Icons in the Western Church


Book Description

Within the Eastern tradition of Christianity, the eikon, or religious image, has long held a place of honor. In the greater part of Western Christianity, however, discomfort with images in worship, both statues and panel icons, has been a relatively common current, particularly since the Reformation. In the Roman Catholic Church, after years of using religious statues, the Second Vatican Council’s call for “noble simplicity” in many cases led to a stripping of images that in some ways helped refocus attention on the eucharistic celebration itself but also led to a starkness that has left many Roman Catholics unsure of how to interact with the saints or with religious images at all. Today, Western interest in panel icons has been rising, yet we lack standards of quality or catechesis on what to do with them. This book makes the case that icons should have a role to play in the Western Church that goes beyond mere decoration. Citing theological and ecumenical reasons, Visel argues that, with regard to use of icons, the post–Vatican II Roman Catholic Church needs to give greater respect to the Eastern tradition. While Roman Catholics may never interact with icons in quite the same way that Eastern Christians do, we do need to come to terms with what icons are and how we should encounter them.




Icons and Saints of the Eastern Orthodox Church


Book Description

An icon (from the Greek word "eikon," "image") is a wooden panel painting of a holy person or scene from Orthodox Christianity, the religion of the Byzantine Empire that is practiced today mainly in Greece and Russia. It was believed that these works acted as intermediaries between worshipers and the holy personages they depicted. Their pictorial language is stylized and primarily symbolic, rather than literal and narrative. Indeed, every attitude, pose, and color depicted in an icon has a precise meaning, and their painters--usually monks--followed prescribed models from iconographic manuals. The goal of this book is to catalogue the vast heritage of images according to iconographic type and subject, from the most ancient at the Monastery of Saint Catherine in the Sinai to those from Greece, Constantinople, and Russia. Chapters focus on the role of icons in the Orthodox liturgy and on common iconic subjects, including the fathers and saints of the Eastern Church and the life of Jesus and his followers. As with other volumes in the Guide to Imagery series, this book includes a wealth of color illustrations in which details are called out for discussion.




Icons in Time, Persons in Eternity


Book Description

Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.




Icon


Book Description

Forget your old name. Forget your parents. These are the things Euphrosyne's grandparents and counselor tell her. But if Orthodox Christianity is a lie, why did the icon so dramatically save her life? And what can she do to get the icon back? In a post-Christian America, where going to church, praying, or owning holy things means death, a twelve-year-old girl searches for the truth. Finding it may cost her everything.distinctives*One-of-a-kind Orthodox novel in the popular dystopian genre*Strong, relatable heroine faces some of the same issues as contemporary teens*Powerful exploration of religious persecution, seen from the inside*Recommended for ages 13 and up




African Icons


Book Description

Every year, American schoolchildren celebrate Black History Month. They study almost exclusively American stories, which are not only rooted in struggle over enslavement or oppression, but also take in only four hundred years of a rich and thrilling history that goes back many millennia across the African continent. Through portraits of ten historical figures - from Menes, the first ruler to be called Pharaoh, to Queen Idia, a sixteenth-century power broker, visionary, and diplomat - African Iconstakes readers on a journey across Africa to meet some of the great leaders and thinkers whose ideas built a continent and shaped our world.







Icons and the Name of God


Book Description

In Orthodox theology both the icon and the name of God transmit divine energies, theophanies, or revelations that imprint God's image within us. In Icons and the Name of God renowned Orthodox theologian Sergius Bulgakov explains the theology behind the Orthodox veneration of icons and the glorification of the name of God. In the process Bulgakov covers two major controversies -- the iconoclastic controversy (sixth to eighth centuries) and the "Name of God" controversy (early twentieth century) -- and explains his belief that an icon stops being merely a religious painting and becomes sacred when it is named. This translation of two essays "The Icon and Its Veneration" and "The Name of God" -- available in English for the first time -- makes Bulgakov's rich thinking on these key theological concepts available to a wider audience than ever before.




Icon Painting Technique


Book Description

Mary Jane Miller discusses her Icon Painting technique, the history and meaning of icon painting. The How to book orients icon painters and examines why icons continue to be a spiritual tool. From a uniquely Western perspective, this step-by-step study of art and teaching of a practical course in Icon Painting technique. The religion and spirituality of this technique brings to life the sacred and beautiful art of egg tempera painting. Included are egg tempera recipe guides and patterns to work from. Beginners, intermediate, and advanced iconographers will all find new insights.With in-depth information, invaluable advice, and superb illustrations of each step, this is a most comprehensive guide to the philosophy and practice of icon painting. In addition, this Icon Painting technique book can be read as a step-by-step guide of how to create your own icon. The 12-step sequence put forth here is a guideline or road map for the process from vision to creation. However, while easy to follow detailed instructions about technique and materials are provided, my main objective is to emphasize the mystical experience of the process itself, bringing the the Icon Painting technique to a better understanding of the two natures of Christ - flesh and spirit. Details; Looking at Icons Revealed, One Secret Prayer Method, Brief History of Iconography, Organic Egg Tempera, Icon of St Luke, Overview of How to Paint Icons, Wood, Linen, Gesso and Gold, First lines, Chaos of Color, Second lines, Highlights and Veils, Final Lines, Analysis of Icon Images, Mixing Paint for Lettering, Prayers for an Iconographer Egg Temepra and Earth Pigments 41 Rules for the Iconographer 42 Conclusion




Techniques of Icon and Wall Painting


Book Description

This is the most comprehensive book to date on the techniques of icon and wall painting. Illustrated with over 450 colour photos and 180 drawings, it will be a source of pleasure and inspiration for the general reader as well as for the practising icon painter. The book is more than just a technical manual; it sets artistic practice in the context of the Church's spirituality and liturgy, with chapters on the theology and history of the icon, the role and symbolism of the iconostasis, and the principles behind the positioning of wall paintings within churches. The wealth of information in this book makes it an indispensable reference text, not only for iconographers but also for any painter working in egg tempera, fresco or secco. All the necessary processes are covered, including the making gessoing of wooden panels, gilding, preparing pigments, lime plastering and fresco, the various techniques for painting in tempera, right through to photographing the finished artwork. -- from dust jacket.




Icon as Communion


Book Description