Every icon has a theological background. Using images, forms and colors, the icon shows what Holy Scripture is teaching us by the Word. The icon offers us truth as a vision, and thereby is a direct approach to our non-reasoning mind and heart, allowing us thereby to reach a deeper understanding of the Biblical message. From the early development of icons to the present, the theological meaning of the icon is always connected to a concrete representation.
Considering the icon of the Holy Trinity painted by Russian iconographer Andrei Rublev in the fifteenth century, we have a very clear representation of the biblical passage Genesis 18:1-8. The Trinity represents the three angels who visited Abraham at the Oak of Mamre. Rublev’s intention for this icon was for it to embody spiritual unity, peace, harmony, mutual love and humility.
The composition of the icon uses sacred geometry to create a perfect circle that encloses the figures of the three angels. The left angel represents God the Father who is blessing the cup. The central angel represents Jesus Christ- his blue robe represents his divinity. He accepts the cup, bowing, and it is generally believed that this cup symbolizes the Eucharist and the sacrifice of Jesus.
The oak of Mamre symbolizes not only the tree of life, but also the death of Jesus on the cross. The mountain is a symbol of spiritual ascent that man accomplishes with the help of the Holy Spirit. The inclination of the angels’ heads demonstrate submission to the Father on the left.
Typical of Rublev’s icons, the faces of the angels are shown illuminated by an inner light, and not as a reflection of an exterior light source. His technique foregoes the white lines often used in painting faces in icons, using instead a method of paint application called “plav”. This method crates a radiance and a glowing countenance that achieves nuances of form and expression which also suggest unity and harmony.
In the icon of the Trinity, Rublev preferred transparent colors in blue-green tones that he combined with the technique of scumbling to achieve a luminous presence that also speaks to the heavenly nature of the three angels. The term “dymon pisano”, meaning transparent like a cloud”, is sometimes used to describe this technique.
Rublev’s icons appear to be more natural than those of the Palaeologue period. Their transparency reflects harmony of matter and mind. The essential nature of the icon is that it is the expression of Christian revelation. For Rublev, the drawing-design dominated the process of icon writing. His intention was to create harmony and unity through perfect contours and lines.
In the Trinity icon, the drawing of the central angel’s garment is very geometric. The angels on the sides, in contrast, are drawn with a gentle, calm movement. Similarly, the blue garment of the central angel is opaque and built up with layers, but the two side angels’ garments are transparent with touches of white.
In the Trinity icon, the complex theology of the Holy Trinity is represented by the unity of the three angels. The spiritual nature of God’s Divine Essence as the triune God is depicted as simply three angels. In this icon, we are invited not to look at three separate angels, but instead, to the Holy Trinity, the Triune God.
All-Holy Trinity, have mercy on us. Lord, cleanse us from our sins. Master, pardon our iniquities. Holy God, visit and heal us For Thy Name’s sake.
My next Zoom, online icon writing class will be April 18-21 and we will be painting the Holy Trinity Icon using egg tempera and gold leaf gilding. For more information click here.
May God continue to bless your interest in creating and praying with Holy Icons.
Painting Icons using egg tempera paints requires that we use a solid, stable support that is also absorbent for the many layers we need to result in the jewel like appearance of icons.
Traditionally, poplar boards have been used that are coated in rabbit skin glue (as a sealer) and then between 8 – 14 layers of natural gesso, sanded in between layers. The result should be a polished, smooth surface that is also highly absorbent. Natural gesso is not the same as the acrylic gesso most people are familiar with. Natural gesso is made using rabbit skin glue and chalk or marble dust.
Today there are many more modern materials that iconographers are experimenting with in part because the process of preparing an icon board is lengthy and requires a lot of physical effort and time. Natural Pigments makes a product, “easy Gesso”, that seems much easier to use and works well, especially for beginning students. https://www.naturalpigments.com/mediums-grounds/gesso-primers/gessoes/easy-gesso.html
Also, I tend to use Baltic Birch Wood panels because I feel they are less prone to warping than more traditional woods.
Below I will provide an explanation of how to prepare and gesso an icon board that I trust will be helpful. If you should choose to experiment with other materials and find success, do write to me and I will add that to this list.
Icon Board Materials
Baltic birch panels of various sizes, a sauce pan and another container for mixing the gesso. I use recycled plastic or glass containers about the size of a large yogurt container. Distilled water, measuring spoons, measuring cup, wood spoon to stir, oxgall liquid, glycerin, marble dust or chalk, rabbit skin glue, 2″ bristle paint brush from the hardware store, 3 grades of sand paper- 300, 600, 1200 grit. Muslin or linen large enough to overlap the icon boards’ dimensions by 1 inch all around.
Set up your workspace with a long table covered with a painter’s drop cloth. I like to use one that I can dispose of when the whole process is finished because it will get quite messy.
Steps to Gesso Icon Boards
Linen drying on the boards, having been soaked in rabbit skin glue.
Measure 2 Tablespoons of Rabbit Skin glue into 2 cups of distilled water, stir well. Let sit until glue is completely absorbed and expanded- 2-4 hours.
Place glue mixture in a container that rests in a saucepan , double boiler is good), containing 3 inches of boiling water and let the glue melt. Be careful it doesn’t get too hot- do not boil the glue mixture! 135 degrees Farenheit is too hot!!
Next, using the 2″ Bristle brush, coat both sides and edges of each board with the glue. Let each side dry about 2-4 hours. This will prevent the board from warping and will keep out atmospheric moisture in the future.
When the boards have dried, the next day, you can mix up some more glue This you will use to, first, coat the dry icon boards with it. Second, dip the pre cut linen into this glue mixture and spread evenly on the board. Smooth out wrinkles- I use plastic gloves.
Next day, use a mat knife to trim edges of over lapping linen.
Time to trim the edges of the linen- when they are completely dry.
Making the Gesso
Now it’s time to make the gesso itself! Make the glue- 2Tbs rabbit skin glue added to 2 cups of water – as before. Let soak, then warm until completely dissolved, as above.
When the glue is ready, using a sieve, gradually add approx 3 cups of whiting – chalk or marble dust. I also add 1 teaspoon of oxgall liquid and 1 tsp of glycerin. These are dispersion agents and they are optional. I use Kremer Chalk from Champagne K 58000, and/or marble dust K 58500. I often make a mixture of chalk and marble dust but you can use just the chalk as well.
When this is ready, start putting layers of gesso on the boards, letting them dry in between layers. It doesn’t take too long for each layer to dry- in the summer it might take 1/2 hour.
Sanding the Boards
After 3 or 4 layers, I usually give the boards a rough sand to take off any bumps or rough spots. This can be done with a wet sanding method described in the video below, or with regular sandpaper. The wet sand method is my choice, usually. Don’t forget to coat the edges of the board. After 6 layers I sand again. Then, a final sand after the last 2 layers. You can make anywhere from 4-8 layers. Use the finest sand paper for the final sand and you will get a beautiful smooth surface ready to paint on!
There are several videos on you tube showing different approaches to gessoing an icon board. You might want to watch this, or one like it, all the way through before starting. Icon boards video by Paul Stetsenko. Or, if this is too much bother, you can always order an icon board!! I have included some new sources on my website on the student resources page.
Happy Icon Painting!
May God bless you and guide you in all of your endeavors in this Holy ministry.
One of the most important icons of the western world is Our Lady of Guadalupe, sometimes called the Virgin of Guadalupe.
While the history of the apparition and subsequent miracles are fodder for speculation, there are certain facts that all agree on.
A series of five apparitions occurred in December of 1531 within the Basiclic of Our Lady of Guadalupe in Mexico City. This basilica is the most visited Catholic shrine in the world, and the world’s third most visited sacred site.
According to legend, the Virgin Mary appeared four times to Juan Diego, an indigenous Mexican peasant, and once to his uncle, Juan Bernardino. The first apparition occurred on the morning of Saturday, December 19, 1531. Juan Diego experienced a vision of a young woman at a place called the Hill of Tepeyac. The woman spoke to Juan in his native language, Nahuatl, and identified herself as the “Virgin Mary, mother of the very true deity”. She asked for a church to be erected at that site in her honor. Juan Diego then told the Archbishop of Mexico City what had happened. Unsurprisingly, Juan wasn’t believed. Later that same day, Juan Diego saw the second apparition. The young woman asked him to continuing pressing the Archbishop for a church to be built.
The next day, a Sunday, when Juan Diego spoke to the Archbishop a second time, the Archbishop asked for a truly miraculous sign to prove her identity. Later that day, the third apparition appeared when Juan Diego returned to Tepeyac Hill. He again encountered the same young woman and told her of the request for a miraculous sign. She agreed to provide this the next day.
By Monday, Juan Diego’s uncle, Juan Bernardino, became ill and Juan Diego had to care for him. Unfortunately, the uncle’s condition worsened and In the very early hours of Tuesday, Juan travelled to find a Catholic priest to hear his uncle’s confession and minister to him on his deathbed. On this journey, Juan Diego traveled around the place of is previous encounters with the young woman because he was ashamed by not meeting her as promised the previous day. But still, the young woman found him and asked where he was going. This was the fourth apparition. When Juan Diego explained what had happened, she gently reminded him that he should have sought her assistance. She asked “ No estoy yo aqui que soy tu madre?” (AM I not here, I who am your mother? She assured him that his uncle was now recovering and told him to gather flowers from the top of Tepeyac Hill. This hill was normally barren in December. Juan obeyed her instructions and found Castilian roses, not native to Mexico, blooming there. The Virgin arranged the flowers in Juan’s tilma (cloak), and when he opened his cloak later that day for the Archbishop, the flowers fell to the floor, revealing the image of the Virgin of Guadalupe.
The next day, Juan Diego found his uncle completely healthy, just as the Virgin had told Juan. Juan Bernardino said that he had also seen her praying at her bedside and that she had instructed him to tell the Archbishop about his miraculous cure and that she had told him she wanted to be known as the Virgin of Guadalupe.
The Archbishop kept the mantle in the church where it attracted many visitors. On December 26, 1531, a procession formed to transfer the miraculous image back to Tepeyac Hill where it was installed in a small chapel. During this procession, the first miracle occurred when a young native who was accidently mortally wounded was completely healed when brought before the Virgin’s image with many prayers and supplications.
The Virgin of Guadalupe is known as the Queen of Mexico, the Paton saint of both North and South America, and titles given by Pope John Paul II, “Empress of Latin America and Protectress Of Unborn Children”.
It’s so interesting to hear the stories behind icons. Please contact me if you have other examples to share. (chales@halesart.com).
Recently I have been reading a book by Sister Gabriela about Father Sophrony that includes many of his drawings and icons. I’m inspired by his approach and work and want to share that with you here.
While attending art school in Russia in the 1920’s, one of his teachers was Vassily Kandinsky. Soon after, Sophrony moved to Paris where he exhibited his paintings and was not interested in pursuing a Christian life. This changed drastically and in 1926 he entered the Monastery of Panteleimon on Mt Athos where he remained until finally settling in Essex, UK at the Monastery of Saint John the Baptist.
Father Sophrony Drawing
To learn more about Father Sophrony, please read Sister Gabriela’s excellent books: “Being, The Art and Life of Father Sophrony”, or “Seeking Perfection in the World of Art”, or “Painting As Prayer: The Art of A. Sophrony Sakharov.”
I include here several quotes from the “Painting as Prayer” book that I know will be inspiring to all of you as well:
“An artist is a person who believes with deep conviction in the rightness of what he creates; who devotes his entire life to art for mankind. Only in such people does the Divine spark burn, brightly an unquenchably. And this is what’s most important in art.”
Drawing by Father Sophrony
Kandinsky
This is a quote in the book attributed to Kandinsky: ” the artist must not consider himself master of the situation, but the servant of nobler aims- a servant whose obligations are majestic, distinctive, and sacred. He must nurture himself and plumb the depths of his inner life, he must conserve his inner life and develop it lest his outer talent becomes empty, like a lost glove, the empty and vain likeness of a hand.”
Painting as Prayer, Book by Sister Gabriela
“The Icon is an art which expresses the spiritual world in form and color. It is made with a stylistic language of its own which introduces the person looking at it into another sphere of being, another world of perception. Intentionally it follows a different logic of perspective and reality, placing emphasis on the inner life because its main purpose is either to depict the face of God or convey the soul of the saint or the essence of the scene being depicted. Deliberately this makes it somewhat abstract. The artist seeks divine inspiration for their work and in order to receive this, rather than some other influence, he needs a humble and prayerful attitude, recognizing that he is not master of the situation.
Inspiration from on high depends to a considerable extent on us- whether we open our heart so that the Lord- The Holy Spirit Who ‘stands at the door and knocks’ does not have to enter forcibly.
The iconographer will try to free himself from all that hinders or is contrary to the action of Divine Inspiration. This requires both humility and asceticism, but as ascetic feats may lead to pride, and thus deter grace, it is humility that is the essential part. This keeps him both open to others and their suggestions and open to grace. It preserves a rigorous questioning and checking in prayer with his conscience and with the ideal which is the humble example of Christ.”
Orthodox Journal Article
I first learned about Father Sophrony’s work from an excellent article on the Orthodox Journal. Here is the link .
“For me, the most fascinating part of the study was the subject of Father Sophrony as an iconographer. His approach to iconographic practice is described and this section is rich in quotations and comments of great interest. Sister Gabriela writes that by having “absorbed the iconographic tradition through observation and living with it, while leading a strict ascetical life…one’s understanding goes deeper, beyond the external aesthetic aspect.” “…he understood iconography in its essential form, as an inspiration for prayer, and a “springboard”, as he called it himself, to eternity. In this sense he was free from any attachment to any specific school or iconographic movement. His sole interest was to render the icon as authentically as possible.” As a result of this it is apparent that “One cannot classify his icons into any particular style or school. He took what he found best from each. His only concern was the icon itself, how best to express the given situation.”
In summation Sister Gabriela writes of Father Sophrony’s life that “This is the search for Christ, the yearning for close contact with Him and, within this, striving to portray His face in a correct and worthy manner, both in the inner life and in iconographic panting.”
Additional Link to Icon Gallery in Slovakia
I have recently seen a lovely online exhibition of Eastern European Icons at The Gallery of Icons. Here is the link.
That’s all for this month. Please email me with suggestions for future articles on understanding and appreciating icons.
What is so special about Novgorod Icons? In addition to being known for their beautiful colors and lively compositions, Novgorod Icons offer a rich history and background to the study of icon writing.
Novgorod is one of the oldest cities in Russia, dating from about 859 AD. The period from the 12th to the 17th centuries was especially bountiful in producing many beautiful icons. This period of time is sometimes referred to as “the Proto- Renaissance” because it still embraced the union of religious and aesthetic ideas.
Saints John Climacus, George, and Blaise, 13th Century
The Effects of the Western Renaissance on Icon Writing
The Proto- Renaissance that was operational in Russia was able to encompass all the cultural phenomena of its time within the context of religion and produce icons of spiritual depth without being overly influenced by Humanism.
In the West from the 14th to 16th centuries, the Renaissance moved art, even religious art, more toward man’s interests and became more human, less religious. Even Christianity in the West at this time became more rational and scholastic and emphasized the emotional experiences of the subject.
In the practice of writing icons, we tend to strongly favor copying icons from before the Renaissance for this very reason. Iconographers agree that imagery from before the Renaissance is preferred because we want our icons to reflect a culture that placed God as the center of the universe, not human reason.
Nativity of the Virgin, 14th Century
Fourteenth Century Russian Culture
Russian culture of the late fourteenth and early fifteenth centuries developed strong ties with Byzantium, particularly in Novgorod and Pskov. The great iconographer, Andrei Rublev was part of this cultural and spiritual movement. The famous Byzantine master Theophanes the Greek worked in Novgorod in 1378. His magnificent frescoes in the Church of Our Savior in Ilyina Street formed a bridge between the art of Novgorod and Byzantium.
The Transfiguration by Theophanes
The Artistic Language of the Novgorodian icon is simple, laconic and precise; the composition is based on large contrasting shapes. The rhythm and coloring are tense and mobile, the drawing energetic. Colors are especially important and tend to be simple and bright. Faces, while classical. Tend to have large, expressive eyes. They are painted in a gentle manner with subtle gradations of value. The linear design of the hair, lips, nose and eyes is in contrast to the subtle tonal gradations. In the earlier icons, the minimal color scheme of olive and yellow prevails.
Saint Nicholas Icon
In the thirteenth century icon of Saint Nicholas from the Novgorodian monastery of the Holy Spirit, we see clearly the simplicity of composition, the harsh linear forms, and sparse contrasting colors that complement the restraint of the image. This icon, as well as the is very characteristic of Novgorodian twelfth and thirteenth century painting.
Saint Nicholas
Presentation of the Virgin Icon and Boris and Gleb Icon
In these icons of the late thirteenth, early fourteenth centuries we see the qualities of simplicity of composition combined with monumental, flat graphic qualities balanced by relative depth of form. The colors show an abundance of cinnabar, white, ochre, brown and green.
Presentation of the Virgin
At this time, Novgorodian painting came closer to Byzantine icons of the Palaeologus period. Icons became monumental and soon were given to freer and more complex compositions. Here we find images with inner tension, power and a classical simplicity. We also see the beginnings of interest in man and his feelings and this affects both color and composition.
Boris and Gleb Icon
I need to end this here, but will pick it up again in a subsequent blog in order to continue the historical development of icons in this most important period of icon history. For further reading I suggest the book: Novgorod Icons, 12-17th Century by Aurora Art Publishers, Leningrad.
Some of the best characteristics of Novgorodian icons are their rational yet popular imagery, economy of means, and a brilliant use of color. Definitely a period of icon writing worth exploring for every aspiring iconographer!
The next icon class that I teach online we are painting an Icon of Mary Magdalene. In order to make an accurate copy of the prototype, I am researching the relatively scant information available about her and want to share some of that with you here.
Mary Magdalene
The questions to ask are: “Who was this woman, what does she represent to us today?” I rely heavily on Wikipedia for this article, and I include the following:
“Mary Magdalene is considered to be a saint by the Catholic, Eastern Orthodox, Anglican, and Lutheran churches. In 2016 Pope Francis raised the level of liturgical memory on July 22 from memorial to feast, and for her to be referred as the “Apostle of the apostles”. Other Protestant churches honor her as a heroine of the faith. The Eastern Orthodox churches also commemorate her on the Sunday of the Myrrhbearers, the Orthodox equivalent of one of the Western Three Marys traditions.” Wikipedia
Early Materials: Who Was Mary Magdalene
“The earliest materials that refer to Mary Magdalene appear from two very different sources: the canonical Gospels of the New Testament, and a group of fringe materials that have come to be known as the Gnostic Gospels, which were rejected by the Catholic Church.” The Gospel of Mary Magdalene, by Jean-Yves Leloup.
I share Leloup’s thoughts that the path of Mary Magdalene emphasizes inner preparation, introspection, and inner transformation. “As one who has been cleansed from sin, who remains with Christ throughout his death on the cross; and who first witnesses, understands, and believes in Christ’s resurrection, she represents a human being who is open and available to true “inner knowing” and can see in deeper, clearer ways through a unique spiritual connection to both earthly death and the Divine.”
Lamentation painted by Christine Hales
Canonical Gospels
“Mary Magdalene, sometimes called Mary of Magdala, or simply the Magdalene or the Madeleine, was a woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion and resurrection. She is mentioned by name twelve times in the canonical gospels, more than most of the apostles and more than any other woman in the gospels, other than Jesus’s family. Mary’s epithet Magdalene may mean that she came from the town of Magdala, a fishing town on the western shore of the Sea of Galilee in Roman Judea.” Wikipedia
“Mary Magdalene’s epithet Magdalene (ἡ Μαγδαληνή; literally “the Magdalene”) most likely means that she came from Magdala, a village on the western shore of the Sea of Galilee that was primarily known in antiquity as a fishing town. Mary was, by far, the most common Jewish given name for females during the first century, so it was necessary for the authors of the gospels to call her Magdalene in order to distinguish her from the other women named Mary who followed Jesus. Although the Gospel of Mark, reputed by scholars to be the earliest surviving gospel, does not mention Mary Magdalene until Jesus’s crucifixion,]the Gospel of Luke 8:2–3 provides a brief summary of her role during his ministry: “Soon afterwards he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. The twelve were with him, as well as some women who had been cured of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, and Joanna, the wife of Herod’s steward Chuza, and Susanna, and many others, who provided for them out of their resources.” Wikipedia
There Is No Direct Evidence to Support The Notion of Her As a Prostitute.
“The portrayal of Mary Magdalene as a prostitute began in 591 when Pope Gregory I conflated Mary Magdalene, who was introduced in Luke 8:2, with Mary of Bethany (Luke 10:39) and the unnamed “sinful woman” who anointed Jesus’s feet in Luke 7:36–50. Pope Gregory’s Easter sermon resulted in a widespread belief that Mary Magdalene was a repentant prostitute or promiscuous woman.[5][1] Then elaborate medieval legends from western Europe emerged which told exaggerated tales of Mary Magdalene’s wealth and beauty, as well as of her alleged journey to southern Gaul (modern-day France.) The identification of Mary Magdalene with Mary of Bethany and the unnamed “sinful woman” was still a major controversy in the years leading up to the Reformation, and some Protestant leaders rejected it. During the Counter-Reformation, the Catholic Church emphasized Mary Magdalene as a symbol of penance. In 1969, Pope Paul VI removed the identification of Mary Magdalene with Mary of Bethany and the “sinful woman” from the General Roman Calendar, but the view of her as a former prostitute has persisted in popular culture. …
Mary Magdalene, detail, written by Mary Jane Miller
Mary Magdalene Was Probably From a Wealthy Family
The Gospel of Luke 8:2–3 lists Mary Magdalene as one of the women who traveled with Jesus and helped support his ministry “out of their resources”, indicating that she was probably wealthy. The same passage also states that seven demons had been driven out of her, a statement which is repeated in Mark 16. In all the four canonical gospels, Mary Magdalene was a witness to the crucifixion of Jesus and, in the Synoptic Gospels, she was also present at his burial. All the four gospels identified her, either alone or as a member of a larger group of women which includes Jesus’s mother, as the first to witness the empty tomb, and, either alone or as a member of a group, as the first to witness Jesus’s resurrection… Because Mary is listed as one of the women who were supporting Jesus’s ministry financially, she must have been relatively wealthy. The places where she and the other women are mentioned throughout the gospels strongly indicate that they were vital to Jesus’s ministry and the fact that Mary Magdalene always appears first, whenever she is listed in the Synoptic Gospels as a member of a group of women, indicates that she was seen as the most important out of all of them. Carla Ricci notes that, in lists of the disciples, Mary Magdalene occupies a similar position among Jesus’s female followers as Simon Peter does among the male apostles.”Wikipedia
Mary Magdalene is the only woman besides Mother Mary who is mentioned by name in all four texts., and her name is always listed first when the presence of women is noted.
Crucifixion Icon written by Christine Hales
Healed By Jesus of Seven Demons
Jesus heals Mary by freeing her from seven demons. Mark 16:9 and Luke 8:2. She is mentioned also as one of the three, along with Mother Mary and John the apostle who wait at the foot of Christ’s cross at the Crucifixion. John 19:25
And importantly we know that she is the first to see Jesus resurrected from the tomb: John 20:11-18, Mark 16:9, Matthew 28:9-10. It is because of this that she is considered to be the apostle of the apostles.
Because Mary was the first to witness the Resurrection, she was considered by the Apostle John as the founder of Christianity. This was long before Saint Paul had his vision on the road to Damascus.
Women at the Tomb Icon
Women at the Tomb
According to Matthew 28:1–10, Mary Magdalene and “the other Mary” went to the tomb. An earthquake occurred and an angel dressed in white descended from Heaven and rolled aside the stone as the women were watching. The angel told them that Jesus had risen from the dead. Then the risen Jesus himself appeared to the women as they were leaving the tomb and told them to tell the other disciples that he would meet them in Galilee. According to Luke 24:1–12, a group of unnamed women went to the tomb and found the stone already rolled away, as in Mark. They went inside and saw two young men dressed in white who told them that Jesus had risen from the dead. Then they went and told the eleven remaining apostles, who dismissed their story as nonsense. In Luke’s account, Jesus never appears to the women, but instead makes his first appearance to Cleopas and an unnamed “disciple” on the road to Emmaus. Luke’s narrative also removes the injunction for the women to tell the disciples to return to Galilee and instead has Jesus tell the disciples not to return to Galilee, but rather to stay in the precincts of Jerusalem.
Another Account of Mary Magdalene and the Resurrection
Mary Magdalene Painting
Mary Magdalene’s role in the resurrection narrative is greatly increased in the account from the Gospel of John. According to John 20:1–10, Mary Magdalene went to the tomb alone when it was still dark and saw that the stone had already been rolled away. She did not see anyone, but immediately ran to tell Peter and the “beloved disciple”, who came with her to the tomb and confirmed that it was empty, but returned home without seeing the risen Jesus. According to John 20:11–18, Mary, now alone in the garden outside the tomb, saw two angels sitting where Jesus’s body had been. Then the risen Jesus approached her. She at first mistook him for the gardener, but, after she heard him say her name, she recognized him and cried out “Rabbouni!” of the grammar (negated present imperative: stop doing something already in progress) as well as Jesus’ challenge to Thomas a week later (see John 20:24–29). Jesus then sent her to tell the other apostles the good news of his resurrection. The Gospel of John therefore portrays Mary Magdalene as the first apostle, the apostle to the apostles.
The relationship between Jesus and Mary Magdalene shows us that Jesus did not reject women, but loved and welcomed women, sinners, and the weak.
The Relevance of Mary Magdalene for Christianity Today.
Another interesting book on the subject is Cynthia Bourgeault “The Meaning of Mary Magdalene, Discovering the Woman at the heart of Christianity”. In this book, Bourgeault re -examines both the Traditional and liturgical meanings of Mary’s role in the Gospels in the light of today’s hunger for personal spiritual understanding and meaning.
“ In the liturgy for the great vigil of Easter, one of the readings comes from the Old Testament book of Ezekiel:’I will remove from your body the heart of stone and give you a heart of flesh.’ Ezekiel 36:26 It seems to me that this promise captures the essence of Mary’s Magdalen’s healing vocation to contemporary Christianity…”
Mary Magdalene Icon
Legends and Creative Imaginings
There remain many stories, legends and creative imaginings surrounding the person of Mary of Magdala. I close this article with a lovely quote from the Leloup book:
“Each morning, according to another legend, a group of angels lifted Mary Magdalene above the summit of the cliffs where she could listed to the entire choir of angelic hosts, the divine sounds of original and continuing creation.”
Until next month, be blessed and do your best to help and be kind to others. 🙏❤️
“Come then, let us run with him as he presses on to his passion. Let us imitate those who have gone out to meet him, not scattering olive branches or palms in his path, but spreading ourselves before him as best we can, with humility of soul and upright purpose. So may we welcome the Word as he comes, so may God who cannot be contained within any bounds, be contained within us...
Today let us too give voice with the children to that sacred chant, as we wave the spiritual branches of our soul: ‘Blessed is he who comes in the name of the Lord, the King of Israel. “ Saint Andrew of Crete
This month, as we all observe Lent in our prayer lives and churches, I have gathered a collection of Icons related to this season that encompasses the mystery and Passion of our Lord. If any of you readers have written icons on this theme, please send them in and I will post them on the FB page for the American Association of Iconographers.
Entry Into Jerusalem
Entry Into Jerusalem Icon by Christine Hales
“Seated in heaven upon Thy throne and on earth upon a foal, O Christ our God, Thou hast accepted the praise of the angels and the songs of the children who cried out to Thee: Blessed art thou that comest to call back Adam”. From the Kontakion for the Feast
The Holy Washing of the Feet, Icon
Romanian Icon 19th Century
Peter, the Apostle is seated on a bench, on the floor is a basin with water, Jesus has his mantle pulled up to keep it dry, Jesus is wiping the with a towel Peter’s right foot.
The other disciples are grouped on the right and left sides, some are loosening their sandals, Christ is the only figure shown with a halo. Only two are shown without a beard, because of their youth.
This was a lesson in humility. Christ says that he gave them an example to be imitated by them.
The Mystical Supper
“As a mystical event, the “Supper takes place at every Divine Liturgy or Eucharistic Feast. “ Of Thy Mystical Supper, O Son Of God, receive me today as a communicant, for I will not speak of the mystery to thine enemies.”
A long table inside a house, usually Christ is seen in the center, his head inclines slightly to the right and with his right hand he blesses. Peter is seated on the right side and John on His left side- Jesus rests his hand on John’s shoulder. This is depicted in John’s Gospel, 13:23-24. Judas is stretching out his hand in order to dip his bread in the dish. Matthew 26:23
All the disciples are shown without halos. Halos are not proper before Pentecost. The disciples should not have their backs to the viewer.
The D shaped table was first seen in the 6th century Ravenna mosaics. Psychological perspective calls for Christ to be at the center of the table. ” ( Guide to Byzantine Iconography, Constantine Cavarnos)
The Crucifixion Icon
Crucifixion Icon by Christine Hales
The Bridegroom of the Church is transfixed with nails. The Son of the Virgin is pierced with a spear. We venerate Thy Passion, O Christ. Show us also Thy Gkorious Resurrection.
“The traditional Crucifixion icon is a hand-painted icon with the scene of Jesus Christ’s Crucifixion in the center of the composition. Christ is usually surrounded by the Blessed Virgin Mary, Mary Magdalene, St. John the Apostle, Longinus the Centurion, and several other onlookers. All the figures depicted in the Crucifixion icon show emotions associated with grief, but nothing suggests sound. Their mouths are not open, and the icon holds silence. Christ Himself is depicted with His eyes closed and His head bowed as if showing His last minutes of life on earth.
The composition of the Crucifixion icon also often includes an open cave with the skull and bones of Adam right at the bottom of the Cross. According to the legend, Adam’s bones, which had been buried under Golgotha by the descendants of Noah, appeared on the surface at the moment of Christ’s death due to a great earthquake that split apart the rocks. Christ’s blood flowed down from the Cross and on to Adam’s bones, bringing the redemption to the First Man and the whole human race.” to read more follow this link for The Russian Icon Blog.
Descent From the Cross Icon
Descent From the Cross Icon c. 1350
The Descent from the Cross Icon, sometimes called “The Deposition”, shows Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. The Gospel mentions women attending, probably Mary Magdalene, Mary, the Mother of Christ and Mary Salome alongside St.John.
The Lamentation
Lamentation Icon by Christine Hales
The aim of this icon is to impart the mystical, spiritual truth of the lamentation. The colors, the composition, and even the lines of the figures all lead the viewer upward, they raise our thoughts beyond the crucifixion to the upward movement of Christ himself and the Ascension. It’s a sacred and divinely inspired icon, full of truth and transcendence of emotions to the spiritual realm of faith and hope.
The Resurrection Icon
Resurrection Icon
The Icon of the Resurrection evokes the fragrance of immortality and the fulfillment of the reclamation of Adam and all who have come after. The simple truths are depicted without theatricality.
“Though Thou didst descend into the grave, O Immortal One, yet didst Thou destroy the power of hades, and didst arise as victor, O Christ God, calling to the Myrrh bearing women, Rejoice, and giving peace unto Thine apostles, O Thou who does grant resurrection to the fallen. ” Kontakion for Easter
The Resurrection brings light and joy to all creation. May Pascha, Easter, and Lent be Holy and blessed times for you all and bring joy to your hearts.
Born in the 1360’s in Moscow , Andrei Rublev is widely considered the one of the greatest painters of Russian Orthodox Icons. For a large part of his life he lived in the Trinity-St. Sergius Lavra near Moscow and his spiritual teacher was St. Sergius of Radonezh. He was able to express the spiritual ideals of his time and integrate the tenets of Byzantine Iconography into his icons in a way no one has been able to do before or since.
Andrei Rublev , along with the icon painter Theophanes, painted the icons for the Cathedral of the Annunciation in Moscow. Theophanes is generally considered to have been Rublev’s teacher in icon painting and one can certainly see the similarities in their work.
The Moscow Icon painters of the early 15th century transformed the rather heavy Byzantine style of the iconostasis and Rublev was among those, along with Theophanes, who created the Russian style of the Iconostasis. This fully developed representation of the Festal Scenes along with the central figures of Saints John, Mary, and the Archangels Michael and Gabriel is often found arranged in tiers at the high altar of Orthodox churches. Many of these also include a tier of prophets as well.
Iconostasis of the Cathedral of the Holy Trinity in the Trinity Monastery of St. Sergius
Rublev and Theophanes introduced full figure saints into the Iconostasis as opposed to the Byzantine style of using half figures. This brought a much greater sense of presence to the icons, allowing the viewer to feel present with the saints as they worshipped.
The Assumption Cathedral in Vladimir was painted by both Rublev and Daniel Chorny in about 1408. They worked together also to paint the Trinity Cathedral at the Trinity Lavra between 1425-1427.
Rublev’s most famous Icon, the Trinity, now hangs at the Tretyakov Gallery in Moscow, where it continues to stun viewers both by its great size as well as the artistic levels of excellence he was able to achieve in this work. St. Sergius of Radonezh consecrated his Monastery Cathedral to the Holy Trinity, “So that the sight of the Holy Trinity would serve to vanquish fear of the hateful strife within this world”.
Rublev’s work carries with it a luminosity and elegance of expression in the figures depicted. The harmony Rublev achieved through the use of sacred geometry in the compositions also evoked a sense of clarity and purity.
One of the key characteristics of Rublev’s works is spiritual harmony, the blending of both inner and outer beauty in the saints he depicts. This is an aspect of the Byzantine spiritual system- the harmony between beauty of body and beauty of spirit. “When the human being is wholly dissolved in Divine love, then outwardly he reflects the glow of his inner spirit.” St. John Climacus
Understanding as we do, the importance of keeping our gaze on things above, one can see that the ideals manifested so exquisitely in Rublev’s work would be good ones to bring forward to our world of today.
May God continue to bless the work of your hands, and may He guide our thoughts and actions that we could do all that is honorable and pleasing to the One we serve, Jesus Christ.
I recently gave an online Icon writing retreat where one of the main topics covered was inverse perspective. This highly important topic isn’t often covered in icon writing classes, so there was a lot of research involved.
Inverse perspective is one of the compositional elements that cause an Icon to differ from a religious painting. In addition to practical drawing information, the theological meanings of inverse perspective were also covered.
Inverse perspective is one of the six different forms of perspective used in Byzantine Iconography. Commonly you can see this in the way that buildings, chairs, tables, etc. are drawn in Byzantine icons. In these, the lines are drawn so that instead of converging on the horizon, the lines come outward and converge on the viewer. They actually form a conical shape in space that brings the events in the icon outward to envelop and engage the viewer. People are also drawn so that they appear to be coming outwards towards us, drawing them into our space to engage with us visually as well as prayerfully.
Theophanis 16th Century
The Icon As A Window to Heaven
In a sense, perspective in the icon is the opposite of Renaissance perspective where the viewpoint converges on the horizon. The icon is a window where we have access to the Kingdom of God, God’s perspective, to His presence. In the Icon, the scene or saint shines out towards the viewer who opens himself to receive it. In inverse perspective space itself becomes active instead of the observer, who is, in fact acted upon.
According to George Kordis, author of Color As Light in Byzantine Painting, It’s customary in the tradition of Byzantine art For rhythm to be built on the foundation of intersecting axes which are usually very well hidden within the structure of the figures and landscape.
The key to understanding the Byzantine language of visual art is its approach to movement and perspective in drawing.
In the Byzantine tradition the sense of depth is less important than those of width and height here the foreground dominates.
Byzantine artists understood pictorial space as developing in front of the surface of the painting as opposed to behind it. This causes the viewer to be encountered by God’s Presence, to be drawn into engagement with the Divine.
The Byzantine artist intended for there to be a sense of relationship between the depicted figures and the viewer, as opposed to a sense of distance or detachment from the viewer, which occurs in the western tradition of naturalism. The Byzantine approach to drawing is focused on the unification of pictorial in real space. In the Byzantine tradition, pictorial space is not understood as independent or autonomous, but instead as developing and projecting in front of the surface of the painting in such a way as to be identified with the real space of the viewer.
Theophanis, 16th Century
Summary
In inversed perspective, the lines do not meet at a vanishing point behind the canvas, but at a point in front of the canvas. Thus, there is no depth, and space is reduced. In this sense the icon is the opposite of a renaissance painting. It is not a window through which the mind must go to have access to the world represented. Is rather a place where a presence is encountered. In the icon, the represented world shines out toward the person who opens himself to receive it. Inverse perspective, space itself becomes active instead of the observer who in fact is acted on. This is just a quick look into the subject. However, if you wish to learn more about it, I suggest you take the pre-recorded Icon Writing Class called “Epiphany”. During that class you will write the Epiphany icon and learn much more about how inverse perspective manifests in the art of icon writing.
Until next month, Please stay safe and remember to pray for all those suffering from Covid.
The Secret Supper (or The Last Supper) Todor Mitrovic (b. 1972) Serbia, 2006 Egg tempera on wood panel
As I view FB posts and blogs about contemporary Icons there is a lot of talk about what is a “real” icon. There are as many different viewpoints as there are people! I think we all agree that icons cannot be relevant to only one denomination of Christianity . Nor can they stay stagnant in the past if icons are to be authentic to our time.
A current exhibition at the Museum of Russian Icons in Clinton, Massachusetts, is a wonderful collection of contemporary Orthodox iconographers from around the world that addresses some of these issues. Within this collection there is wonderful diversity and creativity. It shows that even within the Orthodox community of iconographers, some icons are more painterly and less formalistic than others.
For those who are not able to go in person to the exhibition, I include here some images and text from the exhibition materials. This is an important exhibition that can also be viewed online virtually on the website: Museumofrussianicons.org
Flight into Egypt Stéphane René (b. 1954) Egypt, 2021 Egg tempera on wood
Icons For Our Time
Icons for Our Time: Orthodox Art from Around the World, is an exhibition of 15 icons by some of the most important contemporary icon painters today. New works by artists from Armenia, Belarus, Bulgaria, Cyprus, Egypt, Georgia, Greece, Japan, Montenegro, Russia, Serbia, the UK and the US have been specially commissioned for this anniversary exhibition.
“There will be pieces by artists from all over the world – some are from Orthodox countries like Greece and Bulgaria, but there will also be works from Britain and Japan. Some of the artists identify as religious believers (Eastern Orthodox or other), some do not. Few of the icons strictly follow the traditional canon. As a curator, working with some of the big names in contemporary icon painting, I wanted to leave as much freedom as possible to each artist – so long as their work could be described, experienced, and felt as an icon.” Dr. Clemena Antonova, curator.
Cosmic Christ/Suffering Logos (Second Version) Ouresis Todorovich (b. 1977) Greece, 2021 Mixed media on wood
Icons of Our Times will examine the spread of Orthodox Christian art through the medium of icons and explore three paradoxes: the icon as a living tradition, the icon as a signature feature of Orthodox Christianity, and the concept and relevance of the contemporary icon in modern culture.
“These three paradoxes pose some immediate questions and problems for contemporary icon-painters, viewers of religious images, as well as to museums that exhibit religious art. Is the icon mainly a medieval art form, which we view inspired by our interest in history, in the same way that we experience an ancient Greek temple? Or is it a living, constantly evolving artistic tradition, which has the capacity to respond to the concerns and needs of our times? Is the icon inextricably tied to Eastern Orthodox Christianity? Can one create or experience an icon without any knowledge of Orthodox culture and theology? Does the icon make sense in a context stripped of religious meaning?”
Holy Sophia Vladislav Andrejev (b. 1938) United States, 2021 Egg tempera on wood
“These are not easy questions and very likely neither a conference nor the present exhibition will offer straight-forward answers,” continues Antonova. “What we aim to do with this exhibition is to create a space which provokes us to reflect on the meaning and function of icons for our times.”
On the Museum’s website are links to talks given by Dr. Antonova and also the link to the virtual exhibition. I’m so grateful for the Museum’s dedication to providing a forum for the appreciation of ancient icons as well as for the development of contemporary ones.
St. Tekle Haymanot Christopher Gosey (b. 1962) United States, 2021 Acrylic and natural clay pigments on wood
As we enter this New Year, let us pray for each other, for God’s grace and Holy Spirit to enable us to do His work with great love, humility and brotherly love.
American Association of Iconographers 