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
Often when I teach icon writing classes, I am asked to critique students’ previous icons, and almost always, my comments revolve around drawing more. Re-draw the composition, or the faces, or the figures. And so, for this blog post I am including some random ideas for improving your icon drawing.
Drawing by Nun Juliana
First, I’d like to share about an iconographer whose drawings I particularly admire- Nun Juliana. Mother Juliana was a Russian icon painter who was a prominent figure in the renewal of sacred arts in Russia during the second half of the 20th century.
Drawing by Nun Juliana
She was also a teacher of iconography, discussing the meaning of the subject matter, technique, materials, and style. Mother Juliana’s work was part of a rediscovery and renewal of sacred arts that has reached world wide proportions.
Today Mother Juliana is considered a saint by the Orthodox Church and is credited with preserving the tradition of icon painting in Russia and beyond through her work and those she taught.
During the first decades of Soviet rule in Russia holy images, especially icons, were subjected to harsh persecution. It was a period of unrestrained, militant atheism during which, together with the closing of churches and monasteries, great numbers of icons were destroyed. From this it is easy to comprehend the difficulties faced by those who wished to preserve the traditions of Russian icon painting.
Drawing by Nun Juliana
The nun Juliana, known to the world as Maria Nikolajevna Sokolova, preserved the living tradition of ancient Russian icon painting, transmitting it to her successors during one of the most difficult periods in the history of the Russian Church. This is the basis of her significance for modern icon painters.
Drawing by Christine Hales
Egon Sendler’s states in his foundational book, “The Icon, Images of the Invisible”, that “The drawing is of great importance because it gives structure and movement to the icon and determines the surfaces to be painted. The ancient iconographers religiously kept the sketches of their icons so they could use them again in their later works. These collections of drawings were called podlinik, pattern books.”
We know that in the Byzantine method, a relational system of proportions was employed, thus giving a consistency to the visual images that allow the viewer to concentrate on the meanings of the icon. This system of relational proportions was probably inherited by Egyptian artists who also used a simple grid system to standardize proportions of figures.
Egyptian Grid Drawing
Byzantine compositional drawing develops a relationship with rhythm and space in the icon that enables the viewer and the icon to meet- the dynamic elements of the icon are intentionally created to engage the viewer and bring them into a relational experience with the subject of the icon.
Without depth, the vertical method of composition is used in Byzantine compositional drawing, for example, objects which are behind in the icon are placed above in the composition, and those in front are placed on the lower section of the composition. The Nativity icon is a very good example of this principle.
Nativity Icon by Christine Hales
The last set of ideas I wish to share with you derive from Iconographer George Kordis in his book, “Icon as Communion”. In speaking of the artistic principles of Byzantine art this is what he says, “This is what we recognize as Byzantine art, and it bears the following characteristic features:
The absence of artistic depth (there is no movement behind the artistic surface.)
The essential role and fundamental importance of color in rendering form: forms are defined through color and not through the use of black or shadow..
The essential role and fundamental importance of line, which determines how color is applied…
The plasticity of artistic form (the juxtaposition of light and dark) in order to give the feeling of movement outward from the artistic surface toward the beholder.
The pursuit of rhythm (the sense of movement that relates the figure to the viewer, uniting the two.)
Archangel Michael Drawing in Moscow
Obviously this article is presenting the tip of the iceberg! Hopefully these thoughts stimulate your creative process and help your icons become the best representation of God’s kingdom possible. Although I am familiar with all of these principles, I find that I need to read them often to keep them constantly in mind when I draw.
Below are some interesting links from Iconographer Dorothy Alexander:
Father Dingman, the iconographer, reposed in 2022. This is a well made and very interesting 45 minutes documentary following the iconography he was working on for St. Lawrence Orthodox Church in Felton, CA, as he was also on a journey with parkinson’s disease. https://www.youtube.com/watch?v=w9ASpT8L7hE
Happy New Year! It’s a time for new beginnings, a chance to refresh our minds, hearts and spirits, a time to reevaluate our goals and plans in light of a change of perspective.
The Eastern branch of the Church originally celebrated Epiphany as the Baptism of Jesus as early as 200AD. In the Western Church, gradually the appearance of the three kings at the nativity of Christ’s birth and the wedding feast of Cana were additionally associated with Epiphany.
Giotto Wedding at Cana. 13th Century
Thinking about all this, it seems to me that each of those Holy events signifies a time of new beginnings. The three kings came to honor a newborn king- the beginning of a radical shift in the world’s perspective on sin, freedom, and God.
The Baptism of Jesus occurred when he was in his early thirties and signified his great humility in identifying himself as human. At the same event, God’s voice declared Jesus to be His son, in whom he is well pleased. This was the first public demonstration of both Jesus’ humanity and divinity and serves as an example for us to follow. It is for us to be humble, asking for God’s blessing at Baptism and eagerly listening to every word that comes from the Father.
Coptic Icon, Baptism of Jesus
Jesus said, ‘Out of your heart shall flow rivers of living water’. John 7:38
The wedding of Cana was the first manifestation of the miraculous marking the beginning of the miraculous ministry of Jesus. How do we enter into this ancient mystery? We might remember that when God is asked for help, He can turn even ordinary facts of reality – no wine left- into the extraordinary fulfillment of desires and needs.
“Since the creation of the world the invisible things of God are clearly seen by means of images. We see images in the creation which, although they are only dim lights, still remind us of God.” John of Damascus
And so, at this time of new beginnings, a New Year, let us contemplate how this feast day can affect our icon writing practice. Any of the three aspects of Epiphany can be used to strengthen and inspire our practice in multiple ways. Keeping a spiritual journal and recording our thoughts and drawings can make our work a process of sanctification. Sanctification is a Christian concept that refers to the process of becoming holy or sacred, or being set apart for a special purpose. It is a gradual process of spiritual growth and transformation that involves effort, commitment, and personal sacrifice.
My Baptism of Jesus Icon at the Cathedral of Saint Peter, Saint Petersburg, FL
Sanctification is a gift from God to those he loves, and is a result of grace.
Happy New Year!
The arrival of a new year often brings a sense of anticipation and hope—a time to refresh our minds, hearts, and spirits. It is a moment for reevaluating our goals, plans, and perspectives, and for embracing the potential of new beginnings.
In the Christian liturgical calendar, Epiphany—celebrated on January 6th—marks a significant point in the journey of faith. This feast day invites us to reflect on profound moments of revelation, transformation, and divine manifestation. As we step into a new year, it’s an opportunity to consider how these themes of new beginnings can inspire and strengthen our own spiritual practices, particularly in the art of icon writing.
The Significance of Epiphany
Epiphany Mosaic Ravenna 14th century
Epiphany is traditionally a feast that celebrates the revelation of Christ to the world. The Eastern branch of the Church originally recognized Epiphany as the celebration of Jesus’ Baptism in the Jordan River, dating back to as early as 200 AD. Meanwhile, in the Western Church, the focus gradually expanded to include the visit of the three kings (the Magi) to the newborn Christ and the wedding feast at Cana, marking the first public miracle of Jesus.
What unites these events is their profound symbolism of new beginnings.
Codex Egbert. 10th Century Visit of the Three kings
The Visit of the Three Kings: The Magi came to honor the newborn king, an event that marked a radical shift in the world’s perspective on sin, freedom, and God’s plan for salvation. Their journey was not just one of homage, but also a declaration of the start of a new era in the world’s understanding of the divine.
The Baptism of Jesus: At around thirty years old, Jesus underwent baptism, not because He needed it, but to demonstrate His profound humility and identification with humanity. In this moment, God’s voice declared, “This is My beloved Son, in whom I am well pleased” (Matthew 3:17). It was a public affirmation of both Jesus’ humanity and divinity, setting an example for us all to follow—humility, obedience, and openness to God’s will.
The Wedding at Cana: The first of Jesus’ miracles, turning water into wine at a wedding feast, was the beginning of His miraculous ministry. It shows how, when we seek God’s help, He can transform even the most ordinary situations into extraordinary ones, fulfilling desires and needs in ways we may not expect.
New Beginnings: The Call to Sanctification
When we consider the events of Epiphany—the kings, the baptism, and the miracle at Cana—we are reminded that new beginnings come with new insights, new possibilities, and the potential for transformation. These moments of revelation can serve as inspiration for our own lives, particularly in how we approach our spiritual practices.
One practice that can particularly benefit from these reflections is the art of icon writing. For those of us who engage in this sacred work, Epiphany offers an invitation to approach our iconography with a renewed sense of purpose and devotion.
The Role of Sanctification in Our Work
Sanctification is a Christian concept that refers to the process of becoming holy, or being set apart for a special purpose. It involves spiritual growth, effort, commitment, and sacrifice, and ultimately results from God’s grace. As we enter this time of new beginnings, Epiphany provides us with the perfect context to view our work—not just as art, but as an act of sanctification.
In the icon writing tradition, the creation of sacred images is not merely an artistic endeavor. It is a spiritual practice—a way of deepening our relationship with God and of participating in the divine work of revealing God to the world. As we create, we invite God’s grace into our work, and we seek His discernment and guidance.
One of my icon writing classes in New York
Practical Ways to Embrace Epiphany in Icon Writing
Keep a Spiritual Journal: Epiphany is an ideal time to begin—or renew—a spiritual journal. Write down your reflections on the feast day, your thoughts on the new year, and any drawings or sketches that come to mind. Let this journal be a space for contemplation and prayer as you reflect on the mysteries of God’s revelation.
Approach Your Icon Writing as a Process of Sanctification: Remember that icon writing is not just about technique, but also about the transformation of the soul. Let the process itself be one of spiritual growth. Each stroke, each color, each detail can be offered up as a prayer for God’s blessing and guidance.
Draw Inspiration from the Three Aspects of Epiphany: Whether you focus on the humility of the Baptism, the honor of the Magi’s visit, or the miraculous transformation at Cana, let these themes inspire your work. Ask yourself how each event relates to your journey and how it can be expressed through your icons.
Seek God’s Blessing and Discernment: Just as Jesus humbly sought the Father’s blessing at His Baptism, approach your work with a similar humility. Ask for God’s guidance and discernment as you create, and trust that He will equip you with the skill and insight to faithfully depict His Holy Word in visual form.
A Prayer for the New Year
Dionisius’ Russian Icon of Wedding at Cana
As we begin this new year, let us pray for the grace to approach every task, including our icon writing, as an act of sanctification. May we seek new beginnings in our spiritual lives, just as the three kings, the baptism of Christ, and the miracle at Cana brought about radical transformation. And may our work be filled with the light of Epiphany, bringing us closer to God and to the world’s deepest truths.
Epiphany is a beautiful time to celebrate new beginnings, clarity, and the light that guides us forward. Just as the wise men followed the star, we too are invited to follow our own paths of growth and transformation. May this Epiphany bring you fresh insight, new opportunities, and the courage to begin anew.
May God continue to bless the work of your hands with His gifts of discernment and skill, and may you experience the joy of new beginnings in your creative and spiritual journey through icon writing.
INTERESTING ICON LINKS:
Video with Metropolitan Kallistos Ware on Iconography: Doorway into Heaven (39 minutes)
I’ve recently noticed the influence of Saint Peter in my life as an iconographer. Over the years, I have been commissioned to paint many icons of Saint Peter, for churches and priests, and friends. Although each one is different, I have begun to study more deeply into who Saint Peter was and what the significance of his ministry has been over the last 2000+ years of Christianity.
Commission to paint “The Confession of Saint Peter” for Saint Peter’s Church in Lakewood, Ohio,
Saint Peter’s original name was Simon Bar Jonah, which means Simon, son of Jonah. Jesus gave him the name of Peter when Jesus called him Cephas (in Aramaic) which means rock or stone. Human frailty. Born in first century CE in Bethsaida vicinity, in modern day Syria.
Peter was a fisherman with a couple of small fishing boats. He was married, had children and lived with his Mother-in-law. In Capernum . Luke 4:28 Jesus healed his mother-in law.
Shortly after this healing incident, Jesus stepped into Peter’s boat and asked him to row a few feet off shore so that Jesus could preach to the crowd at the Sea of Galilee. After Jesus was finished, he told Peter to cast his net into the sea, upon which Peter then hauled out a very full net. There were so many fish in the nets that Peter was afraid the nets would rip apart. Tin fact, the weight was so heavy that the boats began to sink. Peter said to Jesus, “depart from me for I am a sinful man”. But Jesus said, “do not be afraid, from now on you will be a catcher of men.”
My recent “Calling of Peter and Andrew” Icon
Saint Peter was recognized as the leader of the 12 disciples, and the Roman Catholic Church regards Peter as the first of its unbroken succession of Popes.
History
St. Peter, originally Simon Bar Jonah, was a Jewish fisherman called to follow Jesus as one of His first disciples. He lived in Capernaum and worked as a fisherman with his brother St. Andrew and others. The New Testament, especially the Gospels, Acts, and letters, provides most of the information about him. Peter was married, and despite being untrained in Mosaic Law, he became a central figure in the early Church.
Peter’s personality was marked by both strengths and weaknesses. He was sometimes impulsive and unsure but displayed loyalty, leadership, and faith. He was the first to confess Jesus as the Christ and was entrusted by Jesus as the “rock” upon which the Church would be built. His denial of Jesus was followed by repentance and reaffirmation of his faith.
After Jesus’ resurrection, Peter emerged as the leader of the early Christian community, preaching at Pentecost, performing miracles, and advocating for Gentile inclusion. Despite occasional conflicts, such as with Paul over Gentile practices, Peter played a vital role in spreading Christianity and leading the Church until his eventual departure from Jerusalem and missionary work elsewhere.
Peter’s acceptance of Gentiles into the Christian faith marked a pivotal moment in early Christianity, as it symbolized the breaking down of barriers between Jews and non-Jews. Here’s a detailed explanation of this significant event:
The Conversion of Cornelius (Acts 10:1–48)
Vision from God: While staying in Joppa, Peter received a vision of a sheet descending from heaven, filled with various animals considered unclean under Jewish dietary laws. A voice commanded him to “kill and eat.” When Peter objected, the voice said, “What God has made clean, you must not call unclean” (Acts 10:15). This vision occurred three times, emphasizing its importance.
Summoned by Cornelius: Cornelius, a Roman centurion described as devout and God-fearing, also received a vision instructing him to send for Peter. Cornelius, though a Gentile, was respected for his prayers and acts of charity.
Peter’s Journey to Caesarea: Understanding the vision’s meaning, Peter traveled to Cornelius’ home. He acknowledged that, under Jewish law, associating with Gentiles was forbidden, but he declared, “God has shown me that I should not call anyone impure or unclean” (Acts 10:28).
Peter’s Sermon: Peter preached the Gospel to Cornelius and his household, proclaiming that God shows no partiality and accepts people from every nation who fear Him and do what is right. He testified about Jesus’ life, death, and resurrection.
Outpouring of the Holy Spirit: While Peter was speaking, the Holy Spirit descended upon the Gentiles, just as it had upon the Jewish believers at Pentecost. This astonished the Jewish Christians who had accompanied Peter. Recognizing this as God’s work, Peter declared, “Can anyone withhold the water for baptizing these people who have received the Holy Spirit just as we have?” (Acts 10:47). He then baptized Cornelius and his household.
Saint Peter Icon
Significance of the Event
Breaking with Tradition: By baptizing Gentiles without requiring them to first undergo Jewish rites (e.g., circumcision), Peter challenged longstanding Jewish customs. This act demonstrated that salvation was available to all through faith in Christ, not adherence to Mosaic Law.
Divine Validation: Peter’s actions were justified by the visible descent of the Holy Spirit, signaling God’s approval of the inclusion of Gentiles into the faith.
Conflict and Resolution
Criticism from Jewish Christians: Upon returning to Jerusalem, Peter faced criticism from Jewish Christians for eating with Gentiles (Acts 11:1–3). In response, Peter recounted his vision and the events at Cornelius’ house, concluding, “Who was I to think that I could stand in God’s way?” (Acts 11:17). This explanation satisfied his critics, who glorified God, saying, “So then, even to Gentiles God has granted repentance that leads to life” (Acts 11:18).
Jerusalem Council (Acts 15): The inclusion of Gentiles later became a major issue debated at the Jerusalem Council. While Paul was the main advocate for Gentile inclusion, Peter’s testimony about Cornelius played a crucial role. He reminded the council that God had chosen him to bring the Gospel to the Gentiles and argued against imposing Jewish laws on them (Acts 15:7–11).
My New St. Peter Icon
Impact on Christianity
Peter’s acceptance of Gentiles set a precedent that allowed the Church to grow beyond its Jewish roots, becoming a universal faith open to all ethnicities and cultures. His leadership in this matter helped shape Christianity as a global movement, emphasizing grace and faith over legalistic adherence to the Law.
I hope this brief exploration into the life and contribution of Saint Peter has given you some insight and inspiration for this month! I have been reading 1 Peter and 2nd Peter in short meaningful increments and adding those to my spiritual journal each day this past month and it has brought forth many helpful insights that are applicable to current day events.
Icon Exhibition, Cathedral Church of Saint Peter, Saint Petersburg, Florida, January 12- May 1, 2025
The upcoming exhibition will include over 50 of my icons, including the Stations of the Cross, along with commentary from or about Saint Peter as a way of inviting the viewers to enter personally into each iconographic scene through the eyes of Saint Peter.
May God continue to bless the work of your hands, and give you insight and awareness of His Presence in your world.
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.
Hello Fellow Iconographers: Today I am writing this blog on the Feast Day of Saint Michael, and I include here the collect for St. Michael and All Angels from the book of Common Prayer:
“Everlasting God, you have constituted in a wonderful order the ministries of angels and mortals. Mercifully grant that, as your holy angels always serve and worship you in heaven, so by your appointment they may help and defend us here on earth; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.
Lately I’ve been writing monthly articles about Icons and their place in history, and more theoretical topics related to understanding the field of writing icons. This month I am writing about the possibility of experimenting with new and maybe surprising materials that can be used to create satisfactory grounds for painting icons using egg tempera.
I will always consider the very best possibility for painting icons in egg tempera to be traditionally prepared icon boards, either by the iconographer herself or puchased from a reputable icon board maker. But, as we all know, those traditionally prepared icon boards are labor and time intensive, and therefore costly. And in my teaching experience, many people are interested in giving icon writing a try, but either aren’t able or don’t want to invest heavily in materials until they are sure this is an activity they want to pursue over time.
Icon writing materials are a significant investment for a complete beginner, I understand. Add to that the fact that practicing icon writing is absolutely necessary to mastery of the technique, you have the need for inexpensive, easy to find alternatives to icon boards.
I always love to experiment both with materials and techniques, so I am able to share a number of alternatives with you here that I hope will help you in your icon writing practice.
Easy Gesso
First, I find the “Easy Gesso” product made by Natural Pigments to be an excellent ground that can be used on watercolor paper, bristol board, ampersand and aquaboards, birch panels- almost anything that is a solid enough support. Obviously the watercolor paper is only going to work for practice sketches because egg tempera needs a stable (un-bendable) surface so that the tempera does not crack. Trekell Art Supplies has some very nice and inexpensive baltic birch panels available in a variety of sizes and shapes and I recommend these. especially for students.
You must follow the directions for the Easy Gesso, (don’t mix with cold water etc.) and use 3 coats, allowing each layer to dry before applying the next one. Then lightly sand the surface and I think you will be happy with the result. If you prepare several surfaces at a time, it’s a good investment in your icon writing practice, and very handy to have surfaces ready for painting.
A combination that I have used many times is to use acrylic gesso and mix it with either Marble Dust or Chalk, then a bit of water to tinh apporpriately. What like about this mixture is te acrylic gesso base of this mixture is waterproof and mold proof. The marble dust or chalk provide tooth and absorbency. If you decide to try it, experiment first to see if you like it as well. I put about 1/3 marble dust to 2/3 acrylic gesso. I don’t always use this mixture, but at times I have found it useful. Also, one of my students has successfully used wood filler, applied with a large putty knife over a cradled board, and then lightly sanded to be effective and good to work on.
Golden Paints has many new products out now, including a variety of gessoes for different purposes. I highly respect the Golden Paint Company because I know their research is of primary importance for them, and they keep accurate records of results while being highly knowlegable. Here is a link to an article from them about wet sanding acrylic gesso.Here is a link to their newsletter about recent research experiments with a variety of products- it’s always interesting and informative. And I’ll close this article with a link to the Golden gessoes, I have tried the absorbent one and it works well.
The American Association of Iconographers has an article on how to gesso boards from scratch as well, and here is the link.
If you have a favorite work around for gesso, and want to share it, you can leave the info in the comments section. Make sure you give instructions on how to use the materials.
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:
Recently, while teaching an online icon writing class on the Transfiguration, the subject of Coptic icons came up. Each of us spoke admiringly about them, the color schemes, the simplified human forms, and the fact that they are attractive in many ways. But we soon realized that we didn’t really know much about them.
Coptic Ethiopian Icon
So, here I have done some research that I now share, and I hope that many of you with more knowledge will share your thoughts and Coptic icon images on the FB (American Association of Iconographers FB group) page too.
Here’s what I have been able to discover:
In 30 BC, Egypt became a Roman province, and over the next several years, immigrants from Greece, Rome, Libya, and Syria brought their artmaking traditions and methods to apply to the art of this time. According to tradition, the Coptic Church was founded by Mark the Evangelist c. AD 42, and regards itself as the subject of many prophecies in the Old Testament. The first Christians in Egypt were common people who spoke Egyptian Coptic.
Saint Anthony and Saint Paul the Hermit c. 14th C.
The Church of Alexandria was the first Church of Africa, and through it, the influence of Coptic art spread to Sudan and Ethiopia. Some forms of the Coptic cross are known as the Ethiopian cross and many Churches in Ethiopia show the influence of the Coptic art.
Coptic Cross
The early Coptic icons of the third century Egypt, used encaustic paints and later, influenced by the Byzantine tradition, egg tempera. The Coptic style favors enlarged eyes, frontal figures, and an under emphasis of natural proportions in figures. The figures of saints display eyes and ears larger in proportion to the rest of the face and a smaller mouth, as well as enlarged heads, signifying a spiritual relationship with God and devotion to prayer. Martyrs’ faces were peaceful. Early Coptic icons were influenced in style of painting by the Egyptian Fayum memorial portraits used on Egyptian sarcophagi.
Fayum Portrait
These Fayum portraits from the Egyptian Sarcophagi were painted in the Greco-Roman style of painting and became the basis of both Coptic and Byzantine iconography. Beautiful portraits, they have simple, graceful forms, and employ a simple color palette, using what we now refer to as the Greek Palette- mixtures of red ochre, yellow ochre, white and black. Although the same painting style was used on each portrait, artists were able to achieve a great variety of resemblances to the persons being depicted.
John the Baptist Before the 19th C.
In 641 Muslims conquered Egypt and made it a province of an Islamic Empire whose capital was Damascus. The religious history that followed is a complicated mixture of acceptance for Christians, and then later in the 9th century, relations were more difficult. The period from the 7th to 13 century was more promising, allowing for Christian Coptic art to flourish once again and to further develop the Coptic style. There was even something of a Renaissance of Coptic art in the 13th century with many Coptic illustrated manuscripts, much like the illuminated manuscripts of the western Church.
After this, for political reasons, there was a sharp decline in productivity of Coptic Art,until the 18th century when the West re-discovered the attraction of Coptic Icons.
In today’s world there are several Coptic Iconographers who are continuing to develop the Coptic style of iconography. I am including here links to Dr. Stephan Rene’s website from which a much more nuanced understanding of Coptic iconography can be found, and two other links that may be useful for a more complete perspective.
Saint Paul Icon, 17th C.
Again, please do add to the FB group page more information or images if you would like to share your experience with Coptic Icons with others. I hope this has inspired you to think about different styles of icon writing and how culture and politics can affect the art of their time.
American Association of Iconographers 