This Easter particularly brings to mind the need for unity amongst all the Christian denominations.
“Icons are intended to respond to deep questions, and every age has its own set of problems that trouble the heart.” Windows to Heaven, Zelensky and Gilbert.
The Twenty First Century is witness to the dire need of Christians to join together and celebrate the common elements of their faith. It is time to stop celebrating theological divisions. Unity and harmony are the true state of the Triune God.
Facing statistics of the staggering lack of
Christians in the North East of the United States, as well as the continuous rise of Islam, if Christianity is to survive- and it will- the need to respect and love each other’s differences in service to unity is imperative.
Maximus the Confessor (600AD) writes of the Holy Trinity “ It is in this blessed and most sacred peace that unity is achieved which surpasses the mind and reason.”
Aidan Hart, in his book Beauty, Spirit, Matter; Icons in the Modern World, writes :
“Since it is love which unites the world and brings it to fulfillment we can expect that the world’s Fall has been preceded by a loss of love, or at least by a misdirection of love. And indeed, St Maximus speaks of the Fall in terms of a falling away from the double command of love; love of God and love of one’s neighbor.”
As we prepare to celebrate the glorious truth of the Resurrection, consider the crucifixion Icon. It tells the New Testament story that includes the women mourning and watching, Mary Magdalene, Mary, the mother of James and Joseph, and the mother of the sons Zebedee. Also in the Icon is the Roman soldier who pierced Jesus’ side. He is cowering. In the top third of the Icon are the angels prophesied by Jesus in John 1:51:
“Truly, truly I say to you, you will see heaven opened, and the angels of God Ascending and descending on the Son of Man.”
Even in this sad scene, we see the golden light of God and hope permeating the background. The angels are pointing to fulfillment of the prophecy.
As a result of Christ’s crucifixion, resurrection and redemption and the Holy Spirit’s visitation at Pentecost… “the universe has become one vast church or temple, reflecting the beauty of the Lord, bringing for all human kind the universal message of salvation.” Zelensky and Gilbert.
Catholics, Orthodox, and Protestant Christians are united in our love and reverence for the inestimable love of a God who would send His only Son to die for our sins. That we may be the inheritors of His love for us, and bring HIs love to our world that is in such need of it.
“He who forms the mountains, who creates the wind, and who reveals His thoughts to mankind, who turns dawn to darkness, and treads on the heights of the earth– the LORD God Almighty is His name.” –Amos 4:13
Saint Patrick of Ireland
As a young boy, Patrick was kidnapped by brutal pirates and carried away to Ireland where he was sold as a slave. For the next six years he was a shepherd in Northern Ireland. This is where he learned to pray. “In a single day I would say as many as a hundred prayers, and at night only slightly fewer.”The Confession of St. Patrick.
“I arise today
in a mighty strength
calling upon the Trinity,
believing in the Three Persons
saying they are One
thanking my creator.”
In the experience of slavery and exile, the young boy discovered God . In the midst of this terrible alienation brought on by his exile from family and country, Patrick experienced a deep abiding connection that enabled him to feel strengthened by God.
He is a legend in Irish history and spirituality. Patrick’s story of being kidnapped by Irish pirates eventually gave rise to a remarkable inner transformation that led him eventually to return to Ireland, serving the Irish people by bringing God’s love to them.
Like St. Francis, Patrick chose a lifestyle of poverty, preferring to single-mindedly focus on the Divine connection within. “For I know full well that poverty and adversity suit me better than riches and delights.”
One often sees Icons of St. Patrick holding a shamrock, an illustration of how he used the humble clover leaf to illustrate the Trinity- three in one- to the largely pagan population Ireland. Pre-Christian Ireland was where God sent Patrick. His spiritual story is told in “The Confession of St. Patrick”, along with many Scriptural references that relate to his experiences.
Patrick was born in Britain about 385, and began his mission in Ireland during the early 400’s.He became fluent in the Irish dialect during his period of slavery, and despite much hostility and danger, he was very effective in bringing the Gospel to Ireland.
Saint Patrick founded many churches and monasteries across Ireland.
Holy Bishop Patrick,
Faithful shepherd of Christ’s royal flock,
You filled Ireland with the radiance of the Gospel:
The mighty strength of the Trinity!
Now that you stand before the Savior,
Pray that He may preserve us in faith and love!
Icon notes for March:
The American Association of Iconographers now has a Facebook Page which you are welcome to join. The rules of the page are that postings may be submitted by any member and the content needs to be of interest and benefit to Iconographers.
Video of Iconographer George Kordis beginning a Christ Pantocrator dome:
What is a worldview? We all have one. Our culture has a pervading worldview that changes with the times. Having recently emerged from a postmodernist cultural viewpoint, we now experience the effects of pluralism, relativism, and syncretism in the world around us.
Our world view is a concept which we hold, both consciously and unconsciously that determines our ethics, behavior, and makes up the nature of our ultimate reality.
As a Christian, our worldview is identified with the truths of the Bible, Christ, the Trinity, and the Gospel- essentially, Christian theism. The reason we choose Icons created before the seventeenth century as our models to create new Icons is because Christian theism was the pervading worldview in the Western world until the advent of the Renaissance when Humanism began to emerge. The worldview of the early Icons was one of a personal, triune God of the Bible, the universe was God’s creation and human beings were God’s special creation, created in His Image.
“During the period from the early Middle Ages to the end of the seventeenth century, very few challenged the existence of God…….Christianity had so penetrated the Western world that whether or not people believed in Christ or acted as Christians should, they all lived in a context of ideas influenced and informed by the Christian faith.” The Universe Next Door, James Sire
As Iconographers, we want to first understand the world and people around us, and then genuinely communicate God’s reality, His Truth, to our world through the practice of Icon writing. We use the examples of the early Icons as our models to help us portray a worldview that we ourselves are not able to experience in our contemporary culture.
A worldview is a commitment , a fundamental orientation of the heart, that predisposes us to a particular reality. And that worldview provides the very foundation on which we live, work, play, and love others.
If it’s true that all of one’s thoughts and actions originate in the heart, our relationship to God becomes central to us as artists and Iconographers. More important even, than whether one uses acrylic paint, egg tempera, or use a particular style of painting Icons.
The Christian worldview is the central defining perspective and it encompasses notions of wisdom, spirituality, emotion, desire, and will. So when we say that prayer is the first and most important part of Icon painting, it is also important to keep clear about this Christian worldview, and that it is different from the worldview of the culture around us.
Ideally, our Icons become a bridge that unites the Christian worldview with whatever worldview popular culture is experiencing. It is only through our compassionate understanding with those people and institutions around us that our Icons can go out into the world and be the blessings they are meant to be.
“Mother Teresa of Calcutta used to say that “the money in your pocket is not yours, it belongs to God.” The same is true of all the gifts you have received. They have been given to you by the Holy Spirit to bring the world back to God. ” Deacon Lawrence
May God inspire each of you, may you hear His voice, and may your Icons truly be a blessing to the world you inhabit.
Christine Simoneau Hales
“If we want clarity about our own worldview, we must reflect and profoundly consider how we actually behave.” “The Universe Next Door” by James Sires
First, a thank you to all of you who have been subscribers to this blog over the last couple of years. Particularly, thank you for being patient with all the changes in format and stylistic content as I try to understand the needs and purpose of this community of Iconographers.
I have changed format again, this time getting closer to my original purpose of having a substantial list of Iconographic resources and links to help Iconographers in creating and learning about Icons. If you look at the left sidebar you will see a page of “resources” on which I have started to add links, and will continue with this throughout the year so that it becomes a valuable resource.
As it is New year’s Eve and we are on the verge of the Feast of Epiphany , here are some images of the Epiphany in different Iconographic styles, taken from a more nuanced article by Hokku about the wise men on the blog ” Icons and Their Interpretation”.
Icons for the Epiphany range in subject matter from stories of the wise men finding Jesus in a manger, to the Baptism of Jesus in the river Jordan.
Epiphany is described as the manifestation of Jesus to the Gentiles as represented by the Magi- who were not Jews but were from the East; it is also the church feast day commemorating the Epiphany on January 6; and a manifestation of a divine, supernatural being. Webster’s dictionary describes Epiphany as “ a sudden, intuitive perception of or insight into the reality or essential meaning of something, usually initiated by some simple, homely, or commonplace occurrence or experience.”
The birth of Jesus, the Son of the most high God in a manger certainly fulfills that definition. Epiphany represents the discovery that Jesus was born for not only the Jews, but also the Gentiles- for the whole world.
In the Baptism of Jesus Icon, we see in the central axis of the Icon, the God the Father, represented by the half circle at the center; The Holy Spirit, represented by the rays of gold coming from the half circle,and Jesus, the Son of God. In the Gospel, God’s audible voice announces “This is My Son, the Beloved, with whom I am well pleased.” Matthew 3:17
It is a revelation similar to the one of the magi- a sudden perception that transforms mundane, earthly existence into one of light, meaning, and grace.
Icons bring to our remembrance important Gospel and Old Testament stories that brighten our everyday existence. As we move into this coming week towards the celebration of Epiphany and then the Baptism of Jesus, let us pray together to receive an Epiphany of God’s grace in each of our lives today, and as Baptism makes permanent and concrete the role of God’s grace in us, may that sudden awareness be awakened and kindled as an important part of our lives in 2018.
I know that many of you lead busy lives and are able to take Icon classes only once or twice a year- and those classes usually last only a few precious days. The best way to really benefit from our intermittent classes is to do as much reading and preparation on Icons as possible. With that in mind, I want to refer you to a series of four articles written by Father Silouan Justinian for the Orthodox Journal. It is a series called: “Imagination, Expression, Icon, Encountering the Internal Prototype.”
As there are many nuances involved in writing Icons that cover both the spiritual life of an Iconographer and the artist’s creative skills, I encourage you to take a look at these. Here are the links to each part of the series:
My suggestion would be to bookmark or print out each article to read at a time where you have leisure to ponder and think about each one. Eventually, I hope to compile a book of such essays and other instructional materials for the potential Iconography student. As this field continues to grow in popularity, a high standard of training that incorporates the writings of leading contemporary authors along with practical, good artistic training would be a beneficial addition to the field.
We all know that the lifestyle of an Iconographer is one of prayer and fasting. Also, we know that being part of a Church, having good spiritual direction, receiving the Sacraments regularly are also important to writing Icons. Within this context, good artistic training is also important. What a task! But as you all have experienced, it is an exciting and blessed task. No one will be able to do everything perfectly, but willingness and diligence to seriously undertake the study will have very positive effects.
In St. Benedict’s Prologue to “Saint Benedict’s Rule For Monks” he says:
“My son, listen carefully to your master’s teaching. Treasure it in your heart. Be open to receive and generous to respond to the counsel of a loving father. You have strayed from God by the sloth of disobedience. Return to him then, by the work of obedience. Accordingly, I speak to you, whoever you may be, who giving up your own will and taking the strong and bright weapons of obedience, are prepared to fight for the true King, Christ”.
In taking up the task of Icon writing, we always need to remember that it is about much more than just our own will. Here is a quote from the above mentioned Part 4 of Father Silouan’s article:
“In other words, the icon painter should not repeat the resultof encounter, but rather his work should arise and re-present (ex-press) a true, fresh and living re-encounter with the subject depicted. But, this, of course, is not to promulgate the modernist cult of individualism or so called “artistic genius.” On the contrary, as just mentioned, life in the Body of Christ presupposes the flourishing of ourselves as unique and truepersons[x]in loving communion with one another, in contradistinction to our ego-centric or individualistic identity in which we wither as isolated numerical “units.”[xi]Moreover, let us not forget that in this ecclesial life, “there are diversities of gifts, but the same Spirit.”[xii] That is, inner union in the Spirit does not mean uniformity at the expense of diversity. Each person as a member, in a unique manner, contributes towards the edification of the whole Body. Therefore, the traditional practice of “anonymity,” that is, of not signing the icon, should not be understood as an aspiration towards the complete obliteration of the iconographer’s gifts and creative temperament.[xiii] It is rather a reminder that only in humble cooperation with the Divine Craftsman, in becoming one with Him through the Holy Spirit, will his true self and art flourish to the fullness of their capacity. Obedience becomes liberation. Thereby he will be able to uncover nuances contained in the prototypes previously unnoticed and contribute unrepeatable expressionsof Tradition. In undermining this side of the icon, seeking to protect it from “artistic license” and foreign cultural influences, we may in fact blunt its power, making of it a purely mechanical act that contradicts basic principles of Orthodoxy.”
Understanding and correct application of the Traditions and Canons of Iconography can only come through time and experience.
One final quote from Part 4:
” The iconographer preaches the Gospel in colors and chants hymns of praise, trembling as he says, in the words of the Nativity sticheron, “How hard it is to compose hymns of love, framed in harmony.” With his art he paints the Word, plastically manifesting, indeed enfleshing the Logos. This is truly an “artistic license” of kerygmatic expression in free will. For as Christ Himself has ordained: “Go into all the world and preach the Gospel to every creature.”[xxii]”
I look forward to seeing you all in Icon classes, or now on the Facebook Page you are welcome to post your work or any important links about Icons that you think will benefit the Community of Iconographers.
This month some thoughts on a missional perspective about Icon writing:
Form Follows Function
“Form follows function” is a concept attributed to the American Architect Louis Sullivan, famous for developing the shape of the steel skyscraper in late 19th century, at a time when economic and cultural forces made it necessary to drop the established styles of the past.
“Where function does not change, form does not change….It is the pervading law of all things organic or inorganic, of all things physical and metaphysical, of all things human and super human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” Sullivan, Louis H. (1896). “The Tall Office Building Artistically Considered”. Lippincott’s Magazine (March 1896): 403–409.
This principle kept recurring in my thoughts as I considered the function and form of Iconography today. We live today in an age of post denominationalism, where some of the more important issues of the Christian faith are less about division and nuanced theology and more about evangelization and healing. Healing for our culture and world is a function of a healthy relationship to God.
Creating Icons according to the Canons and honoring the Orthodox Church as well as all the Christian denominations is part of the tradition of spreading the Gospel through pictures. Martin Luther during the Reformation was not against Icons, seeing them as having an important role in teaching the tenets of the Christian Faith
How then can Icons and the practice of Icon writing address the needs of our time? Through prayer, teaching individuals the spiritual discipline of a prayerful art practice, and the placement of Icons in public and private spaces where those who don’t attend churches can see and experience God through the Icon.
Since Icons go straight our hearts and by pass the intellect, God’s love can sometimes be apprehended through an Icon more easily than a book, or sermon. Whether our culture realizes it or not, it is desperately in need of God’s love. When we are called to Icon writing, that can be an important way that we can share God’s love. In addition to the joy we have in writing the Icon, we can share it with many, many people as an act of service and giving of the fits we have been blessed with.
Students often ask me “What will I do with the Icons I write?” My answer is to offer them to people and places in your community. Give, lend, exhibit them in places where people who wouldn’t ordinarily encounter them can experience them. Provide the opportunity for God to encounter and affect those He is calling. Another way to integrate Icons into our world is to bring them when we visit the sick, and when we have our prayer groups. It is lovely to have them on our prayer shelves at home, and it is equally wonderful to share them!
When we are in love with God, we hear His voice. This encounter between Peter and Jesus has deep meaning to an Iconographer;
“He said to him a third time, “Simon, son of Jonah, do you love Me?” Peter was grieved because He said to him a third time, “Do you love Me?” And he said to Him, Lord, You know all things: You know that I love you.” Jesus said to him, “Feed my sheep” John 21:17
Our answer to God’s call to write Icons will be blessed in many ways we don’t know our understand now. Our obedience and faithfulness to develop our skills and understanding, engaging in a rich prayer life, all these contribute to the possibility of living more and more in God’s grace.
May you be blessed with God’s love and Spirit as you write Icons!
With world catastrophes like the Hurricane devastation in Puerto Rico, the Caribbean, and earthquakes in Mexico, we have so many urgent applications for our prayers during our icon writing practice. May God continue to send help in many forms to those people afflicted by violent storms. Provide homes, food and safety, O Lord, and bring forth your victory and hope where there is despair and destruction, we humbly pray.
Recently, during the Healing Icon writing Retreat I gave at Holy Cross Monastery, we daily put our prayer requests in a basket on the Icon table and prayed over them during our prayer times together. The subject for the retreat was the Archangel Raphael, and we completed the icons in time to be blessed on the feast day of St. Michael and the Archangels! Each day we spoke about different aspects of the story of Tobit, Tobias, and Archangel Raphael and contemplated the healing aspects of the story, from the fish trying to bite Tobias’ foot, to Archangel Raphael bringing transforming a dangerous woman into a suitable wife. Our Icons are reminders for us of God’s intervention in our lives, and the role his heavenly angels play in bringing His divine will into the experiences of our lives.
In working to understand and define what is meant by American Iconography, I think that religious freedom plays an important role. This country was founded, in part, on the hopes and dreams that new settlers from many different European countries had for freedom to worship in their individual ways. They wanted to express their ideas of how God manifests in their lives and form communities to worship and pray together. There was a great diversity of expression in the Christian communities, and yet each was given the space to develop and grow, peacefully.
Ideally, America is still that country that respects and allows for individual religious freedom. Just as Icons are meant to depict a transfigured reality, I think we iconographers are asked to call forth the best in our worlds, to stand for positive change, and to show others how we can pray and experience God even in a very troubled world.
In Icon writing, we look for examples from the early centuries in order to understand and be inspired by the universal spiritual truths they contain. The American philosopher, John Dewey says of a work of art, eg. the Parthenon, that it ” is universal because it can continuously inspire new personal realizations in experience.”…”The works that fail to become new are not those that are universal but those that are “dated”. He goes on to say “The enduring art product may have been, and probably was, called forth by something occasional, something having its own date and place. But what was evoked is a substance so formed that it can enter into the experiences of others and enable them to have more intense and more fully rounded out experiences of their own.” (Taken from “Art as Experience” by John Dewey)
All this to say that an Icon writer must not only use examples from the past, but must also be able to convey the action and presence of God and the saint depicted through his/her prayers and spiritual efforts of today in order to be an authentic Icon.
Early Celtic Prayer from St. Patrick’s Breastplate
Christ as a light illumine and guide me. Christ as a shield overshadow me.
Christ under me, Christ over me, Christ beside me on my left and my right.
This day be within me and without, lowly and meek yet all powerful.
Be in the heart of each to whom I speak, in the mouth of each who speaks unto me.
This day be within and without me, lowly and meek yet all powerful.
This summer I have been working on developing the school of American Iconography. When I say “school” I mean it in the Benedictine sense of a committed community of people who study, pray, and work together united by common goals and principles. We would be working, using artistic skills and prayers to further the work of God’s Kingdom, here on earth. In this school, God would be the teacher! Putting together a reading list would be a good start, so do email suggestions on that.
I’d like to share with you some of the goals and objectives I am setting for myself for the next three years. Please think about where you might participate and in what ways you can contribute. Volunteers, ideas, and suggestions are welcome!
Icon Goals 2017-2020
Exhibit Iconographic Imagery at museums, universities and seminaries.
Run Icon writing training classes, giving talks, and participating in symposiums.
Book and video documentation to provide future development of online Icon writing classes.
Complete Icon commissions in churches and for private collections.
Participate in Symposiums or panel discussions on art and theology.
Collaborating with seminaries and universities to make Icon writing an integral part of a fine arts curriculum.
I see these goals as laying a groundwork for future advanced workshops, and to creating a coherent system of training Icon writers.
I see Icon writing as an important activity to the future of our culture. Our thoughts and prayers together can be effective in creating an ethical and responsible society. Perhaps there are others already active in this area. If so, please contact me to being a conversation about how we can work together.
Happily, a similar effort is happening currently in Romania. The following quotes are taken from a blog post of the Orthodox Arts Journal : 2015 “The New Romanian Masters: Innovative Iconography in the Matrix of Tradition”
” Iconography, a recovered artistic language
It would have been impossible to imagine a public conversation on icons and their veneration a quarter of a century ago in communist Romania. It would have been impossible as well to imagine iconography taught in a public school and the technique of painting icons at the department of Fine Arts….Today it is a common gesture to order an icon for your house or to offer an icon as a present. Four of the twelve Orthodox faculties of theology in the country have created departments of sacred art, preparing iconographers and specialists in the preservation of medieval iconography; and many of their graduates have become proficient in painting icons and frescos….the icon has become a common presence in homes and offices.
The most remarkable aspect of this revival is that the abundant iconographic demand and the high number of skilled iconographers gave rise to a competitive ambiance that led to an obvious advance in the quality of iconography and, subsequently, to a new iconographic movement.
“… As with any profession, the new iconographers and church painters demonstrate an uneven value; it is not enough to learn the technique and follow the Byzantine herminia (the painter’s manual) to become a skilled and appreciated iconographer.
Important to Iconographic training:
1. A thorough education in classical art.
2. A personal spiritual life….a spiritual dimension is a necessary ingredient to painting an icon. Painting an icon is not a mere artistic activity but a facet of the larger spiritual growth, both personal and part of the community in which the iconographer lives.
3. They do not imitate but innovate within the canons of tradition. Probably the most interesting value gradually assumed by the iconographers of the new generation is that they cherish artistic originality and freedom of expression. They do not accept to create in a mannerist way and to reproduce the masters of the past while making a concession to a common, popular taste. Paying attention to the smallest technical and theological detail, they strive to avoid not only religious kitsch but also religious clichés. After assimilating the skills, the Byzantine canon, a rich documentation and a general knowledge of the medieval art, some of them have been able to define their own style. And this fact has allowed them to rethink classical iconography and innovate in terms of style, colours and composition as well as to find new themes and become “hagiographers”. All these elements have led them to reach an unprecedented quality of the iconographic act in which they commit themselves to artistic originality”
I think the first two paragraphs of quotes above are inspiring. The last three paragraphs can help to define a best practices manual that can be applicable to the American School of Iconography.
“An Icon is therefore is always either more than itself in becoming for us a heavenly vision or less than itself in failing to open our consciousness to the world beyond our senses.” St. Dionysus Aeropagite.
I will be attempting to collect and notate sources of Iconographic references that will help define this American School go Iconography over the next couple of years.
Thank you for your patience and contributions!
That’s all for this month, have a blessed Labor Day,
This month has been busy with writing Icons and teaching classes. The Holy Cross Monastery Icon Retreat was wonderful, each participant wrote their own St. George Icon, and we had them blessed by Brother Roy on Sunday before Diurnum. It is a wonderful place to study Icon writing since we are able to be part of each day’s morning prayer and Eucharist and share meals with the Brothers and other guests in the octagonal dining room over looking the Hudson River. Truly a joy to teach there!
The prayer of St. George: “Obtain for us the Grace of heroic Christian courage that should mark soldiers of Christ” Amen.
As many of you know, the Icon is a kind of synthesis of the spiritual truths and values of the Church. It is much more than just a religious painting. It is a meeting point between the Divine and the human heart. It is a visible, created beauty, a place where prayer joins us to the image of God. It truly is an honor and privilege to be called to this beautiful practice of writing Icons.
Here are two new ones I am working on – one of Our Lady of Guadalupe and the other a Transfiguration Icon. Here are some work in progress photos:
The following is an important on line Iconographic Resource for those of us interested in the early Icons:
“In 1956, Professor George Forsyth, of the University of Michigan, invited Kurt Weitzmann, of Princeton University, to join him on an exploratory trip to Sinai. From 1958 to 1965, the University of Michigan, Princeton University, and the University of Alexandria carried out four research expeditions to the remote Monastery of Saint Catherine at Mount Sinai—the oldest continuously inhabited Orthodox Christian monastery in the world, with a history that can be traced back over seventeen centuries. The documentation collected by the Michigan-Princeton-Alexandria Expeditions to Mountain Sinai, under the direction of Professor George Forsyth (below, right) and Professor Kurt Weitzmann (pictured below left), is a profoundly important resource for Byzantine studies.” (Quote from the website link below.)
This website displays all the color transparencies and color slides in the possesion of the Department of Art and Archaeology at Princeton. The online images are limited to a size of 1024 pixels. These images are available to download and use for teaching and scholarly purposes.
St. Luke’s Guild of Iconographers- a group of Iconographers who pray and write Icons- many of whom have studied with me. Their primary focus is community through prayer and writing Icons. Here’s a link to their Facebook Page
Praying a blessing over your Icon writing, until we meet again!
This spring has been rainy and cold here in upstate New York. Normal for Spring, but what seems to be in short supply are warm sunny days in-between! Good weather to begin some new Icons, that’s what I say!
My newest Icons were all shipped off to their new homes: Two to Seattle, The one with the Four Anglo/Catholic Saints, Father James Otis Sargent Huntington, OHC founder of the Order of the Holy Cross, Fr. Richard Meux Benson, SSJE, Mother Harriet Monsell, CSJB, and Priscilla Lydia Sellon. Also to Seattle went the Icon of Allan Rohan Crite, known as the Dean of Liturgical painting in Boston. Each of these people were inspiring in the way God moved through them in the worlds they lived in, to affect and change the status quo around them. Showing them to my five year old granddaughter prompted her to ask “Can I be a Saint?”. What a good question! So sweet!
The other new one is my recent St. Michael Fighting the Dragon which is now in Miami.
I particularly like the way the Scripture quotation in this one calls us to remember who won/wins the heavenly battle!
The Canons in Creating Icons
One of the things I deal with often with students and clients is the question “what is it that makes an Icon a good contemporary Icon?” While it’s impossible to come up with a concise definition, there are some guidelines that apply. In this month’s blog, I want to speak a little about the Canons of Iconography.
Icons are sacred, or holy pictures in that they represent either a Gospel story or a Saint and are intended to draw us into the world of heaven as we look at them. They are created by an Iconographer who lives a prayerful, fasting lifestyle and who prays while they paint the Icon. It therefore is the bearer of prayers and beauty to the viewer.
On Canonicity in Icons, the following is an excerpt from a “Road to Emmaus” interview with well-known French Iconographer, Emilie Van Taack. She was a faithful student of Leonid Ouspensky
“…There is only one rule, Rule 82, decreed by the Council in Trulo, part of the Sixth Ecumenical Council. This is the iconographic canon, in which it is stated that icon painter must follow older painter, that they must be in this stream of tradition, but exactly how they are to do this is not described. What is stated is that an icon must show both the humility of the Man Jesus and His glory as God; that is, it must manifest the Incarnation. In an icon of the Lord, you must be able to see that this man who is preseneted is not only man, but also God. You must see the Person of Christ. The Council made this rule because at this period there were still some symbolic representations, like in the early Church, representing Christ by a fish, or as a sheperd, or as a lamb – not the hypostatic representation of the Person of Jesus Christ. The Council said that all of these symbolic representations are like the shadows of the Old Testament. Since we have been illumined by the truth of the New Testament, we no longer use these old and outdated symbols, but we must present Christ Himself. Who incarnated into a human body and can be represented in the body. This is the only canon, the only rule of the Church.
In defining what is “canonical” in icon painting, we have, of course, many beautiful old canonical icons to refer to. But canonicity is difficult to define. I cannot tell you what is canonical, because icons themselves define the canons. It is a circle, and we must accept it like this. By looking at these beautiful icons, studying them, copying them, little by little they help you to see yourself this image of Christ, and then you will be able to paint it without looking to the old, because you will have it in your own heart. This is a saving situation, because in this way we cannot possess the canon: it is a free gift that God gives or takes back as He wills.”
Also, please note that there is now on this site an Icon Resources page . Please email me with suggestions about links to add there in the future.
I’d like to close here with a quote from Father Andrew Tregubov taken from the book, published by St. Vladimir’s Seminary Press, “Light of Christ” Father Tregubov compiled on the works of contemporary Iconographer Gregory Kroug:
“One of the wonders of our Creator is that everything in His creation is unique. The ” Great Artificer” touches the tiniest creature with a very special personal touch, expressing His love for it. He never comes to us in an impersonal way, but instead reveals Himself in the context of a real personal relationship . The Icons , in the same way, are never made for the Church in general but for individual persons who pray before them and venerate them. God, in His boundless love, already knows all people, even those in the future; and He inspires the Iconographer in such a way that the Icon will truly be His personal revelation for those who will see it.”