Icon Book – American Association of Iconographers

Holy Work, Divine Rules of an Iconographer

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

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

TEACHING

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

Russian Icon, 17th Century, Mother of God

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

DIVINE RULES OF AN ICONOGRAPHER

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

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

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

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

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

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

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

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

• Never forget:

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

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

the joy of being in union with the Saint whose face

you are revealing.

Saint Benedict Icon written by Christine Hales

WORK IS A HOLY GIFT

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

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

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

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

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

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

Christine Hales

Newchristianicons.com. online.iconwritingclasses.com

RENEWAL IN LITURGICAL ART

Renewal in Liturgical Art- Encompassing Differing Worldviews in One Faith

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

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

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

Christian Renewal

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

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

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

Liturgical Art Renewal

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

An icon mediates or contains the Holy Presence

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

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

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

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

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

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

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

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

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

Books and Related Links

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

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

“Art Seeking Understanding, Part I” https://www.cathedralofallsaints.org/cathedral-arts-blog/art-seeking-understanding-1

Art Seeking Understanding, Part II. https://www.cathedralofallsaints.org/cathedral-arts-blog

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

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

Christine Hales

newchristianicons.com online.iconwritingclasses.com

Origins of Christian Art, Part I

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

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

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

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

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

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

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

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

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

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

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

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

GOOD SHEPHERD– A long lasting Symbolic image of Christ

Sacred Geometry

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

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

Iconoclasm

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

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

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

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

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

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

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

Christine Hales

Holy Trinity Icon

Holy Trinity Icon by andrei Rublev

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.

Kind regards,

Christine Hales

Newchristianicons.com

Sources for this article: Primarily excerpted from “The Icon, Image of the Invisible” by Egon Sendler

Virtual Icon Gallery Exhibition

Greetings Friends and Iconographers:

This month I am presenting some writings and images from a beautiful exhibition of Eastern European icons dating from the nineteenth to sixteenth centuries that is hosted by a non-profit gallery of icons located in Žilina (Slovakia). The Gallery of Icons (OZ IKONY) in Žilina is found at: https://ikony.hour.sk/en/

Christ Pantocrator, Albania, seventeenth century, Courtesy, OZ IKONY

Gallery of Icons – OZ IKONY

The gallery was established in 2015 as the result of a private collection of East Christian icons. During the last 7 years of existence, the gallery has collected about 300 icons from Russia, Ukraine, Belarus, Cyprus, Greece, Romania, Bulgaria, North Macedonia or Albania. The icons are dated from the 14^th until the beginning of the 20^th century. Among the main activities of the gallery, I can name the presentation of the icons from various regions of Eastern Christian cultures, the conduct of research on icons and providing space for and organizing of conferences, lectures and concerts. The aim of the exhibition is to present the spiritual and artistic beauty of Eastern Christian icons and to create a living bridge between the East and the West.

In March 2021 the gallery celebrated its 5^th anniversary. The current exhibition called The Mysterious Face of Jesus Christ is the fifth in a row after the exhibitions dedicated to the themes of The Old Testament Prophets, The Church Feasts, The Icons of the Mother of God, and Wisdom Hidden in Icons.

The 5^th exhibition is opened from the 15^th of September 2020 until June 2023. There are 25 artistically and historically valuable icons on display. Most of them are exhibited in Slovakia for the first time. There are Russian and Greek icons, one Romanian, Macedonian, and Albanian icon, and one icon from Mount Athos among the exhibits.

The Only Begotten Son and the Word of God, Russia, nineteenth century, Courtesy, OZ IKONY

American Association of Iconographers’ Goals

Even as this is a newsletter to foster the development of American iconographers, we all owe a debt of gratitude to our Eastern Orthodox brothers and sisters who, through the centuries have produced so many beautiful and deeply spiritual icons worth imitating and learning from. The aim of this exhibition is to create a living bridge between the East and the West, which is closely aligned with the goals of the American Association of Iconographers.

Membership to the American Association of Iconographers is without financial obligation to its members and is open to all friends and lovers of icons around the world. It is an ecumenical, primarily Christian group of icon collectors, scholars, icon writers and those whose mandate is education in the liturgical arts.

We invite members to contribute educational articles that might benefit all who love icons. Email: christinehales@me.com for submission details.

The Saviour Depicted up to His Shoulders, Russian, sixteenth century, Courtesy OZ IKONY

Quotes from Milan Lach SJ, Bishop of the Eparchy of Parma, Ohio

“St John of Damascus (+749) once said: “When someone asks you about your faith, take him to church and show him the icons.” … Icons are liturgical objects. They speak- communicate. Persons depicted on icons are already in the Heavenly Kingdom. They are transformed by uncreated light and participate in the life of the Most Holy Trinity.

Icons are not merely art, as Western culture would perceive it. They are more than art. Through an encounter with the person of Jesus Christ, the Most Holy Theotokos, and the saints depicted on the icon, we can have a personal experience with the living God.

The icon is a tool of evangelization, through which the Church proclaims the living Jesus Christ. To His person is dedicated this exhibition of twenty five beautiful icons, here at the Gallery of Icons in Zilina.”

You can visit the 5^th exposition in the virtual gallery: https://ikony.hour.sk/en/virtual-gallery/

I hope this virtual exhibition enriches your understanding and scope of possible models for future icons. Sending prayers for God to bless the work of your hands and minds, to the service of His Holy Church.

Kind regards,

Christine Simoneau Hales, Artist, Iconographer

www.newchristianicons.com

The Crucifixion, Russia, 1800, Courtesy, OZ IKONY

Novgorod 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 12^th to the 17^th 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 14^th to 16^th 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.

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 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.

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.

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.

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, 12-17^th 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!

To see more of my icons visit: New Christian Icons

To see my available online icon writing classes visit: online.iconwritingclasses.com

May God bless you and your icon writing, until next month,

Christine Simoneau Hales

Icon Books

The following article was submitted by educator and iconographer, Jeannie Furlong. Thank you Jeannie, I’m sure these book reviews will be very helpful, and help to spread the joy of icon writing around the world!

Crucifixion Icon.Christine Hales

Icon Books, from Jeannie Furlong:

My interest in Icons seems to have been with me for as long as I can remember. It was their stillness and austere beauty that caught my eye, initially! My artist background couldn’t keep me from analyzing what I was seeing. Each new Icon fed my embers of interest and before long a small fire had ignited. I needed to know more!

I purchased my first Icon reproduction, Holy Trinity by St. Andrei Rublev. I then found two intriguing books, Icons andSpiritual Geometry, to read. I also purchased a set of egg tempera pigments to use in the future. Gradually, I realized I was being guided into a steady path centered on learning about and creating icons.

Next, what I really needed was a teacher with the patience of Job. Where? in the midst of a raging Covid pandemic would I find one? Many, many prayers (plus Google) brought me the answer, when a ‘search’ popped up Christine Hales Iconographer! And, she was offering a Virtual Icon class. My learning curve has been straight up; an amazing beginning, and I have learned an unbelievable amount about Icons under her instruction. Now, I am pleased to accept her invitation to share with you a few of the books I found useful on my journey, especially if you are a neophyte, like myself!

I’ve listed sources alphabetically by author. Each has unique information! Enjoy!

Praying with Icons by Jim Forest. Orbis Books, 1997. (Available from Amazon.com on Kindle). The author begins with retelling a personal journey early on with Icons. The interesting aspect, surprisingly enough, is that he is NOT an Iconographer, but his story is very ‘hands-on’ sharing his experiences with Icons. In addition to Icon information and interviews, the author delves into Learning to Pray. He surprises the reader in his section on prayers, with his inclusion of two specific prayers for the Iconographer which are The Rules for the Icon Painter and An Iconographer’s Prayer.

Eyes of Fire How Icons Saved My Life by Christine Hales. Christine Hales 2018. (Available from Amazon.com) The author uses a conversational voice taking the reader on a journey beginning with life discoveries that ‘saved her life’ and continues to chat along the way discussing the values found in many periods of art. Throughout the pages are beautiful color illustrations that spur the reader on. Building this background of information she creates a deeper understanding of Icons that as an art form wields spirituality by virtue of being an art form. Christine’s book is “about” writing Icons explaining foundational processes used for creating icons. It confirms that Icons are a window the artist speaks through, “With this method of art practice, the next step is to combine that with prayer, and in doing so, the Holy Spirit will lift up the space between hand, brush and board, and the reflection of Grace will manifest in your Icon, to be read by any receptive heart.”

Drawing Closer to CHRIST A Self-Guided Icon Retreat by Joseph Malham. Ave Maria Press. 2017. (Available from Amazon.com). The author takes the reader on a very defined study of Icons that includes study and painting. A self-directed “guide into the act of iconography, which is an act of prayer. It has been divided into seven chapters, which not only measure the days it will take to create your icon but also an approximation of the days in which God created everything from nothing.” The study and painting focus on the Icon Pantocrator. These seven chapters use a biblical passage to introduce the Day with the authors’ comments, proceeds to Theological Reflections and continues with Painting the Icon. In the Guidelines, the author encourages the participant, “Remember this is a retreat and not a work project with a deadline. Your seven-day retreat will be a fluid motion of prayer centered on the rhythm you set.”

Sacred Doorways A Beginner’s Guide To Icons by Linette Martin. Paraclete Press, 2002. (Available from Thriftbooks.com). As mentioned in the Preface by Dr Nicholas Gendle, Editor, this book is practical and by no means technical but purposely authored to appeal to the beginner seeking information about Icons. It is written in a very ‘conversational’ voice that carries the reader smoothly from chapter to chapter while delivering a great amount of information carefully crafted without overwhelming the reader. This wealth of information does whet the readers’ appetite to want more information. It could certainly fit the bill as a resource for a study group seeking to know about Icons or an individual preparing to take an Icon class. Chapter 8, God, Angels and People, extends a sense of familiarity about a few icons and terminology used in Christian settings sometimes ‘taken for granted’. This chapter expands the meaning of familiar terminology and explains how it relates within the church.

Icon Painting Technique: A Meditative Guide to Egg Tempera Painting by Mary Jane Miller. Mary Jane Miller, 2013. (Available from Amazon.com-Kindle) The author prepares the reader in the Introduction: “The book is about the subtle relationship between the icon painting and how it reflects and enriches ones spiritual life”.

Silence, plays a major role in the process of creating an icon as an “extraordinary kind of prayer” from beginning to end. “Icons are not portraits; they are a windows on a world that call us to be still, to look and reflect, to be at peace with ourselves, and to rest in a place of thankfulness with God.” The author substitutes the terminology of ‘painting’ for ‘writing’ in her discussion and explains why in the History Chapter. In the Chapter Technique & Materials, she author provides an extensive discussion about her special philosophy while painting with egg tempera. She also provides various ratios she uses in her painting. Painting the Icon is broken into 12 Steps. Each simplifies the painting of each icon to enhance listening to God.

Techniques of Traditional Icon Painting by Giles Weissman, Search Press, 2012. (Available on Amazon.com). A very sturdy paperback that focuses in great detail on the “processes” of writing Icons. It also contains beautiful full color illustrations including a ‘bird’s eye glimpse’ of the detailing for a reference for painting. Chapter 5 – Byzantine Drawing points out “the elements of the composition are positioned for balanced and harmony”. The author continues using detailed step by step information clarified by the narrative while beautiful pictures identify what your work will look like at each phase. Chapter 8 – Inscriptions explains the importance of an inscription, how to paint it, and includes many inscriptions with an interpretation and origin for them.

Article contributed by Jeannie Furlong:

Jeannie Furlong, Ed.D. Episcopalian, Wife, Mother, Grandmother of 11, Texan, Business Owner, Former Educator, Professor and future Iconographer! Conversation welcomed at jeanniejeanniejeannie@yahoo.com

Useful Links For Iconographers:

Greek Iconographer, Antonis with instruction on the Cretan style of iconography. It is a simple study which can help with dry brush technique:

This is an article by Koo Schadler on the dry brush technique.

Online Icon Painting Classes with Christine Hales

That’s all for this month!

God Bless,

Christine Simoneau Hales

www.newchristianicons.com

Icons as Memorial Portraits

Greetings:

The very first Christian Icons were memorial portraits from the Catacombs immediately following the Resurrection and continuing for three hundred years. They were created to keep alive the memory of the early Christian martyrs. Until Emperor Constantine legalized Christianity in 313, Christians had to hide their faith or risk death or persecution.

For the early Christians, it was the memorial image that made the unseen world of their faith live in reality. The martyrs became invisible, but constant companions through portraiture and symbolism in the early icons.

Fayum Portraits

The Byzantine system of sacred portraiture and narrative derives, in part, from the stylistic influences of the Egyptian Fayum period. A certain standardization of facial features in sixth century icons of Byzantine Saints developed that bears a striking resemblance to the Fayum portraits of the first and second centuries.

Some of the earliest surviving icons of Mary and the saints are from wall paintings and mosaics after the sixth century. The most common subjects of early memorial portraits were Christ, Mary, saints and angels.

After the period of iconoclasm, Byzantine portraits of saints began to place more emphasis on the functions and status of the saints depicted in addition to attempting a physical likeness. First, these distinctions were made, for the lesser saints, with words and inscriptions. Later, visual images symbolically represented status and function, but naming of the icon was still an important element visually. It allowed the viewer to “read” the icon and know exactly who the icon was honoring.

Christian Legend

Early Christian legend has Saint Luke as the first Icon painter, as he was commissioned to paint a portrait of Mary and the Christ Child. This Icon of the Mother of God is called the Hodegetria.

A fourth century legend speaks of King Agbar who, in need of healing, had sent his messenger to Christ asking for an audience. When Jesus was unable to go, He put His face to the cloth and Christ’s image was miraculously transferred to the cloth. The messenger brought this image to the King who was instantly healed. This legend is attributed to the Mandylion Icon.

Holy Face of Christ Icon written by Christine Hales

Acheiropoieta refers to the holy image that appeared miraculously, as in the case of the Mandylion and also to the Icon of Veronica’s veil. This type of icon is thought of as a true image, not made by human hands.

From the sixth century onwards, Icons began to be venerated in the church and some were believed to be miracle working images, validating and inspiring the faith of the early Christians.

Comnenian Period

During the Comnenian period, 1081-1185, icons proliferated as murals and mosaics as well as panel paintings for the Iconostasis. Similarly, the Paleologan period, c.1261 saw the flowering of many iconographic mosaics and murals commemorating the saints and the Gospel narrative.

Russian Byzantine Icons

Typically painted on wood, Russian Byzantine Icon portraits tend to emphasize the mystical connection between the saint and God. This is achieved through a softer, more diffused portrait with less sharp or hard edges than other styles. Two of Russia’s most famous iconographers, Andrei Rublev and Dionysius, not only continued the previous Byzantine Iconographic tradition, but they also were able to creatively add subtleties and nuances to it that appealed greatly to the people of their time.

Memorial Portraits

In the words of Egon Sendler, ” Icons are images of the Invisible”. They are memorial portraits that capture visually for us the memories of the saints who went before us. They hint at their accomplishments, the intensity of the saints’ connection to God and His Gospel through symbols, words and pictures.

Making the invisible world of our faith visible has never been more important. Our world and culture are crying out for vision, a perspective, that will help to make sense of the chaos. May God inspire each of us, in the individual way He has for each of us, to reach out and make His world visible and accessible to our loved ones, our neighbors and our world.

During this Covid isolation period, I am offering my icon painting classes online. Click here if you’d like to see a schedule.

May God continue to bless you and keep you, and bless the work of your hands.

Christine Hales

www.newchristianicons.com

Please contact me if you’d like to write an article for the American Association of Iconographers. We would like to hear about your Icon painting practice and the effect icons have on your community.

Distinctions

Dear Fellow Iconographers:

Dormition Icon, early 13th Century, Tretyakov Gallery

It has always fascinated me that the more I study, write, and paint Icons, the more I discover further nuances and distinctions between styles and methods of icon painting. In reading Viktor Lazarev’s article “General Observations on Russian Iconography” in his book “The Russian Icons, from its Origins to the Sixteenth Century”, Lazarev delineates many distinctions between Byzantine and Russian Iconography.

For example, in the tenth century, Byzantine artistic influences began to be seen in Russian art, specifically icons. The cities of Pskov and Novgorod were the most affected, partly due to their form of government that allowed for more artistic freedom. By the time of Andrei Rublev, a distinct school of Russian Iconography could be recognized.

Rus appropriated the Byzantine iconographic types such as the Mother of God, portrayals of Gospel scenes, and similar Old Testament compositions. But in Russia, the faces become more gentle and open, colors became more intense, and highlights smaller and more intense which are sometimes barely perceptible. So, in this way, Russian iconography can be said to transform Byzantine iconography in a way that it is less severe and more open to nuances of content and expression.

Nativity of Christ Icon with Saints Eudocia, John Climacus, and Juliana, Tretyakov Gallery, Moscow

Later, the creation of original prototype independent of Byzantium emerged in Russian icons. Some examples of this are the Synaxis of the Mother of God, and the Virgin of Mercy. These changes reflected the every day need for peasant life to be in communion with saints and angels. Protection for their flocks, houses, trades, and health became the subjects and content of numerous versions of Mary, local saints, and the angels.

Saints Paraskeva Pyatnitsa, Gregory the Theologian, John Chrystostom, and Basil the Great, Icon, early 15th century

Russians considered iconography to be the most perfect of all arts. “The art of the icon was invented by God’s very self, who adorns the sky and the stars and the earth with flowers because of their beauty. Icons were shown the utmost respect.” (V. Lazarev, p.23). They were bearers of moral authority and bearers of spiritual grace and holiness. Today icons are endlessly attractive precisely because of this moral purity that appears in icons through the fifteenth century, but begins to disappear with the sixteenth century.

St. Demetrius of Thessalonica Icon, mid Fifteenth Century

Making efforts to understand distinctions between different styles of iconography, one begins to develop a real understanding of the essential elements of iconography and a to cultivate a desire to bring forward these distinctions to iconography today.

Iconographic Links of Interest

Face Book groups for Iconographers:

Worldwide Orthodox Iconographers

Painting Best Practices

Online Icon Course Technique

St. Luke’s Guild of Iconography

American Association of Iconographers

Icon Boards Blaturi Icoane

Icon Writing Classes

Icon Classes

That’s all for this month. May God bless your icon writing and give you His direction and wisdom in your work.

Christine Hales,

Iconographer/teacher Website

Icons- A Symbolic Language

Hello Fellow Iconographers:

American Association of Iconographers, God the Divine Geometer — God the Divine Geometer, circa 1220 AD

Icons as Symbolic Language

Have you ever wondered about the symbolic nature of Icons? It is the very source of their power as Holy images that convey the many faceted religion of Christianity. One dictionary definition of “symbolic language” reads: ” a specialized language dependent on the use of symbols for communication and created for the purpose of achieving greater exactitude…”

Symbols allow us to bring our spiritual awareness out of the church and into our secular world. Communion with God through the Icon is achieved through a symbolic language where gestures, clothing, and style of drawing are precise and fixed. There are only a few gestures that Christ’s right hand will take, and the drawing of the faces and human form fall within a canon of proportion and scale that relates to the theme and subject matter.

American association of Iconographers, Romanesque Style — Romanesque Style, circa 1145AD

C.S. Lewis, when asked to write another book for his adult audience replied that he now preferred to write in symbols and metaphors for a younger audience (The Chronicles of Narnia), in order to intrigue readers with Christianity unawares. Similarly, Icons can bring the presence of God to people’s hearts whether or not they are Christians at all.

Icons are based on a Greek notion of proportion and symmetry applied to facial features and bodies. Even color has great significance for understanding the mysteries of our faith. The light emanating from an Icon must be indicative of the uncreated light of God’s Presence and the divine light of grace. Through contemplation on these symbolic images, Icons, we can pray for the Holy Spirit to help us become more like Christ in our everyday lives.

American Association of Iconographers, St. Theodosia — St. Theodosia, 1225 AD

The very nature of Icon writing is that, following the principles of ancient art, we seek to make a sign which will convey religious meaning specific to the subject matter of that particular Icon.

Ancient Egyptian design is at the heart of the Icon. You can see this in the Fayum portraits, and also in the flat linear depictions of people and religious symbols found in the pyramids. These influences combined with early Greek flexibility of line and brushstroke form the basis of all early Iconographic composition.

Today, as we Iconographers research, ready, and study to be able to encompass the path to writing authentic Icons that speak to God’s people today, we must still look to the ancients in order to fully grasp the complexity of those seemingly simple designs and processes.

American Association of Iconographers, Duccio Icon — Duccio Icon

Below are some links to resources to inspire and resource your Icon writing in the new decade! Wishing you all a blessed and joyous New Year!

Christine Hales

Icon Classes Icon Prints

Modern Russian Icon Website: Book of Icon drawings for tracing. This book also shows where the highlights will go. Excellent for beginners.

Temple Gallery: Several Beautiful Books with old Russian Icons – good source for creating Icons

Natural Pigments.com: A very good source for pigments and lots of other Iconographers supplies and materials.

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