Community

Community

Feast Days of the Week Icon in the Tretyakov Gallery, Moscow
Feast Days of the Week Icon in the Tretyakov Gallery, Moscow

 

In a community of Iconographers, people share their experience, knowledge and good ideas!  Iconography, like almost any worthwhile activity, benefits from cultivating a sense of community amongst practitioners, admirers, patrons, and students.

Apostles Peter and Paul Icon in the Russian Museum, St. Petersburg
Apostles Peter and Paul Icon in the Russian Museum, St. Petersburg

 

We all love and participate in the larger community of Christ’s Church – worldwide.  Within this context, there is astonishing variety of practice and interpretation amongst Iconographers.  Some of this is culturally determined, and some of the variety comes from different approaches to the Traditions of the Church.

 

Tolerance is the buzz word of today.  Since Icon writers (painters) need to avoid egotism and reactionism in order to be authentic Iconographers, it naturally follows that the love of Christ extends to each person, regardless of their “style” of painting Icons.

The Miracle of Saints Florus and Laurus in the Tretyakov Gallery, Moscow
The Miracle of Saints Florus and Laurus in the Tretyakov Gallery, Moscow

Icon writers are humble servants who are able to keep their eyes on God’s purpose with sacred and Holy images, inviting creativity to partner with prayer to create images that inspire the viewer to a closer relationship with God.

 

Today, while there is a hint of interest in the renewal of sacred art, there is a need for education and training for sacred artists.  I think it would be useful to create a  place on the RESOURCE page on this blog, that lists credentialed degree programs of sacred art that will be helpful for future Iconographers. Please email me with suggestions or links that might be included.  In this way, we can work together to insure the future and quality of sacred art development.

 

SUMMER OF 2020

Archangel Michael Icon with Scenes from His Life
Archangel Michael Icon with Scenes from His Life

This summer my goal for my own Icon writing is to approach the drawing of Icons from a more creative place.   Reading Aidan Hart’s book “Beauty, Spirit, Matter,  Icons in the Modern World”, I found this quote from Paul Evdokimov “ …the icon painters’ community needs to rediscover the creative power of the ancient iconographers and find an exit from the static immobility of the “copyists” art.

 

I still love copying from the great master Iconographers, and so I am using them as my models, just as the secular artist uses nature as her model.  I am also studying from books like George Kordis’ “Icons as Communion” book the concept of rhythm, movement and dynamic flow in Byzantine Iconography. It’s not an easy task!!  But I am getting help from Sister Petra Clare’s tutoring in her online course for Iconographers.  She has created a closed Facebook Group where she posts exercise and examples, and we post our sketches and drawings for her comments.  So, it’s an online community and we are learning together- it’s a lot of good creative fun!  Her website is:  eastxwest Online Studies, and she might have room for one or two more students.

Icon Drawing by Christine Hales
Icon Drawing by Christine Hales

NEW Florida Icon Classes

 

This fall I will be teaching Introduction to Icon writing classes in two locations in Florida.

The first is September 26-28 at St. Patrick’s Church, Palm Beach Gardens, Florida, and the second is October 24-26 at Saints Peter and Paul Church in Bradenton, Florida. Please email me if you’d like me to save a space for you.

That’s all the news for June, 2019.

Christine Hales Icon Studio
Christine Hales Icon Studio

May God bless your Eyes, Mind, and hearts, and hands, that all that you say, do or think will be honorable and pleasing to Him!

 

Until next month,

 

Christine Hales

 

Icon Website

Fine Art Website

Dionysus, the Iconographer

This month the focus is on the fifteenth century Iconographer, Dionysus.

Born sometime in the 1440’s near Borovsk, a small town southwest of Moscow, Dionysus’ earliest works are wall paintings at the Parfuntiev Monastery.  Throughout his life, he was attracted to the beautiful and colorful Novgorodian style of Iconography.  Dionysius’ colors were delicate and transparent and his elongated figures increased the elements of elegance and symbolism in his work. IMG_6054

Certainly he must have been aware of the work of Andrei Rublev (c.1360-1430), who painted in the old Iconographic tradition.  However, Dionysus’ work reflected a new development in compositional style that increased the energy and vitality of the Icon.

One of the Last of the Old Master Iconographers

IMG_6059

Dionysius’ style was called “Muscovite Mannerism” and it bridged the gap between  Novgorodian  Icon painting and the later Stroganov school.   His best frescoes are in the Ferapontov Monastery, which include the beautiful “The Meeting of Mary and Elizabeth”.  Dionysus and his sons completed all the frescoes on the Virgin and scenes from her life at this monastery.  In addition to egg tempera, he was a master of encaustic painting as well.

IMG_6057

Personal Style

Dionysus ‘ color palette was strongly influenced by a group of early Renaissance artists from Italy who arrived in Moscow.  This can be seen  in the delicately blended and balanced soft pigment colors such as pink, lilac and turquoise, creating harmonious chords of color in his frescoes and Icons. The lyrical effect of his style of coloration affected much of the Iconography of the 16th century.IMG_6067

In 1482 Dionysus was called to Moscow to paint the Deesis on the Iconostasis in the Cathedral of the Dormition.  After also painting murals in two of the chapels, he and his sons were asked to paint one hundred Icons for the Volokolamsky Monastery.  With this, Dionysus devoted the remainder his life to icon panel painting, but today many of those Icons are either lost or un-restored.

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Joseph-Volokolamsk was a wealthy patron who commissioned Dionysius to paint over ninety Icons.  But the most comprehensive collection of his work is to be found at the Ferapontov Monastery. It is a series of frescoes depicting the life of Mary.

When writing(painting) Icons, it is always helpful to study from the great Iconographers of the past.  Although their work speaks specifically to their time, these early Masters used principles of composition, color, and space in harmonious ways, and that kind of perspective has been largely missing in the art of our time.  Copying these works helps educate Iconographers and helps bring valuable knowledge forward into today’s Icons.

This blog is created to share valuable ideas and information with Iconographers around the world.  Below are some useful links for Iconographic materials.  Until next month:

Brushes,  

Gilding

Sennelier Pigments

Icon Boards 

 

Christine Hales

www.newchristianicons.com

 

 

Hesychasm and Russian Icons

 

Andrei Rublev, Archangel Michael Icon
Andrei Rublev, Archangel Michael Icon

Hesychasm and Russian Icons

This article is extrapolated from the chapter, Hesychasm, the Flowering of Russian Art in Leonid Ouspensky’s Theology of the Icon, Volume II.  I’ve chosen to share this particular material because of the understanding common to most Iconographers that Andrei Rublev is one of the greatest Iconographers and his work is fruit of the Hesychast period in Russia.   Since this article points to some of the conditions present that contributed to Rublev’s ability to create Icons that spoke to his time we can discern important truths to apply to modern Icon writing.  Hesychasm and Russian Icons are a unique combination that had a powerful effect on the art of its day.

Message To An Iconographer

Next month, part two of this article will give a synopsis of the “Message to an Iconographer”. This was  a document widely circulated for and amongst Iconographers of that day. It attempts to set standards of Iconographic practice and is worth reading and understanding forts bearing on creating Icons today.

Andrei Rublev, Christ Savior Icon
Andrei Rublev, Christ Savior Icon

Thirteenth. Fourteenth and Fifteenth  Century Russia

During the thirteenth century, an original artistic language specific to Russia began to appear.  It reflected the spiritual life of the people, their holiness and their way of assimilating Christianity.  Russian sacred arts from this time are inspired by a direct, living knowledge and experience of Revelation.

In the fourteenth and fifteenth centuries, the spiritual leader, Sergius of Radonezh, consecrated his church to the Holy Trinity, “so that contemplation of the Holy Trinity might conquer the fear of this world’s detestable discord”.  It was a time of feudal wars, Mongol raids, and general unrest, but Radonezh was confident of the power of the sacred image to influence his world.

Revival in Russia

Russia, through its own suffering of the Tartar invasion, experienced the Gospel intensely.  There was widespread understanding that the power of Christ was participating actively in the lives of the Russian people, helping them in time of need.  From this intensity of faith, Russia’s pictorial art reached its highest expression. Today we appreciate these examples of Iconography for their intense and joyful colors, expressive form and their freedom and spontaneity.

During this period, hesychasm and Orthodox Christianity were closely linked. St Sergius’ monastery became the spiritual center of Russia and the hesychast influence. The theology of hesychasm is reflected in the spiritual content and character of the Icons of that period.  Zealous in the life of prayer and fasting, the famous iconographers, Daniel and Andrei Rublev were able to receive divine grace and perceive the divine, immaterial light that we see in the colors of their Icons.

Virgin of Vladimir, Andrei Rublev Icon
Virgin of Vladimir, Andrei Rublev Icon

Dionysius

Master Iconographer Dionysius was also guided by hesychasm and the teaching of inner prayer. These great Iconographers were not concerned with earthly things but always prayed to raise their spirits and thoughts toward the divine, immaterial light.

As Iconographers today, may we always seek to keep prayer as the central focus of our praxis, and learn from those who went before us.

Links to Books on Russian Icons

Here are a few links to websites that have books on Russian Icons:

Kolomenskaya Versta

Natural Pigments  

Amazon

Icon Writing Classes in 2019 

Icon Retreats

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