Icons

Icons

Icons:ย  (Greek ฮตแผฐฮบฯŽฮฝ, an image)

The early โ€œiconographyโ€ or art of the Church consisted of beautiful and often symbolic representations of Our Lord, Our Lady and the Saints painted on walls or on pieces of board.ย While the depictions in catacombs and churches are well preserved, few of the very early โ€œIconsโ€ on wooden boards survive before the start of the second millennium.ย However, by this time a sacred tradition had developed so that stylised images were reproduced of earlier depiction, now often destroyed or lost.ย An artist, often a monk, would prepare himself with fasting and prayer before taking on the solemn portrayal of his holy devotion.ย  The resulting image or icon would be blessed and revered as a spiritual depiction of the holy.

While most icons have their origin in the East, we should remember that they date from the time when the whole of Christendom was eastern in character, before the growth of the western, Roman, Church.ย Hence the writing on these images is usually in Greek or Cyrillic script. We have four reproductions of icons in the sanctuary.ย These represent the three angelic visitors to Abraham (the Old Testament Trinity), The Prophet Isaiah, St. John the Baptist and Our Lady.

John the Baptist

The representation of John the Baptist with the wings of an angel, dressed simply as a hermit with a scroll in his hand, has its origins in the description given in the Gospel – John the precursor and prophet of the Christ. This image from 1560 is in the Andrei Rublev museum in Moscow. The dish held in his hand signifies the nature of his later martyrdom. John the Baptist is the patron of our parish church.

The Prophet Isaiah

This icon, which originally came from the cathedral of the Nativity of the Mother of God in the monastery of St. Anthony in Novogorod, was part of the tier of the prophets in the iconostasis. It is now in the Novogorod Museum. In the iconographical tradition, Isaiah is shown holding an open scroll on which the words of his prophecy are written โ€“ I foretell that You will be born of the Virgin.ย He is also pointing to the text with his right finger, while in his left hand he holds tongs. It was with such tongs that a seraph has touched Isaiahโ€™s lips with a burning coal taken from the altar.

Kazan Mother and Child

According to tradition, the icon was discovered on July 8, 1579, underground in the city of Kazan by a little girl, Matrona, to whom the location of the image was revealed by the Theotokos, the Blessed Virgin Mary, in a Marian apparition. The original icon was kept in the Theotokos Monastery of Kazan, built to commemorate the spot where it had been discovered. Other churches were built in honour of the revelation of the Virgin of Kazan and copies of the image displayed at the Kazan Cathedral of Moscow, at Yaroslavl,ย  and at St. Petersburg. On the night of June 29, 1904 the icon was stolen from the church in Kazan where it had been kept for centuries (the cathedral was later blown up by the communist authorities). Although the frame of the icon was recovered years later, the icon itself it believed to have been destroyed.

The Trinity

A mid-sixteenth century icon of the Trinity, now in the Rublev Museum in Moscow. This icon is based on an Old Testament subject – the hospitality of Abraham. According to traditional Orthodox interpretations these angels were for Abraham a revelation of the consubstantial and triune God.ย It was given its finest and fullest expression in the icon by Andrei Rublev, painted for the Cathedral of the Trinity in the Monastery of St Sergius in 1425-27. Rublevโ€™s icon became the model for generations of iconographers. As with many other sixteenth century icons, this icon broadly follows the iconography of Rublevโ€™s famous picture.

Chris McDonnell

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11 responses to “Icons”

  1. Earle Luscombe

    I have two religious images at home, both reproductions of famous Icons. I find that I can pray and meditate with these Icons in ways that I could never with statues. It seems like the Icon envelops me, it invites focus on the person or scene potrayed, and then I go from there.

    As far as a church is concerned, if the Icon(s) can be made to harmonize with the architecture of the building, then to my mind it is much more perferable then the late 19th, and early 20th, century kitsch, we Catholics, are often stuck with.

  2. Jack Rakosky

    The icons at the local Orthodox Parish are done by the parish under the leadership of a member of the parish who went to an icon school somewhere in Pennsylvania. They have been done slowly over a decade or more. Six new ones were added this past year. Members of the parish helped in the preliminary work. (I guess that is putting on the base and the background colors). They were done during Lent, so I presume the prayer and fasting of the Lenten season were part of the process.

    Very large and very vibrantly colored icons (about 6ft high by 8ft wide) now surround the walls of the church, and they are slowly filling the smaller areas of the church with smaller icons (usually about 6ft high but only about 2 or 3 ft wide). In effect the walls of the church have become the iconostasis. In the front of the church the screen is mostly open latticework with the smaller traditional icons that I suspect were acquired before they learned how to paint icons. The walls behind the altar are filled with large beautiful icons which have been done by the parish and are easily seen through the latticework.

    It is interesting that this Orthodox parish and my favorite Roman parish both have visual artists (although in very different genres).

    In his random sample ground breaking study, Congregations in America, Mark Chaves investigated the issue of congregational involvement in social programs and politics (both hot issues at the time of the study). His conclusion was the congregations were cultural centers far more than they were centers for social programs and political activism. He found evidence of a great amount of music, art work, lectures, etc. In fact congregations turned out very well in comparison to other community organizations, especially since there are so many congregations. They may not be as visible but they reach many people.

  3. Brigid Rauch

    What makes an icon an icon, as distinct from any other painting with a religious subject?

  4. An icon is distinct as an art form in that allows a contemplation of its message that goes beyond the expressive portrayal of a painting. It is written according to established rules and has a stillness that can greatly assist us in time of prayer.
    The tradition of Icon painting began long before the electric light and in many ways the appearance of the icon and its power as a votive image is diminished by the cold, bright glare of modern illumination. How much better is the slightly shadowy movement of the candle flame before the icon that in its own life seems to bring to life the inherent message of the icon and the eye dances between flame and image as each speaks its own silent song. The Orthodox Church retains the beauty of such images.

  5. In July 2002, I had the good fortune to wander into the studio of an iconographer in Athens. What an enlightening hour unfolded. He spoke to my friends and I about how he found the wood, treated it, praying all the while, burning incense, and then in a movement that belong to the Spirit, “writing” the icon. He then went on to remind us that we must always pray through the icon and not to the icon.

    While I had always loved icons and had a few lovely ones that I liked to pray with, this day opened my mind and heart to them in a new way.

  6. Linda Reid

    Thank you, Chris! I have a small “iconostasis” in my home which serves as a source of beauty and prayer. Most recently I acquired an icon of St. Michael from a Byzantine store.

  7. Nicholas Denysenko

    Thank you, Chris. I have been slowly working on a research project profiling Orthodox architecture in America and have learned a lot about current trends in iconography. I’m fascinated by the number and types of people who become apprentices at various stages of life. Some parishes will create fundraising campaigns to recruit renowned iconographers; others will send an apprentice or several apprentices to a master, and then the apprentices paint the iconography in their parishes. I do not think a new style is emerging, but what’s clear is that this is no longer the domain of the hesychast monk. I also really like the idea of the laity learning, practicing, and flourishing in the liturgical arts. My sense was that no external criterion could be applied to evaluate art produced from within the parish in an act of love. A good example of this for me, as a first generation Ukrainian, was viewing the many embroidered icons in St. Katherine’s Ukrainian parish in Arden Hills. The artistic contrast with the more traditional painted icons is obvious, but the presence of the embroidered ones (they are quite large) was like an inscription on the walls representing very particular aspects of the history of the parish’s people. In any case, I would be really interested to hear from non-Byzantine rite Christians on how they employ icons in liturgy and personal prayer.

    1. @Nicholas Denysenko – comment #7:
      Nicholas, the heading photograph in my posting is of the two icons in our parish church in the stone spaces to the left of the tabernacle. Two others are on the right of the tabernacle. On a significant feast, we place an icon on a small stand on the floor in front of the altar, again lit by a candle.

      1. Nicholas Denysenko

        @Chris McDonnell – comment #10:
        Chris, beautiful. Next week I am lecturing on iconography in my course on Eastern Christianity. Perhaps I will mention the use of icons in Western traditions. for what it’s worth, LMU is hosting an academic symposium on icons and images in February 2013. The schedule is still a work-in-progress, but the lineup of Catholic and Orthodox speakers is quite promising. More to come once we have completed programmatic planning.

  8. While most icons have their origin in the East, we should remember that they date from the time when the whole of Christendom was eastern in character, before the growth of the western, Roman, Church.

    The interchange between East and West never really stops.

    The Onassis Cultural Center here in New York City had an exhibit in 2010, “The Origins of El Greco: Icon Painting in Venetian Crete” that explored some of this interchange in Crete when it was part of the Venetian empire in the 15th and 16th centuries. Images and the first of the catalog essays are available on the Center’s web site.

    1. @Samuel J. Howard – comment #8:

      There was also an excellent review in the New York Times that explains the exhibition somewhat more clearly than the Onassis web site and includes some other photos.


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