In the realm of Christian spirituality, icons stand as more than mere religious art. They are a visual form of divine communication, a sacred language that transcends time and culture. As Leonid Ouspensky notes, icons do not serve religion in a utilitarian sense but are an intrinsic part of it—one of the means through which believers encounter and commune with God. When I think of Icons as theology in color, I inevitably go to the Novgorod Icons which were created in Russia from the 14th to 17th centuries.
Sts. Florus and Laurus 16th century, Novgorod
Icons as Liturgical Art
An icon, much like sacred scripture, is a vessel of divine revelation. In the same way that words in liturgy guide the faithful toward deeper understanding, icons serve as instruments of knowledge and communion with God. They are not decorations; they are theological expressions rendered in color and form, inviting contemplation and prayer.
Tradition and the Role of the Holy Spirit
Christian tradition is often misunderstood as mere adherence to historical customs, but its essence is far more profound. As stated in theological reflections, true Tradition is the life of the Holy Spirit in the Church. It is through the Spirit that believers gain the faculty to perceive divine Truth—not merely through human reason but through the illumination of faith. Icons, shaped by this Tradition, bear witness to a spiritual reality that is ever-present and active.
The Power of Signs and Symbols
The Good Shepherd, From the Roman Catacombs
The material and spiritual worlds are not separate; rather, they are deeply intertwined. This is evident in the role of symbols, which serve as bridges between the seen and unseen. Early Christian symbols carried layers of meaning—the image of a saint in the catacombs could signify a soul in paradise, an embodiment of prayer, or even the Church itself. Through repeated sacred gestures and imagery, the faithful are invited to enter into the mystery of divine presence.
The Evolution of Christian Symbolism
Christianity has always expressed its mysteries through symbols. Early believers adapted existing signs from the surrounding world—such as the dove, peacock, and anchor—infusing them with new, transcendent meaning. As time passed, explicitly Christian symbols emerged, such as the fish (Ichthys) and the lamb, both representing Christ. These symbols, while rooted in human expression, point to eternal truths beyond words.
6th Century Byzantine Chi Rho Symbol
Icons: Transcendent Yet Concrete
While maintaining the depth of symbolic language, the icon introduces a unique dimension—the human element. Unlike abstract symbols, the icon makes divine mysteries visually accessible. It brings the infinite into finite form, allowing the ineffable to be expressed in a way that speaks directly to the soul. In the words of Egon Sendler, the icon transforms the abstract into something both transcendent and concrete, revealing the invisible through the visible.
Conclusion
Detail, Face of Christ Icon by the hand of Christine Hales
Icons are not simply religious images; they are theology in color, sacred windows into the divine. Through tradition, symbolism, and the work of the Holy Spirit, they continue to guide believers into a deeper relationship with God. Whether through the gaze of a saint, the presence of Christ, or the gestures of the liturgy, icons remind us that the sacred is always near, calling us into communion with the eternal.
I hope this article has been not only food for thought, but helps to build a solid foundation of theology for contemporary icon development.
“So, my dear brothers and sisters, be strong and steady, always enthusiastic about the Lord’s work, for you know that nothing you do for the Lord is ever useless.” 1 Corinthians 15:58
My husband and I were honored to be inducted into the Order of Saint Luke this past summer. The Order of Saint Luke is an international, inter-denominational organization made up of healing communities of faith, prayer, and service. And so I have been thinking a lot about icons, miracles, mysticism and healing. Can an Icon heal? That’s a trick question! Only God can heal, but an icon can bring the person into remembrance of Jesus’ healing ministry to inspire and strengthen faith in God’s desire and commitment to heal His people.
Christ in Glory created by the hands of Christine Hales
So how do we define healing? True healing is Salvation. What is Salvation? It can mean being saved from danger, disease, and the consequences of sin by the power of the Resurrection of Jesus Christ. So, by these definitions, we create a field where an Icon can bring the viewer into visual relationship, remembrance and anticipation of the action of God’s grace which He freely gives us.
Not all icons need to be healing icons. Some are created as vehicles for instruction in Biblical and Gospel truths, some for aiding in prayer and the liturgy, and inspiring God’s people through holiness, sacredness and beauty. My mission is to carry this healing charism in icons forward into our present day. There’s quite a strong historical foundation of the healing ministry in the Christian church, beginning with our Lord Jesus. Many of the Christian mystics experienced people being healed wherever they went.
St. Fyodor of Rostov painted by the hand of Christine Hales
Mystics and Healing
The mystical spiritual tradition that has existed through the centuries is accepted by both the Eastern and Western Church. In its simplest form, mysticism is a desire to touch or experience God in some tangible way. And when we touch God, we are transformed.
Both ancient and modern mystics practiced contemplation, insight, intuition, prayer in deep experience of worship in order to increase their direct relationship with God. In medieval times, men and women had a keen sense of God acting in the world around them through people, animals, and forces of nature. Mystics cultivate a devotion to God’s Holy Spirit and have their eyes open to God’s miracles happening around them.
Early Christian Mystics
Irenaeus, (c.130-202), one of the early church fathers, wrote: “It is impossible to number the gifts which the Church throughout the world has received from God in the name of Jesus Christ…Those who are in truth his disciples, receiving grace from Him, do in His name perform (miracles), so as to promote the welfare of other men, according to the gift each one has received from Him.”
Symeon the New Theologian
Symeon the New Theologian (949-1022), emphasized the importance of having a direct personal experience with God through grace and prayed often to receive the gifts of the Spirit. “Leave the world…do not be concerned about the present life. Knock at the gates of Christ’s Kingdom for the Son will give the Spirit to whoever asks, and he who seeks will certainly find and be enriched with the fullness of all God’s gifts.” “Pentecost to the Present”, by Jeff Oliver.
Gregory of Palamas
Gregory of Palamas (1296-1359) was a Greek Monk and theologian who, while a Bishop of Thessalonica, would defend the traditions of the Hesychasts mystical prayer practice as opposed to the more rational and intellectual approach to prayer and worship that was in fashion at the time.
Bernard of Clairvaux
In the West, Bernard of Clairvaux (1090-1153), wrote “We have all, I think, received the Spirit unto salvation, but not to all has he been given unto fervor. In fact, only very few appear to be filled with this Spirit of fervor, very few show any desire to obtain it. We are content with our own cramped littleness, and make no endeavor to rejoice in or at least to aspire to the liberty of the spirit which that Spirit confers.” Bernard believed in a personal, immediate and direct personal faith with Christ as opposed to any rational or ritualistic approach. When the Pope commissioned Bernard to preach the enrollment for the second crusade, Bernard preached to an open field who, upon hearing him, enlisted en masse. He then passed into Germany where miracles reportedly followed: “The breathing, the touch, the prayer, the benediction of Bernard had wonderful effects. At his voice, the most chronic conditions disappeared instantly and entire populations related with astonishment the cures to which they had been witnesses. Everywhere along his route the blind regained their sight, the deaf and dumb heard and spoke; paralytics recovered the use of their limbs; those supposed to be possessed by evil spirits were calmed and restored to reason.
Saint Francis Receiving the Stigmata
Icons, Mystics, and Healing
Why am I relating these early church fathers to creating icons in the twentyfirst century? Perhaps what we need to be emulating is not the outward form of early icons, but the Spirit that created them, and how we too can create Holy Spirit filled icons that will bless God’s people in our generation and in generations to come. I hope these monthly articles inspire and help give direction to all who seek to bless God’s people by creating holy icons. May we hold each other in prayer for protection and the grace of God to bless the work of our hands.
Source: Much of the information shared above comes from Jeff Oliver’s excellent book: “Pentecost to the Present”, The Holy Spirit’s Enduring Work in the Church.
I was brought up Catholic, changed to Anglican when I got married, and then graduated from Global Awakening, a charismatic mission based ministry school, and I love each of these denominations for how they have helped to deepen and expand my faith.
This month’s blog could be called, “What Happened to Icons in the Protestant Church?” Of course, many Protestant Churches today do have icons and other religious art in them today, and there is a general movement towards more ecumenical understanding among denominations today. But, for my own benefit, and also for yours, I think it’s worth delving into some of the historical relationships between Protestantism and holy imagery.
Our Lady of the Sign Icon written by. Christine Hales
THEOLOGY OF THE ICON
The theology of the icon is based on the Incarnation, the revelation of the Image of God in the human form of Jesus Christ. This first icon was one made without human hands and revealed in the temple of Christ’s body. By imitating the divine artist, the iconographer not only participates in sacred creation, but theologically asserts the reality of Jesus’ humanity.
Theology, the study of God in words, and iconography, the study of God in images, are two major expressions of one single faith, or we might say that an icon is a visible gospel.
However, in the early days of the Protestant Reformation, while Martin Luther was quite tolerant of images in churches, John Calvin, another leading theologian of the Protestant Reformation, was vigorously opposed to images in the church. For Calvin, God was invisible and hidden, therefore it is impossible to visually depict God.
This belief is similar to Eastern Orthodoxy in the belief that God cannot be represented in the icons. But additionally, the Orthodox believe that because God’s Son took on human flesh in the Incarnation, it is possible to depict the Son of God in icons. Did John Calvin ever read John of Damascus’ defense of icons?
Christ Enthroned Icon written by Christine Hales
HISTORY OF ICONS IN THE CHURCH
In Eusebius’ 4th Century “History of the Church”, mention is made of colored portraits that were made of Christ and his apostles, The presence of icons in the early church implies that icons were an integral part of the early Christian tradition. The presence of sacred images in both church and synagogue tells us that the early Church did not invent icons but carried them over from its Jewish predecessors. This also indicates that the presence of icons in Orthodox churches today represents a profound continuity with Jewish worship. If icons have Jewish roots, Calvin’s historical arguments are rendered nonsensical.
However, in the Western Church, during and after the Renaissance, religious art became so affected by humanism that it ceased to keep God as the main focus but instead the achievement of artists of the day became spectacular creations for their own sake. The extravagance of religious art was compounded by the absence of a regulating principle. Eastern artistic tradition had an art-manual sand a shared understanding about proper iconography, in the West there was no centralization of its artistic tradition, thus leading to excesses that contributed to Calvin’s desire to abolish church art.
CALVINISM
Calvinism had other theological ideas and principles not commonly shared with other Protestant denominations, such as the doctrine of predestination and human depravity. According to the Calvinist, man cannot choose good, cannot obey, cannot believe, but can only choose to do evil. Calvin was largely opposed to art and music in the service of religion and vestiges of his doctrines remain like dark shadows over Protestantism at times.
Holy Trinity Icon written by Andrei Rublev
Lutheran Churches allow the presence of images as long as they have a pedagogical or decorative purpose. Anglicans have two places in the Book of Common Prayer where the meaning of the second commandment could be construed as against using icons in worship.
Historically , the Seventh Ecumenical Council of Nicea decisively affirmed the use of icons for worship and recognized that icons are an integral part of the historic Christian Faith.
Diversity and controversy are simply facts of life, even within religious beliefs. However, I believe that the icon of God exists in each of us for we are made in God’s image. This gives man the ability to communicate with God, to be transformed by His presence, and become like God, participating in His divine character. The Icon can serve as a bridge of prayer between God and the human person, and an icon gives the viewer the occasion to commune with the divine.
“Icons of the sacred not only set an atmosphere for prayer, but by contemplating the holiness of the person represented in the icon, one can experience the presence of God which is “contagious.” One becomes aware of praying and worshipping in the presence of angels and saints. Icons are used to enhance the beauty of the church, but also to teach us about our faith initially and then to remind us of this teaching. By bringing us in contact with holy persons, we are enthused to imitate them, helping to transform and sanctify us. Ultimately the icon is a means of worshipping God and venerating his saints.”
Our Lady of Perpetual Help written by Christine Hales
I hope that this article has helped to stimulate your faith and curiosity. Below are links to three articles I have used extensively in this article. Reading these articles will give a much more comprehensive and detailed view of the ideas presented here.
May God bless you in your understanding , until next month,
As Iconographers, I think we all realize that the Byzantine culture was influential in creating a nuanced visual language that was able to convey important principles of religious art . Can we today consider and contemplate how the Byzantine style developed in order to create a visual language that can bring Christian concepts to our culture today?
An important influence of the development of Christian art in the 11th century was the schism, or split, in Christianity in 1054, which resulted in the Eastern Orthodox Church and the Western Roman Catholic Church. In the next centuries, each division of the church would develop its own culture and approach to worship, prayer, liturgy, and art.
Let’s Take a Look First at the Eastern Church’s Artistic Development
Santa Maria Church, Barcelona, Spain
The expansion of monasticism was the main force behind the unprecedented artistic and cultural activity of the eleventh and twelfth century. In 963 AD, Athanasius of Trebizond founded the first monastery on Mt Athos, Greece. Legend has it that early hermits were visited by The Virgin Mary who gave the place her blessing and there are many icons that convey this story and remembrance of the visitation .
In 988, Russia adopted Christianity and in 1017, Prince Yaroslavl the Wise erected the Cathedral of St. Sophia in Kiev. A Byzantium team of artists and iconographers, Russian and Greek, decorated the cathedral with beautiful frescoes and mosaics.
Biblia de Burgos, 12th Century
1054 began the schism between the Holy thrones of Rome and Constantinople, resulting in a wide divergence stylistically in religious art making that reflected differences in theological values between the two cultures. The Eastern Church continued to develop the Icon, keeping the flat pictorial space of Egyptian art, and the simplicity of rendering human forms borrowed from the Greco Roman tradition of the early centuries.
In 1130, A miracle working icon, Our Lady of Vladimir Icon of the Virgin Mary was brought to Kiev. This icon has lasted through the centuries and today is a symbol of Love and Tenderness.
Our Lady of Vladimir
The Paleologue dynasty in Constantinople, 1259-1453, was the last resurgence of Byzantium. The attempt to have a rebirth of Byzantium after the sack of Constantinople in 1204, resulted in the rebuilding and decoration of many churches, including Chora Church, which is considered one of the highest artistic achievements of that era.
Gregory Palamas, (1296-1359), was the Archbishop of Thessalonica and an eminent theologian who supported Hesychasm, a mystical movement in Eastern monasticism that promoted fervent prayer, silence, and contemplation.
Transfiguration by Theophanes
In 1378, according to legend, Theophanes the Greek came to Russian from Byzantium, and painted the Church of the Transfiguration in Novgorod and many others, along with his student, Andrei Rubylev. This period of icon painting is considered by many to be one of the greatest achievements of Russian Iconography.
St. Sergius of Radonezh was a great Russian saint who promoted Russia’s spiritual revival. He dedicated his monastery to the Holy Trinity and preached unity in love. He taught brotherly love and divine service and commissioned the Holy Trinity Icon to be painted by Andrei Rubylev. Rubylev and St. Sergius were in large part responsible for Russia becoming one of the great centers of spiritual enlightenment in this time. St. Sergius passed away in 1392.
Holy Trinity. by Andrei Rubylev
In the West….
Religious art in 10th century Europe, also known as Romanesque art, was symbolic, vibrant, and hierarchical. It was characterized by its emphasis on the suffering of Christ and other sacred figures, and depicted saints and religious leaders as larger and more important than ordinary people. Artists also used animals, flowers, and fruits to convey religious messages and ideas. Some common symbols used in medieval Christian iconography include: Fire, light rays, or wind to symbolize the Almighty God; Lamb or fish: symbolize Jesus Christ and his love; Crucifix: Depicts Chrstianityand eternal life; a dove symbolizes the holy spirit from heaven or an individual’s soul, and lilies in a vase or water to portray the purity and spirituality of the Virgin Mary.
One of the most spectacular achievements of medieval artists in the west was their desire to emphasize heavenly light in their creation of places of worship. Beginning with the 12thcentury, heavy, dark, Romanesque architecture began to be replaced by Gothic vaulted ceilings and flying buttresses that made it possible to bring more light into the churches than ever before. Light for a Christian had great significance because of the extensive Biblical associations of the nature of God with Light.
Cimabue, Trinita Madona
After the sack of Constantinople in 1204 by Christian armies of the Fourth Crusade, precious objects from Byzantium made their way to Italian soil and profoundly influenced the art produced there, especially the brightly colored gold-ground panels that proliferated during the thirteenth century.
Romanesque Art, one of the first innovative and coherent styles to spread across the western Church,was greatly influenced by the Byzantine art that preceded it.
European countries of Italy, France, England, and Spain responded to this stylistic innovation that was more in keeping with shifts in cultural values.
The main purpose for the development of Romanesque art was to visually record biblical events and to chronicle important figures, like influential leaders and saints in a more naturalistic way, hoping to bring the viewer into closer contact with God.
The Bridge Between Eastern and Western Art
At the end of the thirteenth century and beginning of the fourteenth, three great masters appeared who changed the course of painting from the more abstract Byzantine style, to a more naturalistic one:
Cimabue, Italian, (1240-1302) painted religious paintings that were heavily influenced by Byzantine models, yet he was also innovative and eventually broke away from the Byzantine style of religious painting. For this reason, his work is considered to be a transitional bridge between icon painting and the more naturalistic developments of Renaissance painting.
Ognissanti Madonna, Giotto
Giotto di Bondone, (d. 1337), is believed to have been a pupil of Cimabue, and to have decorated churches in Padua, Florence, Naples, Assisi, and Rome. His volumetric figures are in sharp contrast to the linear, stylized shapes of Eastern religious art of the same period. In his work, the flatness of icons began to disappear in favor of a new kind of pictorial space that achieved the illusion of depth visible in the natural world. With Giotto, considered by many to be the father of modern European painting, the flat world of thirteenth-century Italian painting was transformed into an analogue for the real world. Giotto’s figures are volumetric rather than linear, and the emotions they express are varied and convincingly human rather than stylized. He created a new kind of pictorial space with an almost measurable depth that prefigured the pictorial developments of the Renaissance..
Duccio, (1278 – 1318), is considered to be the father of Sienese painting. Together with Giotto he is considered to be one of the founders of Western art. His religious paintings introduce lyricism and a refined color sense into the Byzantine tradition he inherited. He became interested in portraying human emotions and a more naturalistic space- both in conflict with Byzantine art principles. His purpose was to bridge the gap between the spiritual world of the figures he painted and the real world of the viewer by an illusionistic rendering of objects and space- the first of its kind in Western painting, and not a style embraced by Eastern iconography until later centuries.
Maesta. Duccio
Overlapping of Panel Painting with Icon Painting
Through the fourteenth century in Europe, the primary support for portable paintings was the wooden panel. The lengthy and complex preparation of the panels had already been the way of icon creation as well, hailing from the very early centuries of Christianity. Many of these methods of icon board preparation are continued in the practice of icon painting today. They are described in detail in Cennini’s Il Libro dell Arte.
So, to summarize, the schism of the Church into an Eastern and a Western Church resulted in different approaches to creating a visual language that would best convey concepts of God, Bible stories and saints. Western culture evolved from a more theocratic culture to a humanistic one with, in my opinion, disastrous results. I think I am more drawn to the Byzantine visual language because of its ability to convey purity, focus on God, and demonstrate a clear difference between God’s world and the naturalistic world we live in. And I think this ability to transcend the moment and connect with the Divine reality is crucial to humans coping with an increasingly stressful world today. The question is: Can we create a visual spiritual language that will engage modern men and women in a meaningful way? How will we do that? What do we learn from the simplified account of religious art development above? I believe that each of us will be inspired by God to create a variety of approaches, for it is of great importance to the modern world that we do.
Until next month, when we take a look at…The Renaissance and Icon Painting!! Glory to God whose power, working within us, can do infinitely more that we can ask or imagine.
Image from Class Chuludov Psalter, 9th Century, scene of Iconoclasm
Key Issues of Iconoclasm
Iconoclasm, the destruction or rejection of religious images, was a major controversy that profoundly impacted the Byzantine Empire from the 7th to the 9th centuries. The debate centered around the Second Commandment, which forbids idolatry, raising the question of whether holy images competed with God or enhanced Christians’ experience and knowledge of God. This controversy tore apart the Byzantine Empire, pitting the iconodules, who venerated icons as a logical progression of Christian art, against the iconoclasts, who believed that any image in a church was idolatry.
The East-West Divide
Sts. Theodore of Amasea and George conquering their enemies; 9th century, Mt. Sinai
In the Western Christian church, where Latin had become the church’s language, the Greek distinction between latria(worship for only God) and dulia (a lesser form of veneration) was not easily understood or accepted. Eventually, however, the Western church allowed images for veneration. Despite sharing one Christian faith, Latin Christendom and Byzantium developed distinct spiritual, intellectual, and institutional traditions, shaping cultural identities that persist today as two distinct divisions of the Church.
Byzantium Under Justinian and Theodora
Theodora, Mosaic, 9th century
In Byzantium, the Emperor Justinian (527-565 AD) and his wife Theodora implemented caesaropapism, ensuring that the emperor controlled both political and religious affairs. This mosaic shows Empress Theodora holding a chalice, with figures standing frontally and almost floating in space, signifying a stylistic break from the Greco-Roman tradition. This new style was associated with the divine world, rather than the naturalistic world. Theodora was murdered for opposing the removal of the Jesus icon on the Chalke Gate of the Great Palace of Constantinople during the iconoclasm movement.
The Iconoclast Controversy
Christ Mosaic, Hagia Sophia
According to traditional accounts, Iconoclasm began when Emperor Leo III removed an icon of Christ from the Chalke Gate of the imperial palace in Constantinople in 726 or 730, sparking widespread destruction of images and persecution of their defenders. In the East, Caliph Yazid issued a decree in 723 banning all holy images in Christian churches. In the West, Emperor Leo banned icons in all public places in 726. Pope Gregory III responded in 731, excommunicating those who denied the sanctity of icons or violated sacred images.
Opposition and Resolution
Crucifixion, Byzantine Museum, Athens. Circa 9-13th centuries.
St. Theodore the Studite (b. 759, Constantinople) was a leading opponent of iconoclasm, which disturbed relations between the Byzantine and Roman churches. The period of iconoclasm lasted until 797, with proponents of icons like Saint John of Damascus and the edicts of the Seventh Ecumenical Council supporting the veneration of icons. John of Damascus, an Arab Christian monk and theological doctor, was a prominent figure in the 8th-century Iconoclastic Controversy.
Cultural Impact and the Great Schism
Byzantine Iconoclasm, initiated by Emperor Leo III and continued by his successors, included widespread destruction of religious images and persecution of supporters. The period saw growing divergence and tension between the East and West, though the Church remained unified. The Western Church supported the use of religious images, while the Eastern Church was more divided.
Seventh Ecumenical Council Icon
The Great Schism of 1054 was caused by doctrinal differences, the rejection of universal Papal authority by Eastern patriarchs, and sociopolitical differences. This schism created lasting divisions that affect the study and practice of iconography today.
Modern Perspectives on Iconography
Iconoclasm, Clasm Chuldov Psalter, 9th Century
Today, a schism still exists between Western and Eastern iconographers regarding the nature and purpose of icons. Former Archbishop of Canterbury, Lord Rowan Williams, explained the significance of icons in his talk “Idol, Image, and Icon.” He described an idol as an empty illusion, whereas an image bridges the gap between absence and presence. Icons, made and used in prayer, open us up to God and embody the tension between divine presence and absence. They challenge and transform the viewer, claiming our attention and inviting us to experience the sacred.
Conclusion
Iconoclasm was a pivotal controversy in the history of the Byzantine Empire and the Christian Church, shaping the development of religious art and theological thought. Its legacy continues to influence the study and practice of iconography today, highlighting the enduring tension between tradition and innovation in religious expression.
I’m hoping to achieve Peace in our lifetime, with all those who call themselves Christians actively spreading the Doctrine of brotherly love to all of our neighbors.
Saint Fyodor of Rostov Icon depicting “Theoria”. By the hand of Christine Hales
Recently, while sharing with good friends my current Icon exhibition at All Angels Church in Sarasota, I was pleasantly reminded about the importance of the concept of the “uncreated light” within icons. Having promised to reflect more on this topic, I now share with you some thoughts and research on that very important but sometimes overlooked aspect of icon writing/painting.
The Light of Mt. Tabor: The Light of the Transfiguration and Paul’s Conversion
In the 14th century, Gregory Palamas, an Athonite monk and proponent of Hesychasm, explored the concept of the Uncreated Light. According to the Hesychast mystic tradition of Eastern Orthodox spirituality, a completely purified saint who has attained divine union experiences a vision of divine radiance, the same ‘light’ that was manifested to Jesus’ disciples on Mount Tabor at the Transfiguration and to Saint Paul at his conversion. This profound experience is referred to as theoria. The doctrine of the uncreated light is rooted in Palamas’ interpretation of the teachings of Gregory of Nyssa.
Orthodox Christians also find instances of the Uncreated Light in the Old Testament, such as the Burning Bush.
Burning Bush Icon -Moses and Mary with Christ Child. by the hand of Christine Hales
Joseph the Elder, Hesychast
Joseph the Elder, a 20th century Hesychast and Greek Orthodox monk from Mount Athos, longed for unceasing prayer but faced numerous challenges, including the difficulty of finding a spiritual father and the indifference of many monks toward constant prayer. In his yearning for divine connection, Joseph was ultimately granted a vision of the uncreated light, receiving the gift of ceaseless prayer.
“At once I was completely changed and forgot myself. I was filled with light in my heart and outside and everywhere, not being aware that I even had a body. The prayer began to say itself within me…
O Master, our sweetest Lord Jesus Christ, send forth Your grace and free me from the bonds of sin. Enlighten the darkness of my soul, so that I may apprehend Your infinite mercy, and so that I may love and thank You worthily, my sweetest Savior, Who is worthy of all love and thanks.” Amen
Egon Sendler on Iconic Light
Egon Sendler, in his book “Icon, Image of the Invisible”, explained that the light depicted in icons is distinct from natural light. Iconic light represents incarnate grace and must be received in contemplation.
“In the icon, we see a divine reality that transcends this earthly world while respecting it because it is created by God, to be transfigured in His spirit. If an icon reduces the mystery of God to mere material forms, it loses its soul and spiritual character, becoming an illusion of reality.”
Sendler emphasized that the dynamic nature of icons involves all the pictorial elements moving towards the observer, with light following this movement, creating a transfigured world and bringing the viewer into union with God..
Leonid Ouspensky from “The Meaning of Icons”
Transfiguration Icon by the hand of Christine Hales
Leonid Ouspensky, in his book entitled “The Meaning of Icons”, highlighted that Church art, particularly icons, visually testifies to the dual realities of God and the world, grace and nature.
“Through the icon, as through the Holy Scriptures, we not only learn about God but also know God. The transfiguration, an illumination of the entire man through prayer by the uncreated light of Divine Grace, manifests man as a living icon of God. The icon represents this transfiguration, depicting a man filled with the Holy Spirit’s grace.”
Ouspensky concluded that liturgical art represents both our offering to God and God’s descent into our midst, facilitating a profound meeting between God and man, grace and nature, eternity and time. Perceiving the uncreated light of God’s grace in an icon leads us toward Holy Communion with God, transcending our natural world.
Conclusion:
The concept of the Uncreated Light in Eastern Orthodox spirituality and iconography emphasizes the profound connection between the divine and the material world. Through the transformative experiences of saints like Joseph the Elder and the theological insights of figures like Gregory Palamas, Egon Sendler, and Leonid Ouspensky, we understand that icons are not merely art but manifestations of divine reality and grace, guiding believers towards a deeper communion with God. And so, when writing, or painting icons, choosing colors that reflect the uncreated light of God’s grace becomes a subtle, but highly important imperative of icon creation.
Here are some interesting links for Iconographers:
Icon of the Virgin and Child with Saints Theodore and George, St. Catherine’s Monastery, Mt. Sinai, 6th century
That there are many different types and genres of Mary icons that attest to the need of all Christians to be able to relate to different aspects of her humanity and divinity at different times in their lives. Some images of Mary depict her in a time of peace, apparently apart from the drudgery and strife of our every day world, but others, like the Virgin of Tenderness and Loving Kindness, evoke the loving and kind aspects of God in ordinary life.
As the Christian Church began to split into factions with emphasis on slightly different aspects of the faith, so too, the iconography of Mary, the Mother of Jesus, has different interpretations within the denominations. To establish a common ground, I first put forth a history of Mary, both Biblical and inclusive of denominational differences when appropriate.
Mary in the Bible
Saint Luke painting the Virgin and Child with an Angel, Russian Icon
The earliest New Testament account of Mary is in the Epistle to the Galatians, which was written before the Gospels. She is referred to as “a woman” and is not named: “But when the fullness of time had come, God sent his Son, born of a woman, born under the law” (Galatians 4:4).[47]
But Mary is specifically mentioned several times in the canonical Gospels and the Acts of the Apostles:
The Gospel of Luke mentions Mary the most often, identifying her by name twelve times, all of these in the infancy narrative (Luke 1:27–2:34).[48]
The Gospel of Matthew mentions her by name five times, four of these (1:16, 18, 20: 2:12)[49] in the infancy narrative and only once (Matthew 13:55)[50] outside the infancy narrative.
The Gospel of Mark names her once (Mark 6:3) and mentions Jesus’ mother without naming her in Mark 3:31–32.
The Gospel of John refers to the mother of Jesus twice, but never mentions her name. She is first seen at the wedding of Cana (John 2:1–12. The second reference has her standing near the cross of Jesus together with Mary Magdalene, and Mary of Clopas (or Cleophas), and her own sister (possibly the same as Mary of Clopas; the wording is semantically ambiguous), along with the disciple whom Jesus loved.” (John 19:25–26). John 2:1–12 is the only text in the canonical gospels in which the adult Jesus has a conversation with Mary. He does not address her as “Mother” but as “Woman”. In the Acts of the Apostles, Mary and the brothers of Jesus are mentioned in the company of the eleven apostles who are gathered in the upper room after the Ascension of Jesus (Acts 1:14).
Crucifixion Icon, From ancient Russian Icon, Christine Hales. 2020
However, most of the details we know about the early life of Mary, and the birth of Jesus taking place in a cave come from the Proevangelism of James, a non-canonical treatise of the second century.
How did canonical imagery for the Mother of God develop?
Vladimir Mother of God Icon , 12th century, currently in Tretyakov Gallery, Moscow
In the early formation of Mary’s iconography, there were three main aspects of her mystery, that is, her pure virginity, her fertile motherhood, and her divine sanctity that contribute to attributes and characteristics visible in depictions in her icons.
As early as the fifth century churches were being dedicated to Mary in Constantinople and the term “Theotokos”, God Bearer, Mother of God, was introduced at the Council of Ephesus in 431. After the sixth century, more and more icons of various aspects of the Blessed Mother were seen, and attributes of military power were seen as people brought icons of Mary to the battlefield for protection against invaders. Prayers relating to Mary are found as early as the Gospel of Luke.
Hodegitria Icon, 16th century, Russia
Although there are exceptions, most of the Russian Orthodox icons of Mary can be found within four categories: Hodegitria, “the Guide, or she who shows the way”; the Eleusa, “Virgin of Tenderness, or loving kindness”; the Oranta, Our Lady of the Sign; and the Akathist “Hymn”.
Within these categories there exists many iterations named primarily after the town or village that housed them, such as in the Tenderness category there is the Kazan icon, Smolensk icon, Georgian icon,Jerusalem icon, and many more.
Hodegitria Icons of Mary have been brought to battlefields and paraded around cities for protection for centuries. They have been used to invoke military victory but she is never seen with a staff or any other sign of authority. Her icon of the Hodegetria, Mother of God, was deemed the most powerful weapon against enemies in ancient Russia.
In the Eleusa category of loving kindness, popularized in the twelfth century, The Vladimir Mother of God icon was brought from Constantinople to Vladimir by Prince Andrey Bogolubsky and was believed to protect the city from marauding Mongols.
Our Lady of the Sign Icon by Christine Hales 2000
The Orans Virgin, or sometimes called “Platytera, More Spacious Than the Heavens”, depicts Mary with her arms outstretched in the prayer position, with a young Christ in the center of her figure, and this one is based on the prophesy in Isaiah 7:14.,” Therefore the Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”
The Akathist (meaning hymn) virgin, is frequently seen depicting Mary as an individual alone, without the Christ child. And without Joseph, her husband.
Our Lady of Korsun created by Christine Hales
Most Greek churches dedicated to the Virgin Mary are called Panagia; the Most Holy; the standard western Christian designation of “St. Mary” is rarely used in the Orthodox East, as Mary is considered the holiest of all created beings and therefore of higher status than the saints.
In paintings, Mary is traditionally portrayed in blue, while in the Eastern Orthodox Marian iconography, her robe is a deep red. There are many more genres of Mary paintings in the Catholic church, variations that address particular prayer needs of the people. Examples of this are Our Lady, Untier of Knots, Our Lady of Perpetual Help, Our Lady of Gudalupe, Our lady of Sorrows, and many more.
Our Lady of Perpetual Help, Christine Hales
The Christian need to believe, venerate, and pray with images of Mary is a powerful one. In a primarily patristic society, being able to relate spiritually to the most Godly of women is both a solace and source of strength. Surely the Blessed Mother demonstrated profound strength at the Crucifixion, obedience and humility at the Annunciation, and devotion to Jesus throughout His life and death, and we can draw near to her through her icons and be comforted and strengthened by her virtues and piety.
I will close with one of the oldest known prayers venerating Mary:
I’ve been reading and looking at icons quite a bit recently in an effort to understand what elements of the iconographic language I feel are important to incorporate into a more contemporary approach to writing icons. Others will have different opinions about this, I’m sure! But I have always learned best when I share my thoughts with others, either writing or speaking, so feel free to respond with your ideas or opinions on this as well, and thanks for your patience as I attempt to reason this out!!
The Protection of the Holy Virgin, Novgorod School, late 15th century
Depiction of buildings and space within the icon using inverse perspective. This tends to flatten out the drawing and creates visually the understanding that this is not worldly reality but a spiritual reality we are depicting.
I love the abstract way that folds on garments are rendered. They both simplify and abstract the visual reality of the figure, again, pointing to the symbolic nature of the scene being depicted.
The way rhythm and movement are cleverly incorporated into the design by the repetition of curves in roofs, heads, building tops etc.
The Presentation of the Virgin, Novgorod School, fifteenth century
St. Simeon the Stylite shows the creative foreshortening of his column and renders it as a tower with stairs and a door with a balustrade at the top for him to rest upon. He gives the blessing with his right hand and holds a scroll in the left- again, iconographic language that communicates his blessing and dedication to Holy Scripture. It is said of him that he exercised an extraordinary spiritual authority and fought against spiritual heresies.1
The Meaning of Icons, Leonid Ouspensky
St. Simeon Stylites, Russian, 16th Century
Another aspect of the iconographic language that I greatly admire is the consistent ways of highlighting faces, They are somewhat realistic , but yet abstracted when eyes are exaggerate, simplified, and accentuated. There is a consistency also in the way facial features are drawn. You can see this in some of the early icon painting manuals- the one I use often is the Egon Sendler book Icons, Images of the Invisible. Sadly, it is out of print, so is fairly expensive on the second hand book market, but I do recommend it highly if you can get one. Hair is also stylized so as not to draw attention away from the spiritual reality being depicted.
Of course, all this is ingenious, and why would we ever want to try to improve on it? My take on that is that I want to make icons – or religious art- that will attract my community in this time. Last month I published a photo of one of Stephen Antonakas’ neon art pieces of the Transfiguration.( https://americanassociationoficonographers.com/ )that I think brilliantly captures the essence of the Icon, but its very abstractness renders the actual Transfiguration story unreadable and unknowable if you are not familiar with the Scripture or the story. However, if you do know the story, his work captures the essence in a new and different way that allows a deeper appreciation and allows us to think differently about that moment. Mark 9:2-13, Matthew 17:1-17, and Luke 9:28-36.
What is the main message of the Transfiguration?
Transfiguration Icon, Russian, Novgorod School, 15th Century
Though the disciples do not understand his meaning, the Transfiguration and Jesus’ charge to the disciples present a promise of what is to come. There is hope, because he will soon triumph over sin and death, and be raised in the fullness of glory – the glory of which they have just been given a glimpse.
So, again, compare and contrast- here is a Russian icon from the Novgorod school, fifteenth century. Definitely light is emphasized in both the Antonakas neon sculpture as well as the icon, but it is missing the two prophets, Moses and Elijah- Moses representing the dead and Elijah, because he was taken up to heaven, represents the living, calling attention to the message of hope of the Second Coming. Both had a secret vision from God. “Christ appears as the Lord of the quick and the dead, coming in glory of the future age. The Transfiguration was an anticipation of His glorious second coming, says St. Basil, the moment which opened a perspective of eternity and time.” Meaning of Icons, Leonid Ouspensky P. 212
This beautiful icon of St. Sergius of Radoneh again emphasizes simplicity both in design and color palette.
Saint Sergius of Radoneh, Russian, 20th Century
Byzantine Iconography as a Sacred Art
According to Constantine Cavarnos in his book, ” Guide to Byzantine Iconography”, Byzantine iconography is a sacred art. It is art that is spiritual in essence and aims. It has seven functions: (1). to enhance the beauty of the church with a beauty that has the impress of holiness. ( 2). To instruct us in matters pertaining to the Orthodox Christian faith. (3) To remind us of this teaching. (4) To lift us up to the prototypes, to the holy personages whom the icons depict. (5) To arouse us to imitate the virtues of these personages. (6) To help transform us, to sanctify us. (7) To serve as means of worshipping God and venerating His saints.”
So, in closing, I have mentioned some of the concepts that make an icon a sacred work of art. I expect that each of you will have other favorite and important elements of the iconographic language to emphasize. I look forward to hearing from you on this topic and possibly incorporating your thoughts into future articles.
Until next month, May God bless the work of your hands, and guide your thoughts, waking and sleeping,
A Christmas Journey: Lessons from the Nativity Icon
As we joyfully concluded my latest icon writing class, the crowning achievement was a breathtaking depiction of the Nativity. Beyond the demonstrations and questions, the process became a conduit for spiritual revelations about the Nativity Icon during our retreat. The shared exchange of thoughts and questions revealed the profound spiritual wisdom residing within each class member. I am so grateful for the divine synchronicity that brings such beautiful souls into my classes, contributing to a shared journey of growth and revelation in the span of just four days.
In the spirit of post-retreat reflection, my thoughts turned to the iconic journey of the three wise men. Weary yet resolute, they traversed long and perilous roads, guided only by a celestial star lighting their way to Jerusalem. Their journey, fraught with challenges, reached its culmination under the brilliant radiance of the star directly above, revealing the long-promised redemption in the form of a humble baby nestled in a manger. This divine encounter brought the wise men to their knees in worship and adoration before the embodiment of God’s power and glory.
The resonance between the wise men’s Christmas journey and our own spiritual quests is striking. As we usher in the festivities of 2024, I pray that we may emulate the wise men, offering our heartfelt praise and worship in response to the wonder of the incarnation.
Drawing inspiration from Sarah Young’s “Jesus Calling” (pg. 372), let our perseverance along God’s ordained path be sustained by His strength. Miracles, though not always visible to the naked eye, become apparent to those who live by faith. As we navigate our individual paths, let us watch and wait, expecting miracles and acknowledging that living by faith grants us the clarity to witness divine interventions.
In this festive season, my heartfelt Christmas prayer for you is to embrace the faith-driven approach of the three wise kings. May your Christmas be filled with the warmth of faith rather than mere sight, positioning you to experience the unfolding glory and power of God in your life. As 2024 unfolds like a gift waiting to be unwrapped, may you draw nearer to Him than ever before, embracing the Christmas spirit with anticipation and receptivity. May your Christmas be blessed with joy, peace, and the wonder of His love.
There are so many exciting principles we modern icon painters can learn from medieval icons. The secrets of Sacred geometry and painting are profound, but no less important are the concepts behind medieval iconographic paint application.
St, Nicetas with Deesis and Selected Saints, 15th Century
The simplest statement that icon painting is the consecutive application of layers of colored paint applied on the white surface of a wood board that is primed with gesso- white chalk and animal glue.
This notion of “consecutive layers of paint” is a hallmark of medieval painting because beginning with the Renaissance and the use of oil painting, the Renaissance painter used modeling- application of shadows- thereby obviating the need for the consecutive layers to achieve a modeling effect of figures and shapes.
Holy Trinity Icon by Andrei Rublev
Icon painters can use a few layers, or many, depending on the time available and the effects needed. Although early Christian artists used encaustic (wax) as their painting medium, from the ninth century onward, egg tempera was the medium icon painters used, almost exclusively.Egg Tempera
Egg Tempera
Egg tempera painting consists of painting with dry powdered pigment using egg emulsion as the binder to cause adhesion of pigment to the gessoed surface area. This dry powder was often found in soil and stones finely ground as well as in some plants, roots and insects that could be boiled or pressed to release specific colors.
“Of crucial importance are the choice of the right pigments, the ability to mix them properly, and the application of each consecutive layer when the one below it is quite dry so that the fresh, wet paint does not mix with it.” A. Yakovleva, “A History of Icon Painting”.
Which Pigments were used in Early Icons?
Studies show that vermillion, red ochre and lead red were the reds commonly used by early iconographers. Light yellow ochre, yellow sienna, lead tin yellow, and auripigment were the yellow pigments used, natural ultramarine (obtained from azurite) and indigo for blue, malachite and glauconite for greens, charcoal for black, lead white, umber, hematite were the browns and various ochres depending on what was naturally available.
Christ Pantocrator Icon, Svanetia, 13th Century
Three Ways of Mixing Colors
I find it so interesting that the three ways that medieval iconographers mixed their colors could have such a significant effect on the final results of their work. The first method of mixing colors was simply to mix a powdered pigment with the egg emulsion. (egg emulsion is usually the yolk of an egg mixed with a small amount of water, and a very small amount of vinegar or alcohol as a preservative.) Some of the pigments lent themselves to being ground to a fine powder, but others could only be ground to larger crystals and this variety of textures was put to good use in the third method.
The second method of color mixing is called optical mixing. This consists of relying on the different color layers to mix optically. This is achieved when rays of light hit the surface, they penetrate through the layers of color and reflect back the impression that it is one color when in reality it is the combination of all the color layers together. This gives the viewer a very rich viewing experience and is what allows the icons to have a jewel like appearance. Egg tempera excels at being able to deliver this effect. For this to happen, the artist needs to apply the layers very thinly in order for this imperceptible color mixing to occur.
The Forty Martyrs of Sebaste, 13th Century. Georgia
The third method employs the use of the rougher pigments with larger particles to be mixed for the lower layer of the icon. This allows for subsequent layers to settle into the lower layer in irregular and interesting ways. This method unites the upper layers and lower layers of color, allowing for the appearance of visual harmony. A combination of all three methods is used by the experienced iconographer.
I hope this explanation of medieval color mixing has been helpful. Sometimes we need to go back to basics and understand nuances in order to achieve the results we want in our icons. If you would like to pursue the topic further, here is some reading you may appreciate:
“A History of Icon Painting”, L. Evseyeva, Moscow Publishing but available on Amazon
“The Materials and Techniques of Medieval Painting” Daniel V. Thompson, Dover Publishing
Interesting Links For Iconographers:
These are from Dorothy Alexander, an Iconographer in California!:
A gold sale? Yes, this is very rare because of a factory overrun on 22kt loose leaf gold and continues through 8/31/23 only. Use the code: SUMMER23 when you check-out. I ordered from them before; for this sale I purchased the 22 kt loose leaf gold (which I use for backgrounds) and it shipped quickly. Here is their website: https://www.goldenleafproducts.com/order-22k-gold-leaf.html (THIS LINK WAS MORE THAN A MONTH AGO, SO NOT SURE IF THE SALE IS STILL GOING ON BUT THEY ARE GOOD GOLD SUPPLIERS)
Russian iconographers in a Greek monastery in California – this article (https://orthochristian.com/113398.html) takes you to the Life-Giving Spring Monastery in Dunlap, CA. It is a very interesting description of the lives and work of iconographers.
My Next Online Icon Writing Class is specially prepared for celebrating Advent where we will be painting an icon of the Nativity. Dec 5-8 on Zoom, each session is recorded for playback. Read more here.
That’s all for this month. Icon writing is a commitment to a life of prayer, study, and blessing the community with our work. May you all be blessed and guided by the hand of God. Our work is even more important especially in these difficult times.
“O Almighty God, kindle, we beseech Thee, in every heart the true love of peace, and guide with thy wisdom those who take counsel for the nations of the earth, that in tranquility they dominion may increase till the earth is filled with the knowledge of thy love; through Jesus Christ out Lord, who liveth and reigneth with thee, in the unity of the Holy Spirit, one God, now and forever, amen.” A Collect for Peace from the Book of Common Prayer.
