon, Smolensk icon, Georgian icon,Jerusalem icon, and many more.

Hodegitria Icons of Mary have been brought to battlefields and paraded around cities for protection for centuries. They have been used to invoke military victory but she is never seen with a staff or any other sign of authority.  Her icon of the Hodegetria, Mother of God, was deemed the most powerful weapon against enemies in ancient Russia.

In the Eleusa category of loving kindness, popularized in the twelfth century, The Vladimir Mother of God icon was brought from Constantinople to Vladimir by Prince Andrey Bogolubsky and was believed to protect the city from marauding Mongols.

Our Lady of the Sign Icon by Christine Hales 2000

The Orans Virgin, or sometimes called “Platytera, More Spacious Than the Heavens”, depicts Mary with her arms outstretched in the prayer position, with a young Christ in the center of her figure, and this one is based on the prophesy in Isaiah 7:14.,” Therefore the Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”

The Akathist (meaning hymn) virgin, is frequently seen depicting Mary as an individual alone, without the Christ child. And without Joseph, her husband.

Our Lady of Korsun created by Christine Hales

Most Greek churches dedicated to the Virgin Mary are called Panagia; the Most Holy; the standard western Christian designation of “St. Mary” is rarely used in the Orthodox East, as Mary is considered the holiest of all created beings and therefore of higher status than the saints.

In paintings, Mary is traditionally portrayed in blue, while in the Eastern Orthodox Marian iconography, her robe is a deep red. There are many more genres of Mary paintings in the Catholic church, variations that address particular prayer needs of the people. Examples of this are Our Lady, Untier of Knots, Our Lady of Perpetual Help, Our Lady of Gudalupe, Our lady of Sorrows, and many more.

Our Lady of Perpetual Help, Christine Hales

The Christian need to believe, venerate, and pray with images of Mary is a powerful one.  In a primarily patristic society, being able to relate spiritually to the most Godly of women is both a solace and source of strength.  Surely the Blessed Mother demonstrated profound strength at the Crucifixion, obedience and humility at the Annunciation, and devotion to Jesus throughout His life and death, and we can draw near to her through her icons and be comforted and strengthened by her virtues and piety.

I will close with one of the oldest known prayers venerating Mary:

            Beneath Thy Protection 

We fly to thy protection,

O Holy Mother of God;

Do not despise our petitions in our necessities,

but deliver us always from all dangers,

O Glorious and Blessed Virgin.

Christine Simoneau Hales

Our Lady of Guadalupe, detail, by Christine Hales

https://newchristianicons.com

Prints: https://christinehalesicons.com

Sources:

“The Dawn of Christian Art in Panel Paintings and Icons”, Thomas Mathews and Norman Muller.

Wikipedia

Wiki Common

Interesting Links For Iconographers:

From Dorothy Alexander, Iconographer in CA :

Iconography as Alternative Social-Religious Vision: Fr Zinon (Teodor)

This is a link to summer internships for those studying a BA, MA, or Phd:

Internships

Favored Concepts of Byzantine Iconographic Language

Dear Fellow Iconographers:

I’ve been reading and looking at icons quite a bit recently in an effort to understand what elements of the iconographic language I feel are important to incorporate into a more contemporary approach to writing icons.  Others will have different opinions about this, I’m sure!  But I have always learned best when I share my thoughts with others, either writing or speaking, so feel free to respond with your ideas or opinions on this as well, and thanks for your patience as I attempt to reason this out!!

The Protection of the Holy Virgin, Novgorod School, late 15th century

Depiction of buildings and space within the icon using inverse perspective.  This tends to flatten out the drawing and creates visually the understanding that this is not worldly reality but a spiritual reality we are depicting.  

I love the abstract way that folds on garments are rendered.  They both simplify and abstract the visual reality of the figure, again, pointing to the symbolic nature of the scene being depicted.

The way rhythm and movement are cleverly incorporated into the design by the repetition of curves in roofs, heads, building tops etc.

The Presentation of the Virgin, Novgorod School, fifteenth century

St. Simeon the Stylite shows the creative foreshortening of his column and renders it as a tower with stairs and a door with a balustrade at the top for him to rest upon.  He gives the blessing with his right hand and holds a scroll in the left- again, iconographic language that communicates his blessing and dedication to Holy Scripture.  It is said of him that he exercised an extraordinary spiritual authority and fought against spiritual heresies.1

  1. The Meaning of Icons, Leonid Ouspensky

St. Simeon Stylites, Russian, 16th Century

Another aspect of the iconographic language that I greatly admire is the consistent ways of highlighting faces,  They are somewhat realistic , but yet abstracted when eyes are exaggerate, simplified, and accentuated.  There is a consistency also in the way facial features are drawn.  You can see this in some of the early icon painting manuals- the one I use often is the Egon Sendler book Icons, Images of the Invisible.  Sadly, it is out of print, so is fairly expensive on the second hand book market, but I do recommend it highly if you can get one.  Hair is also stylized so as not to draw attention away from the spiritual reality being depicted.  

Of course, all this is ingenious, and why would we ever want to try to improve on it?  My take on that is that I want to make icons – or religious art- that will attract my community in this time.  Last month I published a photo of one of Stephen Antonakas’ neon art pieces of the Transfiguration.( https://americanassociationoficonographers.com/  )that I think brilliantly captures the essence of the Icon, but its very abstractness renders the actual Transfiguration story unreadable and unknowable if you are not familiar with the Scripture or the story.  However, if you do know the story, his work captures the essence in a new and different way that allows a deeper appreciation and allows us to think differently about that moment. Mark 9:2-13, Matthew 17:1-17, and Luke 9:28-36.

What is the main message of the Transfiguration?

Transfiguration Icon, Russian, Novgorod School, 15th Century

Though the disciples do not understand his meaning, the Transfiguration and Jesus’ charge to the disciples present a promise of what is to come. There is hope, because he will soon triumph over sin and death, and be raised in the fullness of glory – the glory of which they have just been given a glimpse.

So, again, compare and contrast- here is a Russian icon from the Novgorod school, fifteenth century.  Definitely light is emphasized in both the Antonakas neon sculpture as well as the icon, but it is missing the two prophets, Moses and Elijah- Moses representing the dead and Elijah, because he was taken up to heaven, represents the living, calling attention to the message of hope of the Second Coming.  Both had a secret vision from God.  “Christ appears as the Lord of the quick and the dead, coming in glory of the future age.  The Transfiguration was an anticipation of His glorious second coming, says St. Basil, the moment which opened a perspective of eternity and time.”  Meaning of Icons, Leonid Ouspensky P. 212

This beautiful icon of St. Sergius of Radoneh again emphasizes simplicity both in design and color palette.

Saint Sergius of Radoneh, Russian, 20th Century

Byzantine Iconography as a Sacred Art

According to Constantine Cavarnos in his book, ” Guide to Byzantine Iconography”, Byzantine iconography is a sacred art.  It is art that is spiritual in essence and aims.  It has seven functions: (1). to enhance the beauty of the church with a beauty that has the impress of holiness. ( 2). To instruct us in matters pertaining to the Orthodox Christian faith.  (3) To remind us of this teaching. (4) To lift us up to the prototypes, to the holy personages whom the icons depict.  (5) To arouse us to imitate the virtues of these personages. (6) To help transform us, to sanctify us.  (7) To serve as means of worshipping God and venerating His saints.”

So, in closing, I have mentioned some of the concepts that make an icon a sacred work of art.   I expect that each of you will have other favorite and important elements of the iconographic language to emphasize. I look forward to hearing from you on this topic and possibly incorporating your thoughts into future articles.

Until next month, May God bless the work of your hands, and guide your thoughts, waking and sleeping,

Christine Simoneau Hales

https://newchristianicons.com

The Transfiguration Icon by Christine Hales 21st Century

My next online Icon writing class is April 9-12, visit: newchristianicons.com for more details and to register.

Innovation and Change

Innovation and change- not two words one usually associates with Iconography! But in order to have authentic icons today, they need to be able to relate to our culture today as well as to be expressions of our relationship to God today.  In the words of a noted Romanian iconographer today, Todor Mitrovic, “…it is impossible to create authentic ecclesiastical art if we do not engage in a dialogue with contemporary art .   

Last Supper, Todor Mitrovic

Of course, what that dialogue looks like visually, when translated through the filter of Byzantine Iconography, will look different for each iconographer.  And this is right and correct, for each of us are products of different countries and cultures, but one faith.  Our faith is what provides unity in our efforts to serve God with the talents He has blessed us with.

Take Giotto, As an Early Innovator Example

Consider Giotto Bondonne, born approx..1267, taught by the Italian artist Cimabue, known today as the father of the Renaissance.  He always believed that art should be the handmaiden of the Church, but he also believed that art needs to be able to connect with the common man and his faith.  

The Virgin and Child with Saints and Allegorical Figures, Giotto, 1315. Egg Tempera and Gold leaf

Giotto is famous for the Peruzzi Altar Piece, the Bardi Chapel, and Scrovegni Chapel fescoes, among much other sacred art. While the subject matter of his work was Scriptural, it had a strong bias towards depicting everyday life.

Byzantine art was prevalent even in Italy from the sixth century onward since Emperor Justinian brought craftsmen from Constantinople to build churches and monasteries.  Some of these are still seen in San Vitale in Ravenna, San Marco in Venice and Monreale in Sicily. Giotto was influenced and  informed by this Byzantine art as part of his early training. 

During his lifetime, Giotto was heralded as an artist who revived the art of painting, which some felt had fallen into ruin over the course of the Middle Ages. He was famous for painting on a monumental scale, demonstrated by his majestic frescoes in the Scrovegni Chapel in Padua. 

Giotto…”brought back to light an art which had been buried for centuries…So faithful did he remain to Nature…that whatever he depicted had the appearance, not of a reproduction, but of the thing itself, so that one very often finds, with the works of Giotto, that people’s eyes are deceived and they mistake the picture for the real thing.”

Giovanni Boccaccio, a contemporary of Giotto

One of the main stylistic differences from Byzantine art that Giotto introduced was depicting the human form as it appears in nature.  The figures appeared more natural and showed human expressions appropriate to the depicted scene.

The Virgin and Child with Saints and Allegorical Figures, Giotto, 1315. Egg Tempera and Gold leaf, detail

I understand that as Iconographers, we are taught to avoid this kind of naturalism in favor of  stylized , expressionless figures on a flat surface.  So what is my point? Only that it is possible to introduce artistic innovations into church art in order for that art to reach the common man.

Neon Artist , Stephen Antonakos, Icons

Here are a couple of”icons” created in 1989 that incorporate gold leaf, wood, light, and theology. Compare these with Giotto and they seem to apply more to a Byzantine definition of icon than Giotto’s religious art and those of the Renaissance that followed. And yet, Antonakos’s icons are entirely abstract. Do they relate better to our modern culture and create a holy image that brings God to mind? 

“Transfiguration”. By Neon Artist, Stephen Antonakos 1989. Neon, Gold Leaf on Wood

Saint Peter Icon. by Neon Artist, Stephen Antonakos. Neon, gold leaf on wood, 1989

INNOVATION AS A WAY TO ENGAGE THE VIEWER

How do we innovate within a Byzantine Iconographic context today at a time when art making is so widely diverse and even technological?  I don’t have any answers, except to say that it is a worthy challenge for iconographers and religious painters today!

Saint Nicholas.  Todor Mitrovic

I’d like to close with another quote from one of my favorite contemporary Iconographers, Todor Mitrovic:

“In my opinion, church art, approached through its liturgical perspective, must be brought to life by people in actual time. This also means it must be brought to life in an actual cultural context – comparable with, but – at the same time – incomparable with, previously existing cultural contexts. 

We are invited to transform this actual cultural context however impossible it may seem.

It is not expected of us to express the faith of people who once lived on the land we inhabit today, but instead – our own faith.

No matter how primitive and rudimentary our expression is, it has to be done from the heart, through the mind and body, otherwise we are avoiding the responsibility of being part of the Body of Christ. Such expression is part of our attempt to make the Body of Christ present, which is, when speaking about art, making it visible in a material and cultural context. This is why all we can give, all our talent, must be included in the process – otherwise we are denying our skill, burying talents to the ground (to use the Gospel parable), and at the same time doing little more than telling pleasant stories about the Middle Ages.”

Joan of Arc, Christine Hales


May this article serve as both a challenge and an encouragement for each iconographer, urging us toward exploration, experimentation, and a celebration of diverse styles within contemporary iconography. Let the love of Christ infuse every stroke of our brushes and guide our collective journey as a group of artists profoundly devoted to Christ.

Christine Simoneau Hales

New Christian Icons     My Patreon Page

Sources for this article:

https://www.getty.edu/news/everyones-talking-about-giotto/

Interview with Serbian Iconographer Todor Mitrovic: On the Dialogue Between the Sacred and Secular Arts

Antonakos , by Irving Sandler

“

A Christmas Journey

A Christmas Journey: Lessons from the Nativity Icon

As we joyfully concluded my latest icon writing class, the crowning achievement was a breathtaking depiction of the Nativity. Beyond the demonstrations and questions, the process became a conduit for spiritual revelations about the Nativity Icon during our retreat. The shared exchange of thoughts and questions revealed the profound spiritual wisdom residing within each class member. I am so grateful for the divine synchronicity that brings such beautiful souls into my classes, contributing to a shared journey of growth and revelation in the span of just four days.

In the spirit of post-retreat reflection, my thoughts turned to the iconic journey of the three wise men. Weary yet resolute, they traversed long and perilous roads, guided only by a celestial star lighting their way to Jerusalem. Their journey, fraught with challenges, reached its culmination under the brilliant radiance of the star directly above, revealing the long-promised redemption in the form of a humble baby nestled in a manger. This divine encounter brought the wise men to their knees in worship and adoration before the embodiment of God’s power and glory.

The resonance between the wise men’s Christmas journey and our own spiritual quests is striking. As we usher in the festivities of 2024, I pray that we may emulate the wise men, offering our heartfelt praise and worship in response to the wonder of the incarnation.

Drawing inspiration from Sarah Young’s “Jesus Calling” (pg. 372), let our perseverance along God’s ordained path be sustained by His strength. Miracles, though not always visible to the naked eye, become apparent to those who live by faith. As we navigate our individual paths, let us watch and wait, expecting miracles and acknowledging that living by faith grants us the clarity to witness divine interventions.

The Nativity Icon by Christine Hales

In this festive season, my heartfelt Christmas prayer for you is to embrace the faith-driven approach of the three wise kings. May your Christmas be filled with the warmth of faith rather than mere sight, positioning you to experience the unfolding glory and power of God in your life. As 2024 unfolds like a gift waiting to be unwrapped, may you draw nearer to Him than ever before, embracing the Christmas spirit with anticipation and receptivity. May your Christmas be blessed with joy, peace, and the wonder of His love.

Christine Hales. Artist, Iconographer

My Website

My Next Online Icon Writing Retreat is April 9-12, 2024

Macedonian Renaissance

Understanding the development and history of icons is so important to creating icons today, don’t you think?  Icons met the spiritual needs of entire cultures and civilizations through the centuries. In order to reach the people of a specific time period, slightly different approaches and applications in sacred art making were required and evolved.

The Crucifixion Icon 11th Century

For this newsletter, I will focus on what is sometimes called the Macedonian Renaissance.  Sometimes called the second flowering of Byzantium due to its occurrence in the same culture but after the disruption of the period of iconoclasm.  It’s interesting to note the effects of conflicts politics and religion and then trade routes on the development of the art of the icon.

Historical Context for the Macedonian Renaissance

The First flowering of the Byzantine empire began in 330 A.D., when the first Christian ruler of the Roman empire, Constantine the Great, transferred the ancient imperial capital from Rome to the city of Byzantium. Located on the easternmost territory of the European continent, it was a major intersection of east-west trade. Constantine’s conversion to Christianity and legalization of the practice of the Christian faith changed the dynamics of religious art and cultural in a profound way.

Iconoclasm

However, beginning in 726 AD and ending in 843 AD began the period of iconoclastic dispute over the use of images in the Byzantine Culture.  This roughly one hundred year period of iconoclasm, 726-843 AD, is what separated the First flowering of the Byzantine empire from the second.  The Macedonian Renaissance began when the Empress Theodosia reinstituted the practice of icon veneration in 843 AD. Although her husband was in favor of iconoclasm, upon his death, Theodora once again legalized iconography and the use of images in worship.  Now it was not only legal to create icons for veneration, but greatly encouraged. 

It should be noted that during the period of iconoclasm there were several outspoken theologians, especially John of Damascus, whose defense of icons eloquently cleared up the confusion on nuances of veneration vs. worship of holy images.  However, one of the effects of this destructive period was the weakening of the wealth, prestige, and power of monasteries. A central feature of Byzantine culture was Orthodox Christianity. Byzantine society was very religious, and it held certain values in high esteem, including a respect for order and traditional hierarchies.

As you remember, In the Byzantine world, Iconoclasm refers to a theological debate involving both the Byzantine church and state over theological issues as well as economic ones. This controversy spanned roughly a century and resulted in the large scale destruction of icons and monasteries.

Empress Theodora

Icons and religious art resumed only after the successful defense and reinstitution accorded to icons by Empress Theodora in 843. The art of the Macedonian Renaissance carried forward the icon’s classical roots stemming from the Late Roman period, in terms of  decorative and artistic styles. This period produced a shift from the ban on the painting of religious figures to the painting of icons that would reflect the more classical and naturalistic influences of art on the culture. This new style of art may have inspired Italian artists such as Cimabue and Giotto at the dawn of the Italian Renaissance in the late fifteenth and early sixteenth century.

A Cultural Shift

The second half of the 9th century saw a lavish program of redecoration of churches, such as the creation of mosaics and icons in the Hagia Sophia in Istanbul. Two main developments helped drive the revival in culture and education in the empire: this was the greater involvement of the church in education, and the other was the concentration of cultural life in Constantinople due to the movement of people from an agricultural culture to city and mercantile life.

Ladder to Heaven Icon, 11th century, Mt. Sinai

Many of the icons on Mt. Sinai are from this period. This new style of painting icons is characterized by a lighter, more pastel color palette.  Iconographers also continued the painterly  quality already established  during the earlier Greco/Roman influenced icons of the early Christian era. However, by the end of the tenth century, the lines become more rigid, and harsh, with a stylized rendition of the folds of garments.  This rigidity carried over into the ethos of icon painting. Now no deviations from pervious icons was to be allowed or considered correct.

It was at this time that the concept of a “prototype” became established.  The divine grace of a new icon was thought to be transmitted by how closely it resembled the earliest icon of that person.  The idea being that “once the image of a saint had been established, that image would be endlessly repeated….“Although the artist was allowed some freedom of expression, detailed requirements for the depiction of the saints has been laid down by the Seventh Ecumenical Council of Nicea in 787.  The specifications were fixed from the descriptions in the biographies of  saints and laid out in a book called “The Herminia”, which all icon painters followed.  The idea was that there should be so little deviation in the depiction of the saints that the viewer should be able to recognize the icon without having to read the inscription.  After all, few people of that time could read.”  Laurel Glen, “The Art of the Icon”

Mother of God, Orans. Hagia Sophia. 11th Century

During the Macedonian Renaissance, Icons became more decorative, halos with decorative gilding techniques were added.  A greater attention to detail , borrowed from the illuminated manuscripts, prevailed.  These icons also achieved more of a narrative than the very early icons. A good example of this is the Nativity icon, where the story of Christ’s birth is charmingly told, reading from left to right, and top to bottom of the icon.  (The top icon is from the 16th century, Russia)

At the top are the angels worshipping and then proclaiming the birth of Christ to the shepherds.  Next level down on the left are the three wise men, on the right are the shepherds, in the center is Mary and the Christ child in a cave/stable with a horse and ox amongst them. On the bottom left you find Joseph being tempted to doubt by the devil, and on the bottom right are the women attendants, bathing the Christ child.  Below is another example of the Nativity Icon but from the 11th century:

The subject, figures, and narrative are the same as in the above icon of the Nativity, but in this earlier icon, while the composition is different, the story is recognizable as the same icon but of a later century.

End of An Era

Towards the end of the 12th century, icon painters became influenced not only by illuminated manuscripts, but also by frescos.  This resulted in more saturated colors and more solidity of form.  As icon painters began to spread westward, mosaics became major influencers of style and form.  This heralded the beginning of the end of the second flowering of Byzantium, but also a wonderful period of innovation and beauty in the icon.  As icon painters moved westward, the Greek and Russian painting styles began to emerge. And that story is for another newsletter!

Interesting Links:

Orthodox Church of America: Article on the icon of the Nativity

 Sister Vassa gives a talk (just under 10 minutes) on Iconoclasm:

Icon Boards: St. Elizabeth Icon Studio- Price and size List Also Bob Higgins makes beautiful gessoed icon boards: rahiggins55@gmail.com

That’s all for this month, may God bless the work of your hands,

Christine Hales

New Christian Icons My Dec. 5-8 online icon writing class of the Nativity

“Unveiling the Secrets of Medieval Icon Painting”

There are so many exciting principles we modern icon painters can learn from medieval icons. The secrets of Sacred geometry and painting are profound, but no less important are the concepts behind medieval iconographic paint application.

St, Nicetas with Deesis and Selected Saints, 15th Century

The simplest statement that icon painting is the consecutive application of layers of colored paint applied on the white surface of a wood board that is primed with gesso- white chalk and animal glue.

This notion of “consecutive layers of paint” is a hallmark of medieval painting because beginning with the Renaissance and the use of oil painting, the Renaissance painter used modeling- application of shadows- thereby obviating the need for the consecutive layers to achieve a modeling effect of figures and shapes.

Holy Trinity Icon by Andrei Rublev

Icon painters can use a few layers, or many, depending on the time available and the effects needed. Although early Christian artists used encaustic (wax) as their painting medium, from the ninth century onward, egg tempera was the medium icon painters used, almost exclusively.Egg Tempera

Egg Tempera

Egg tempera painting consists of painting with dry powdered pigment using egg emulsion as the binder to cause adhesion of pigment to the gessoed surface area. This dry powder was often found in soil and stones finely ground as well as in some plants, roots and insects that could be boiled or pressed to release specific colors.

“Of crucial importance are the choice of the right pigments, the ability to mix them properly, and the application of each consecutive layer when the one below it is quite dry so that the fresh, wet paint does not mix with it.”  A. Yakovleva, “A History of Icon Painting”.

Which Pigments were used in Early Icons?

Studies show that vermillion, red ochre and lead red were the reds commonly used by early iconographers.  Light yellow ochre, yellow sienna, lead tin yellow, and auripigment were the yellow pigments used, natural ultramarine (obtained from azurite) and indigo for blue, malachite and glauconite for greens, charcoal for black, lead white, umber, hematite were the browns and various ochres depending on what was naturally available.

Christ Pantocrator Icon, Svanetia, 13th Century

Three Ways of Mixing Colors

I find it so interesting that the three ways that medieval iconographers mixed their colors could have such a significant effect on the final results of their work.  The first method of mixing colors was simply to mix a powdered pigment with the egg emulsion. (egg emulsion is usually the yolk of an egg mixed with a small amount of water, and a very small amount of vinegar or alcohol as a preservative.) Some of the pigments lent themselves to being ground to a fine powder, but others could only be ground to larger crystals and this variety of textures was put to good use in the third method.

The second method of color mixing is called optical mixing.  This consists of relying on the different color layers to mix optically. This is achieved when rays of light hit the surface, they penetrate through the layers of color and reflect back the impression that it is one color when in reality it is the combination of all the color layers together.  This gives the viewer a very rich viewing experience and is what allows the icons to have a jewel like appearance.  Egg tempera excels at being able to deliver this effect.  For this to happen, the artist needs to apply the layers very thinly in order for this imperceptible color mixing to occur.

The Forty Martyrs of Sebaste, 13th Century. Georgia

The third method employs the use of the rougher pigments with larger particles to be mixed for the lower layer of the icon.  This allows for subsequent layers to settle into the lower layer in irregular and interesting ways.  This method unites the upper layers and lower layers of color, allowing for the appearance of visual harmony.  A combination of all three methods is used by the experienced iconographer.

I hope this explanation of medieval color mixing has been helpful.  Sometimes we need to go back to basics and understand nuances in order to achieve the results we want in our icons. If you would like to pursue the topic further, here is some reading you may appreciate:

“A History of Icon Painting”, L. Evseyeva, Moscow Publishing but available on Amazon

“The Materials and Techniques of Medieval Painting” Daniel V. Thompson, Dover Publishing

Interesting Links For Iconographers:

These are from Dorothy Alexander, an Iconographer in California!:

  • A gold sale? Yes, this is very rare because of a factory overrun on 22kt loose leaf gold and continues through 8/31/23 only. Use the code: SUMMER23 when you check-out. I ordered from them before; for this sale I purchased the 22 kt loose leaf gold (which I use for backgrounds) and it shipped quickly. Here is their website: https://www.goldenleafproducts.com/order-22k-gold-leaf.html    (THIS LINK WAS MORE THAN A MONTH AGO, SO NOT SURE IF THE SALE IS STILL GOING ON BUT THEY ARE GOOD GOLD SUPPLIERS)
  • Russian iconographers in a Greek monastery in California – this article (https://orthochristian.com/113398.html) takes you to the Life-Giving Spring Monastery in Dunlap, CA. It is a very interesting description of the lives and work of iconographers.
  • My Next Online Icon Writing Class is specially prepared for celebrating Advent where we will be painting an icon of the Nativity. Dec 5-8 on Zoom, each session is recorded for playback.   Read more here.

That’s all for this month.  Icon writing is a commitment to a life of prayer, study, and blessing the community with our work.  May you all be blessed and guided by the hand of God.  Our work is even more important especially in these difficult times.

“O Almighty God, kindle, we beseech Thee, in every heart the true love of peace, and guide with thy wisdom those who take counsel for the nations of the earth, that in tranquility they dominion may increase till the earth is filled with the knowledge of thy love; through Jesus Christ out Lord, who liveth and reigneth with thee, in the unity of the Holy Spirit, one God, now and forever, amen.”  A Collect for Peace from the Book of Common Prayer.

Blessings,

Christine Hales

Newchristianicons.com

Nativity Icon

You might wonder, why an article on the Nativity icon in October? It seems to me that the element of joy is mightily endangered these days with all the news of climate change disasters, war, etc.  And joy is one of the strongest defenses we have against the spiritual forces of this dark world.  “The joy of the Lord is my strength.”  Nehemiah 8:10  Also, The Nativity icon is a marvelous example of the way icons make Holy Scripture visible in iconographic form.

The Feast of the Nativity of Jesus is one of the most joyful days of the Orthodox Church. It ranks right next to the greatest holiday, the Resurrection of Jesus. The Feast of the Birth of Jesus is also known as the “Incarnation of Christ”, God taking on human form out of His immeasurable love for us. We also call this joyous feast Christmas, so, in preparation, here is the Nativity Icon explained:

“And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.” Luke 2:12

Icon of the Nativity

The icon of the Nativity tells the story of Christ’s birth as relayed through the Holy Scriptures. It also shows that all creation is taking part in Christ’s birth. As God gave His only Son to us, the angels give thanks with their song; the heavens give the star; the Wise Men give their gifts of gold, frankincense, and myrrh,the poor, humble shepherds give their praise and amazement, the earth gives the cave, and humanity gives the Virgin.

“In its content the icon of Christ’s nativity has two fundamental aspects: first of all, it discloses the very essence of the event, the immutable fact of the incarnation of God; it places us before a visible testimony of the fundamental dogma of the Christian faith, underlining by it’s details both the Divinity and the human nature of the Word made flesh. Secondly, the icon of the nativity shows us the effect of this event on the natural life of this world.”   L. Ouspensky, “The Meaning of Icons”

The Story of Birth of Christ Made Visible

The Holy Icon of the Nativity reminds one to praise and glorify the Birth of Christ. The celebration of Christmas each year serves to remind each and everyone of us of the joyful news that Christ came for you and me.

“The traditional Orthodox icon of the Nativity tells us what the Bible tells us, and does so in a very clear, vivid, effective manner, by means of forms and colors. “Ouspensky

The story of the Nativity of Christ is beautifully told in the Holy Scriptures. The story is found in Matthew 1:18-25 and in Luke 2:1-20. No matter how often the Birth of Jesus is told, we can experience the wonder of it anew through the responses of the angels, shepherds, and wise men in this icon.

A Timeless Story

Mary and Joseph, who were expecting a baby, travelled to Bethlehem to register for the census. Since there was no room at the inn, Joseph found a cave-like place where they could rest. This place was used by shepherds to protect their sheep in stormy weather. It was here that Mary gave birth to Jesus. The baby was wrapped in swaddling clothes and laid in the straw in the manger.

Opposite the Wise Men is the scene are the humble shepherds with whom heaven enters into direct communication, amid their everyday working life.  An angel proclaims the glad tidings. A young shepherd plays a reed instrument. This scene reveals that the music of the humans was added to the hymn of the angels. Above the shepherds is the heavenly choir of angels. They are giving glory to God. The angels serve two purposes in the Nativity of Christ. They give glory to God and announce the good news to all mankind.

Birth of Christ, 18th Century, Russian Icon

That night the shepherds were out in the fields guarding their sheep. Suddenly, there was a bright light which startled the shepherds. The light was so bright that it turned the night into daylight. An angel appeared and said:

“Fear not for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior; which is Christ the Lord. And this shall be a sign unto you: You shall find the babe wrapped in swaddling clothes, lying in a manger” (Luke 2:11-12).

Angels Praising This Wondrous Event

Then a larger group of angels appeared praising and glorifying God in their songs, “Glory to God in the highest, and on earth peace, and good will toward men” (Luke 2:14). The angels came to glorify God and also to bring glad tidings to men. The shepherds were awed. They didn’t know what to do, but they listened to the angels’ message. They decided to leave their flocks of sheep and go to Bethlehem to see for themselves what the angels had told them. When they got to Bethlehem, they found Mary, Joseph, and the infant Jesus. They fell to their knees and adored Jesus.

“Kings of Distant Lands Will Come”~ Psalm 72:10

On the other side, the Wise Men came from the East for they knew of the coming of Jesus. They had seen a star that told them that a new king had been born to the Jews.  A long ray from this star symbolizes heaven and points directly to the cave and the child they were looking for. The Star led them to Jesus and Mary where they fell down on their knees and worshipped Him. They gave Jesus gifts of gold, frankincense, and myrrh. 

“A virgin shall conceive and bear a son, and they shall call his name Emmanuel.” (Isaiah 7:14)

“For unto us a Child is born, Unto us a Son is given; And the government will be upon His shoulder. And His name will be called Wonderful, Counselor, Mighty God, Everlasting Father, Prince of Peace.” (Isaiah 9:6)

Russian Postage Stamp, 1995

This Holy Icon is an icon with many scenes. First, it stresses the importance of the Theotokos, the Mother of Jesus, who is placed in the center of the icon, and is the largest figure in the icon. In this icon, she is reclining with crossed arms. The Christ Child, just above her in the center of the icon, is in swaddling clothes and is lying in the manger. In the background is the dark cave where He was born. In the cave are an ox and a donkey guarding the newborn Babe. Even though the Gospels say nothing of the cave, this information is from Holy Tradition. Neither do the Gospels speak of the ox and the donkey, but all icons of the Nativity include these animals. Including the animals in the icon fulfills the prophecy of Isaiah 1:3, “The ox knows his master, and the donkey his master’s crib; but Israel does not know me, and the people have not regarded me.” The long ray of light from the star points directly to the cave. This ray comes from the star and travels to all parts of the world. It teaches that this bright star was not only an astronomical happening, it was a messenger from heaven announcing the birth of Jesus.

Icon Details

On the upper left hand side of the icon are the angels. The Wise Men, just below them, who were led by the star, bring their gifts of gold, frankincense, and myrrh to Jesus. These Wise Men, men of learning, have to accomplish a long journey to see the miracle from heaven, and they are of various ages.

One is without a beard. In those days, young men did not wear beards. The other Wise Man has long hair and a long beard, which indicates that he is much older. These details teach that regardless of age and appearance, the Good News was given to each and everyone.

In the lower part of the icon are two more scenes. In the right hand corner are the two women Joseph brought to take care of the Christ child. They are bathing Him just as any baby is bathed. The humanity of Jesus is clearly shown in this setting.

Opposite the bathing of Jesus scene sits a sad and worried Joseph. He is not part of the central group of the Christ Child and the Theotokos, and is not the natural father, but the betrothed of Mary. As Joseph sits troubled by doubts, the devil, disguised as an old man, is tempting Joseph to doubt the virgin birth. Satan is telling Joseph that virgin birth is impossible. He’s telling Joseph that he’s a fool if he believes this. This story comes to us from Holy Tradition. The sad Joseph shows us not only his personal predicament but the dilemma of all mankind the difficulty of accepting that which is “beyond words or reason.”

The tree, which is in the middle of the lower part of the icon, is a symbol of the Tree of Jesse. This tree refers to Isaiah 11:1-2, “But a shoot shall sprout from the stump of Jesse, and from his roots a bud shall blossom. The spirit of the Lord shall rest upon Him.” King David was often mentioned as the son of Jesse and Jesus was from the House of David.

The Holy Icon of the Nativity reminds one to praise and glorify the Birth of Christ. The celebration of Christmas each year serves to remind each and every one of us that Christ came for you and me. And that’s the Good News!

“The Lord is my strength and my shield; my heart trusts in him, and he helps me. My hear leaps for joy, and with my song I praise him.”  Psalm 28:7

Online Advent Icon Writing Class, Egg Tempera and Gold Leaf

I’ll be teaching an Advent Online Icon Writing Class, December 5-8, 2023 on Zoom https://online.iconwritingclasses.com/courses/nativity-icon-Dec-5-8-2023-on-zoom   It will be a wonderful opportunity to pray and write icons to honor Christmas. Hope you can join us.

Blessings and prayers,

Christine Simoneau Hales. New Christian Icons

Holy Work, Divine Rules of an Iconographer

Ethiopian Orthodox Icon of Mary Feeding the Christ Child, 15th century

Holy work, writing/painting icons is both an art and a spiritual discipline.  In both cases, there is no substitute for experience. The best teacher can only show the way, but the student must practice many, many hours, ask questions, and get feedback from the teacher and their community as the long process of icon training unfolds through the years.  One must be always studying, learning, praying. 

TEACHING

Even the best teachers don’t have time to teach the ethos, spiritual discipline, and spiritual worldview necessary within the context of an icon writing class.  I constantly find myself trying to squeeze this into class sessions but there are always so many painting demonstrations and other topics needed to cover that there just isn’t enough time.  For that reason, I am including some key concepts here in this month’s blog that I hope will be helpful and give the reader time to meditate, contemplate, and journal about them. Each individual iconographer will have their own areas of concentration and skills that need attention- there is no right or wrong answer, but instead the slow development of a spiritual mindset and worldview that will enhance one’s Godly service in this area.

Russian Icon, 17th Century, Mother of God

Many of you are already familiar with the Divine Rules of an Iconographer, but I will include them here as they embody an ethos of combining love and work:

DIVINE RULES OF AN ICONOGRAPHER

• Before starting work, make the sign of the Cross; pray in silence and pardon your enemies.

• Work with care on every detail of your icon, as if you were working in front of the Lord Himself.

• During work, pray in order to strengthen yourself physically and spiritually; avoid all useless words, and keep silence.

• Pray in particular to the Saint whose face you are painting. Keep your mind from distractions, and the Saint will be close to you.

•When you choose a color, stretch out your hands interiorly to the Lord and ask His Counsel.

• Do not be jealous of your neighbor’s work; his /her success is your success too.

•When your icon is finished, thank God that His Mercy granted you the grace to paint the Holy Images.

• Have your icon blessed by putting it on the Holy Table of your parish church. Be the first to pray before it, before giving it to others.

• Never forget:

the joy of spreading icons throughout the world. the joy of the work of icon writing.

the joy of giving the Saint the possibility to shine through his/her icon.

the joy of being in union with the Saint whose face

you are revealing.

Saint Benedict Icon by Christine Hales

Saint Benedict Icon written by Christine Hales

WORK IS A HOLY GIFT

And so, our thoughts and attitudes while working are so important to the sacredness of the icon we are creating. “Each thought, each action in the sunlight of awareness becomes sacred. In this light, no boundary exists between the sacred and the profane.” Thich Nhat Hanh

Work is a holy gift. In his Rule, Saint Benedict states that all tools of the monastery are sacred and worthy of reverence.  What are the sacred tools of the work we do?

“Just in the way the desert mothers and fathers reminded us that our cells can teach us everything, so can the work that we return to day after day be a place of inner transformation….As I listen for what the work needs at this stage and how it wants to come to birth in this world, I discover my own places which need releasing or ways to express my ideas with more clarity…Then consider whether it is possible for you to remember why you do the work.  Can you do it out of love, recognizing that transformation occurs even there? Are there ways to bring love to things you find challenging and reframe them so that they rise like music and lift up your creative heart?”  Christine Valtners Paintner , Abbey of the Arts.

Beatus 9th century illuminated manuscript

This and the image above, attributed to:Beatus, 9th century Illuminated Manuscript

I’ll close for this month with one more quote from Christine Valtners Paintner, Abbess of the virtual Abbey of the Arts, Ireland; “What difference would it make if you truly believed that your work makes a difference in the world, that the world needs what you have to offer…God invited each one of us in every moment to respond to our unique call.”

May God continue to bless the work of your hands, and hearts,

Christine Hales

Newchristianicons.com. online.iconwritingclasses.com

RENEWAL IN LITURGICAL ART

Renewal in Liturgical Art- Encompassing Differing Worldviews in One Faith

A world view is a pattern of ideas and beliefs. Everyone seeks answers to the questions of “why are we here? What is the meaning and purpose of life? Is there a difference between right and wrong? Is there a God?  Do our actions have consequences?  Is there a connection between this visible world and an invisible one?  Our world view helps us to make sense of our being, our God, our purpose in this world.  The Christian worldview has a narrative of all history, as told in the Old and New Testaments.  

What is our world view as Christian artists and Iconographers?  For each of us this may be defined differently with fine nuances, depending on our denominational affiliations.  The Eastern and Western Churches evolved from the same beginning, yet have grown to have differences in art, liturgy, theology, etc.

So, finding common ground, much as our forefathers and mothers all experienced in the early church, is a worthy goal for Sacred Art makers of today.

Christian Renewal

The renewal of the mind involves a transformation of the way a person thinks and lives, which can be achieved through the power of the Holy Spirit as we reflect on God’s word. By being transformed in this way, believers can discern what is good, acceptable, and perfect according to God’s standards.

“Don’t copy the behavior and customs of this world, but let God transform you into a new person by changing the way you think>”. Romans 12:2

I’ve researched some very good books on related subjects and have gathered some thoughts for you.  I include at the end of this article titles and authors of each book mentioned here.

Liturgical Art Renewal

Our goal, as iconographers, is to help others to see the sacred more deeply proclaim the Gospel more faithfully and pray together more honestly, using our eyes, our hearts, and our minds. And our hands.

An icon mediates or contains the Holy Presence

“The artist’s task is not merely to record but also to present the result of the encounter as it is shaped by that disciplined imagination…One can be in a kind of dialogue with the thing being observed or between the thing imagined and that which is produced. 

Christian worship is aided immeasurably by our sense of sight.  In worship we see each other and gain a glimpse of what it means to be the body of Christ.” Beauty, Spirit, Matter, Icons in the Modern World., Aidan Hart

“The spirit which knows God naturally comprehends divine beauty and seeks to delight in it alone. . .To contemplate divine beauty, to delight in it and partake in it is a requirement of the Spirit and is its life and heavenly life.” Theophan the Recluse (1880)

The icon is a radical way of seeing and therefore suggests a radical way of acting. When we look at an icon we are seeing as a saint sees.

An icon is not merely a painting of a religious subject but a crystallization of a whole culture, a culture which worships God and therefore venerates the material world that He created as a gift.’

Art is something essential to the shaping of faith and religious experience.

Sacred art is always abstract, in that word’s literal sense. In that it draws out the essence of its subject.  It uses stylistic abstraction to suggest these invisible realities….Sacred art typically reveals the union of the inner with the outer, the invisible with the visible.    Iconographic depictions of great suffering, such as the Crucifixion, keep this suffering united to love and hope.  They show that the suffering is genuine, but they also show that this suffering is on the road to the Resurrection.  An icon always joins opposites.

An icon brings the good news into the world by showing the face of Jesus Christ: God became man.  Moreover, through Christ, the icon reveals to us the true image of humanity transfigured and deified; it is the image of the kingdom of heaven, the kingdom that is to come and that will restore the harmony now marred by sin…if an icon depicts a saint, its real purpose is to bring us face to face with someone in whom God’s goodness shines forth.” Irina Yazykova

“Eyes of fire perceive each thing as the outer sign of an inner fact, or the local sign of a distant power.  For such eyes nothing is lonely matter, all things are caught up in a mysterious, ultimately divine whole that challenges understanding over a lifetime.  Eyes of flesh focus on the thing itself, eyes of fire on facts but still more intently on their participation in a larger meaning by which they are raised.” An Art of Our Own, the Spiritual in Twentieth Century Art,  Roger Lipsey

Books and Related Links

  • The Substance of Things Seen, Art, Faith, and the Christian Community by Robin M. Jensen
  • An Art of Our Own, the Spiritual in Twentieth Century Art,  Roger Lipsey
  • Beauty, Spirit, Matter, Icons in the Modern World, Aidan Hart
  • Eyes of Fire, Christine Hales

An Excellent Series of Talks at the Cathedral of All Saints Divine, Albany NY, by Brynna Carpenter-Nardone :

Lots to think and pray about! That’s all for this month,

May God continue to renew your minds in Him, and bless the work of your hands,

Christine Hales

newchristianicons.com online.iconwritingclasses.com

Origins of Christian Art, Part I

One of the difficulties with creating icons or works of art depicting Jesus is that we don’t really have any eyewitness drawings or paintings from people who actually saw him while he was alive. 

Legend has it that Saint Luke was commissioned to paint a portrait of Mary and the Christ Child and that was the first eye witness portrait of Jesus.

We know that early Christian art had to be symbolic because until 313 when Constantine legalized Christianity, Christians were being killed and persecuted for their faith so it was dangerous to be carrying or sharing images of Christ.

Ancient Panel paintings derived from the Egyptian panel paintings of gods and goddesses, therefore, the very early Christian panel paintings have similar compositions and figures replacing images of Egyptian gods with Christian imagery . As Christians found NEW WAYS OF VISUALIZING THE DIVINE, specifically in mosaics, Icons, and mural paintings for monasteries, icon panel paintings began to flourish.

The theological significance that Christians gave to their icons was in many ways more exalted than the ancient Egyptians had given to their sacred images.  As the Christian movement spread, naturally, each culture depicted Jesus as looking like them. To the Chinese, he looked Chinese, to the Indians, he looked Indian, to the Africans He is black, and so forth. The icons of early Christianity were expressions of beliefs and Biblical stories.

Early Christian artists were concerned with representing Christ, God made man.  “The Word became flesh and dwelt among us, full of grace and truth; we have beheld his glory, glory as of the only son of the Father.  Early Christians had faith that they saw God through Christ.

The early panel paintings of Roman Egypt, and through them, the early icon panels, are the seeds of the development European painting.  This influence can be seen as late as post Renaissance artists like Michelangelo, Raphael, and a whole host of more modern artists like Rembrandt, El Greco and many more.  

 While Icons exemplified a new understanding of the liturgy, with the central focus on the Eucharist, this not something you could say about religious paintings after the renaissance. Part II of this blog will cover sacred art and icons from the 7th century onward.

In the fourth century there was a move away from statuary. Icon painting, illumination, and mosaics  became the primary methods of representing the Divine.  Icons proliferated at this time, with many different styles of depicting Christ.

The fifth century is the age of great visions in Church decoration, and by the end of the century, Icons were impacting church decoration in a major way. At this time there arose many versions of Christ on portable panel paintings and evidenced in the Church of the Hagia Sophia in Istanbul,

CHRIST IN GLORY.  In the image of Jesus we have a vision of Christian spirituality and the universal, the human, the life of the spirit.

PANTOCRATOR The image of Jesus bridges worlds, between the human and the divine, between heaven and earth.

GOOD SHEPHERD– A long lasting Symbolic image of Christ

Sacred Geometry

Sacred Geometry:   Greek artists and mathematicians believed the golden ratio to be the unifying principle of the universe and to be responsible for the beauty within design and sound.  It’s a deep subject that I won’t go into here, but I have written about it in more detail in my book, “Eyes of Fire”, for those who are interested. 

For now, I will tell you that the golden ratio produces an order of such great intelligence that it was considered sacred by those who knew it.  An important aspect of the golden ratio is that it has an integrated relationship with unity.  The circle, often found in nature, is many times used in art to represent God. It is a form without beginning or end.

Iconoclasm

By the seventh century, theological debate arose over the belief that the icon was incarnational- its holiness deriving from the fact that because God had assumed physical matter, the icons could be a valid representation of God’s presence also. The iconoclastic controversy arose at this time with heated debate and at times whole sale destruction of icons if they were perceived to violate the second commandment. It requires the second council of Nicea in the ninth century to resolve this issue. Icons were intimately connected with the origins and growth of Christianity itself.

A lot has been written about this period of iconoclasm, and it is a controversy that seems to repeat itself in the Reformation in Europe in the 1500 and 1600’s.  For the 6th and seventh century destruction of religious images preceded the split between the Eastern and Western churches, each of whom developed a unique approach to religious art from that period onward.  The Roman Church preferred statuary and romantic paintings as church decoration and the Eastern Church developed a flattened, symbolic use of visual images in the Icons.

It’s interesting to note that the Celtic Church in Ireland, Scotland, Wales and Brittany also had an ultimately disunifying encounter with the steady movement forward of the centralized Roman Church by the 7th century. Monastic life under the rule of St. Columba was much more stringent than the Rule of Saint Benedict and became increasingly unpopular.  The Synod of Whitby in 664 sought to resolve the conflict and this resulted in a steady decline of the Celtic church.

I’m not a historian by any means, and I only study history in relation to the development of art and culture, but the simultaneity of these two conflicts is interesting.  Please comment below with perceptions or redirects that may make a contribution to our understanding of the conflicts involved in creating religious art.  Many of you are from Russia, Ukraine, Greece, and other countries with perhaps a different perspective of the history of Christian art.  It would be fascinating to pool together our knowledge and perceptions over the course of time and be able to share that with our communities and coming generations of sacred artists.

Next month will be Part II, moving forward from the Nicean Council and Saint John of Damascus’ brilliant defense of icons to  present day developments in religious imagery that builds up the church.  I feel that a thorough understanding of the history of Christian art will be an invaluable aid to those of us creating icons and religious imagery today.

I have written and published a book called “Eyes of Fire”, How Icons Saved My Life As An Artist” available on Amazon that also brings together knowledge and understanding of art and the Art Spirit through the ages, with a bias towards Byzantine iconography.

That’s all for this month, May God continue to bless the work of your hands and give you holy inspiration to create icons and religious paintings that build up His holy church.

Christine Hales