Christine Hales

Saint Peter

I’ve recently noticed the influence of Saint Peter in my life as an iconographer. Over the years, I have been commissioned to paint many icons of Saint Peter, for churches and priests, and friends. Although each one is different, I have begun to study more deeply into who Saint Peter was and what the significance of his ministry has been over the last 2000+ years of Christianity.

Saint Peter’s original name was Simon Bar Jonah, which means Simon, son of Jonah. Jesus gave him the name of Peter when Jesus called him Cephas (in Aramaic) which means rock or stone. Human frailty. Born in first century CE in Bethsaida vicinity, in modern day Syria.

Peter was a fisherman with a couple of small fishing boats. He was married, had children and lived with his Mother-in-law. In Capernum . Luke 4:28 Jesus healed his mother-in law.

Shortly after this healing incident, Jesus stepped into Peter’s boat and asked him to row a few feet off shore so that Jesus could preach to the crowd at the Sea of Galilee. After Jesus was finished, he told Peter to cast his net into the sea, upon which Peter then hauled out a very full net. There were so many fish in the nets that Peter was afraid the nets would rip apart. Tin fact, the weight was so heavy that the boats began to sink. Peter said to Jesus, “depart from me for I am a sinful man”. But Jesus said, “do not be afraid, from now on you will be a catcher of men.”

My recent “Calling of Peter and Andrew” Icon

Saint Peter was recognized as the leader of the 12 disciples, and the Roman Catholic Church regards Peter as the first of its unbroken succession of Popes.

History

St. Peter, originally Simon Bar Jonah, was a Jewish fisherman called to follow Jesus as one of His first disciples. He lived in Capernaum and worked as a fisherman with his brother St. Andrew and others. The New Testament, especially the Gospels, Acts, and letters, provides most of the information about him. Peter was married, and despite being untrained in Mosaic Law, he became a central figure in the early Church.

Peter’s personality was marked by both strengths and weaknesses. He was sometimes impulsive and unsure but displayed loyalty, leadership, and faith. He was the first to confess Jesus as the Christ and was entrusted by Jesus as the “rock” upon which the Church would be built. His denial of Jesus was followed by repentance and reaffirmation of his faith.

After Jesus’ resurrection, Peter emerged as the leader of the early Christian community, preaching at Pentecost, performing miracles, and advocating for Gentile inclusion. Despite occasional conflicts, such as with Paul over Gentile practices, Peter played a vital role in spreading Christianity and leading the Church until his eventual departure from Jerusalem and missionary work elsewhere.

Peter’s acceptance of Gentiles into the Christian faith marked a pivotal moment in early Christianity, as it symbolized the breaking down of barriers between Jews and non-Jews. Here’s a detailed explanation of this significant event:

The Conversion of Cornelius (Acts 10:1–48)

Vision from God: While staying in Joppa, Peter received a vision of a sheet descending from heaven, filled with various animals considered unclean under Jewish dietary laws. A voice commanded him to “kill and eat.” When Peter objected, the voice said, “What God has made clean, you must not call unclean” (Acts 10:15). This vision occurred three times, emphasizing its importance.
Summoned by Cornelius: Cornelius, a Roman centurion described as devout and God-fearing, also received a vision instructing him to send for Peter. Cornelius, though a Gentile, was respected for his prayers and acts of charity.
Peter’s Journey to Caesarea: Understanding the vision’s meaning, Peter traveled to Cornelius’ home. He acknowledged that, under Jewish law, associating with Gentiles was forbidden, but he declared, “God has shown me that I should not call anyone impure or unclean” (Acts 10:28).
Peter’s Sermon: Peter preached the Gospel to Cornelius and his household, proclaiming that God shows no partiality and accepts people from every nation who fear Him and do what is right. He testified about Jesus’ life, death, and resurrection.
Outpouring of the Holy Spirit: While Peter was speaking, the Holy Spirit descended upon the Gentiles, just as it had upon the Jewish believers at Pentecost. This astonished the Jewish Christians who had accompanied Peter. Recognizing this as God’s work, Peter declared, “Can anyone withhold the water for baptizing these people who have received the Holy Spirit just as we have?” (Acts 10:47). He then baptized Cornelius and his household.

Significance of the Event

Breaking with Tradition: By baptizing Gentiles without requiring them to first undergo Jewish rites (e.g., circumcision), Peter challenged longstanding Jewish customs. This act demonstrated that salvation was available to all through faith in Christ, not adherence to Mosaic Law.
Divine Validation: Peter’s actions were justified by the visible descent of the Holy Spirit, signaling God’s approval of the inclusion of Gentiles into the faith.

Conflict and Resolution

Criticism from Jewish Christians: Upon returning to Jerusalem, Peter faced criticism from Jewish Christians for eating with Gentiles (Acts 11:1–3). In response, Peter recounted his vision and the events at Cornelius’ house, concluding, “Who was I to think that I could stand in God’s way?” (Acts 11:17). This explanation satisfied his critics, who glorified God, saying, “So then, even to Gentiles God has granted repentance that leads to life” (Acts 11:18).
Jerusalem Council (Acts 15): The inclusion of Gentiles later became a major issue debated at the Jerusalem Council. While Paul was the main advocate for Gentile inclusion, Peter’s testimony about Cornelius played a crucial role. He reminded the council that God had chosen him to bring the Gospel to the Gentiles and argued against imposing Jewish laws on them (Acts 15:7–11).

Impact on Christianity

Peter’s acceptance of Gentiles set a precedent that allowed the Church to grow beyond its Jewish roots, becoming a universal faith open to all ethnicities and cultures. His leadership in this matter helped shape Christianity as a global movement, emphasizing grace and faith over legalistic adherence to the Law.

I hope this brief exploration into the life and contribution of Saint Peter has given you some insight and inspiration for this month! I have been reading 1 Peter and 2nd Peter in short meaningful increments and adding those to my spiritual journal each day this past month and it has brought forth many helpful insights that are applicable to current day events.

Icon Exhibition, Cathedral Church of Saint Peter, Saint Petersburg, Florida, January 12- May 1, 2025

The upcoming exhibition will include over 50 of my icons, including the Stations of the Cross, along with commentary from or about Saint Peter as a way of inviting the viewers to enter personally into each iconographic scene through the eyes of Saint Peter.

May God continue to bless the work of your hands, and give you insight and awareness of His Presence in your world.

Until next month,

Christine Simoneau Hales

Icon Museum and Study Center.

My Website. My Icon Print Website. My Patreon

A Good Source of Gessoed Icon Boards: Bob’s Icon Boards

Mystics, Healing, and Icons

Dear Fellow Iconographers:

My husband and I were honored to be inducted into the Order of Saint Luke this past summer. The Order of Saint Luke is an international, inter-denominational organization made up of healing communities of faith, prayer, and service. And so I have been thinking a lot about icons, miracles, mysticism and healing. Can an Icon heal? That’s a trick question! Only God can heal, but an icon can bring the person into remembrance of Jesus’ healing ministry to inspire and strengthen faith in God’s desire and commitment to heal His people.

Christ in Glory created by the hands of Christine Hales

So how do we define healing? True healing is Salvation. What is Salvation? It can mean being saved from danger, disease, and the consequences of sin by the power of the Resurrection of Jesus Christ. So, by these definitions, we create a field where an Icon can bring the viewer into visual relationship, remembrance and anticipation of the action of God’s grace which He freely gives us.

Not all icons need to be healing icons. Some are created as vehicles for instruction in Biblical and Gospel truths, some for aiding in prayer and the liturgy, and inspiring God’s people through holiness, sacredness and beauty. My mission is to carry this healing charism in icons forward into our present day. There’s quite a strong historical foundation of the healing ministry in the Christian church, beginning with our Lord Jesus. Many of the Christian mystics experienced people being healed wherever they went.

St. Fyodor of Rostov painted by the hand of Christine Hales

Mystics and Healing

The mystical spiritual tradition that has existed through the centuries is accepted by both the Eastern and Western Church. In its simplest form, mysticism is a desire to touch or experience God in some tangible way. And when we touch God, we are transformed.

Both ancient and modern mystics practiced contemplation, insight, intuition, prayer in deep experience of worship in order to increase their direct relationship with God. In medieval times, men and women had a keen sense of God acting in the world around them through people, animals, and forces of nature. Mystics cultivate a devotion to God’s Holy Spirit and have their eyes open to God’s miracles happening around them.

Early Christian Mystics

Irenaeus, (c.130-202), one of the early church fathers, wrote: “It is impossible to number the gifts which the Church throughout the world has received from God in the name of Jesus Christ…Those who are in truth his disciples, receiving grace from Him, do in His name perform (miracles), so as to promote the welfare of other men, according to the gift each one has received from Him.”

Symeon the New Theologian (949-1022), emphasized the importance of having a direct personal experience with God through grace and prayed often to receive the gifts of the Spirit. “Leave the world…do not be concerned about the present life. Knock at the gates of Christ’s Kingdom for the Son will give the Spirit to whoever asks, and he who seeks will certainly find and be enriched with the fullness of all God’s gifts.” “Pentecost to the Present”, by Jeff Oliver.

Gregory of Palamas (1296-1359) was a Greek Monk and theologian who, while a Bishop of Thessalonica, would defend the traditions of the Hesychasts mystical prayer practice as opposed to the more rational and intellectual approach to prayer and worship that was in fashion at the time.

In the West, Bernard of Clairvaux (1090-1153), wrote “We have all, I think, received the Spirit unto salvation, but not to all has he been given unto fervor. In fact, only very few appear to be filled with this Spirit of fervor, very few show any desire to obtain it. We are content with our own cramped littleness, and make no endeavor to rejoice in or at least to aspire to the liberty of the spirit which that Spirit confers.” Bernard believed in a personal, immediate and direct personal faith with Christ as opposed to any rational or ritualistic approach. When the Pope commissioned Bernard to preach the enrollment for the second crusade, Bernard preached to an open field who, upon hearing him, enlisted en masse. He then passed into Germany where miracles reportedly followed: “The breathing, the touch, the prayer, the benediction of Bernard had wonderful effects. At his voice, the most chronic conditions disappeared instantly and entire populations related with astonishment the cures to which they had been witnesses. Everywhere along his route the blind regained their sight, the deaf and dumb heard and spoke; paralytics recovered the use of their limbs; those supposed to be possessed by evil spirits were calmed and restored to reason.

Icons, Mystics, and Healing

Why am I relating these early church fathers to creating icons in the twentyfirst century? Perhaps what we need to be emulating is not the outward form of early icons, but the Spirit that created them, and how we too can create Holy Spirit filled icons that will bless God’s people in our generation and in generations to come. I hope these monthly articles inspire and help give direction to all who seek to bless God’s people by creating holy icons. May we hold each other in prayer for protection and the grace of God to bless the work of our hands.

Until next month,

Christine Hales

New Christian Icons Prints of My Icons

If you would like to read a post I wrote on “All Saints Day”, here’s the link: https://wordpress.com/post/americanassociationoficonographers.com/28287

If you would like to read a post I wrote on ” Miracle Working Icons” here is the link: https://americanassociationoficonographers.com/2021/11/30/miracle-working-icons/#:~:text=How%20can%20icons%20be%20miracle,some%20of%20them:%20Russian%20Icons.&text=There%20are%20many%20kinds%20of,a%20long%20period%20of%20time.

Source: Much of the information shared above comes from Jeff Oliver’s excellent book: “Pentecost to the Present”, The Holy Spirit’s Enduring Work in the Church.

New Materials for Icon Board Grounds

Hello Fellow Iconographers: Today I am writing this blog on the Feast Day of Saint Michael, and I include here the collect for St. Michael and All Angels from the book of Common Prayer:

“Everlasting God, you have constituted in a wonderful order the ministries of angels and mortals. Mercifully grant that, as your holy angels always serve and worship you in heaven, so by your appointment they may help and defend us here on earth; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

Lately I’ve been writing monthly articles about Icons and their place in history, and more theoretical topics related to understanding the field of writing icons. This month I am writing about the possibility of experimenting with new and maybe surprising materials that can be used to create satisfactory grounds for painting icons using egg tempera.

I will always consider the very best possibility for painting icons in egg tempera to be traditionally prepared icon boards, either by the iconographer herself or puchased from a reputable icon board maker. But, as we all know, those traditionally prepared icon boards are labor and time intensive, and therefore costly. And in my teaching experience, many people are interested in giving icon writing a try, but either aren’t able or don’t want to invest heavily in materials until they are sure this is an activity they want to pursue over time.

Icon writing materials are a significant investment for a complete beginner, I understand. Add to that the fact that practicing icon writing is absolutely necessary to mastery of the technique, you have the need for inexpensive, easy to find alternatives to icon boards.

I always love to experiment both with materials and techniques, so I am able to share a number of alternatives with you here that I hope will help you in your icon writing practice.

Easy Gesso

First, I find the “Easy Gesso” product made by Natural Pigments to be an excellent ground that can be used on watercolor paper, bristol board, ampersand and aquaboards, birch panels- almost anything that is a solid enough support. Obviously the watercolor paper is only going to work for practice sketches because egg tempera needs a stable (un-bendable) surface so that the tempera does not crack. Trekell Art Supplies has some very nice and inexpensive baltic birch panels available in a variety of sizes and shapes and I recommend these. especially for students.

You must follow the directions for the Easy Gesso, (don’t mix with cold water etc.) and use 3 coats, allowing each layer to dry before applying the next one. Then lightly sand the surface and I think you will be happy with the result. If you prepare several surfaces at a time, it’s a good investment in your icon writing practice, and very handy to have surfaces ready for painting.

A combination that I have used many times is to use acrylic gesso and mix it with either Marble Dust or Chalk, then a bit of water to tinh apporpriately. What like about this mixture is te acrylic gesso base of this mixture is waterproof and mold proof. The marble dust or chalk provide tooth and absorbency. If you decide to try it, experiment first to see if you like it as well. I put about 1/3 marble dust to 2/3 acrylic gesso. I don’t always use this mixture, but at times I have found it useful. Also, one of my students has successfully used wood filler, applied with a large putty knife over a cradled board, and then lightly sanded to be effective and good to work on.

Golden Paints has many new products out now, including a variety of gessoes for different purposes. I highly respect the Golden Paint Company because I know their research is of primary importance for them, and they keep accurate records of results while being highly knowlegable. Here is a link to an article from them about wet sanding acrylic gesso. Here is a link to their newsletter about recent research experiments with a variety of products- it’s always interesting and informative. And I’ll close this article with a link to the Golden gessoes, I have tried the absorbent one and it works well.

The American Association of Iconographers has an article on how to gesso boards from scratch as well, and here is the link.

If you have a favorite work around for gesso, and want to share it, you can leave the info in the comments section. Make sure you give instructions on how to use the materials.

May God continue to bless the work of your hands,

Christine Hales

New Christian Icons

What Happened to Icons in the Protestant Church?

I was brought up Catholic, changed to Anglican when I got married, and then graduated from Global Awakening, a charismatic mission based ministry school, and I love each of these denominations for how they have helped to deepen and expand my faith.

This month’s blog could be called, “What Happened to Icons in the Protestant Church?” Of course, many Protestant Churches today do have icons and other religious art in them today, and there is a general movement towards more ecumenical understanding among denominations today. But, for my own benefit, and also for yours, I think it’s worth delving into some of the historical relationships between Protestantism and holy imagery.

Our Lady of the Sign Icon written by. Christine Hales

THEOLOGY OF THE ICON

The theology of the icon is based on the Incarnation, the revelation of the Image of God in the human form of Jesus Christ. This first icon was one made without human hands and revealed in the temple of Christ’s body. By imitating the divine artist, the iconographer not only participates in sacred creation, but theologically asserts the reality of Jesus’ humanity.

Theology, the study of God in words, and iconography, the study of God in images, are two major expressions of one single faith, or we might say that an icon is a visible gospel.

However, in the early days of the Protestant Reformation, while Martin Luther was quite tolerant of images in churches, John Calvin, another leading theologian of the Protestant Reformation, was vigorously opposed to images in the church. For Calvin, God was invisible and hidden, therefore it is impossible to visually depict God.

This belief is similar to Eastern Orthodoxy in the belief that God cannot be represented in the icons. But additionally, the Orthodox believe that because God’s Son took on human flesh in the Incarnation, it is possible to depict the Son of God in icons. Did John Calvin ever read John of Damascus’ defense of icons?

Christ Enthroned Icon written by Christine Hales

HISTORY OF ICONS IN THE CHURCH

In Eusebius’ 4^th Century “History of the Church”, mention is made of colored portraits that were made of Christ and his apostles, The presence of icons in the early church implies that icons were an integral part of the early Christian tradition. The presence of sacred images in both church and synagogue tells us that the early Church did not invent icons but carried them over from its Jewish predecessors. This also indicates that the presence of icons in Orthodox churches today represents a profound continuity with Jewish worship. If icons have Jewish roots, Calvin’s historical arguments are rendered nonsensical.

However, in the Western Church, during and after the Renaissance, religious art became so affected by humanism that it ceased to keep God as the main focus but instead the achievement of artists of the day became spectacular creations for their own sake. The extravagance of religious art was compounded by the absence of a regulating principle. Eastern artistic tradition had an art-manual sand a shared understanding about proper iconography, in the West there was no centralization of its artistic tradition, thus leading to excesses that contributed to Calvin’s desire to abolish church art.

CALVINISM

Calvinism had other theological ideas and principles not commonly shared with other Protestant denominations, such as the doctrine of predestination and human depravity. According to the Calvinist, man cannot choose good, cannot obey, cannot believe, but can only choose to do evil. Calvin was largely opposed to art and music in the service of religion and vestiges of his doctrines remain like dark shadows over Protestantism at times.

Holy Trinity Icon written by Andrei Rublev

Lutheran Churches allow the presence of images as long as they have a pedagogical or decorative purpose. Anglicans have two places in the Book of Common Prayer where the meaning of the second commandment could be construed as against using icons in worship.

Historically , the Seventh Ecumenical Council of Nicea decisively affirmed the use of icons for worship and recognized that icons are an integral part of the historic Christian Faith.

Diversity and controversy are simply facts of life, even within religious beliefs. However, I believe that the icon of God exists in each of us for we are made in God’s image. This gives man the ability to communicate with God, to be transformed by His presence, and become like God, participating in His divine character. The Icon can serve as a bridge of prayer between God and the human person, and an icon gives the viewer the occasion to commune with the divine.

“Icons of the sacred not only set an atmosphere for prayer, but by contemplating the holiness of the person represented in the icon, one can experience the presence of God which is “contagious.” One becomes aware of praying and worshipping in the presence of angels and saints. Icons are used to enhance the beauty of the church, but also to teach us about our faith initially and then to remind us of this teaching. By bringing us in contact with holy persons, we are enthused to imitate them, helping to transform and sanctify us. Ultimately the icon is a means of worshipping God and venerating his saints.”

Our Lady of Perpetual Help written by Christine Hales

I hope that this article has helped to stimulate your faith and curiosity. Below are links to three articles I have used extensively in this article. Reading these articles will give a much more comprehensive and detailed view of the ideas presented here.

May God bless you in your understanding , until next month,

Christine Simoneau Hales

https://www.newchristianicons.com

LINKS TO ARTICLES:

Calvin Versus The Icon: Was John Calvin Wrong?

The Place of Images in the Venerable Protestant Tradition

http://www.udayton.edu/mary/resources/icon.html

Building Blocks

Christian Art After the Iconoclasm. 1000-1400 AD

As Iconographers, I think we all realize that the Byzantine culture was influential in creating a nuanced visual language that was able to convey important principles of religious art . Can we today consider and contemplate how the Byzantine style developed in order to create a visual language that can bring Christian concepts to our culture today?

An important influence of the development of Christian art in the 11^th century was the schism, or split, in Christianity in 1054, which resulted in the Eastern Orthodox Church and the Western Roman Catholic Church. In the next centuries, each division of the church would develop its own culture and approach to worship, prayer, liturgy, and art.

Let’s Take a Look First at the Eastern Church’s Artistic Development

The expansion of monasticism was the main force behind the unprecedented artistic and cultural activity of the eleventh and twelfth century. In 963 AD, Athanasius of Trebizond founded the first monastery on Mt Athos, Greece. Legend has it that early hermits were visited by The Virgin Mary who gave the place her blessing and there are many icons that convey this story and remembrance of the visitation .

In 988, Russia adopted Christianity and in 1017, Prince Yaroslavl the Wise erected the Cathedral of St. Sophia in Kiev. A Byzantium team of artists and iconographers, Russian and Greek, decorated the cathedral with beautiful frescoes and mosaics.

1054 began the schism between the Holy thrones of Rome and Constantinople, resulting in a wide divergence stylistically in religious art making that reflected differences in theological values between the two cultures. The Eastern Church continued to develop the Icon, keeping the flat pictorial space of Egyptian art, and the simplicity of rendering human forms borrowed from the Greco Roman tradition of the early centuries.

In 1130, A miracle working icon, Our Lady of Vladimir Icon of the Virgin Mary was brought to Kiev. This icon has lasted through the centuries and today is a symbol of Love and Tenderness.

The Paleologue dynasty in Constantinople, 1259-1453, was the last resurgence of Byzantium. The attempt to have a rebirth of Byzantium after the sack of Constantinople in 1204, resulted in the rebuilding and decoration of many churches, including Chora Church, which is considered one of the highest artistic achievements of that era.

Gregory Palamas, (1296-1359), was the Archbishop of Thessalonica and an eminent theologian who supported Hesychasm, a mystical movement in Eastern monasticism that promoted fervent prayer, silence, and contemplation.

In 1378, according to legend, Theophanes the Greek came to Russian from Byzantium, and painted the Church of the Transfiguration in Novgorod and many others, along with his student, Andrei Rubylev. This period of icon painting is considered by many to be one of the greatest achievements of Russian Iconography.

St. Sergius of Radonezh was a great Russian saint who promoted Russia’s spiritual revival. He dedicated his monastery to the Holy Trinity and preached unity in love. He taught brotherly love and divine service and commissioned the Holy Trinity Icon to be painted by Andrei Rubylev. Rubylev and St. Sergius were in large part responsible for Russia becoming one of the great centers of spiritual enlightenment in this time. St. Sergius passed away in 1392.

In the West….

Religious art in 10th century Europe, also known as Romanesque art, was symbolic, vibrant, and hierarchical. It was characterized by its emphasis on the suffering of Christ and other sacred figures, and depicted saints and religious leaders as larger and more important than ordinary people. Artists also used animals, flowers, and fruits to convey religious messages and ideas. Some common symbols used in medieval Christian iconography include: Fire, light rays, or wind to symbolize the Almighty God; Lamb or fish: symbolize Jesus Christ and his love; Crucifix: Depicts Chrstianityand eternal life; a dove symbolizes the holy spirit from heaven or an individual’s soul, and lilies in a vase or water to portray the purity and spirituality of the Virgin Mary.

One of the most spectacular achievements of medieval artists in the west was their desire to emphasize heavenly light in their creation of places of worship. Beginning with the 12^thcentury, heavy, dark, Romanesque architecture began to be replaced by Gothic vaulted ceilings and flying buttresses that made it possible to bring more light into the churches than ever before. Light for a Christian had great significance because of the extensive Biblical associations of the nature of God with Light.

After the sack of Constantinople in 1204 by Christian armies of the Fourth Crusade, precious objects from Byzantium made their way to Italian soil and profoundly influenced the art produced there, especially the brightly colored gold-ground panels that proliferated during the thirteenth century.

Romanesque Art, one of the first innovative and coherent styles to spread across the western Church,was greatly influenced by the Byzantine art that preceded it.

European countries of Italy, France, England, and Spain responded to this stylistic innovation that was more in keeping with shifts in cultural values.

The main purpose for the development of Romanesque art was to visually record biblical events and to chronicle important figures, like influential leaders and saints in a more naturalistic way, hoping to bring the viewer into closer contact with God.

The Bridge Between Eastern and Western Art

At the end of the thirteenth century and beginning of the fourteenth, three great masters appeared who changed the course of painting from the more abstract Byzantine style, to a more naturalistic one:

Cimabue, Italian, (1240-1302) painted religious paintings that were heavily influenced by Byzantine models, yet he was also innovative and eventually broke away from the Byzantine style of religious painting. For this reason, his work is considered to be a transitional bridge between icon painting and the more naturalistic developments of Renaissance painting.

Giotto di Bondone, (d. 1337), is believed to have been a pupil of Cimabue, and to have decorated churches in Padua, Florence, Naples, Assisi, and Rome. His volumetric figures are in sharp contrast to the linear, stylized shapes of Eastern religious art of the same period. In his work, the flatness of icons began to disappear in favor of a new kind of pictorial space that achieved the illusion of depth visible in the natural world. With Giotto, considered by many to be the father of modern European painting, the flat world of thirteenth-century Italian painting was transformed into an analogue for the real world. Giotto’s figures are volumetric rather than linear, and the emotions they express are varied and convincingly human rather than stylized. He created a new kind of pictorial space with an almost measurable depth that prefigured the pictorial developments of the Renaissance..

Duccio, (1278 – 1318), is considered to be the father of Sienese painting. Together with Giotto he is considered to be one of the founders of Western art. His religious paintings introduce lyricism and a refined color sense into the Byzantine tradition he inherited. He became interested in portraying human emotions and a more naturalistic space- both in conflict with Byzantine art principles. His purpose was to bridge the gap between the spiritual world of the figures he painted and the real world of the viewer by an illusionistic rendering of objects and space- the first of its kind in Western painting, and not a style embraced by Eastern iconography until later centuries.

Overlapping of Panel Painting with Icon Painting

Through the fourteenth century in Europe, the primary support for portable paintings was the wooden panel. The lengthy and complex preparation of the panels had already been the way of icon creation as well, hailing from the very early centuries of Christianity. Many of these methods of icon board preparation are continued in the practice of icon painting today. They are described in detail in Cennini’s Il Libro dell Arte.

So, to summarize, the schism of the Church into an Eastern and a Western Church resulted in different approaches to creating a visual language that would best convey concepts of God, Bible stories and saints. Western culture evolved from a more theocratic culture to a humanistic one with, in my opinion, disastrous results. I think I am more drawn to the Byzantine visual language because of its ability to convey purity, focus on God, and demonstrate a clear difference between God’s world and the naturalistic world we live in. And I think this ability to transcend the moment and connect with the Divine reality is crucial to humans coping with an increasingly stressful world today. The question is: Can we create a visual spiritual language that will engage modern men and women in a meaningful way? How will we do that? What do we learn from the simplified account of religious art development above? I believe that each of us will be inspired by God to create a variety of approaches, for it is of great importance to the modern world that we do.

Until next month, when we take a look at…The Renaissance and Icon Painting!! Glory to God whose power, working within us, can do infinitely more that we can ask or imagine.

Christine Simoneau Hales

My website: New Christian Icons. My Youtube Channel

Iconoclasm

Iconoclasm in Church Art (600-1000)

Key Issues of Iconoclasm

Iconoclasm, the destruction or rejection of religious images, was a major controversy that profoundly impacted the Byzantine Empire from the 7th to the 9th centuries. The debate centered around the Second Commandment, which forbids idolatry, raising the question of whether holy images competed with God or enhanced Christians’ experience and knowledge of God. This controversy tore apart the Byzantine Empire, pitting the iconodules, who venerated icons as a logical progression of Christian art, against the iconoclasts, who believed that any image in a church was idolatry.

The East-West Divide

Sts. Theodore of Amasea and George conquering their enemies; 9th century, Mt. Sinai

In the Western Christian church, where Latin had become the church’s language, the Greek distinction between latria(worship for only God) and dulia (a lesser form of veneration) was not easily understood or accepted. Eventually, however, the Western church allowed images for veneration. Despite sharing one Christian faith, Latin Christendom and Byzantium developed distinct spiritual, intellectual, and institutional traditions, shaping cultural identities that persist today as two distinct divisions of the Church.

Byzantium Under Justinian and Theodora

In Byzantium, the Emperor Justinian (527-565 AD) and his wife Theodora implemented caesaropapism, ensuring that the emperor controlled both political and religious affairs. This mosaic shows Empress Theodora holding a chalice, with figures standing frontally and almost floating in space, signifying a stylistic break from the Greco-Roman tradition. This new style was associated with the divine world, rather than the naturalistic world. Theodora was murdered for opposing the removal of the Jesus icon on the Chalke Gate of the Great Palace of Constantinople during the iconoclasm movement.

The Iconoclast Controversy

According to traditional accounts, Iconoclasm began when Emperor Leo III removed an icon of Christ from the Chalke Gate of the imperial palace in Constantinople in 726 or 730, sparking widespread destruction of images and persecution of their defenders. In the East, Caliph Yazid issued a decree in 723 banning all holy images in Christian churches. In the West, Emperor Leo banned icons in all public places in 726. Pope Gregory III responded in 731, excommunicating those who denied the sanctity of icons or violated sacred images.

Opposition and Resolution

Crucifixion, Byzantine Museum, Athens. Circa 9-13th centuries.

St. Theodore the Studite (b. 759, Constantinople) was a leading opponent of iconoclasm, which disturbed relations between the Byzantine and Roman churches. The period of iconoclasm lasted until 797, with proponents of icons like Saint John of Damascus and the edicts of the Seventh Ecumenical Council supporting the veneration of icons. John of Damascus, an Arab Christian monk and theological doctor, was a prominent figure in the 8th-century Iconoclastic Controversy.

Cultural Impact and the Great Schism

Byzantine Iconoclasm, initiated by Emperor Leo III and continued by his successors, included widespread destruction of religious images and persecution of supporters. The period saw growing divergence and tension between the East and West, though the Church remained unified. The Western Church supported the use of religious images, while the Eastern Church was more divided.

The Great Schism of 1054 was caused by doctrinal differences, the rejection of universal Papal authority by Eastern patriarchs, and sociopolitical differences. This schism created lasting divisions that affect the study and practice of iconography today.

Modern Perspectives on Iconography

Iconoclasm, Clasm Chuldov Psalter, 9th Century

Today, a schism still exists between Western and Eastern iconographers regarding the nature and purpose of icons. Former Archbishop of Canterbury, Lord Rowan Williams, explained the significance of icons in his talk “Idol, Image, and Icon.” He described an idol as an empty illusion, whereas an image bridges the gap between absence and presence. Icons, made and used in prayer, open us up to God and embody the tension between divine presence and absence. They challenge and transform the viewer, claiming our attention and inviting us to experience the sacred.

Conclusion

Iconoclasm was a pivotal controversy in the history of the Byzantine Empire and the Christian Church, shaping the development of religious art and theological thought. Its legacy continues to influence the study and practice of iconography today, highlighting the enduring tension between tradition and innovation in religious expression.

I’m hoping to achieve Peace in our lifetime, with all those who call themselves Christians actively spreading the Doctrine of brotherly love to all of our neighbors.

INTERESTING LINKS:

Lord Rowan Williams, former Archbishop of Canterbury, Lecture at Birmingham University: Idols, Images, and Icons.

Wax Tempera and Modern Icons

May God continue to bless the eyes of your hearts with His love, until next month,

Christine Simoneau Hales, New Christian Icons

Upcoming Icon Painting Classes

The Uncreated Light

Dear Fellow Iconographers:

Saint Fyodor of Rostov Icon depicting “Theoria”. By the hand of Christine Hales

Recently, while sharing with good friends my current Icon exhibition at All Angels Church in Sarasota, I was pleasantly reminded about the importance of the concept of the “uncreated light” within icons. Having promised to reflect more on this topic, I now share with you some thoughts and research on that very important but sometimes overlooked aspect of icon writing/painting.

The Light of Mt. Tabor: The Light of the Transfiguration and Paul’s Conversion

In the 14th century, Gregory Palamas, an Athonite monk and proponent of Hesychasm, explored the concept of the Uncreated Light. According to the Hesychast mystic tradition of Eastern Orthodox spirituality, a completely purified saint who has attained divine union experiences a vision of divine radiance, the same ‘light’ that was manifested to Jesus’ disciples on Mount Tabor at the Transfiguration and to Saint Paul at his conversion. This profound experience is referred to as theoria. The doctrine of the uncreated light is rooted in Palamas’ interpretation of the teachings of Gregory of Nyssa.

Orthodox Christians also find instances of the Uncreated Light in the Old Testament, such as the Burning Bush.

Burning Bush Icon -Moses and Mary with Christ Child. by the hand of Christine Hales

Joseph the Elder, Hesychast

Joseph the Elder, a 20^th century Hesychast and Greek Orthodox monk from Mount Athos, longed for unceasing prayer but faced numerous challenges, including the difficulty of finding a spiritual father and the indifference of many monks toward constant prayer. In his yearning for divine connection, Joseph was ultimately granted a vision of the uncreated light, receiving the gift of ceaseless prayer.

“At once I was completely changed and forgot myself. I was filled with light in my heart and outside and everywhere, not being aware that I even had a body. The prayer began to say itself within me…

O Master, our sweetest Lord Jesus Christ, send forth Your grace and free me from the bonds of sin. Enlighten the darkness of my soul, so that I may apprehend Your infinite mercy, and so that I may love and thank You worthily, my sweetest Savior, Who is worthy of all love and thanks.” Amen

Egon Sendler on Iconic Light

Egon Sendler, in his book “Icon, Image of the Invisible”, explained that the light depicted in icons is distinct from natural light. Iconic light represents incarnate grace and must be received in contemplation.

“In the icon, we see a divine reality that transcends this earthly world while respecting it because it is created by God, to be transfigured in His spirit. If an icon reduces the mystery of God to mere material forms, it loses its soul and spiritual character, becoming an illusion of reality.”

Sendler emphasized that the dynamic nature of icons involves all the pictorial elements moving towards the observer, with light following this movement, creating a transfigured world and bringing the viewer into union with God..

Leonid Ouspensky from “The Meaning of Icons”

Transfiguration Icon by the hand of Christine Hales

Leonid Ouspensky, in his book entitled “The Meaning of Icons”, highlighted that Church art, particularly icons, visually testifies to the dual realities of God and the world, grace and nature.

“Through the icon, as through the Holy Scriptures, we not only learn about God but also know God. The transfiguration, an illumination of the entire man through prayer by the uncreated light of Divine Grace, manifests man as a living icon of God. The icon represents this transfiguration, depicting a man filled with the Holy Spirit’s grace.”

Ouspensky concluded that liturgical art represents both our offering to God and God’s descent into our midst, facilitating a profound meeting between God and man, grace and nature, eternity and time. Perceiving the uncreated light of God’s grace in an icon leads us toward Holy Communion with God, transcending our natural world.

Conclusion:

The concept of the Uncreated Light in Eastern Orthodox spirituality and iconography emphasizes the profound connection between the divine and the material world. Through the transformative experiences of saints like Joseph the Elder and the theological insights of figures like Gregory Palamas, Egon Sendler, and Leonid Ouspensky, we understand that icons are not merely art but manifestations of divine reality and grace, guiding believers towards a deeper communion with God. And so, when writing, or painting icons, choosing colors that reflect the uncreated light of God’s grace becomes a subtle, but highly important imperative of icon creation.

Here are some interesting links for Iconographers:

Icon Museum and Study Center, Clinton Massachusetts

Introduction to Icons Video by Patristix

Icon Writing Pigments and other Supplies for Icon Painting

That’s all for this month. May God continue to bless the work of your hands,

Christine Simoneau Hales

New Christian Icons Icon Painting Instruction

Prints of My Icons Christine Hales’ Icon Book

Coptic Icons

Coptic Icon of Saint Michael — Archangel Ethiopian Icon, C. 19th century

Recently, while teaching an online icon writing class on the Transfiguration, the subject of Coptic icons came up. Each of us spoke admiringly about them, the color schemes, the simplified human forms, and the fact that they are attractive in many ways. But we soon realized that we didn’t really know much about them.

Coptic Ethiopian Icon

So, here I have done some research that I now share, and I hope that many of you with more knowledge will share your thoughts and Coptic icon images on the FB (American Association of Iconographers FB group) page too.

Here’s what I have been able to discover:

In 30 BC, Egypt became a Roman province, and over the next several years, immigrants from Greece, Rome, Libya, and Syria brought their artmaking traditions and methods to apply to the art of this time. According to tradition, the Coptic Church was founded by Mark the Evangelist c. AD 42, and regards itself as the subject of many prophecies in the Old Testament. The first Christians in Egypt were common people who spoke Egyptian Coptic.

Saint Anthony and Saint Paul the Hermit c. 14th C.

The Church of Alexandria was the first Church of Africa, and through it, the influence of Coptic art spread to Sudan and Ethiopia. Some forms of the Coptic cross are known as the Ethiopian cross and many Churches in Ethiopia show the influence of the Coptic art.

The early Coptic icons of the third century Egypt, used encaustic paints and later, influenced by the Byzantine tradition, egg tempera. The Coptic style favors enlarged eyes, frontal figures, and an under emphasis of natural proportions in figures. The figures of saints display eyes and ears larger in proportion to the rest of the face and a smaller mouth, as well as enlarged heads, signifying a spiritual relationship with God and devotion to prayer. Martyrs’ faces were peaceful. Early Coptic icons were influenced in style of painting by the Egyptian Fayum memorial portraits used on Egyptian sarcophagi.

These Fayum portraits from the Egyptian Sarcophagi were painted in the Greco-Roman style of painting and became the basis of both Coptic and Byzantine iconography. Beautiful portraits, they have simple, graceful forms, and employ a simple color palette, using what we now refer to as the Greek Palette- mixtures of red ochre, yellow ochre, white and black. Although the same painting style was used on each portrait, artists were able to achieve a great variety of resemblances to the persons being depicted.

John the Baptist Coptic Icon — John the Baptist Before the 19th C.

In 641 Muslims conquered Egypt and made it a province of an Islamic Empire whose capital was Damascus. The religious history that followed is a complicated mixture of acceptance for Christians, and then later in the 9^th century, relations were more difficult. The period from the 7^th to 13 century was more promising, allowing for Christian Coptic art to flourish once again and to further develop the Coptic style. There was even something of a Renaissance of Coptic art in the 13^th century with many Coptic illustrated manuscripts, much like the illuminated manuscripts of the western Church.

After this, for political reasons, there was a sharp decline in productivity of Coptic Art,until the 18^th century when the West re-discovered the attraction of Coptic Icons.

In today’s world there are several Coptic Iconographers who are continuing to develop the Coptic style of iconography. I am including here links to Dr. Stephan Rene’s website from which a much more nuanced understanding of Coptic iconography can be found, and two other links that may be useful for a more complete perspective.

Again, please do add to the FB group page more information or images if you would like to share your experience with Coptic Icons with others. I hope this has inspired you to think about different styles of icon writing and how culture and politics can affect the art of their time.

Dr. Stephan Rene’s Website: https://copticiconography.com/2019/12/24/reflections-on-discipleship-and-coptic-iconography/

UK Coptic Icons. https://www.ukcopticicons.com

Until next month,

My very best wishes for God to continue to bless the work of your hands,

Always,

Christine Simoneau Hales

https://newchristianicons.com

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.

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:

https://www.iconmuseum.org/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

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.

	Christine Hales on Icons For Lent
	cassidyoncanvas on Icons For Lent
	Christine Hales on Principles of Iconography: Sac…
	Christine Hales on Epiphany and New Beginnin…
	Christine Hales on “Feed My Sheep”