christianity – American Association of Iconographers

Illuminating the Spirit: A Summer Reading Guide for Iconographers

Books and Inspiration to Enrich Your Icon Writing Practice

Summer unfurls like a painted scroll—light streaming through open windows, quiet hours stretching across the day, and, for the iconographer, a rare invitation to rest, reflect, and replenish the wellspring of inspiration. Whether you are a seasoned writer of icons, a beginner who has just dipped their brush into the egg tempera, or simply a lover of sacred art, the summer months offer an ideal time to step back from the demands of daily creation and immerse yourself in the wisdom, history, and spirituality that underpin the venerable and holy tradition of iconography.

Why Read in Summer? The Sacred Pause

In the stillness of summer, reading becomes a sacred pause—a time to deepen your understanding of icons not just as objects of devotion, but as living prayers in color and line. Iconographers often speak of their art as an act of contemplation: every stroke is a prayer, every layer a meditation. So too can reading be a contemplative act, enriching the mind and spirit while opening new vistas for creativity.

Foundational Texts: Revisiting the Roots

The Meaning of Icons by Leonid Ouspensky and Vladimir Lossky. This classic introduces the theological, spiritual, and artistic foundations of iconography. Through its pages, readers are led to understand the icon as a window to the divine, a theology in pigment, and a bridge between heaven and earth.
Icons and Saints of the Eastern Orthodox Church by Alfredo Tradigo. Tradigo’s compact yet richly illustrated guide offers both historical context and practical wisdom. Each page is a pilgrimage through time, introducing saints, feasts, and the symbolic language of orthodox sacred art.
Icons as Communion by George Kordis. Kordis brings the ancient tradition into the present, with notes and observations on the drawing stages in icon painting. Amazon Link
Orthodox Icon Patterns, Patterns and sketches for Iconographers: This is the revised version of Patterns & Sketches for Iconographers, with added content and additional patterns. A valuable resource for iconographers, this book contains a wide variety of patterns and sketches. Content including; icon patterns of the Nativity, the Theotokos, archangels, male and female saints, as well as halo patterns and 2 beautiful crucifixion crosses. Buildings and fabric/ background designs and icon borders. Each pattern is accompanied by color recommendations which are meant as a general guide allowing for adjustments due to differences in color names between pigments used with egg tempera and acrylic paints. (There is also a Volume II if you like this one.). Amazon Link

Summer Reads For Inspiration and Insight

Summer reading need not always be heavy with theory or thick with history. Sometimes, lighter fare—biographies, memoirs, and even novels—can kindle the imagination and nurture the soul of the artist. You might consider adding a few of these to your summer list:

Praying with Icons by Jim Forest. Accessible and warmly written, Forest’s reflections on the role of icons in prayer lift the heart and draw the reader into a deeper appreciation of how icons shape and are shaped by the life of faith.
The Mystical Language of Icons by Solrunn Ness. Nes explores in depth a number of famous icons, including those of the Greater Feasts, the Mother of God, and a number of the better-known saints, enriching her discussion with references to Scripture, early Christian writings, and liturgy. She also leads readers through the process and techniques of icon painting, showing each step with photographs, and includes more than fifty of her own original works of art. Amazon Link
And if you would enjoy a deep dive into the life of the Blessed Mother Mary, I recommend “The Life of the Blessed Virgin” from the visions of Ann Catherine Emmerich, Incredibly revealing and edifying background of Our Lady, her parents and ancestors, St. Joseph, plus other people who figured into the coming of Christ. also available on Amazon: Amazon Link
And also “True Devotion to Mary” by Louis de Montfort: Considered by many to be the greatest single book of Marian spirituality ever written, True Devotion to Mary is St Louis de Montfort’s classic statement on the spiritual way to Jesus Christ though the Blessed Virgin Mary. Amazon Link
And last, but not least, is my own book on Icon writing, “Eyes of Fire, How Icons Saved My Life As an Artist”, with an appendix full of directions as well as an explanation of how modern art has been influenced by icons and how some of those principles can be used in present day icon creation. Amazon Link

As the art historian Roger Lipsky says in his book, “An Art of Our Own, the Spiritual in Twentieth Century Art”, “One of the tasks of the spiritual in art is to prove again and again that vision is possible; that this world, thick and convincing, is neither the only world nor the highest, and that our ordinary awareness is neither the only awareness nor the highest of which we are capable.”

And so my purpose in sharing this list of inspirational summer reading is to encourage you to engage with the ‘pause” of the longer summer days, and ponder on the beauty of nature and be open to glimpses of eternity that a fresh perspective can often foster. And then let this “higher”perspective inform your icon practice in the coming year,. In the words of Aidan Hart, in his book, “Beauty, Spirit, Matter, Icons in the Modern World, “The Icon invites us to see the world as God sees it.” With nature all around of us. may God bless us with His perspective and insights to carry forward into our work.

Until next month,

Christine Simoneau Hales, Iconographer/artist

My Websites:

https://newchristianicions.com my main website
Https://christinehalesicons.com Prints of my Icons
https://online.iconwritingclasses.com my online pre-recorded icon writing classes
https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA My YouTube Channel
Facebook: https://www.facebook.com/ChristineHalesFineArt or https://www.facebook.com/NewChristianIcons/
Instagram: https://www.instagram.com/christinehalesicons/?hl=en
American Association of Iconographers: FB Group: https://www.facebook.com/groups/371054416651983
American Association of Iconographers Website: https://americanassociationoficonographers.com

The Blessed Virgin:

A Life Anchored in Grace, Obedience, and the Miraculous

The Blessed Virgin Mary is believed by many to be the greatest of Christian saints, after her Son, she is exalted by divine grace above angels and men. holds a place of profound honor in Christian faith and tradition. Known as the Mother of God, Queen of Heaven, and spiritual guide to all believers, her life offers us a powerful model of obedience, grace, and unwavering faith in difficult times. Since today is the Feast of the Visitation- one of my favorite icons- I thought it would be good to share some random thoughts about Mary and her significance to our faith.

I’ve been reading a book about Mary, The Life of the Blessed Virgin Mary: From the Visions of Blessed Anne Catherine Emmerich, as part of my spiritual discipline for May and want to share some of the insights in this month’s blog. Since I have previously written a blog about Mary (see the link below), I didn’t try to replicate the insights in that one here. Mary is such a central figure in Christian icons, her visual presence stretching from the earliest Christian art in the catacombs to contemporary icons and I hope to add more nuance to our appreciation and ability to relate to her unique role in salvation history and Icons of Mary.

Symbols and Icons

In Orthodox iconography, Mary’s veil is deep red, the color of divinity, while the clothes under the veil are either green or blue, the colors of humanity. This is the opposite of the usual depiction of Christ’s robes’ colors. In western religious art depictions of Mary, her robes usually are a light blue. It’s always important to include the names of saints in icons, and icons of Mary usually have the letters “MP OY”, an abbreviation of the Greek: “Mater Theos” – the Mother of God to identify her. The lily represents her purity and virginity while the rose stands for her love and beauty. These symbols invite the viewer to reflect on Mary’s unique holiness and place within God’s plan for man’s salvation.

Mary’s Character Strengths

Mary’s faith and devotion are clearly seen in some of the pivotal moments of Christianity. In the Annunciation icon, the angel Gabriel announces to Mary that she will bear the Son of God, highlighting her acceptance of God’s will, her humility, and deep courage. The Nativity shows the birth of Christ, the fulfillment of God’s promise, and the Flight into Egypt reveals Mary’s protective care in seeking safety for her son. Probably the most poignant is Mary’s presence at the Crucifixion, where her strength and sorrow are deeply felt. These icons not only narrate biblical events but also emphasize Mary’s prayerful and devoted character. Mary’s humility is evident in her acceptance of her Divine mission; her strength is shown in the trials she endures, and her holiness shines forth as the holy and blessed woman chosen to bear the Messiah. Mary, known as the Theotokos, or Mother of God, is a title that affirms Jesus’ divine nature. Throughout history, artists have returned to images of Mary and her son to express the deep bond between humanity and divinity.

Madonna and Christ Child Drawing by Nun Juliana

Theological Themes

While dogmas such as the Immaculate Conception, the Assumption, Mary’s perpetual virginity, and her role as Mother of God are complex, Mary’s icons offer us a way to engage with these truths visually and these icons help believers grasp profound theological ideas with personal reflection and inspiration.

Icons of Mary continue illuminate her theological roles, demonstrate her virtues and connect her life story to the faith of believers past and present. I have seen many new icons of Mary, such as Mary, Untier of Knots, at least I believe it is a new prototype. If you have created an icon of Mary that you have created and would like to share it with us, please email it to me along with a description and I will add it to this post. Sharing our work with each other can often lead to fresh insights for ourselves and others.

Miracles and Apparitions

Icon of Our Lady of Guadalupe written by Christine Hales

The Virgin Mary is associated with numerous miracles and apparitions, often attributed to her intercession with God. These include miraculous healings, apparitions like those at Lourdes and Fatima, and the transformation of water into wine at Cana, among others

The Blessed Virgin Mary has been reported to appear to people in various locations, often offering messages of hope, repentance, and love. These apparitions are often followed by reports of miraculous physical and spiritual healings.

Lourdes, France, is a well-known example, with over 7,000 reported cases of miraculous healings and 70 scientifically validated by the Lourdes Medical Bureau. Mary is also associated with spiritual healing, helping people find solace and guidance in their faith. Some stories highlight the transformative power of Mary’s intercession on people’s spiritual lives, leading to conversion and deeper faith.

Sites of Miraculous Apparitions

Lourdes, France: This is perhaps the most famous site associated with Marian healing miracles. After St. Bernadette Soubirous reported visions of the Virgin Mary in 1858, a spring of water with purported healing properties was discovered there. The Catholic Church established the Lourdes Medical Bureau to investigate reported cures, and out of over 7,000 recorded instances of unexplained healing, 70 have been officially recognized as medically inexplicable miracles. The strict criteria for such recognition include that the healing is instantaneous, complete, permanent, and scientifically inexplicable.

Fatima, Portugal: Following apparitions of Mary to three shepherd children in 1917, various miracles were reported, including healings associated with a spring of water discovered after the apparitions. In one case, a woman whose illness Our Lady promised would be cured if she converted experienced healing. The “Miracle of the Sun,” a widely witnessed astronomical phenomenon, is also associated with the apparitions.

Attribution of Miracles: It’s crucial to understand that the Catholic Church attributes miracles to God’s power, often interceded through Mary’s prayers, not as something Mary performs independently.

Scientific and Theological Perspectives: The Catholic Church utilizes a rigorous process involving medical and theological experts to investigate reported miracles, seeking to discern if they are truly inexplicable by natural means and align with Catholic teachings.

Significance: Recognized miracles are viewed as signs of God’s love and mercy that can strengthen faith, not as a requirement for Catholic doctrine or devotion.

It is important to note that accounts of miraculous healings attributed to Mary are deeply rooted in faith and devotion. While some claims have undergone rigorous investigation and medical validation, the ultimate belief in their miraculous nature rests on faith in God.

I hope that these reflections may encourage you to explore the beauty and spiritual richness found in Marian art and discover anew the profound significance of Mary, Mother of God, and share them with this post or another post in the future!

Blessings and prayers,

Christine Simoneau Hales, Iconographer

Atakhist Mary Icon written by Christine Hales

Below is my previous blog post about Mary.

Mary

INTERSTING LINKS FOR ICONOGRAPHERS

Orthodox Arts Journal Article About the Work and life of Father Zinon

The Meaning of Icons, Father Maximos Constas

My Links:LINKS For Christine Simoneau Hales 2025

American Association of Iconographers Website: https://americanassociationoficonographers.com

https://newchristianicions.com my main website

Https://christinehalesicons.com Prints of my Icons

https://online.iconwritingclasses.com my online pre-recorded icon writing classes

https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA My YouTube Channel

Facebook: https://www.facebook.com/ChristineHalesFineArt or https://www.facebook.com/NewChristianIcons/

Instagram: https://www.instagram.com/christinehalesicons/?hl=en

American Association of Iconographers: FB Group: https://www.facebook.com/groups/371054416651983

Icons For Lent

If ever there were icons that personified the phrase, “Icons as theology in Color” it would be Lenten and Easter Icons.

We could start with the Stations of the Cross Icons.

Stations of the Cross Station One — Station One Icon, Christine Hales

I wrote these icons many years ago in a small village in the Hudson Valley New York. I had been asked by my priest at the beginning of Lent to write these icons and have them finished by Good Friday!!! Those of you who have written icons know how impossible a task that seemed! And so it was, that I embarked on that somber and deep journey of walking with Christ as I created each icon with prayer and sometimes tears. I do want to mention that I was studying icon writing at that time with a nun at the New Skete Monastery in upstate New York, Sister Patricia Reed. When I would go up to work with her, I often watched her as she created her Stations of the Cross icons for the All Saints Cathedral in Albany New York. So, I asked for her help and she kindly gave me color photographs of her stations, which I used to create these icons here. That was a big help, and it is part of the traditions of icon writing, that the designs are handed down from generation to generation, from teacher to pupil, thus ensuring a correct understanding and transmitting the means and methods of icon writing from master to student.

These currently hang in the chapel of the Cathedral of Saint Peter in Saint Petersburg, Florida. The tradition of walking the path of Christ’s Passion dates back to the earliest Christian pilgrims, who visited the sites in Jerusalem believed to be where Jesus walked to his crucifixion. By the 13th and 14th centuries, the Franciscans—who had been granted custody of Christian holy places—popularized this devotion in Europe by constructing “stations” that mirrored the Via Dolorosa. Over time, different numbers of stations were used, until Pope Clement XII fixed the total at fourteen in 1731.

During the late Middle Ages, devotion to the Stations of the Cross was tied to the idea of indulgences, leading some Protestants to reject the practice. Nonetheless, Francis of Assisi and his order played a pivotal role in promoting veneration of Christ’s Passion, establishing shrines and receiving papal recognition as custodians of the holy sites. By the 15th and 16th centuries, the Franciscans built outdoor Stations of the Cross across Europe, often placing them in small chapels or along paths leading to churches.

The titles of each Station, and the Scripture relating to it are as follows:

Station One. The accusing hand condemns Jesus to crucifixion. Matthew 27:31

Station Two. Jesus Picks up His cross. The strong diagonals give a powerful sense of unrest, explosive energy. John 19:6

Station Three. Jesus Falls For the First Time from the weight of the Cross. John 19: 1-3

Station Four. Jesus Meets His Blessed Mother. Luke 2: 34-36 …and a sword shall pierce your heart…

Station Five. The Cross is laid on Simon of Cyrene. Luke 23:26-27. Bent over double, the cross almost crushes Jesus.

Station Six Saint Veronica wipes the face of Jesus. Isaiah 53:2-3

Station Seven: Jesus Falls for the Second Time This time the diagonal of the cross is pointing forward- this is the halfway point of the Passion

Station Eight: The Women of Jerusalem mourn our Lord Luke 23:28-29

Station Nine: Jesus Falls for the Third Time. Isaiah 53:4-6

Station Ten: Jesus is Stripped of His Garments. Luke 23: 34-35

Station Eleven : Jesus is nailed to the Cross. Luke 23:33

Station Twelve: Jesus Dies On The Cross Luke 23:44-47. Into your hands I commend my spirit… The rectangle is broken- split apart, showing visually the magnitude of this event forever changes the world.

Station Thirteen: Jesus is Taken Down from the Cross. Matthew 27: 54-55. The position of the hand shows that he is dead.

Station Fourteen: Jesus is Laid in the Tomb. Matthew 27:59-62

With these, you may notice that no faces are visible, and the flesh color is neither white, black or any particular ethnicity. This is because these icons are meant to be a universal visual language to be “read” and related to by all humans, because God’s plan is to save all people.

Some other of my icons that relate to Lent and Easter that are also currently at the Cathedral of Saint Peter- until after May 1, are :

Entry into Jerusalem. Written by Christine Hales

Thinking about the Cross and Icons, I came across this writing of St. Theodore the Studite, an Abbot in a monastery in Bithynia in the late 800’s: “THE CROSS AND THE ICON. “Should the cross be venerated more than the icon?” the heretics ask. “Should it be venerated equally, or in a lesser degree?”

“Since there is a natural order in these things, I think you are speaking superfluously. If by ‘the cross’ you mean the original cross, how could it not have priority in veneration? For on it, the impassable Word suffered, and it has such power that by its mere shadow it burns up the demons and drives them far away from those who bear its seal. But if you mean the representation of the cross, your question is not intelligent. The effects receive differing honor just as much as the causes differ, since whatever is received for some use is less honored than that for the sake of which it was received. Thus the cross is received for the sake of Christ, because it was formerly an instrument of condemnation, but was later hallowed, when it was accepted for the use of the divine passion.” St. Theodore the Studite, On The Holy Icons.

Having just given a talk and written an article attempting to explain the period of iconoclasm, I include the above quote as an eloquent explanation not only of the veneration of the Cross, but also of the obvious distinctions between veneration due to the original source and that due a replication of it.

I’ll close this month’s blog with a prayer and a blessing for God to bless each of you especially during this Holy Season of Lent and Easter:

“Gracious Father, whose blessed Son Jesus Christ came down from heaven to be the true bread which gives life to the world; Evermore give us this bread, that He may live in us, and we in him; who lives and reigns with you and the Holy Spirit, One God, now and forever. Amen.” From the Book of Common Prayer.

With love and prayers,

Christine Hales

Some Interesting Links for Iconographers

Sacred Geometry with Donald Duck! A fun explanation for beginners

Interview with Todor Mitrovic, Orthodox Arts Journal

Christian Iconography Shows Us the Pattern of Reality: Jonathan Pageau, St. Tikhon’s Seminary

My Links:

LINKS For Christine Simoneau Hales 2025

https://newchristianicions.com my main website
Https://christinehalesicons.com Prints of my Icons
https://online.iconwritingclasses.com my online pre-recorded icon writing classes
https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA My YouTube Channel
Facebook: https://www.facebook.com/ChristineHalesFineArt or https://www.facebook.com/NewChristianIcons/
Instagram: https://www.instagram.com/christinehalesicons/?hl=en
American Association of Iconographers: FB Group: https://www.facebook.com/groups/371054416651983

American Association of Iconographers Website: https://americanassociationoficonographers.com

Icons As Theology in Color

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.

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

Until next month. Blessings,

Christine Simoneau Hales, Iconographer

LINKS For Christine Simoneau Hales 2025

https://newchristianicions.com my main website
Https://christinehalesicons.com Prints of my Icons
https://online.iconwritingclasses.com my online pre-recorded icon writing classes
https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA My YouTube Channel
Facebook: https://www.facebook.com/ChristineHalesFineArt or https://www.facebook.com/NewChristianIcons/
Instagram: https://www.instagram.com/christinehalesicons/?hl=en
American Association of Iconographers: FB Group: https://www.facebook.com/groups/371054416651983

American Association of Iconographers Website: https://americanassociationoficonographers.com

Epiphany and New Beginnings

Embracing the Light of New Possibilities

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.

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.

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 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)

Birch Panels suitable to gesso for icons: Trekell Art Supplies

Blessings,

Christine Simoneau Hales. New Christian Icons

My Icon Writing Retreats in 2025

Mystics, Healing, and Icons

Dear Fellow Iconographers:

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 (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 (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.

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.

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.

Until next month,

Christine Hales

New Christian Icons Prints of My Icons

If you would like to read a post I wrote on “All Saints Day”, here’s the link: https://wordpress.com/post/americanassociationoficonographers.com/28287

If you would like to read a post I wrote on ” Miracle Working Icons” here is the link: https://americanassociationoficonographers.com/2021/11/30/miracle-working-icons/#:~:text=How%20can%20icons%20be%20miracle,some%20of%20them:%20Russian%20Icons.&text=There%20are%20many%20kinds%20of,a%20long%20period%20of%20time.

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.

Iconoclasm

Iconoclasm in Church Art (600-1000)

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

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

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.

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.

INTERESTING LINKS:

Lord Rowan Williams, former Archbishop of Canterbury, Lecture at Birmingham University: Idols, Images, and Icons.

Wax Tempera and Modern Icons

May God continue to bless the eyes of your hearts with His love, until next month,

Christine Simoneau Hales, New Christian Icons

Upcoming Icon Painting Classes

The Uncreated Light

Dear Fellow Iconographers:

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 20^th 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 Museum and Study Center, Clinton Massachusetts

Introduction to Icons Video by Patristix

Icon Writing Pigments and other Supplies for Icon Painting

That’s all for this month. May God continue to bless the work of your hands,

Christine Simoneau Hales

New Christian Icons Icon Painting Instruction

Prints of My Icons Christine Hales’ Icon Book

Coptic Icons

Coptic Icon of Saint Michael — Archangel Ethiopian Icon, C. 19th century

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.

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.

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 Coptic Icon — 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 9^th century, relations were more difficult. The period from the 7^th 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 13^th 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 18^th 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.

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.

Dr. Stephan Rene’s Website: https://copticiconography.com/2019/12/24/reflections-on-discipleship-and-coptic-iconography/

UK Coptic Icons. https://www.ukcopticicons.com

Until next month,

My very best wishes for God to continue to bless the work of your hands,

Always,

Christine Simoneau Hales

https://newchristianicons.com

Iconography of Mary

The Iconography of Mary

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.

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:

Beneath Thy Protection

We fly to thy protection,

O Holy Mother of God;

Do not despise our petitions in our necessities,

but deliver us always from all dangers,

O Glorious and Blessed Virgin.

Christine Simoneau Hales

Our Lady of Guadalupe, detail, by Christine Hales

https://newchristianicons.com

Prints: https://christinehalesicons.com

Sources:

“The Dawn of Christian Art in Panel Paintings and Icons”, Thomas Mathews and Norman Muller.

Wikipedia

Wiki Common

Interesting Links For Iconographers:

From Dorothy Alexander, Iconographer in CA :

Iconography as Alternative Social-Religious Vision: Fr Zinon (Teodor)

This is a link to summer internships for those studying a BA, MA, or Phd:

https://www.iconmuseum.org/internships

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