A Christmas Journey: Lessons from the Nativity Icon
As we joyfully concluded my latest icon writing class, the crowning achievement was a breathtaking depiction of the Nativity. Beyond the demonstrations and questions, the process became a conduit for spiritual revelations about the Nativity Icon during our retreat. The shared exchange of thoughts and questions revealed the profound spiritual wisdom residing within each class member. I am so grateful for the divine synchronicity that brings such beautiful souls into my classes, contributing to a shared journey of growth and revelation in the span of just four days.
In the spirit of post-retreat reflection, my thoughts turned to the iconic journey of the three wise men. Weary yet resolute, they traversed long and perilous roads, guided only by a celestial star lighting their way to Jerusalem. Their journey, fraught with challenges, reached its culmination under the brilliant radiance of the star directly above, revealing the long-promised redemption in the form of a humble baby nestled in a manger. This divine encounter brought the wise men to their knees in worship and adoration before the embodiment of God’s power and glory.
The resonance between the wise men’s Christmas journey and our own spiritual quests is striking. As we usher in the festivities of 2024, I pray that we may emulate the wise men, offering our heartfelt praise and worship in response to the wonder of the incarnation.
Drawing inspiration from Sarah Young’s “Jesus Calling” (pg. 372), let our perseverance along God’s ordained path be sustained by His strength. Miracles, though not always visible to the naked eye, become apparent to those who live by faith. As we navigate our individual paths, let us watch and wait, expecting miracles and acknowledging that living by faith grants us the clarity to witness divine interventions.
In this festive season, my heartfelt Christmas prayer for you is to embrace the faith-driven approach of the three wise kings. May your Christmas be filled with the warmth of faith rather than mere sight, positioning you to experience the unfolding glory and power of God in your life. As 2024 unfolds like a gift waiting to be unwrapped, may you draw nearer to Him than ever before, embracing the Christmas spirit with anticipation and receptivity. May your Christmas be blessed with joy, peace, and the wonder of His love.
You might wonder, why an article on the Nativity icon in October? It seems to me that the element of joy is mightily endangered these days with all the news of climate change disasters, war, etc. And joy is one of the strongest defenses we have against the spiritual forces of this dark world. “The joy of the Lord is my strength.” Nehemiah 8:10 Also, The Nativity icon is a marvelous example of the way icons make Holy Scripture visible in iconographic form.
The Feast of the Nativity of Jesus is one of the most joyful days of the Orthodox Church. It ranks right next to the greatest holiday, the Resurrection of Jesus. The Feast of the Birth of Jesus is also known as the “Incarnation of Christ”, God taking on human form out of His immeasurable love for us. We also call this joyous feast Christmas, so, in preparation, here is the Nativity Icon explained:
“And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger.” Luke 2:12
Icon of the Nativity
The icon of the Nativity tells the story of Christ’s birth as relayed through the Holy Scriptures. It also shows that all creation is taking part in Christ’s birth. As God gave His only Son to us, the angels give thanks with their song; the heavens give the star; the Wise Men give their gifts of gold, frankincense, and myrrh,the poor, humble shepherds give their praise and amazement, the earth gives the cave, and humanity gives the Virgin.
“In its content the icon of Christ’s nativity has two fundamental aspects: first of all, it discloses the very essence of the event, the immutable fact of the incarnation of God; it places us before a visible testimony of the fundamental dogma of the Christian faith, underlining by it’s details both the Divinity and the human nature of the Word made flesh. Secondly, the icon of the nativity shows us the effect of this event on the natural life of this world.” L. Ouspensky, “The Meaning of Icons”
The Story of Birth of Christ Made Visible
The Holy Icon of the Nativity reminds one to praise and glorify the Birth of Christ. The celebration of Christmas each year serves to remind each and everyone of us of the joyful news that Christ came for you and me.
“The traditional Orthodox icon of the Nativity tells us what the Bible tells us, and does so in a very clear, vivid, effective manner, by means of forms and colors. “Ouspensky
The story of the Nativity of Christ is beautifully told in the Holy Scriptures. The story is found in Matthew 1:18-25 and in Luke 2:1-20. No matter how often the Birth of Jesus is told, we can experience the wonder of it anew through the responses of the angels, shepherds, and wise men in this icon.
A Timeless Story
Mary and Joseph, who were expecting a baby, travelled to Bethlehem to register for the census. Since there was no room at the inn, Joseph found a cave-like place where they could rest. This place was used by shepherds to protect their sheep in stormy weather. It was here that Mary gave birth to Jesus. The baby was wrapped in swaddling clothes and laid in the straw in the manger.
Opposite the Wise Men is the scene are the humble shepherds with whom heaven enters into direct communication, amid their everyday working life. An angel proclaims the glad tidings. A young shepherd plays a reed instrument. This scene reveals that the music of the humans was added to the hymn of the angels. Above the shepherds is the heavenly choir of angels. They are giving glory to God. The angels serve two purposes in the Nativity of Christ. They give glory to God and announce the good news to all mankind.
Birth of Christ, 18th Century, Russian Icon
That night the shepherds were out in the fields guarding their sheep. Suddenly, there was a bright light which startled the shepherds. The light was so bright that it turned the night into daylight. An angel appeared and said:
“Fear not for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior; which is Christ the Lord. And this shall be a sign unto you: You shall find the babe wrapped in swaddling clothes, lying in a manger” (Luke 2:11-12).
Angels Praising This Wondrous Event
Then a larger group of angels appeared praising and glorifying God in their songs, “Glory to God in the highest, and on earth peace, and good will toward men” (Luke 2:14). The angels came to glorify God and also to bring glad tidings to men. The shepherds were awed. They didn’t know what to do, but they listened to the angels’ message. They decided to leave their flocks of sheep and go to Bethlehem to see for themselves what the angels had told them. When they got to Bethlehem, they found Mary, Joseph, and the infant Jesus. They fell to their knees and adored Jesus.
“Kings of Distant Lands Will Come”~ Psalm 72:10
On the other side, the Wise Men came from the East for they knew of the coming of Jesus. They had seen a star that told them that a new king had been born to the Jews. A long ray from this star symbolizes heaven and points directly to the cave and the child they were looking for. The Star led them to Jesus and Mary where they fell down on their knees and worshipped Him. They gave Jesus gifts of gold, frankincense, and myrrh.
“A virgin shall conceive and bear a son, and they shall call his name Emmanuel.” (Isaiah 7:14)
“For unto us a Child is born, Unto us a Son is given; And the government will be upon His shoulder. And His name will be called Wonderful, Counselor, Mighty God, Everlasting Father, Prince of Peace.” (Isaiah 9:6)
Russian Postage Stamp, 1995
This Holy Icon is an icon with many scenes. First, it stresses the importance of the Theotokos, the Mother of Jesus, who is placed in the center of the icon, and is the largest figure in the icon. In this icon, she is reclining with crossed arms. The Christ Child, just above her in the center of the icon, is in swaddling clothes and is lying in the manger. In the background is the dark cave where He was born. In the cave are an ox and a donkey guarding the newborn Babe. Even though the Gospels say nothing of the cave, this information is from Holy Tradition. Neither do the Gospels speak of the ox and the donkey, but all icons of the Nativity include these animals. Including the animals in the icon fulfills the prophecy of Isaiah 1:3, “The ox knows his master, and the donkey his master’s crib; but Israel does not know me, and the people have not regarded me.” The long ray of light from the star points directly to the cave. This ray comes from the star and travels to all parts of the world. It teaches that this bright star was not only an astronomical happening, it was a messenger from heaven announcing the birth of Jesus.
Icon Details
On the upper left hand side of the icon are the angels. The Wise Men, just below them, who were led by the star, bring their gifts of gold, frankincense, and myrrh to Jesus. These Wise Men, men of learning, have to accomplish a long journey to see the miracle from heaven, and they are of various ages.
One is without a beard. In those days, young men did not wear beards. The other Wise Man has long hair and a long beard, which indicates that he is much older. These details teach that regardless of age and appearance, the Good News was given to each and everyone.
In the lower part of the icon are two more scenes. In the right hand corner are the two women Joseph brought to take care of the Christ child. They are bathing Him just as any baby is bathed. The humanity of Jesus is clearly shown in this setting.
Opposite the bathing of Jesus scene sits a sad and worried Joseph. He is not part of the central group of the Christ Child and the Theotokos, and is not the natural father, but the betrothed of Mary. As Joseph sits troubled by doubts, the devil, disguised as an old man, is tempting Joseph to doubt the virgin birth. Satan is telling Joseph that virgin birth is impossible. He’s telling Joseph that he’s a fool if he believes this. This story comes to us from Holy Tradition. The sad Joseph shows us not only his personal predicament but the dilemma of all mankind the difficulty of accepting that which is “beyond words or reason.”
The tree, which is in the middle of the lower part of the icon, is a symbol of the Tree of Jesse. This tree refers to Isaiah 11:1-2, “But a shoot shall sprout from the stump of Jesse, and from his roots a bud shall blossom. The spirit of the Lord shall rest upon Him.” King David was often mentioned as the son of Jesse and Jesus was from the House of David.
The Holy Icon of the Nativity reminds one to praise and glorify the Birth of Christ. The celebration of Christmas each year serves to remind each and every one of us that Christ came for you and me. And that’s the Good News!
“The Lord is my strength and my shield; my heart trusts in him, and he helps me. My hear leaps for joy, and with my song I praise him.” Psalm 28:7
Online Advent Icon Writing Class, Egg Tempera and Gold Leaf
Renewal in Liturgical Art- Encompassing Differing Worldviews in One Faith
A world view is a pattern of ideas and beliefs. Everyone seeks answers to the questions of “why are we here? What is the meaning and purpose of life? Is there a difference between right and wrong? Is there a God? Do our actions have consequences? Is there a connection between this visible world and an invisible one? Our world view helps us to make sense of our being, our God, our purpose in this world. The Christian worldview has a narrative of all history, as told in the Old and New Testaments.
What is our world view as Christian artists and Iconographers? For each of us this may be defined differently with fine nuances, depending on our denominational affiliations. The Eastern and Western Churches evolved from the same beginning, yet have grown to have differences in art, liturgy, theology, etc.
So, finding common ground, much as our forefathers and mothers all experienced in the early church, is a worthy goal for Sacred Art makers of today.
Christian Renewal
The renewal of the mind involves a transformation of the way a person thinks and lives, which can be achieved through the power of the Holy Spirit as we reflect on God’s word. By being transformed in this way, believers can discern what is good, acceptable, and perfect according to God’s standards.
“Don’t copy the behavior and customs of this world, but let God transform you into a new person by changing the way you think>”. Romans 12:2
I’ve researched some very good books on related subjects and have gathered some thoughts for you. I include at the end of this article titles and authors of each book mentioned here.
Liturgical Art Renewal
Our goal, as iconographers, is to help others to see the sacred more deeply proclaim the Gospel more faithfully and pray together more honestly, using our eyes, our hearts, and our minds. And our hands.
An icon mediates or contains the Holy Presence
“The artist’s task is not merely to record but also to present the result of the encounter as it is shaped by that disciplined imagination…One can be in a kind of dialogue with the thing being observed or between the thing imagined and that which is produced.
Christian worship is aided immeasurably by our sense of sight. In worship we see each other and gain a glimpse of what it means to be the body of Christ.” Beauty, Spirit, Matter, Icons in the Modern World., Aidan Hart
“The spirit which knows God naturally comprehends divine beauty and seeks to delight in it alone. . .To contemplate divine beauty, to delight in it and partake in it is a requirement of the Spirit and is its life and heavenly life.” Theophan the Recluse (1880)
The icon is a radical way of seeing and therefore suggests a radical way of acting. When we look at an icon we are seeing as a saint sees.
An icon is not merely a painting of a religious subject but a crystallization of a whole culture, a culture which worships God and therefore venerates the material world that He created as a gift.’
Art is something essential to the shaping of faith and religious experience.
Sacred art is always abstract, in that word’s literal sense. In that it draws out the essence of its subject. It uses stylistic abstraction to suggest these invisible realities….Sacred art typically reveals the union of the inner with the outer, the invisible with the visible. Iconographic depictions of great suffering, such as the Crucifixion, keep this suffering united to love and hope. They show that the suffering is genuine, but they also show that this suffering is on the road to the Resurrection. An icon always joins opposites.
An icon brings the good news into the world by showing the face of Jesus Christ: God became man. Moreover, through Christ, the icon reveals to us the true image of humanity transfigured and deified; it is the image of the kingdom of heaven, the kingdom that is to come and that will restore the harmony now marred by sin…if an icon depicts a saint, its real purpose is to bring us face to face with someone in whom God’s goodness shines forth.” Irina Yazykova
“Eyes of fire perceive each thing as the outer sign of an inner fact, or the local sign of a distant power. For such eyes nothing is lonely matter, all things are caught up in a mysterious, ultimately divine whole that challenges understanding over a lifetime. Eyes of flesh focus on the thing itself, eyes of fire on facts but still more intently on their participation in a larger meaning by which they are raised.” An Art of Our Own, the Spiritual in Twentieth Century Art, Roger Lipsey
Books and Related Links
The Substance of Things Seen, Art, Faith, and the Christian Community by Robin M. Jensen
An Art of Our Own, the Spiritual in Twentieth Century Art, Roger Lipsey
Beauty, Spirit, Matter, Icons in the Modern World, Aidan Hart
Eyes of Fire, Christine Hales
An Excellent Series of Talks at the Cathedral of All Saints Divine, Albany NY, by Brynna Carpenter-Nardone :
One of the difficulties with creating icons or works of art depicting Jesus is that we don’t really have any eyewitness drawings or paintings from people who actually saw him while he was alive.
Legend has it that Saint Luke was commissioned to paint a portrait of Mary and the Christ Child and that was the first eye witness portrait of Jesus.
We know that early Christian art had to be symbolic because until 313 when Constantine legalized Christianity, Christians were being killed and persecuted for their faith so it was dangerous to be carrying or sharing images of Christ.
Ancient Panel paintings derived from the Egyptian panel paintings of gods and goddesses, therefore, the very early Christian panel paintings have similar compositions and figures replacing images of Egyptian gods with Christian imagery . As Christians found NEW WAYS OF VISUALIZING THE DIVINE, specifically in mosaics, Icons, and mural paintings for monasteries, icon panel paintings began to flourish.
The theological significance that Christians gave to their icons was in many ways more exalted than the ancient Egyptians had given to their sacred images. As the Christian movement spread, naturally, each culture depicted Jesus as looking like them. To the Chinese, he looked Chinese, to the Indians, he looked Indian, to the Africans He is black, and so forth. The icons of early Christianity were expressions of beliefs and Biblical stories.
Early Christian artists were concerned with representing Christ, God made man. “The Word became flesh and dwelt among us, full of grace and truth; we have beheld his glory, glory as of the only son of the Father. Early Christians had faith that they saw God through Christ.
The early panel paintings of Roman Egypt, and through them, the early icon panels, are the seeds of the development European painting. This influence can be seen as late as post Renaissance artists like Michelangelo, Raphael, and a whole host of more modern artists like Rembrandt, El Greco and many more.
While Icons exemplified a new understanding of the liturgy, with the central focus on the Eucharist, this not something you could say about religious paintings after the renaissance. Part II of this blog will cover sacred art and icons from the 7th century onward.
In the fourth century there was a move away from statuary. Icon painting, illumination, and mosaics became the primary methods of representing the Divine. Icons proliferated at this time, with many different styles of depicting Christ.
The fifth century is the age of great visions in Church decoration, and by the end of the century, Icons were impacting church decoration in a major way. At this time there arose many versions of Christ on portable panel paintings and evidenced in the Church of the Hagia Sophia in Istanbul,
CHRIST IN GLORY. In the image of Jesus we have a vision of Christian spirituality and the universal, the human, the life of the spirit.
PANTOCRATOR The image of Jesus bridges worlds, between the human and the divine, between heaven and earth.
GOOD SHEPHERD– A long lasting Symbolic image of Christ
Sacred Geometry
Sacred Geometry: Greek artists and mathematicians believed the golden ratio to be the unifying principle of the universe and to be responsible for the beauty within design and sound. It’s a deep subject that I won’t go into here, but I have written about it in more detail in my book, “Eyes of Fire”, for those who are interested.
For now, I will tell you that the golden ratio produces an order of such great intelligence that it was considered sacred by those who knew it. An important aspect of the golden ratio is that it has an integrated relationship with unity. The circle, often found in nature, is many times used in art to represent God. It is a form without beginning or end.
Iconoclasm
By the seventh century, theological debate arose over the belief that the icon was incarnational- its holiness deriving from the fact that because God had assumed physical matter, the icons could be a valid representation of God’s presence also. The iconoclastic controversy arose at this time with heated debate and at times whole sale destruction of icons if they were perceived to violate the second commandment. It requires the second council of Nicea in the ninth century to resolve this issue. Icons were intimately connected with the origins and growth of Christianity itself.
A lot has been written about this period of iconoclasm, and it is a controversy that seems to repeat itself in the Reformation in Europe in the 1500 and 1600’s. For the 6th and seventh century destruction of religious images preceded the split between the Eastern and Western churches, each of whom developed a unique approach to religious art from that period onward. The Roman Church preferred statuary and romantic paintings as church decoration and the Eastern Church developed a flattened, symbolic use of visual images in the Icons.
It’s interesting to note that the Celtic Church in Ireland, Scotland, Wales and Brittany also had an ultimately disunifying encounter with the steady movement forward of the centralized Roman Church by the 7th century. Monastic life under the rule of St. Columba was much more stringent than the Rule of Saint Benedict and became increasingly unpopular. The Synod of Whitby in 664 sought to resolve the conflict and this resulted in a steady decline of the Celtic church.
I’m not a historian by any means, and I only study history in relation to the development of art and culture, but the simultaneity of these two conflicts is interesting. Please comment below with perceptions or redirects that may make a contribution to our understanding of the conflicts involved in creating religious art. Many of you are from Russia, Ukraine, Greece, and other countries with perhaps a different perspective of the history of Christian art. It would be fascinating to pool together our knowledge and perceptions over the course of time and be able to share that with our communities and coming generations of sacred artists.
Next month will be Part II, moving forward from the Nicean Council and Saint John of Damascus’ brilliant defense of icons to present day developments in religious imagery that builds up the church. I feel that a thorough understanding of the history of Christian art will be an invaluable aid to those of us creating icons and religious imagery today.
That’s all for this month, May God continue to bless the work of your hands and give you holy inspiration to create icons and religious paintings that build up His holy church.
This Monastic spiritual practice of prayer, Scriptural reading, and meditation, although usually undertaken with a Bible and a prayer journal, can also be used very effectively with Icons as well. Sometimes this is called “Visio Divina”. Because Icons are meant to be Holy Scripture in visual form, they add a level of understanding and identifying with the Scripture and are particularly helpful with visual people in meditation.
Many icons easily lend themselves to this practice of meditation, for example, many of the Festal Icons of the Orthodox Church: The Nativity of Christ, The Baptism of Jesus, the Annunciation, The Resurrection, Crucifixion, Lamentation, Pentecost, The Entry into Jerusalem, and several others beautifully illustrate Holy Scripture and provide meditation opportunities for the liturgical year.
Crucifixion Icon written by Christine Hales
One of the main purposes of Lectio, or Visio, Divina is to promote a personal communion with God while also studying Scripture. It’s not primarily intended as a theological analysis of Biblical passages but rather as a means of personally entering into the scene or Biblical passage and asking God what He wants to teach or show you in this prayer and meditation. It can be a very personal interpretation that sheds light on areas of our lives that need us to grow in our understanding of them.
Transfiguration Icon Written by Christine Hales
The roots of this kind of Scriptural meditation go back to Origen in the third century who thought of Scripture as a Sacrament. The practice was handed down through many generations of Christian leaders, including St. Augustine of Hippo. Saint Benedict of Nursia encouraged his monks to practice Lectio Divina in the sixth century. During the twelfth Century the practice of Lectio Divina was simplified to include four main parts:
First, The Reading of a Scriptural passage (or, choose an Icon AND a Scriptural Passage).
Second, meditate on the passage and the icon. I suggest that using journaling thoughts and prayers to be very helpful tools in this process.
Third, pray, talk to Christ, ask questions, pour out your heart to Him, ask for His direction.
Fourth, Contemplation and Meditation. Spend time in silence with the Icon before you and allow the peace of the silence to be a space where you can just rest with God. Again, after contemplation, journaling is very helpful.
Saint Benedict Icon Written by Christine Hales
Saint Benedict created a Rule for his monastics that included three main things: Liturgical Prayer, manual labor, and Lectio Divina- the slow, careful reading of Scripture, meditating and pondering of the meaning.
In the twelfth Century, Saint Bernard of Clairvaux thought that Lectio Divina guided by the Holy Spirit the keys to nourishing Christian spirituality.
Russian Orthodox Icon of “Entry into Jerusalem”, fifteenth century
As time went on, many other monastic orders emphasized the importance of Lectio Divina to the spiritual life and this has continued with the second Vatican Council in 1965 and then again in 2005 with Pope Benedict and then Pope John Paul II, who used a questions and answer format: “One condition for Lectio Divina is that the mind and heart be illumined by the Holy Spirit, that is, by the same Spirit who inspired the Scriptures, and that they be approached with an attitude of ‘reverential hearing.”
In our times, Lectio Divina has spread to lay people and has been widely adopted in the Anglican Tradition as well.
The famous Henri Nouen was instrumental in bringing meditation with icons to the fore in Western Christianity, reminding us that for well over a thousand years Icons were the liturgical art of both the West and East, in the undivided Church. His book, “Behold the Beauty of the Lord” is a classic and details his deepening experience of living with four icons in particular.
Face of Christ Icon by Andre Rublev 15th century
“WhIle staying at L’Arches in France, someone had put a reproduction of Rublev’s icon of the Holy Trinity on the table of the room where Henri was staying. “After gazing for many weeks at the icon,” Henri wrote in Behold the Beauty of the Lord, “I felt a deep urge to write down what I had gradually learned to see.’” Quote from an online article by Jim Forest, a good friend of Nouen’s.
Icons played a major role in Nouen’s spiritual life and development, no doubt with the accompaniment of prayer and reading of Holy Scripture. There are many books on the subject, for example, “Lectio Divina-the Sacred Art-Transforming Words and Images Into Heart Centered Prayer” by Christine Valtners Paintner, PHD, “Meeting God in Scripture: A Hands on Guide to Lectio Divina”, by Jan Johnson, and many more. Connecting this ancient practice to Icon writing and praying with icons is helpful in growing our connection with God through our work.
Community can be difficult and takes time. When I started this blog and the American Association of Iconographers back in 2014 I wasn’t sure what direction it would take. I recognized a need for an American School of Iconographers- people who were learning from the Greek, Russian, Romanian and English iconographers who are actively teaching this ancient art world wide, but who would eventually, through much study, practice, and guidance, begin to evolve a style of icon writing that was uniquely their own.
Last Supper Icon written by Christine Hales
It has to do with identity and all the things that influence the healthy growth of identity. Our primary identity is in God, and we all have that in common. But even a cursory study of the history of iconography shows that different styles have developed over many places and times. And, theoretically, this growth needs to continue.
Creative community is vulnerable to many difficulties, but with God’s help, I believe we have begun to attract some highly creative, open minded iconographers who are willing to put aside individual differences in order to encourage and further this important opus dei in their fellows.
St. Benedict wrote his famous “Rule” in the sixth century to serve as a guide to forming and maintaining a community dedicated to glorifying God with their work, rest, and worship. Saint Benedict’s model for the monastic life was the family with the abbot as father and all the monks as brothers.
Saint Benedict Icon written by Christine Hales, based on the fresco of Fra Angelico
Saint Benedict’s Rule organises the monastic day into regular periods of communal and private prayer, sleep, spiritual reading, and manual labour – ut in omnibus glorificetur Deus, “that in all [things] God may be glorified” (cf. Rule ch. 57.9).
Some adaptation of this rule might be beneficial to those of us seeking to form community as iconographers, albeit a global virtual community. The FB group page (American Association of Iconographers) would be a good place to share ideas on this.
Early 19th Century Icon, Russian “Union of Love” (Sourced from Temple Gallery Catalogue Christmas 2004)
The FB group for the American Association of Iconographers is open to all who care to join with the spirit of unity, peace, and kindness. It is intended to be a place where iconographers can share their experiences, ongoing projects, questions, or relevant links and articles that will serve to widen the education and perspective of iconographers today. More recently, it seems, iconographers have wanted to use that platform for self promotion.
TO address this issue, I am offering to create a separate page for this website that will list members, show a photo, give their website, and a short description of their work.
Membership in the AAI has always been and will remain without financial cost, but to join at the level of being represented worldwide on a separate page to other people interested in icons, there will be a fee of $35 to cover the costs of maintaining that page.
If you are interested in participating on this level, please email me at: chales@halesart.com to begin. Meanwhile, keep taking the icon retreats, drawing classes, and religious studies, and reach out with emails and FB comments and be willing to share your gifts and to help others.
“Resurrection and Feasts” Russian, Late 17th Century, (Sourced from Temple Gallery Catalogue, Christmas, 2004)
May God continue to bless the work of your hands, and guide your thoughts, plans and actions to all that is pleasing to Him, Almighty God.
I’ve been studying and painting Icons for almost thirty years! Since I first began, the field of iconography has changed so much! There are so many more books on the subject, both “how to”, books about the history of icons, and how to pray with them. This is great news for all of us, I’m sure.
New Gilding Materials
At the same time, many, many, new products used for icon writing have come on the market. I invite any of my readers who has experience with these new products to please write about it so it can be shared and published here. Only in this way of sharing our experience can we hope to add the best quality to our icons and I know that we all want to bless the Lord with our most excellent work.
With this in mind, I’m currently preparing to teach an online icon writing class that, in addition to teaching how to paint an icon using egg tempera, will focus on how to gild using the Kolner Instacoll Gilding System. Many iconographers love this method because of its relative ease in application but particularly for its very shiny surface when it’s finished. I have experimented extensively with it and am happy to share some of the technical information I have observed.
Different Methods of Application
Shellac
First, applying one or two coats of shellac to the area to be gilded is most beneficial. The natural gesso is a porous surface, and even for other gilding methods, it is suggested to coat the surface with shellac thinned with denatured alcohol. I used a mixture that is 1 part blonde shellac flakes to 4 parts denatured alcohol. (This mixture can be stored in a cool dry place for several weeks only, so only mix the amount you think you will need.) You will find technical articles about this on the web- here is one.
Kölner Instacoll System
Next, I applied the Kolner Instacoll System BASE in two thinned layers. I thinned it a little with a drop or two of distilled water. This needs to dry completely- 1-3 hours between coats. It’s really important to avoid making brushstrokes if you want a very smooth gold surface. (You can clean your brushes with soap and water). The first coat must be completely dry before applying the second coat.
Next, I applied the Kolner Instacoll System ACTIVATOR. You can use a brush or a soft cloth to apply this to the base when it’s dry. You want a thin, even film over the base and it needs to dry before applying the gold leaf.
You can use either patent gold or loose gold with this system. I used patent gold leaf and a cotton ball to firmly push the gold leaf onto the surface. This takes some practice. Overlapping the gold leaf when applying it helps to give a smooth seamless look to the finished gold. After the whole surface to be gilded is covered, press down firmly again all the gold, using cotton balls- never touching the surface with your fingers.
Icon in Progress with Burnished Kolner Gold Application
Now for some gratification! When it’s all applied and pushed firmly into the surface, take a cotton ball or soft cloth and burnish gently to remove all the loose gold bits. As you do so, the most beautiful gold leaf shine appears !
As a note, I also experimented with the Kolner KGGG System FOND and Colnasize, but I prefer the above method as it is slightly easier and doesn’t require sanding.
Of course there are many other methods of gilding for icons- the oil method with different application and drying times, the water gilding method and The Dux water based size method. With experience, each of us arrives at our preferred method of gold leaf application. I hope this article has been helpful. Feel free to register for my online class in October to see this demonstrated!
INTERESTING LINKS:
This is a very good and short (7 1/2 minutes) talk on “Why Icons Look The Way They Do” by Archimandrite Maximos Constas, interviewed by Fr. Josiah Trenham.
THAT’S ALL FOR THIS MONTH. Be blessed and bless others,
Recently I have been reading a book by Sister Gabriela about Father Sophrony that includes many of his drawings and icons. I’m inspired by his approach and work and want to share that with you here.
While attending art school in Russia in the 1920’s, one of his teachers was Vassily Kandinsky. Soon after, Sophrony moved to Paris where he exhibited his paintings and was not interested in pursuing a Christian life. This changed drastically and in 1926 he entered the Monastery of Panteleimon on Mt Athos where he remained until finally settling in Essex, UK at the Monastery of Saint John the Baptist.
Father Sophrony Drawing
To learn more about Father Sophrony, please read Sister Gabriela’s excellent books: “Being, The Art and Life of Father Sophrony”, or “Seeking Perfection in the World of Art”, or “Painting As Prayer: The Art of A. Sophrony Sakharov.”
I include here several quotes from the “Painting as Prayer” book that I know will be inspiring to all of you as well:
“An artist is a person who believes with deep conviction in the rightness of what he creates; who devotes his entire life to art for mankind. Only in such people does the Divine spark burn, brightly an unquenchably. And this is what’s most important in art.”
Drawing by Father Sophrony
Kandinsky
This is a quote in the book attributed to Kandinsky: ” the artist must not consider himself master of the situation, but the servant of nobler aims- a servant whose obligations are majestic, distinctive, and sacred. He must nurture himself and plumb the depths of his inner life, he must conserve his inner life and develop it lest his outer talent becomes empty, like a lost glove, the empty and vain likeness of a hand.”
Painting as Prayer, Book by Sister Gabriela
“The Icon is an art which expresses the spiritual world in form and color. It is made with a stylistic language of its own which introduces the person looking at it into another sphere of being, another world of perception. Intentionally it follows a different logic of perspective and reality, placing emphasis on the inner life because its main purpose is either to depict the face of God or convey the soul of the saint or the essence of the scene being depicted. Deliberately this makes it somewhat abstract. The artist seeks divine inspiration for their work and in order to receive this, rather than some other influence, he needs a humble and prayerful attitude, recognizing that he is not master of the situation.
Inspiration from on high depends to a considerable extent on us- whether we open our heart so that the Lord- The Holy Spirit Who ‘stands at the door and knocks’ does not have to enter forcibly.
The iconographer will try to free himself from all that hinders or is contrary to the action of Divine Inspiration. This requires both humility and asceticism, but as ascetic feats may lead to pride, and thus deter grace, it is humility that is the essential part. This keeps him both open to others and their suggestions and open to grace. It preserves a rigorous questioning and checking in prayer with his conscience and with the ideal which is the humble example of Christ.”
Orthodox Journal Article
I first learned about Father Sophrony’s work from an excellent article on the Orthodox Journal. Here is the link .
“For me, the most fascinating part of the study was the subject of Father Sophrony as an iconographer. His approach to iconographic practice is described and this section is rich in quotations and comments of great interest. Sister Gabriela writes that by having “absorbed the iconographic tradition through observation and living with it, while leading a strict ascetical life…one’s understanding goes deeper, beyond the external aesthetic aspect.” “…he understood iconography in its essential form, as an inspiration for prayer, and a “springboard”, as he called it himself, to eternity. In this sense he was free from any attachment to any specific school or iconographic movement. His sole interest was to render the icon as authentically as possible.” As a result of this it is apparent that “One cannot classify his icons into any particular style or school. He took what he found best from each. His only concern was the icon itself, how best to express the given situation.”
In summation Sister Gabriela writes of Father Sophrony’s life that “This is the search for Christ, the yearning for close contact with Him and, within this, striving to portray His face in a correct and worthy manner, both in the inner life and in iconographic panting.”
Additional Link to Icon Gallery in Slovakia
I have recently seen a lovely online exhibition of Eastern European Icons at The Gallery of Icons. Here is the link.
That’s all for this month. Please email me with suggestions for future articles on understanding and appreciating icons.
The next icon class that I teach online we are painting an Icon of Mary Magdalene. In order to make an accurate copy of the prototype, I am researching the relatively scant information available about her and want to share some of that with you here.
Mary Magdalene
The questions to ask are: “Who was this woman, what does she represent to us today?” I rely heavily on Wikipedia for this article, and I include the following:
“Mary Magdalene is considered to be a saint by the Catholic, Eastern Orthodox, Anglican, and Lutheran churches. In 2016 Pope Francis raised the level of liturgical memory on July 22 from memorial to feast, and for her to be referred as the “Apostle of the apostles”. Other Protestant churches honor her as a heroine of the faith. The Eastern Orthodox churches also commemorate her on the Sunday of the Myrrhbearers, the Orthodox equivalent of one of the Western Three Marys traditions.” Wikipedia
Early Materials: Who Was Mary Magdalene
“The earliest materials that refer to Mary Magdalene appear from two very different sources: the canonical Gospels of the New Testament, and a group of fringe materials that have come to be known as the Gnostic Gospels, which were rejected by the Catholic Church.” The Gospel of Mary Magdalene, by Jean-Yves Leloup.
I share Leloup’s thoughts that the path of Mary Magdalene emphasizes inner preparation, introspection, and inner transformation. “As one who has been cleansed from sin, who remains with Christ throughout his death on the cross; and who first witnesses, understands, and believes in Christ’s resurrection, she represents a human being who is open and available to true “inner knowing” and can see in deeper, clearer ways through a unique spiritual connection to both earthly death and the Divine.”
Lamentation painted by Christine Hales
Canonical Gospels
“Mary Magdalene, sometimes called Mary of Magdala, or simply the Magdalene or the Madeleine, was a woman who, according to the four canonical gospels, traveled with Jesus as one of his followers and was a witness to his crucifixion and resurrection. She is mentioned by name twelve times in the canonical gospels, more than most of the apostles and more than any other woman in the gospels, other than Jesus’s family. Mary’s epithet Magdalene may mean that she came from the town of Magdala, a fishing town on the western shore of the Sea of Galilee in Roman Judea.” Wikipedia
“Mary Magdalene’s epithet Magdalene (ἡ Μαγδαληνή; literally “the Magdalene”) most likely means that she came from Magdala, a village on the western shore of the Sea of Galilee that was primarily known in antiquity as a fishing town. Mary was, by far, the most common Jewish given name for females during the first century, so it was necessary for the authors of the gospels to call her Magdalene in order to distinguish her from the other women named Mary who followed Jesus. Although the Gospel of Mark, reputed by scholars to be the earliest surviving gospel, does not mention Mary Magdalene until Jesus’s crucifixion,]the Gospel of Luke 8:2–3 provides a brief summary of her role during his ministry: “Soon afterwards he went on through cities and villages, proclaiming and bringing the good news of the kingdom of God. The twelve were with him, as well as some women who had been cured of evil spirits and infirmities: Mary, called Magdalene, from whom seven demons had gone out, and Joanna, the wife of Herod’s steward Chuza, and Susanna, and many others, who provided for them out of their resources.” Wikipedia
There Is No Direct Evidence to Support The Notion of Her As a Prostitute.
“The portrayal of Mary Magdalene as a prostitute began in 591 when Pope Gregory I conflated Mary Magdalene, who was introduced in Luke 8:2, with Mary of Bethany (Luke 10:39) and the unnamed “sinful woman” who anointed Jesus’s feet in Luke 7:36–50. Pope Gregory’s Easter sermon resulted in a widespread belief that Mary Magdalene was a repentant prostitute or promiscuous woman.[5][1] Then elaborate medieval legends from western Europe emerged which told exaggerated tales of Mary Magdalene’s wealth and beauty, as well as of her alleged journey to southern Gaul (modern-day France.) The identification of Mary Magdalene with Mary of Bethany and the unnamed “sinful woman” was still a major controversy in the years leading up to the Reformation, and some Protestant leaders rejected it. During the Counter-Reformation, the Catholic Church emphasized Mary Magdalene as a symbol of penance. In 1969, Pope Paul VI removed the identification of Mary Magdalene with Mary of Bethany and the “sinful woman” from the General Roman Calendar, but the view of her as a former prostitute has persisted in popular culture. …
Mary Magdalene, detail, written by Mary Jane Miller
Mary Magdalene Was Probably From a Wealthy Family
The Gospel of Luke 8:2–3 lists Mary Magdalene as one of the women who traveled with Jesus and helped support his ministry “out of their resources”, indicating that she was probably wealthy. The same passage also states that seven demons had been driven out of her, a statement which is repeated in Mark 16. In all the four canonical gospels, Mary Magdalene was a witness to the crucifixion of Jesus and, in the Synoptic Gospels, she was also present at his burial. All the four gospels identified her, either alone or as a member of a larger group of women which includes Jesus’s mother, as the first to witness the empty tomb, and, either alone or as a member of a group, as the first to witness Jesus’s resurrection… Because Mary is listed as one of the women who were supporting Jesus’s ministry financially, she must have been relatively wealthy. The places where she and the other women are mentioned throughout the gospels strongly indicate that they were vital to Jesus’s ministry and the fact that Mary Magdalene always appears first, whenever she is listed in the Synoptic Gospels as a member of a group of women, indicates that she was seen as the most important out of all of them. Carla Ricci notes that, in lists of the disciples, Mary Magdalene occupies a similar position among Jesus’s female followers as Simon Peter does among the male apostles.”Wikipedia
Mary Magdalene is the only woman besides Mother Mary who is mentioned by name in all four texts., and her name is always listed first when the presence of women is noted.
Crucifixion Icon written by Christine Hales
Healed By Jesus of Seven Demons
Jesus heals Mary by freeing her from seven demons. Mark 16:9 and Luke 8:2. She is mentioned also as one of the three, along with Mother Mary and John the apostle who wait at the foot of Christ’s cross at the Crucifixion. John 19:25
And importantly we know that she is the first to see Jesus resurrected from the tomb: John 20:11-18, Mark 16:9, Matthew 28:9-10. It is because of this that she is considered to be the apostle of the apostles.
Because Mary was the first to witness the Resurrection, she was considered by the Apostle John as the founder of Christianity. This was long before Saint Paul had his vision on the road to Damascus.
Women at the Tomb Icon
Women at the Tomb
According to Matthew 28:1–10, Mary Magdalene and “the other Mary” went to the tomb. An earthquake occurred and an angel dressed in white descended from Heaven and rolled aside the stone as the women were watching. The angel told them that Jesus had risen from the dead. Then the risen Jesus himself appeared to the women as they were leaving the tomb and told them to tell the other disciples that he would meet them in Galilee. According to Luke 24:1–12, a group of unnamed women went to the tomb and found the stone already rolled away, as in Mark. They went inside and saw two young men dressed in white who told them that Jesus had risen from the dead. Then they went and told the eleven remaining apostles, who dismissed their story as nonsense. In Luke’s account, Jesus never appears to the women, but instead makes his first appearance to Cleopas and an unnamed “disciple” on the road to Emmaus. Luke’s narrative also removes the injunction for the women to tell the disciples to return to Galilee and instead has Jesus tell the disciples not to return to Galilee, but rather to stay in the precincts of Jerusalem.
Another Account of Mary Magdalene and the Resurrection
Mary Magdalene Painting
Mary Magdalene’s role in the resurrection narrative is greatly increased in the account from the Gospel of John. According to John 20:1–10, Mary Magdalene went to the tomb alone when it was still dark and saw that the stone had already been rolled away. She did not see anyone, but immediately ran to tell Peter and the “beloved disciple”, who came with her to the tomb and confirmed that it was empty, but returned home without seeing the risen Jesus. According to John 20:11–18, Mary, now alone in the garden outside the tomb, saw two angels sitting where Jesus’s body had been. Then the risen Jesus approached her. She at first mistook him for the gardener, but, after she heard him say her name, she recognized him and cried out “Rabbouni!” of the grammar (negated present imperative: stop doing something already in progress) as well as Jesus’ challenge to Thomas a week later (see John 20:24–29). Jesus then sent her to tell the other apostles the good news of his resurrection. The Gospel of John therefore portrays Mary Magdalene as the first apostle, the apostle to the apostles.
The relationship between Jesus and Mary Magdalene shows us that Jesus did not reject women, but loved and welcomed women, sinners, and the weak.
The Relevance of Mary Magdalene for Christianity Today.
Another interesting book on the subject is Cynthia Bourgeault “The Meaning of Mary Magdalene, Discovering the Woman at the heart of Christianity”. In this book, Bourgeault re -examines both the Traditional and liturgical meanings of Mary’s role in the Gospels in the light of today’s hunger for personal spiritual understanding and meaning.
“ In the liturgy for the great vigil of Easter, one of the readings comes from the Old Testament book of Ezekiel:’I will remove from your body the heart of stone and give you a heart of flesh.’ Ezekiel 36:26 It seems to me that this promise captures the essence of Mary’s Magdalen’s healing vocation to contemporary Christianity…”
Mary Magdalene Icon
Legends and Creative Imaginings
There remain many stories, legends and creative imaginings surrounding the person of Mary of Magdala. I close this article with a lovely quote from the Leloup book:
“Each morning, according to another legend, a group of angels lifted Mary Magdalene above the summit of the cliffs where she could listed to the entire choir of angelic hosts, the divine sounds of original and continuing creation.”
Until next month, be blessed and do your best to help and be kind to others. 🙏❤️
“Come then, let us run with him as he presses on to his passion. Let us imitate those who have gone out to meet him, not scattering olive branches or palms in his path, but spreading ourselves before him as best we can, with humility of soul and upright purpose. So may we welcome the Word as he comes, so may God who cannot be contained within any bounds, be contained within us...
Today let us too give voice with the children to that sacred chant, as we wave the spiritual branches of our soul: ‘Blessed is he who comes in the name of the Lord, the King of Israel. “ Saint Andrew of Crete
This month, as we all observe Lent in our prayer lives and churches, I have gathered a collection of Icons related to this season that encompasses the mystery and Passion of our Lord. If any of you readers have written icons on this theme, please send them in and I will post them on the FB page for the American Association of Iconographers.
Entry Into Jerusalem
Entry Into Jerusalem Icon by Christine Hales
“Seated in heaven upon Thy throne and on earth upon a foal, O Christ our God, Thou hast accepted the praise of the angels and the songs of the children who cried out to Thee: Blessed art thou that comest to call back Adam”. From the Kontakion for the Feast
The Holy Washing of the Feet, Icon
Romanian Icon 19th Century
Peter, the Apostle is seated on a bench, on the floor is a basin with water, Jesus has his mantle pulled up to keep it dry, Jesus is wiping the with a towel Peter’s right foot.
The other disciples are grouped on the right and left sides, some are loosening their sandals, Christ is the only figure shown with a halo. Only two are shown without a beard, because of their youth.
This was a lesson in humility. Christ says that he gave them an example to be imitated by them.
The Mystical Supper
“As a mystical event, the “Supper takes place at every Divine Liturgy or Eucharistic Feast. “ Of Thy Mystical Supper, O Son Of God, receive me today as a communicant, for I will not speak of the mystery to thine enemies.”
A long table inside a house, usually Christ is seen in the center, his head inclines slightly to the right and with his right hand he blesses. Peter is seated on the right side and John on His left side- Jesus rests his hand on John’s shoulder. This is depicted in John’s Gospel, 13:23-24. Judas is stretching out his hand in order to dip his bread in the dish. Matthew 26:23
All the disciples are shown without halos. Halos are not proper before Pentecost. The disciples should not have their backs to the viewer.
The D shaped table was first seen in the 6th century Ravenna mosaics. Psychological perspective calls for Christ to be at the center of the table. ” ( Guide to Byzantine Iconography, Constantine Cavarnos)
The Crucifixion Icon
Crucifixion Icon by Christine Hales
The Bridegroom of the Church is transfixed with nails. The Son of the Virgin is pierced with a spear. We venerate Thy Passion, O Christ. Show us also Thy Gkorious Resurrection.
“The traditional Crucifixion icon is a hand-painted icon with the scene of Jesus Christ’s Crucifixion in the center of the composition. Christ is usually surrounded by the Blessed Virgin Mary, Mary Magdalene, St. John the Apostle, Longinus the Centurion, and several other onlookers. All the figures depicted in the Crucifixion icon show emotions associated with grief, but nothing suggests sound. Their mouths are not open, and the icon holds silence. Christ Himself is depicted with His eyes closed and His head bowed as if showing His last minutes of life on earth.
The composition of the Crucifixion icon also often includes an open cave with the skull and bones of Adam right at the bottom of the Cross. According to the legend, Adam’s bones, which had been buried under Golgotha by the descendants of Noah, appeared on the surface at the moment of Christ’s death due to a great earthquake that split apart the rocks. Christ’s blood flowed down from the Cross and on to Adam’s bones, bringing the redemption to the First Man and the whole human race.” to read more follow this link for The Russian Icon Blog.
Descent From the Cross Icon
Descent From the Cross Icon c. 1350
The Descent from the Cross Icon, sometimes called “The Deposition”, shows Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. The Gospel mentions women attending, probably Mary Magdalene, Mary, the Mother of Christ and Mary Salome alongside St.John.
The Lamentation
Lamentation Icon by Christine Hales
The aim of this icon is to impart the mystical, spiritual truth of the lamentation. The colors, the composition, and even the lines of the figures all lead the viewer upward, they raise our thoughts beyond the crucifixion to the upward movement of Christ himself and the Ascension. It’s a sacred and divinely inspired icon, full of truth and transcendence of emotions to the spiritual realm of faith and hope.
The Resurrection Icon
Resurrection Icon
The Icon of the Resurrection evokes the fragrance of immortality and the fulfillment of the reclamation of Adam and all who have come after. The simple truths are depicted without theatricality.
“Though Thou didst descend into the grave, O Immortal One, yet didst Thou destroy the power of hades, and didst arise as victor, O Christ God, calling to the Myrrh bearing women, Rejoice, and giving peace unto Thine apostles, O Thou who does grant resurrection to the fallen. ” Kontakion for Easter
The Resurrection brings light and joy to all creation. May Pascha, Easter, and Lent be Holy and blessed times for you all and bring joy to your hearts.
American Association of Iconographers 