Dear Fellow Iconographers:
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,
Christine Simoneau Hales
The Transfiguration Icon by Christine Hales 21st Century
My next online Icon writing class is April 9-12, visit: newchristianicons.com for more details and to register.
American Association of Iconographers 