Twelve Ethical Principles of a Christian Sacred Artist

My friends and fellow sacred artists, allow me to present to you my expression of twelve ethical principles that I have developed for members of the Fra Angelico Institute of Sacred Arts. These principles may be valuable to colleagues in other Rites and Denominations in fostering dialogue about these ideas. I write this as a preface to a series to follow at fraangelicoinstitute.com, on the spiritual and artistic values of Beato Fra Angelico. I perceive Fra Angelico as being one of the last artists of the Gothic Period in Western sacred art that was true to the tradition that Pope Emeritus Benedict XVI speaks of in his book Spirit of the Liturgy. Please see the Explanatory Notes that follow these twelve principles. They further reveal my understanding of these points. Upon further discussion with you, these Principles may be edited to reflect your contributions. Thank you.

                        Twelve Ethical Principles of a Christian Sacred Artist

1) A Christian sacred artist’s work is wed to a Christ centered spirituality of service and tradition (with both a small “t” and a capital “T”).

2) A Christian sacred artist bases his or her work on prayer.

3) A Christian sacred artist’s spirituality has its roots firmly planted in Sacred Scripture and Church history.

4) A Christian sacred artist’s spirituality is enlivened when he or she prayerfully unites their inner senses (common sense, imagination, cognition, and sense-memory) fortified by faith, to their creativity.

5) Christian sacred artists recognize that the main work of the Church is threefold: spreading the good news of Christ’s Gospel message, prayer, and for the Western and Eastern Rites of the Church providing the Holy Sacraments (Holy Mysteries) to the faithful.

6) Christian sacred artists are a critical part of the liturgical work and prayer of the Church. They produce sacred arts that are sacramentals if they conform to the aesthetic, semantic, and theological principles of the faith.

7) Christian sacred artists believe that the grace of God compliments and strengthens their technical expertise.

8) Christian sacred artists believe that the act of making their work, and the finished product, is not just art; it is communion with the great mystery of God made visible in Christ and His saints.

9) Christian sacred artists who are members of the Western and Eastern Rites recognize that the creation of sacred art may be viewed as a liturgical act.

10) Christian sacred artists produce art that clearly teaches and preaches the lessons of the Hebrew and Christian Scriptures, and the Creeds of the Church, thus allowing their artistic message to contribute toward individual and congregational transformation in Christ.

11) Christian sacred artists are aware of the teachings of the 7th Ecumenical Council (2nd Council of Nicaea, AD 787) as it applies to icons and the role that the contributions of St. John of Damascus played in its debates.

12) Western and Eastern Rite sacred artists are aware of, and subscribe to, the principles that apply to sacred art within the writings of their spiritual leaders.

Explanatory notes – the numbers below correspond to the number of the specific Principle above:

 1) The small “t” relates to cultural norms of a specific Rite or denomination. The capital “T” refers to Church Tradition as specified by Jesus Christ, the Apostles, the Fathers of the Church, and the many hierarchical pronouncements proclaimed by Popes, Patriarchs, and Bishops of the Western and Eastern Rites of the Church.

2) Christian sacred artists undertake a great spiritual responsibility. This responsibility requires that the artist be firmly rooted in faith, grace, and prayer for they are promoting the truth, goodness, and beauty of Almighty God, His angels, and saints. Sacred artists are assisted in this by understanding that certain artistic schools or methods, an example being abstract expressionism, have no place in the sacred art of the Church.

3) This unity allows a sacred artist, through prayer, to walk the various paths of Holy Scripture and experience the moment that the Scripture, or story of the saints, presents to the soul. This experience feeds and transforms the sacred artist by affecting the clarity, line, and color of their art. This is how Beato Fra Angelico experienced the Crucifixion, and according to Vasari, as he painted it wept over the enormity of Christ’s sacrifice. In this process Fra Angelico prefigures Ignatius of Loyola by about 100 years in the ability to experience the words of Holy Scripture within his imagination. The use of the word – “imagination” – does not mean or imply “fantasy,” nor does the person at prayer “make-up” images not found in the Gospels or Church history. St. Andrei Rublev, Beato Fra Angelico, St. Ignatius of Loyola and others utilized this type of prayer experience to affect their work.

4) What is prayer? The saints tell us that prayer is the turning of the heart toward Our Lord God and allowing the mind and heart to sincerely speak words of love to Him. It is the connection, the sharing, of rational mind and free will to conversational intimacy with Our Lord, His angels and saints. The sacred artist enters into communion with God through prayer and this communion comforts and assists the sacred artist in their work.

5) The Western and Eastern Rites go a step further and affirm that preaching the Gospel message and delivering the Holy Sacraments (Holy Mysteries) is critical for the spiritual health and salvation of God’s people.

6) An icon is a sacred image (confer John 1:14). An iconographer follows specific traditions of craftsmanship and specific elements of Theological (Scriptural and dogmatic content), Semantic (the visual language of the icon, appropriate perspective, the use of light, line, and color to create form, and correct use of signs and symbols within the icon), and Aesthetic principles (the quality of beauty with the icon itself). These three principles are based upon the sacred Tradition of the Church. The history of the Western and Eastern Rites illustrates that the sacred artist has continually moved through different artistic periods and technical understanding. As it relates to sacred art, the Western Rite of the Church moved out of an Iconographic period into the Gothic period, and then onto the Baroque period. The Eastern Rite stayed within the period of Iconography that developed out of the early centuries of the Church. Cultural conditions, access to earth pigments, and artistic differences affected the Iconographic period within the Eastern Rite of the Church. It is important to note that within the Western Rite a sacred image is an image that is created of a historical holy person or religious scene; however, the artist allows their full creativity and personal interpretation to enter into the craftsmanship and artistic process. Personal creativity and technique, while present within Iconography, is not seen as an important issue. An example of an icon is St. Andrei Rublev’s image of Christ, or his icon of the Holy Trinity. An example of a sacred image is Pietro Annigoni’s image of St. Joseph and the child Jesus in Joseph’s workshop, or Masaccio’s Holy Trinity. I am indebted to one of my teachers of iconography, Marek Czarnecki (whose teacher was Ksenia Pokrovsky), for clarifying the elements of theological, semantic, and aesthetic tradition for me.

Pope Emeritus Benedict XVI provides a wonderful overview of the three periods of sacred art within the Western Rite in his book Spirit of the Liturgy. You will notice that he does not include the Renaissance within the three traditions. Historical research has shown that Renaissance artists were not inspired so much by prayer in the production of their art; rather, they were motivated by the desire to please themselves, their patrons, or the profit motive. Some of the Renaissance sacred images do have spiritual value and can motivate the viewer to prayer and communion with God.

Icons, sacred images, woodcarvings, calligraphy and other sacred arts if based on the Holy Gospels and Church Tradition spread the good news of the Gospel. The sacred arts are sacramentals when they point the way to God. Sacramentals are blessings. The seven Sacraments (Holy Mysteries) provide the grace that interiorly heal and nourish us. Sacramentals, however, assist us in the exterior visualization of Our Lord Jesus who made that process possible through His Incarnation. It also assists us in the visualization of His angels and especially His saints, who modeled Jesus in their own lives. To picture this one has only to view an icon of St. Seraphim of Sarov, and remember his words that “A true hope seeks only the Kingdom of God…the heart can have no peace until it obtains such a hope. This hope pacifies the heart and produces joy within it.” Christian sacred artists are “hope filled” people.

7) Within the Western Rite, it is believed that “Our justification comes from the grace of God which was merited for us by the Passion of Christ. Grace is a participation in the life of God. Justification is conferred through the Sacramental grace of Baptism. Grace is the free and undeserved help that God gives us to respond to His call to become children of God, adoptive sons and daughters, partakers of the divine nature and eternal life” (confer John 1:12-18; 17:3; Romans 8: 14-17; 2 Peter 1:3-4). As the Council of Trent teaches – grace is known by faith – and as Our Lord teaches in Matthew 7: 20 “You will know them by their fruits” (confer Catechism of the Catholic Church, 2nd edition, paragraphs 1987 through 2005).

8) Contemporary Greek artist and iconographer, Dr. George Kordis, writes of this principle in his book Icon As Communion.

9) In the Western Rite, liturgy as defined in the New Testament, “refers not only to the celebration of divine worship but also to the proclamation of the Gospel and to active charity” (confer Luke 1:23; Acts 13:2; Romans 15:16, 27; 2 Corinthians 9:12; Philippians 2: 14-17, 25, 30. Confer Catechism of the Catholic Church, 2nd edition, and paragraphs 1066 through 1209). The work of a sacred artist (this of course includes all the sacred arts) can be viewed as a liturgical act because it provides a service to our neighbor, in that the sacred art elucidates the reality of the truth, goodness, and beauty of God by providing a means for the individual to hear or visualize that reality. The sacred artist assists the Church in making the reality of Christ present within the community of believers. Sacred artists, by providing this service, are participants in active charity. They aid in providing a “visible sign of communion in Christ between God and men” (confer paragraph 1071, Catechism of the Catholic Church, 2nd edition).

10) Transformation in Christ is a spiritual process. Writers within both the Latin and Greek Rites of the Church and the various Protestant denominations have extensively written about it. The Holy Bible, the Philokalia, Dietrich von Hildebrand, and many other writers provide very helpful advice on this topic.

11) Christian sacred artists, as they study iconography and the various manifestations of sacred art need to also be aware of the significant contributions of Leonid Ouspensky, George Kordis, Aidan Hart, David Clayton, Jonathan Pageau, and the Monk Patrick Doolan. There is enough wisdom in their words and works to advance the studies of any serious Christian sacred artist.

12) Some of the Popes have expressed valuable artistic insights, which will assist the Western sacred artist in their comprehension of their task. A few examples of this are: Pope Emeritus Benedict XVI’s book The Spirit of the Liturgy, Pope St. John Paul II’s Letter to Artists, and Pope Pius XII’s 1947 encyclical, Mediator Dei. The encyclical Mediator Dei explains in paragraph 187, that “Three characteristics of which our predecessor Pope Pius Xth spoke should adorn all liturgical services: sacredness, which abhors any profane influence; nobility, which true and genuine arts should serve and foster; and universality, which, while safeguarding local and legitimate custom, reveals the catholic unity of the Church” (Pius XII referenced this from an Apostolic Letter of Pope Pius X of November 1903). These three principles, when united with the principles of aesthetic, semantic, and theological truth, provide the Christian sacred artist with a firm foundation on which to build their creative work.

Thank you for reading this and I look forward to your comments, Deacon Paul O. Iacono.

Copyright © 2011- 2017 Deacon Paul O. Iacono All Rights Reserved

Images:

Christ-Pantocrator.-Andrei-Rublev.-1410-1420s.-The-central-part-of-the-iconographic-Deesis-of-Zvenigorod.-Moscow-The-State-Tretyakov-Gallery

St. Andrei Rublev’s Christ (completed 1410, above) and his The Trinity (1411, or 1425-27)trinity-rublev-1410

 

Masaccio_Holy_Trinity

Masaccio’s Holy Trinity (completed 1428, above) and

Annigoni’s St. Joseph the Worker (altarpiece, completed 1963, below)annigoni, st joseph

 

The Black Mass at Harvard – Is It A Hate Crime?

News reports have been circulating the story that Harvard University’s Memorial Hall will be the site of a Satanic Black Mass on Monday evening May 12, 2014. The Satanic Mass, by its very nature, is a spiritual crime against the truth, goodness, and beauty of the Catholic Mass and everything that it stands for – specifically the transubstantiation of bread and wine into the real presence of the Body, Blood, Soul, and Divinity of Jesus Christ, the Son of God.

The Harvard Extension Cultural Studies Club is hosting this despicable event. Its promoters and supporters know exactly what they are doing and why they are doing it, and the attempt to sugar coat this blasphemy by saying that it is an attempt to promote cultural understanding is preposterous and vile.

Reports from the Catholic News Agency (http://www.catholicnewsagency.com/news/priest-sees-deluge-of-support-against-harvard-black-mass/) state that “Early media reports included confirmation from Priya Dua, a spokesperson for The Satanic Temple, which is staging the event, that a consecrated host would be used. However, updates to the initial reports said that Dua later retracted her statement, saying that there had been a miscommunication and no consecrated host would be used.”

It is my belief, and the belief of over one billion other Christians in the Latin, Greek, and Russian Rites, that a consecrated host is the most sacred and precious object on earth and the “source and summit” of our faith. I do not understand, how is it not a crime if the original intent is to show a ritual that promoted the desecration of the Mass in its Word and Matter?

If a person or organization desecrates a Koran, or promotes racism or sexism would we not vociferously object and demand justice?

Would Harvard University allow a reenactment to occur in Memorial Hall in which students were shown how to desecrate a Koran, or stone  a woman because she desired an education, or bullwhip a racial or sexual minority for their culture or personal views. What’s next, a symposium on teaching the elite student body of Harvard how to tie a correct knot for a lynching?

We are not taking about an avant garde theatrical performance in which the boundaries of good taste can be obliterated and the right of free speech can be stretched. We are talking about a Satanic ritual that has for many years had the express purpose of spewing hate and ridicule against the specific liturgical and spiritual meaning and reality of the Catholic and Orthodox Mass.

Catholics in the Harvard and MIT communities and the Archdiocese of Boston are wisely protesting and engaging in prayer and witness to this affront to all Christians.

Allow me to pose two questions: What is the definition of a hate crime, and, is Harvard University, by allowing this event to take place in Memorial Hall, condoning a hate crime?

Laws.com states that a hate crime is “an intentional, deliberate, and methodically-charged crime executed in order to cause harm or damage with regard to a specific victim chosen as a result of prejudice, racism, bias, and unlawful resentment.” It goes on to say, “The following are commonly associated with charges of a Hate Crime:

a. Prejudice: Unfounded opinions that are preconceived in nature.

b. Bias: Favoritism that is not based on empirical or pragmatic reasoning.

c. Aggravated Felony: A classification of an intentional, premeditated crime that is severe in nature.

d. Defamation: The slandering or unjust conveying of libelous sentiment.

e. Ethnicity: The country or nation of origin belonging to an individual or entity.

f. Racism: Preconceived prejudice resulting from bias with regard to race.

g. Religion: The process of spiritual belief latent in an individual.

h. Sexual Orientation: The nature and particularity of the sexual attraction latent in an individual.

i. Unalienable Rights: The right of every citizen to ‘Life, Liberty, and the Pursuit of Happiness’.

j. First Amendment: The right of every citizen to the Freedom of Speech.” (http://criminal.laws.com/hate-crimes)

Don’t some of the above ten articles apply to this situation?

Catholics, Orthodox, and Protestants believe that the Holy Trinity is the repository of all truth, goodness, and beauty. In the Trinity’s love and mercy for humanity they have shared themselves with us through word, grace, and sacrament. The ministry, suffering, and death of Jesus Christ won for us the opportunity to be fully participating members of God’s family. Christ’s resurrection is the proof of His victory over sin and Satan. With this in mind we should not be afraid, but we do need to be prudent.

Jesus warned us that Satan, and his minions, still prowl the earth searching for souls to devour. We must be as innocent as doves but as clear eyed as the eagle. Let us pray this afternoon and evening for the Harvard Catholic Community that they may have the strength to witness, in a non-violent Christ-like manner, against Satanic hate.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

 

Beautiful Russian Sacred Icons at the New Haven Knights of Columbus Museum

If you are in the vicinity of New Haven, Connecticut within the next two weeks take the opportunity to stop by the Knights of Columbus Museum for their magnificent exhibit entitled “Windows into Heaven – Russian Icons and Treasures.”

The Museum is located at One State Street, New Haven, and offers free admission and parking. They are open from 10 to 5 pm.

For the past year it has hosted a private collection of spectacular Russian sacred icons and liturgical artifacts. It is the finest collection of Russian sacred icons that I have observed in the Northeast owing to the fact that each of the icons and treasures are in excellent condition.

You will enjoy artifacts such as a 7th century Byzantine Reliquary (bronze, traces of gold plate, and blue enamel) and three rooms of sacred icons encompassing the portrayal of Jesus Christ, His Mother – the Blessed Theotokos, much loved saints, and angels.

Their website,  www.kofcmuseum.org/en/index.html provides a wonderful overview of the 225 pieces that are on exhibit. They mention that “few customs or traditions have endured for longer than a millennium, but the use of icons in Russia is among them. In this exhibition, the Knights of Columbus Museum is pleased to share more than examples of Russian Orthodox iconography, along with other liturgical and devotional items.

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Icons are often called windows into heaven because they are said to give the viewer a glimpse of the eternal realm. Many of the items are more than 100 years old, predating the Bolshevik Revolution (1917).

In AD 988 Prince Vladimir of Kiev converted to Orthodox Christianity, and he persuaded his countrymen and women to do the same. Thus, iconography was introduced as a means of fostering religious understanding and devotion among all the people of Kievan Rus (present day Ukraine, Belarus and northwest Russia).

The artistic traditon followed the strict models and formulas of the Byzantine Greek Orthodox tradition (these artistic practices developed in Constantinople and Greece and spread both East and West). Ultimately, the Russian sacred art tradition developed its own distinctive styles within each major city of Russia.

As a form of sacred art, iconographers historically prayed or fasted before and during the creation of an icon. Traditionally, icons were painted in egg tempera on wood and often accented with gold leaf or covered with ornately gilt metal covers called rizas. Rich in symbolism, they are still used extensively in Orthodox churches and monasteries, and many Russian homes have icons hanging on the wall in a “beautiful” (or prayer) corner.”

“Icons have been synonymous with Christian prayer and practice for centuries,” said Supreme Knight Carl Anderson. “One of the great traditions of Eastern Christianity, icons are less well known here, and we are pleased that this exhibit will enable residents of the Northeast to grow in their understanding of the history and religious significance of these windows into heaven.” This exhibit concludes on April 27, 2014.

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Viewing this exhibit during Holy Week or the First Week of Easter leading up to Divine Mercy Sunday and the canonization of Pope John 23rd and Pope John Paul 2 on April 27th would be of great assistance in your joyful experience of the reality of the resurrected Christ. My prayers are with you for a prayerful Holy Week and a blessed Easter Season!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. The sacred icons shown are taken from the Knights of Columbus website which offers a history of each sacred image or artifact exhibited.

 

 

God’s Playfulness – Video and Verse

If you have a moment, click on this link, expand the very brief video to full screen, then sit back and enjoy the playfulness of God and the gift of His creative grace. After watching it, I composed a few verses, which I share with you.

http://www.guideposts.org/video/mysterious-ways/the-miracle-of-flight?int_source=MysteriousWays&int_medium=RN&int_campaign=Starlingmurmurations

Thanksgiving 

Grace, the gift of God’s energy; the sharing of Divine life. 

God plays with His creation – mutual joy crashes in on our senses, like the lovely waves of the starlings’ wings, to drench us with His beauty.

Grace, God freely shares His friendship.

We are graced.  

We rejoice and give thanks.

Copyright © 2011- 2013 Deacon Paul O. Iacono All Rights Reserved. I would like to thank nature photographer Dylan Winter for the incredible starling murmurations video and for the Guideposts website for featuring it. 

Aidan Hart’s New Book on Sacred Iconography

The article below is reblogged from the always informative Orthodox Arts Journal. The article is the 9th in a series about sacred iconography that was written by Brother Aidan Hart, a British iconographer. Brother Hart has written extensively on all aspects of sacred iconography and has recently published a very comprehensive book on the subject called Techniques of Icon and Wall Painting. The editor at the Orthodox Arts Journal highly recommends it. Brother Hart’s articles are available at his website and he also offers sacred iconography workshops in Britain. This nine part article is well worth the effort of perusing through all of it. His series contains many gems of information that will add to your knowledge of the sacred arts. Links to his site and the series are provided for you below.

Designing Icons (pt.9): Perspective Systems in Icons [from Orthodox Arts Journal]

April 16, 2013

By 

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 Editorial note:  We have convinced Aidan Hart to post a chapter from his new book. “Techniques of Icon and Wall Painting” which is being hailed as the most comprehensive book to date on practicing the art of Iconography.  At 450 pages, with 460 paintings, 150 drawings and covering everything from theology and design to gilding and varnishing, it is a prized possession for anyone interested in the traditional arts.  The chapter being serialized over the next weeks is called “Designing Icons”.  You will see why Archimandrate Vasileos of Iviron called this book the “Confessio of a man who epitomizes the liturgical beauty of the Orthodox Church”.  More details about the book on Aidan’s website.    

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In this section, Aidan discusses the different perspective systems used in icons.

This is part 9  of a series.  Part 1Part 2 Part 3Part 4Part 5Part 6Part 7Part 8

Inverse perspective.

With inverse perspective the lines of a building do not converge on a point on the horizon, inside the painting, but instead they converge on us, the viewers. This serves to include us in the action depicted. The Orthodox hymns make it plain that a sacred event in the past is still acting on us today: “Today Christ is born”, they say, “Today Christ is risen. Let us join with the angels in praising His third day resurrection!”

The Hospitality of Abraham / "Old Testament Trinity" by Fr. Silouan

An example of inverse perspective.  The Hospitality of Abraham / “Old Testament Trinity” by Fr. Silouan

Inverse perspective also gives us the sense that the persons depicted are looking out at us. It is as though the image is drawn not from our own point of view but theirs, and ultimately, God’s. We have already discussed the meaning of repentance as being a change of seeing. We could also explain it as a change of perspective, where we realize that we are not the centre of the universe, but God.

Inverse perspective also draws our attention to the real space between the image and ourselves. The emphasis is on the grace coming to us through real space, rather than us being drawn into an imaginary world or reconstructed scene within the picture. Iconography is above all a liturgical art, designed to be part of a larger sacred dance that involves the church building, the space within the building, the hymns sung within it, and the liturgical movements during services.  As Gervase Mathews puts it:

In the Renaissance system of perspective the picture is conceived as a window opening on to a space beyond…The Byzantine mosaic or picture opens onto the space before it. The ‘picture space’ of Byzantine art was primarily that of the church or palace room in which it was placed, since art was considered a function of architecture.[1]

Flatness

Icons do not attempt to create a great sense of depth. They do use enough highlighting and perspective to affirm that the material world is real and good and part of the spiritual life. Nevertheless, things are kept somewhat more on a plane than in naturalistic painting. In a group icon, like that of Mid-Pentecost for example, people in the rear will be shown the same size, or sometimes even larger, than those closer. Every person is thus kept intimate with the viewer. The mystery of the person overcomes the limits of physical space and distance.

an example of flatness. Mid Pentecost, by Aidan Hart

an example of flatness. Mid Pentecost, by Aidan Hart

Why else do icons retain this flatness? It helps us to pass through the icon to the persons and the events depicted. The aim of the icon is not to replace the subjects depicted, but to bring us into living relationship with them. This explains why statues are not as a rule used in the icon tradition. Their three dimensionality makes them too self contained. Where sculpture is utilized it is kept to base relief.

Romanesque cross by Aidan Hart

Romanesque cross by Aidan Hart

Flatness can also be seen as a intentional weakness, a deliberate imperfection that constantly reminds us that this image is not the reality but a door to its prototype.

There is also an honesty in this flatness. There no attempt to make the picture plane what it can never be, a three dimensional object, let alone the real thing itself.  Incidentally it is this honesty to the picture plane that inspired the American art movement called colour field painting of the 1940’s and 1950’s.

Planarity also gives much greater freedom to arrange things according to their spiritual importance rather than being limited to their position in three-dimensional space. The figures within the icon of Christ’s birth, for example, are often arranged in three bands to represent the heavenly, earthly and unitary realms, and also in a circle centred on the Christ child

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This symbolic arrangement would not be possible if the event were depicted naturalistically, with figures receding toward the distance.

Multi-view perspective

Sometimes a building is shown as though seen simultaneously from left and right, below and above. This helps us to see things as God sees them, and as they are in themselves and not merely as they appear from our single view-point, limited as this is to one place at a time.

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The same multi-view perspective is sometimes applied to time, where the same person is depicted more than once in the same image, such as with Christ in the Nativity icon. The icon tradition can also place an important person in an event at which they were not historically present, but in which they later came to participate spiritually. Icons show things from the view of divine time (kairos  in Greek) and not merely chronological time (kronos). One example is Saint Paul in the Pentecost icon (fig. PentecostIMG copy.tif). He was not even a believer at the time of Pentecost, but later came to be great among the apostles and a pillar of the Church together with Peter, who is shown opposite him.

Isometry

In this approach the sides and edges of an object are depicted parallel, neither converging nor diverging. This affirms how a thing is in itself, rather than how it appears to us. All things have been called into unity in Christ, and this unity preserves and strengthens the integrity of each thing, rather than reducing it to a numerical one. Unity presupposes relationship which in turn presupposes otherness, though not separateness. Isometry affirms this otherness.

An example of isometry

An example of isometry

Hierarchical perspective

Often a personage who is more important than others will be enlarged. A typical example of this is the Virgin in the Nativity icon (see Nativity icon posted above). Conversely someone might be made particularly small to make a spiritual point. The Christ Child is often depicted thus in Nativity icons, to emphasize God the Word’s humility in becoming man for our sakes.

Vanishing point perspective

Although inverse perspective is more commonly used, we do also find instances where lines converge toward a point in the icon’s distance. This is not pursued in the systematic, mathematical way devised by the Renaissance painter, architect and sculptor Alberti Brunelleschi. In fact when this system is used you are likely to find as many convergence points as there are objects. This in itself transports the viewer out of the static vantage point assumed by mathematical perspective, and presupposes instead a much more dynamic experience – surely something closer to our actual experience of life.


[1] Gervase Mathews, page 30.

Evgeny Baranov’s Miniature Icons and Rashid and Inessa Azbuhanov Icon Carvings

My sincere thanks to Jonathan Pageau at the Orthodox Arts Journal,  http://www.orthodoxartsjournal.org/, for permission to repost his wonderful presentation of the sacred icon miniatures of Russian artist Evgeny Baranov and the spectacular icon wood carvings by Rashid and Inessa Azbuhanov.

We must take care when we paint/”write” large icons, yet, to complete an icon miniature or a wood carving, with such grace and spiritual truth, demands in my humble opinion, even more skill and patience! Enjoy, and be filled with astonishment!

To see all of Baranov’s miniatures please visit their site:www.orthodoxartsjournal.org/miniature-icons-by-evgeny-baranov/ .

To see the lovely icon wood carvings of the Asbuhanov’s please take a look at the last two images in this post, if you would like to see all of their work please visit this site: /www.orthodoxartsjournal.org/the-russian-master-icon-carvers/

Miniature Icons by Evgeny Baranov and Russian Master Icon Carvers

April 9th and 10th, 2013

By 

Here are some of the most astounding miniature icons I have seen.  They are made by a Russian artisan named Evgeny Baranov who is also a very good goldsmith as you will see below.   These pictures were taken from his facebook page.  I have been trying to get a short interview with some more details, and my lack of Russian seems to stand in the way…  but really, the work stands on its own.

Rashid and Inessa Azbuhanov are a Russian couple who are leading the rediscovery of icon carving in the Russian Church.  Their works grace the collections of Russian politicians from Gorbachev to Putin, European royal families and church authorities from the Russian Patriarch to the Pope of Rome. 

Their works are often large and highly detailed, like wooden lace as they include much chip carving into the patterns of clothing, backgrounds and frames.   There is a certain folk aspect to their work, especially in some of the faces which do not follow the more usual formal tradition of icon carving but are often effective nonetheless.  They recently had a show of their work in Moscow and so I thought it a good opportunity to put up some of their icons.

Despite their great success, they are warm and quite generous, just like their carvings.

More pictures can be found on their website:  http://www.azbuhanov.ru/

Here  also is a detailed article on their recent Moscow show.

[The first five images below are the work of Evgeny Baranov and the last two wood carvings are the work of Rashid and Inessa Azbuhanov.]

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Good Friday

“Come, let us worship Jesus Christ, the Son of God, who redeemed us with His Precious Blood.”

“If we wish to  understand the power of Christ’s blood, we should go back to the ancient account of its prefiguration in Egypt. Sacrifice a lamb without blemish, a one year old male, commanded Moses, and sprinkle its blood on your doors. If we were to ask him what he meant, and how the blood of an irrational beast could possible save men endowed with reason, his answer would be that the saving power lies not in the blood itself, but in the fact that it is a sign of the Lord’s blood. In those days, when the destroying angel saw the blood on the doors he did not dare to enter, so how much less will the devil approach now when he sees, not that figurative blood on the doors, but the true blood on the lips of believers, the doors of the temple of Christ.

If you desire further proof of the power of this blood, remember where it came from, how it ran down from the cross, flowing from the Master’s side. The gospel records that when Christ was dead, but still hung on the cross, a soldier came and pierced his side with a lance and immediately there poured out water and blood. Now the water was a symbol of baptism and the blood, of the holy eucharist. The soldier pierced the Lord’s side, he breached the wall of  the sacred temple, and I have found the treasure and made it my own. So also with the lamb: the Jews sacrificed the victim and I have been saved by it.”

It was about nine in the morning when they nailed Jesus to the cross.

From noon until three o’clock there was darkness over the whole world.

christ_cross

At three o’clock, Jesus cried out in a loud voice: My God, my God, why have you forsaken me?

It is finished.

When we were His enemies, God reconciled us to Himself by the death of His Son Jesus Christ.

An innocent Jesus sacrificed for us, the guilty.

Realize that you were delivered from the futile way of life your fathers handed on to you, not by any diminishable sum of silver or gold, but by Christ’s blood beyond all price: the blood of a spotless, unblemished lamb chosen before the world’s foundation and revealed for your sake in these last days. It is through Him that you are believers in God, the God who raised Him from the dead and gave Him glory. Your faith and hope, then, are centered in God.  (1 Peter 1: 18-21)

“Awake, O Sleeper, and rise from the dead, and Christ will give you light.”

Copyright © 2013 Deacon Paul O. Iacono All Rights Reserved

Notes on the painting: Christ’s Crucifixion, is by the Spanish master Diego Velazquez (1599 – 1660); it was completed between 1631 – 32.

All the Scriptural quotations are taken from The New American Bible (1970) Confraternity of Christian Doctrine, Washington, D.C. The “Awake, O sleeper…” verse is taken from an ancient homily from the first centuries of the Church. First quotation is from The Roman Breviary: The Divine Office, volume 2, page 467. The second quotation is from The Catecheses by Saint John Chrysostom (AD 347-407), archbishop of Constantinople, Byzantium (present day Istanbul, Turkey). His Catecheses is also found in volume 2 of the Breviary, pages 473-475.