Preparing For Easter

Pascha!!

“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.

Until next month,

Christine Simoneau Hales

New Christian Icons Icon Prints Online Icon Writing Classes

Link to Register for Dr. George Kordis Lecture on Creativity in Iconography. You must register first, and the Lecture is scheduled for April 7, 2022, 7:30-8:30PM.

Icons For Our Time


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.

Christine Simoneau Hales

newchristianicons.com online.iconwritingclasses.com

  

Saint John

Saint John the Evangelist Drawing by Christine Hales

“O dear Disciple, you reclined on the breast of Christ at the supper of the Lord and drew ineffable mysteries from it which you were allowed to reveal. Your heavenly voice thundered out to all, “In the beginning was the Word, and the Word was with God, and the Word was God.” He is Christ our God, the Saviour of our souls and the true Light who enlightens everyone who comes into the world.”

Last month I was blessed to teach an online Icon writing class painting Saint John the Theologian. We had some wonderful prayer time as we painted and learned more about this saintly man who was so beloved of Jesus. In this blog I want to share with you some of what we learned and prayed about. The following is excepted from an article on “Orthodox Christianity Then and Now”.

The Life of Saint John the Evangelist

The Holy Apostle and Evangelist John the theologian was the son of Zebedee and Salome, the daughter of Joseph. He was called away from his fisherman’s nets to preach the gospel when our Lord Jesus Christ, walking along the sea of Galilee, chose his apostles from amongst the fisherman. Jesus had already summoned two brothers, Peter and Andrew, when he caught sight of two other brothers, James and John, sons of Zebedee. They were mending their nets in a boat with their father when he called them. Immediately abandoning their boat and their father, they followed after Jesus Christ.

Saint John the Evangelist Icon in progress by Christine Hales

At the time of his calling, John was called son of Thunder by the Lord, for his theology would be heard like Thunder throughout the world. John followed Jesus, learning the wisdom that preceded from his lips. John was well loved by his Lord Jesus. The Lord honored him as the fairest of the 12 apostles, and he was one of three of Christ’s closest closest disciples. When Jesus went to raise up the daughter of Jairus, only John, Peter and James were allowed to accompany him. Also when Jesus prayed in the garden, he took Peter, James and John to pray with him. Also on Mt. Tabor, the scene of the Transfiguration it was James, John and Peter who accompanied Jesus. We also know from the Icons of the Crucifixion and the Lamentation, that John never left Jesus’ side. From the Cross, Jesus instructed John to take his mother, Mary into his home and care for her and regard her as his own mother.

Patmos Today

Saint John on Patmos

Saint John and his scribe, Saint Prochorus, were ready to leave the isle of Patmos when there were almost none on the island of Patmos that he had not converted to Christ. The Christians learning of his intention, asked him not to leave them forever. However, the apostle did not wish to remain with them but desired to return to Ephesus. Seeing the Saint was intent on leaving, they asked him to leave behind a memorial with them – the Gospel which he had written there. For one, day having commanded all to fast, he had taken his disciple Prochorus outside the city and together the ascended a high mountain. Here they spent three days in prayer. After the third day a great clap of Thunder sounded, lightning flashed, and the mountain shook. Prochorus fell to the ground with fear. Turning to him, John raised him up and said to him , “Write what you hear from my lips”.

John Writes the Gospel

Lifting up his eyes to heaven, John began to pray again. When he had finished, he began to speak; “In the beginning was the Word…” and the Gospel of Saint John was committed to paper. Saint John agreed to leave a copy in Patmos for the Christians in accordance with their request, but the original copy he kept with himself.

On the same island, Saint John wrote also the Apocalypse, or Book of Revelation. Tradition relates that one day John and his disciple Prochorus departed from the city to a cave in the wilderness where he spent 10 days with Prochorus and another 10 days alone. These latter 10 days he ate nothing but only prayed to God, entreating him to reveal what he should do. A voice came to John from on high saying John, John! John answered “What doest Thou command, Lord? The Voice from on high said “Wait 10 days and thou shall receive a revelation of much that is great.” John remained there 10 more days without food, then something marvelous occurred. The angels of God came down to him and proclaimed much that was ineffable. When Prochorus returned, John sent him back for ink and paper, and for two days thereafter John spoke to Prechorus of the revelations he had received. John’s disciple wrote them down.

John’s Death

At the end of John’s life, when he was becoming very weak, he reduced his teaching to the unceasing repetition of “Little children love one another”. One day when his disciples asked him why he repeated this to them incessantly, John replied with the following words; “This is the Lord’s commandment and if you keep it, it is enough.”

When the Apostle was more than 100 years old, he left the house of Dominus with his family of disciples and after reaching a certain place, John commanded them to sit down. It was then morning and he went a stone’s throw away from them and began to pray. Afterwards his disciples dug him a cross shaped grave in accordance with his will. He ordered Prochorus to go to Jerusalem and remain there until the end of his life. John preached yet one more time to his disciples, and kissing them farewell, the apostle said; “Take the earth, my mother, and covered me with it.” He kissed his disciples and they covered him to the knees. When he had kissed them again, they covered him to his neck leaving his face uncovered. Once again they kissed him, and with great weeping, covered him entirely. Hearing of this, the bretheren came from the city and dug up the grave. But they found nothing there! They all wept greatly, then praying they returned to the city. Each year on the 8th of May a fragrant myrrh comes from the grave, and at the prayers of the holy Apostle the sick are healed thereby, to the honor of God, who is glorified in the Trinity unto the ages of ages Amen.

Patmos

The small island of Patmos, part of the Dodecanese complex in the central Aegean, is known, above all, as the location where John the Apostle received his visions and recorded them in the Book of Revelation, the final book of the New Testament. An impressive monastic complex, dedicated to him, was founded there in the early 11th century.

Interior of the Monastery of Saint John the Theologian (by Thanasis Christodoulou via Wikimedia Commons)

The monastery stands on the site where Saint John is believed to have written his Gospel, including the Book of Revelation (also known as the Apocalypse); it is also located near the grotto where the apostle is said to have received his Revelation, hence called the Cave of the Apocalypse. Both the Monastery and the Cave, along with the rest of the historic centre of the island’s Chora (main town) have been declared a joint World Heritage Site by UNESCO in 1999 as an “exceptional example of a traditional Greek Orthodox pilgrimage centre of outstanding architectural interest”.

The site of the revelatory visions, known as the Cave of the Apocalypse, is situated halfway along the road linking the port with the Chora (main town), which sits on top of the island’s mountain. The Holy Cave of the Apocalypse has been transformed into a place of worship, where visitors can see the dent on the wall of the cave, where the Evangelist was said to lay his head; according to tradition, the Voice of God could be heard coming from a cleft of the rock, which is also still visible today. The southern part of the cave has been turned into a church dedicated to Saint John the Theologian, while later a Chapel of Saint Anne (mother of Mary) was added, incorporating the cave, which is now entered through the chapel.

In 1091, Christodoulos began the construction of the monastery of Saint John the Theologian, over the ruins of a fourth-century basilica also dedicated to Saint John.

APOLYPTIKA

“O beloved apostle of Christ our God, come quickly to rescue your helpless people. The one on whose breast you leant will accept you as intercessor. O Theologian, implore Him to disperse the clouds of darkness and grant us peace and great mercy.”

May God continue to bless you with His peace and love,

Christine Simoneau Hales

New Christian Icons

Exhibition Open Calls For Religious Art

ECVA has an open call for art relating to the Epiphany. Here is a link to more information.

CIVA also has an open call for religious art. Deadline is November 7, 2021 Here is a link to more information

Link to Online Classes with Christine Hales

Icons as Service

St. John The Evangelist

Although our inspiration for painting icons comes from early Christian icons, many iconographers today realize that in order for our icons to have a connection to our modern world, we need to understand that icon painting is still a living and developing art form.

If we widen our perspective to look at Christian art as well as icons, questions develop as to what the differences are between the two. While the subject matter might be the same, the function and purpose, as well as the form of an icon, is distinctly different from those of religious art.

The needs of our contemporary churches and worshippers need to be paramount in our thoughts as we contemplate subject matter and formalistic approaches to writing icons today. Whom is this icon for, whom will it serve?

“Contemplating a piece of work, we do better to think Whom is this work for? Whom will it serve? rather than How will it serve me? Once we find a path for our work to be of service . . . then our work goes smoothly forward. It is not about “us” anymore…Whenever we take art back to the realm of the sacred, whenever we make it an act of service in any form . . . we again experience the ease of creative flow and the lessening of our creative doubts. When we ask to “listen,” we create works worthy of being heard and we ourselves hear the heartbeat of our common humanity, which is grounded in divinity.” Quote from a Richard Rohr blog post where he quotes author Julia Cameron.

As we struggle to understand and make use of the vast canons and traditions of the church as well as those of iconography we can hope to transform our understanding and hope to transform the traditions through the filter of our contemporary church. From my studies over twenty years, I have developed an deep appreciation for Byzantine art and icons. In his book, Byzantine Sacred Art, Constantine Cavarnos states:

“Byzantine art has a religious function. It seeks to express spiritual things in order thereby to help man penetrate the mysteries of the Christian religion; it seeks to help man rise to a higher level of being, to lift his soul to the blessedness of God.”

Last Judgement Icon

Another quote from the same book describes the thoughts of Photius Kontoglou, an influential Greek iconographer of the twentieth century:

“Secular art is concerned with external beauty, whereas spiritual art is concerned with inner beauty. Kontoglou emphatically places inner, spiritual beauty above external beauty, and spiritual art above secular art. External, physical beauty, he remarks, is shallow and perishable, while spiritual beauty is deep and imperishable. Physical beauty arouses the outer senses; spiritual beauty the inner senses- it makes us feel reverence,, humility, contrition, the “gladdening sorrow” of which John Climacos speaks.”

There are so many facets of Byzantine spirituality that are evidenced in the iconography and traditions that are incredibly important and valuable to bring forward into our contemporary icons. This would be a service to our culture in many ways. This would make an appropriate topic for many future blog posts and I welcome articles that contribute to this work of discovery and reverence for the iconographic traditions.

It is part of the creative process to be able to remain creative as an iconographer while still upholding the canons and traditions. Evelyn Underhill, in her book “The Spiritual Life” describes another condition of creativity;

“Creativity is the activity of an artist possessed by the vision of perfection; who by means of the raw material with which he works, tries to give more and more perfect expression to his idea, his inspiration or his love.”

In referring to the modern iconographers’ training that impresses the importance of copying from the established Orthodox icons of the past Irinia Yazykova states:

“Many iconographers working today allow themselves to be imprisoned by tradition. Instead of approaching tradition creatively so as to develop it, they too often more or less blindly copy tradition instead. And yet, an image that is not a product of the artist’s own inward spiritual experience cannot be received as a revelation by the viewer.” Irinia Yazykova, Hidden and Triumphant.

As such, it is a balancing act between giving form to the aesthetic tradition as well as the theological meaning of the icon. The service an authentic icon can render to one’s church and community is to express meaningful content in a form that conveys both beauty and prayer.

Today the majority of iconographers are women who have achieved professional success and have moved beyond copying of prototypes into development of new icons of their own.

If this subject is of interest to you, Iconographer Betsy Porter will be hosting an informal online discussion with other interested iconographers on the subject of “Icons and Religious Art- What’s the Difference?” Participants will share images and thoughts on Sunday, September 19, 2021, 5PM EST through Zoom. This is a group that she has been hosting through St. Gregory of Nyssa Church in San Fransisco for over a year. Here is a link for that meeting.

Here is a link to an article I wrote on “How to Gesso Icon Boards”– it is a description and also contains a link to an excellent video by Paul Stetsenko that demonstrates the whole process.

Also, here are links to the online icon writing classes I am teaching: Pre-recorded classes: online.iconwritingclasses.com , and Live on Zoom : October 19-23, 2021

Until next month, may God bless the inspiration of your hearts and the work of your hands,

Christine

My Website

Julian Of Norwich

During the pandemic, being isolated and shut in for months, I began to realize what the life of an anchoress must have been like! By focusing on my prayer life and the practice of icon writing, I have been able to draw near to God more frequently and with greater concentration experience the silence of my heart than would otherwise have been possible. For that reason, I have begun writing an icon of Julian of Norwich with great joy and received many discoveries in the process. I share with you here some of what I have learned about her.

My Julian of Norwich Icon- work in progress!

Born in 1343, Julian lived in the wake of the black plague and lived as well, through the peasant’s rebellion of 1381, and the persecution of the Lollards. May 8 is the Day Dame Julian is remembered in the Church of England, the Episcopal Church and the Evangelical Lutheran Church. She lived a life of seclusion as an anchoress at the Church of St. Julian in Norwich, England for most of her adult life. Through a window to the outside world in her cell, Julian was expected to be available to provide prayer and counsel to those living in the city of Norwich. Julian sought holiness of life and communion with God in order to be able to intercede more effectively for others. Aelred, the author of the Ancrene Riwle, a tract written in 1200 to guide anchorites and spiritual recluses, summarized the ideal anchoress’s prayer:

Embrace the whole world with the arms of your love and in that act at once consider and congratulate the good, contemplate and mourn over the wicked. In that act look upon the afflicted and the oppressed and feel compassion for them…In that act, call to mind the wretchedness of the poor , the groan of the orphans, the abandonment of widows, the gloom of the sorrowful, the needs of travelers, the prayers of virgins, the perils of those at sea, the temptation of monks, the responsibilities of prelates, the labors of those waging war. In your love take them all to your heart, weep over them, offer your prayers for them.”

Icon by Juliet Venter

After a serious illness, which she prayed to receive, Julian began seeing visions of God. These visions became the source of many “showings” that is, revelations given by God to Julian. The following are some excerpts from these visions. As Julian gazed on the Crucifix, during what she thought was the end of her life, Julian received the first of her visions on the Trinity:

in the same revelation, suddenly the Trinity filled my heart full of the greatest joy, and I understood that it will be so in heaven without end to all who will come here. For the Trinity is God, God is the Trinity. The Trinity is our maker, the Trinity is our protector, the Trinity is our everlasting lover, the Trinity is our endless joy and our bliss, by our Lord Jesus Christ and inner Lord Jesus Christ.”

And I leave you with her most famous quote: “Jesus answered with these words, saying: ‘All shall be well, and all shall be well, and all manner of thing shall be well.’ … This was said so tenderly, without blame of any kind toward me or anybody else”.

Excerpts from Grace Jantzen’s “Julian of Norwich” are quoted above.

Blessings,

Christine Simoneau Hales

New Christian Icons

Encounters with God

I first met Sue Valentine during an extraordinary Icon workshop I taught in March, 2020, at Mt. Calvary Monastery in Santa Barbara California. It was extraordinary for several reasons- first, we all were just beginning to understand that Covid was seriously dangerous, but our worlds hadn’t changed yet to quarantine measures. Extraordinary too, because sadly, Mt. Calvary monastery is now closed forever. And then there were the students- such an interesting and dedicated group, of which Sue was one. Recently I have seen how profoundly moving her icons are and they are developing in such a wonderful way that I invited her to share about her experiences with Icon writing and here is her article:

The Suffering Servant

While new to iconography, I have appreciated from the very first icon I wrote just one year ago how God is using icons to speak to me.

I have been considering God’s call to be a servant, and learned I both significantly misunderstood how highly the Lord thinks of His servants, and also how profoundly they suffer.  These days I ponder these things as I paint.

I find I am becoming used to the conventions in icons:  a blue outer robe representing Christ’s divinity and a red inner robe representing Christ’s humanity.  Then the Lord pointed out there is no blue robe in this icon, because as Philippians 2:5-8 tells us, Jesus voluntarily removed His blue robe when He came to earth to become one of us, to serve us, to suffer for us, and to save us.  Then, in Matthew 27:28, after Jesus was arrested and convicted, the soldiers stripped Him of His humanity, removing His red robe, and mocked Him, pretending to worship Him as a king, all the while spitting on Him and beating Him.

Jesus’ servant life and suffering stripped Him of both robes.

With the icon now complete, as I gaze on it, I’m feeling the robe I have painted on Jesus is somewhat jarring.  I’ve introduced alizarin crimson, a new color for me.  I can’t even remember why I chose that color.  Only later do I realize that when the soldiers stripped Jesus of His red robe, they put on Him a scarlet robe which is what I have painted.  This icon is the picture of Jesus, not robed in humanity, but covered with the soldier’s scorn for His kingship as they dressed Him in a scarlet robe.  With that realization, I see more fully what He suffered and the servant life I am invited into.

Jesus is no longer robed in scarlet, in red or even in blue, all of which I can attempt to paint as I am learning this new way to pray.  What I cannot capture or even attempt is what I know is true of Jesus now and read in scripture:  Jesus is finally robed not in finite colors, but in the splendor and majesty He deserves. 

John the Theologian

This is John the Theologian.  John is my favorite gospel, and this is the icon of the gospel writer John who had incredible revelations of the Lord later in life, and he wrote them down. 

He has an ink well at the ready, and an angel whispering inspiration in his ear.

The verse written in the book is John 16:33 “I have told you these things, so that in me you may have peace.  In this world you will have trouble.  But take heart!  I have overcome the world.”

I have been wrestling with the Lord about how to live out my calling as a teacher.  The Lord has told me until those opportunities open up, I should write.  But writing seems less appealing to me.

So when asking the Lord, “Why this icon of John?”, He reminded me that this type of painting is called icon writing.  If this is the kind of writing the Lord wants me to do, then I’m very interested.  

The Lamentation

This is my first larger icon, 16 x 20”.  I chose it because my daughter was struggling severely, and I felt I needed to sit with many faces of grief, from the demonstrative Mary Magdalene with her arms raised to the strangely peaceful woman in green, as they mourned over the body of Jesus and as I mourned.

Just the process of painting a larger icon forced me to sit with those feelings of grief longer.  

The Disorientation

This is another 16×20” icon, and a sequel to “The Lamentation.”  Jesus is now risen from the dead, leaving only His graveclothes behind, so I am surprised this icon is never called “The Resurrection.”  Of the many renderings of this icon, I chose this one because Jesus was still visibly present, even though only one of the women noticed He was there.  Their focus was on the grave clothes, and so, largely, was mine.  I was feeling a kind of desolation, but at least Jesus was with me.

I found this icon very difficult to do and the larger format made that more plain to me.  There were long periods when I could not work on it at all.  I didn’t even know what I was feeling, and I sought the Lord for insight.  Finally, the Lord gave me a word for it: disorientation, which is how I titled this icon.  That word helped me unpack what I was feeling.  Things were moving very quickly in my life, I was under intense stress, deeply sad, and in shock.  I was just hoping that as I painted, the Lord would keep speaking.

The turning point in completing this icon came when the Lord told me that the graveclothes were my false self.  Like Jesus, I needed resurrection.  I needed to arise from those graveclothes and leave them behind.

As soon as He spoke that to me, the work accelerated and was completed quickly and set in motion the courage to make other changes in my life as I embraced what gave me life.

Sue Valentine is from Chicago.  She has a B.A. in Behavioral Science and an M.B.A. from the University of Chicago, has a certification in Spiritual Direction from North Park Theological Seminary, and is a licensed minister in the Vineyard Church.  She is a worship leader, teacher, contemplative, practicing spiritual director and aspiring iconographer.

That’s all for this month. If you have a suggestion for an article or wish to submit one, please contact me for submission requirements- we are always looking for articles that promote the joy of icon writing!

Blessings,

Christine Hales

www.newchristianicons.com

Collecting Icons

Nativity of Jesus Icon from St. Paraskeva Church
Nativity of Jesus Icon from St. Paraskeva Church

Why Collect Icons?

Are you an Icon collector?  Collecting Icons is similar to collecting fine art in that the beauty is often times in the eye of the beholder.  Icons carry meaning in addition to the esthetics we expect from visual art. That meaning, or content, might relate on a very personal level to the viewer and thus have a high degree of value, regardless of the aesthetic qualities.  For example, an Icon of Saint Luke will resonate with artists, Iconographers, physicians, and bachelors because Saint Luke is their patron saint.  Icons have the ability to enhance our prayer life as we venerate the saints depicted.

St. Luke Icon by Christine Hales
St. Luke Icon by Christine Hales

 

Venerating Icons

molennaya

We use the word venerate to talk about our interactions with Icons.  To venerate means to cherish, honor, exalt, be in awe of, appreciate and reverence.  In old Russia, during times of religious persecution, people who could afford it would create a beautiful corner in their homes, or a small chapel.  This would hold the Icons that this family particularly revered and understood as important parts of their family prayer lives.

Icons can deepen our prayer life with specific, focused prayer.
Icons can deepen our prayer life with specific, focused prayer.

Icons can enhance our connection to the God we adore through specific, focused prayer.  Therefore, collecting Icons is a means of keeping our vision on God’s Kingdom in our homes, and sharing that with our families and friends.

Collecting Icons from Antiquity

Another aspect of collecting Icons is that of finding Icons from earlier centuries that have added value because of their age and provenance. One of the foremost Icon Galleries for ancient Icons is the Temple Gallery in London, UK.  It was founded in 1959 as a center for study, restoration and exhibition of ancient Icons and sacred art. With ancient Icons, their monetary value rises in accordance with their condition, provenance, size, and age.

Russian_nativity_icon

People often ask about the value about the icons they have discovered in their travels or have had handed down in their families.  TheMuseum of Russian Icons, in Clinton, Massachusetts, will do Icon evaluations on certain dates. They will also provide conservation and appraisal services upon request.  The museum has a beautiful permanent collection as well as changing exhibitions.

A Living Traditon

Nativity_Icon_Melissotopos_Olishta_19_Century
Nativity Icon Melissotopos Olishta 19 Century

Iconography is a living tradition, bringing the elements of the Christian faith to believers through the centuries.  Icons are often painted in the same way that they have been for hundreds of years.  And, as a living Tradition, Icons painted today are bringing along the traditions of the past and marrying them to contemporary faith and art practices.  Truly it is an exciting time to be collecting Icons!

May God bless your Icon creating and collecting especially this Advent Season!

Blessings and prayers,

Christine Hales

Icon Website     Icon Prints Website

 

 

 

Practice

Dear Fellow Iconographers:
Angel

Teaching Icon classes as I do in monasteries, churches and art centers, the question that always arises at the end of class:  How can I continue with Icon painting?  Practice is what I always say. For that reason, this month’s blog for the American Association of Iconographers is a collection of information and links to help with further studies.

Ideally, someone who is learning to write Icons will choose a style or a teacher which whom to study.  But even with that, one can only realistically take one or two workshops per year.  What to do in the meantime?  Here are my suggestions:

Practice

Using sketch paper and pencil, draw as much as possible.  Copy Icons from books, prints, or the internet.  Drawing is the number one art skill needed in Icon writing, as it is in all painting.  Learning to think on paper is a valuable skill.  A book that I recommend to beginners is: Drawing on the Right Side of the Brain by Betty Edwards.  You can copy Icons in some of her exercises and you will be surprised at how quickly your drawing will improve.

Raising of Lazarus Icon Sketch in Black and White Christine Hales
Raising of Lazarus Icon Sketch in Black and White.  Christine Hales

 

 

Simplified Palette
Simplified Palette

Use watercolor paper and the four basic color of Icon writing: red ochre, black, white and yellow ochre.  Make color and tonal studies of Icons on water color paper.  Again, this simple practice will yield large results.

 

 

John the Baptist watercolor sketch Christine Hales
John the Baptist watercolor sketch Christine Hales

 

Icon Retreats and Workshops

For those who choose to study with me, here is a link to upcoming classes.  My teaching method is always evolving and inspired by my prayer life.  I particularly enjoy helping students who have had some experience writing Icons and now want to create their own Icon (still copied from before the Renaissance).  If you do sign up for one of my classes and wish to do this, please email me well before the class date so that we can prepare you for getting the most out of the retreat.

Resources for viewing Iconographic Imagery

Kolomenskaya Versta is a site selling Icon books and materials. It is based in Russia and they regularly post free images to copy as well as links to all kinds of Iconographic information.  Also known as Russian Modern Orthodox Icon, here is a link to their FB page.

Online illuminated Manuscripts from  Open Culture.  Also, the Book of Kells on line.

A beautiful FB page with many good examples of Byzantine Icons- Byzantine Art

Museum of Russian Icons, 203 Union Street, Clinton, Mass.  There is an exhibition of Prosopon Icons currently in addition to their permanent collection.

Jacob Wrestling with the Angel, Nikita Andrei
Jacob Wrestling with the Angel, Nikita Andreiv

Resources for Icon Materials

Natural Pigments  They have pigments, red clay, gold leaf adhesives, brushes, etc..

Kremer Pigments has a shop in NYC but you can also order on linear an immense array of pigment choices and other materials like stand oil, linseed oil, etc.

Pandora- Pigment sets, Painting Tools, Porcelain Palette

Gold Leaf and Gilding Supplies

Sepp Leaf    www.seppleaf.com

Golden Leaf Products  www.goldenleafproducts.com

Gold Leaf Wholesalers  LA Gold

Icon Boards

Pandora Icon Boards, New York

St. John’s Workshop   Icon boards

 

Icon Painting Videos from You Tube

Villanova University– full process of painting an Icon.

Julia Brigit Hayes teaches online classes for drawing and painting Icons

Prosopon School of Iconology teaches workshops nationally. Another short video of their technique.

East X West online Icon Course with Sr. Petra offers many video tutorials and a thorough grounding in Iconographic history, drawing and painting.

That’s all for this month. Please let me know if this has helped you, and I wish you peace and  joy in spreading the beauty of Icons throughout the world!

Christine Hales

Icon Website 

Print Website

Fine Art Website

 

 

Feast Day of the Archangels

Dear Fellow Iconographers:

Having just finished an Icon writing workshop  where we painted the Archangel Michael, and today is the day the Episcopal Church celebrates the Feast of Saint Michael and All Angels, this blog is full of information about the angels!

Saint Patrick's Icon Class
Saint Patrick’s Icon Class

We celebrate the Feast Day of the Archangels each year at this time, but who are the Archangels and what do they mean to us?

The angels are known to us as ministering spirits, sent to announce or accomplish the will of God on earth.

We read in the Bible that the angelic hosts seek to defend creation against the spiritual powers which seek its ruin.  

Archangel Michael

Andrei Rublev Michael the Archangel
Andrei Rublev Michael the Archangel

In Revelation 12:7-9 we read of the Apocalypse and the celestial war in which Archangel Michael and his angels fight against the dragon and his angels.  According to L. Ouspensky in his book “The Meaning of Icons” ,  this is….” a war that continues on earth in the spiritual combats in which men are assisted by angels.  Hence the warrior like character that angelic apparitions often take.”

Saint Michael Prayer

Angels in Battle
Angels in Battle

Saint Michael the Archangel, defend us in battle.  Be our protection against the wickedness and snares of the devil.  May God rebuke him, we humbly pray; and do Thou, O Prince of the Heavenly Host, by the Divine Power of God, cast into hell Satan and all the evil spirits who roam throughout the world seeking the ruin of souls.  Amen.

In Joshua 5:13-15 the Captain of the Host of the Lord appeared to Joshua with a sword in his hand.  Again, quoting from “The Meaning of Icons” by Ouspensky “

“The Archangel Michael “chief captain of  the host” presides over the struggle against the forces of demons: “there where thy grace appears, the power of the demons is pursued; for the fallen Lucifer cannot bear to see thy light.  We pray thee then to extinguish his burning features, directed against us…and to free us from his temptations.”

Archangel Gabriel  

The name Gabriel means God is my strength.  In the Gospel of Luke, Gabriel is the angel who announces to Mary that she will give birth to a son and name him Jesus.  He is known as the patron saint of communication, giving strength and helps children is many ways.

Announcing Angels
Announcing Angels

 

Archangel Raphael

We learn about the Archangel Raphael, the heavenly guide and companion from the Book of Tobit in the Apocrypha.  He is known as the healing angel, also the patron saint of travelers.

Archangel Raphael Icon by Christine Hales
Archangel Raphael Icon by Christine Hales

The Prayer of St. Raphael

O Raphael, lead us toward those we are waiting for, those who are waiting for us;

Raphael, angel of happy meeting, lead us by the hand toward those we are looking for.

May all our movements be guided by your light and transfigured with your joy.

Angel, guide of Tobias, lay the request we now address to you at the feet of him on whose unveiled face you are privileged to gaze. 

Lonely and tired, crushed by the separations and sorrows of life, we feel the need of calling you and pleading for the protection of your wings, so that we may not be as strangers in the province of joy, all ignorant of the concerns of our country.

Remember the weak, you who are strong, you whose home lies beyond the region of thunder, in a land that is always peaceful, always serene and bright with the resplendent glory of God.

May your prayers before the angels always be heard, and may you sleep with the angels!

 

Blessings,
Christine Hales

Icon Website

Icon Materials

Message to an Iconographer

Greetings:

Dionysus Fresco
Dionysus Fresco

This month is a continuation of last month’s article on Hesychasm and Icons.  There is an interesting book that was produced in fifteenth century Russia called, “Message to an Iconographer.”  Message to an Iconographer is believed to have been written by St. Joseph of Volokolamsk.  It is helpful in explaining the role and meaning of sacred art and Iconography. It is believed that this book was put together at the request of the famous Iconographer, Dionysius for the purpose of training future Iconographers.

Part of the reason for creating Message to an Iconographer was a concern that after Andrei Rublev’s Icons, there was a progressive lack of focus on the spiritual depth and meaning of the Icon in favor of beauty of artistic form.  Message to an Iconographer  provides an answer to the prevailing heresy of the time and is a defense of the Icon and its veneration.  It is also a positive contribution that explains its spiritual content. Here is a quote from “Theology of the Icon, Volume II” by Leonid Ouspensky:

“How much more appropriate is it then, in this new time of grace, to venerate and bow down before the image of our Lord Jesus Christ painted on the Icon by human hands…and to adore His deified humanity taken up into heaven.  This also holds true for His All Pure Mother.  Likewise, to paint images of all the saints on icons, to venerate and bow before them is equally appropriate.  By painting images of the saints on Icons, we do not venerate an object but, starting from this visible object, our mind and spirit ascend toward the love of God, object of our desire.”  This statement echoes the defense of Icons by Gregory of Palamas.  Taboric light and the divine energies form the basis of this treatise.

Dionysus Fresco, Mary
Dionysus Fresco, Mary

The Jesus Prayer

Here is another quote from the Message to an Iconographer: “When adoring your Lord and God…let your whole heart, spirit, and mind be lifted toward a contemplation of the holy, consubstantial and life giving Trinity, in purity of thought and heart…Let your bodily eyes ascend to the divine …venerate them spiritually in your soul and visibly with your body.  Be completely turned toward the heavens.”

“The Message” is about a lifestyle of asceticism and inner prayer that is appropriate to an Iconographer.

“Wherever you may be, O beloved, on sea or on land, at home, walking, sitting or lying down-ceaselessly pray with a pure conscience, saying, “Lord Jesus Christ, Son of God, have mercy on me.’, and God will hear you. ” “Close your eyes to the visible and look at the future with your inner eye.”  These are instructions to an Iconographer from The Message.  They are intended to create a platform of prayer and faith from which to work on the Icon.”

Christ Fresco, Dionysus
Christ Fresco, Dionysus

I would suggest reading this chapter in its entirety to fully understand the context and  intent of the author.  It is from Chapter 13  Hesychasm and the flowering of Russian Art, in Theology of the Icon, Volume II, Leonid Ouspensky.  There is a great deal of value in the rest of the book also, and I highly recommend it for Iconographers.

One last quote that is a gem:

“The painter must be acutely aware of the responsibility that rests upon him when creating an Icon.  His work must be informed by the prototype it represents in order for its message to become a living, active force, shaping man’s disposition, his view of the world and of life.  A true Iconographer must commune with the prototype he represents, not merely because he belongs to the body of the Church, but also on account of his own experience of sanctification.  He must be a creative painter who perceives and discloses another’s holiness through his own spiritual experience.  It is upon this experience of communing with the archetype that the operative power of an Iconographers work depends.”

Dionysus Icon
Dionysus Icon

May God bless your Icons, as you grow in wisdom and understanding in the practice of writing the Holy Image.  Next month will be an article on the fifteenth century Iconographer Dionysus.

Christine  Simoneau Hales

Icon Website

Icon Classes