This month is a continuation of last month’s article on Hesychasm and Icons. There is an interesting book that was produced in fifteenth century Russia called, “Message to an Iconographer.” Message to an Iconographer is believed to have been written by St. Joseph of Volokolamsk. It is helpful in explaining the role and meaning of sacred art and Iconography. It is believed that this book was put together at the request of the famous Iconographer, Dionysius for the purpose of training future Iconographers.
Part of the reason for creating Message to an Iconographer was a concern that after Andrei Rublev’s Icons, there was a progressive lack of focus on the spiritual depth and meaning of the Icon in favor of beauty of artistic form. Message to an Iconographer provides an answer to the prevailing heresy of the time and is a defense of the Icon and its veneration. It is also a positive contribution that explains its spiritual content. Here is a quote from “Theology of the Icon, Volume II” by Leonid Ouspensky:
“How much more appropriate is it then, in this new time of grace, to venerate and bow down before the image of our Lord Jesus Christ painted on the Icon by human hands…and to adore His deified humanity taken up into heaven. This also holds true for His All Pure Mother. Likewise, to paint images of all the saints on icons, to venerate and bow before them is equally appropriate. By painting images of the saints on Icons, we do not venerate an object but, starting from this visible object, our mind and spirit ascend toward the love of God, object of our desire.” This statement echoes the defense of Icons by Gregory of Palamas. Taboric light and the divine energies form the basis of this treatise.
The Jesus Prayer
Here is another quote from the Message to an Iconographer: “When adoring your Lord and God…let your whole heart, spirit, and mind be lifted toward a contemplation of the holy, consubstantial and life giving Trinity, in purity of thought and heart…Let your bodily eyes ascend to the divine …venerate them spiritually in your soul and visibly with your body. Be completely turned toward the heavens.”
“The Message” is about a lifestyle of asceticism and inner prayer that is appropriate to an Iconographer.
“Wherever you may be, O beloved, on sea or on land, at home, walking, sitting or lying down-ceaselessly pray with a pure conscience, saying, “Lord Jesus Christ, Son of God, have mercy on me.’, and God will hear you. ” “Close your eyes to the visible and look at the future with your inner eye.” These are instructions to an Iconographer from The Message. They are intended to create a platform of prayer and faith from which to work on the Icon.”
I would suggest reading this chapter in its entirety to fully understand the context and intent of the author. It is from Chapter 13 Hesychasm and the flowering of Russian Art, in Theology of the Icon, Volume II, Leonid Ouspensky. There is a great deal of value in the rest of the book also, and I highly recommend it for Iconographers.
One last quote that is a gem:
“The painter must be acutely aware of the responsibility that rests upon him when creating an Icon. His work must be informed by the prototype it represents in order for its message to become a living, active force, shaping man’s disposition, his view of the world and of life. A true Iconographer must commune with the prototype he represents, not merely because he belongs to the body of the Church, but also on account of his own experience of sanctification. He must be a creative painter who perceives and discloses another’s holiness through his own spiritual experience. It is upon this experience of communing with the archetype that the operative power of an Iconographers work depends.”
May God bless your Icons, as you grow in wisdom and understanding in the practice of writing the Holy Image. Next month will be an article on the fifteenth century Iconographer Dionysus.
Christine Simoneau Hales