It has been almost a year now, that we, collectively, have been experiencing quarantine for protection from Covid-19. While this his undoubtedly changing and shaping not only the world we live in, but our approach to it as well.
Although it has been isolating, for iconographers the silver lining is that more and more online iconographical resources are available. And, of course, we have a lot more time to research, pray and paint icons! In this context, I thought I would share some thoughts on icons from one of my favorite writers in the hope of adding fresh inspiration and hope to our palettes and our spirits.
From Irina Yazykova in her brilliant book, ” Hidden and Triumphant”, published by Paraclete Press:
“… the Russian monk, Andrei Rublev faces the world with hope and light, counting on God’s mercy while striving to reveal to others that beauty which will save the world…” “Andrei Rublev. (pg. 34)
“Saint Gregory of Palamas had taught that light is an uncreated divine energy. The Greeks felt that this energy was like a scorching fire entering into the soul of the person of faith and consuming sinfulness. In contrast, the Russian Hesychasts understood this light to be a form of grace- a quiet light from within the soul that imparts love for all living things. Saint Sergius of Radoneh …taught his disciples to love every living thing and to see in all the grace and glory of God.
Andrei Rublev, as a student of Saint Sergius, used his icons and his paints to embody this love for God and the world.” (pg. 35)
“For in Him we live and move and have our being…For we, too, are His offspring.” Acts 17:28
The Artist’s Role
“Throughout the ages it is art that has served as a mirror reflecting the spiritual condition of humankind and the world in which we live. The artist, perhaps without being aware of it, witnesses to the time in which he or she lives, adjusting like a fine instrument to the movements taking place in the deepest reaches of the human heart.”
Moving to the end of the book, in Appendix B, “Beauty Saving the World, The Icon Outside of Russia”, we will conclude this essay with two more quotes:
Postrevolution Russian Emigration
“In the 1920’s and 1930’s, centers of Orthodox culture appeared in the West- centers that helped preserve Russia’s literary, scientific, and philosophical heritage at the same time that they gave rise to a new school of Iconography- the Paris School. This contact of Russian culture with the west went way beyond mere esthetic delight in the exotic. The icon was becoming an authentic presence in Western culture, initially, to be sure, in the form of an Orthodox subculture, but later becoming apart of everyday European – and, after the war , American-life.”
“And after the war, the Orthodox Christian community became more cognizant of the need for unity in the search for foundations of the faith that could be held in common by all Christians. The search was joined by the World Council of Churches, theological commissions, and international conferences on interdenominational dialogue. Activities such as these helped stem;ate Western receptivity to the traditions and cultures of their Eastern brothers and sisters.”
Quoting this book as extensively as I have, these points bring us to an awareness of how important the Russian influence has been on contemporary principles and philosophy of iconography today. I hope many of you will be inspired and possibly contribute similar articles that illuminate the path of iconographers today.
In addition to the book mentioned above, another good source for understanding Russian Icons can be found in this link.
You can also visit one of my favorite museums- the Museum of Russian Icons in Clinton, Massachusetts.
May you all be blessed with an ever increasing awareness of God’s mercy and grace,
Christine Simoneau Hales