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ART OF ICONOGRAPHY NOT LOOKING FOR PERFECTION

Theotokos "Parakleksis" (intercession and supplication),
Constantinople

In its own value symbol, the icon is beyond art, but also explains. We can admire without reservation the works of great masters of all ages and make the summit of art. The icon will be held a little apart, as the Bible will be placed on top of literature and poetry universal. With few exceptions, the art itself will always be more perfect than formal art iconographers because it precisely does not seek perfection. Would undermine its very excess icon, might decenter the inner eye of the revelation of the mystery, like poetry excessive and sought to undermine the power of the biblical . The beauty of an icon in a hierarchical balance of extreme need. Below a certain limit and immediately, it is more than just drawing; above and following the contemplative genius of iconography, the icon itself and radiates imposes strict compliance with its beauty subject.

Paul Evdokimov, 1901-1970, an Orthodox theologian in
" Art Moderne or Sophia Deconsecrated " online

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ICON, SPIRITUAL ARTISTIC EXPRESSION

Hodighitria Mother of God, Tbilisi, Georgia

Today the theme "icon" inevitably evokes a wooden panel painted, sometimes partially coated with silver. During the Middle Byzantine Empire (10 ° -12 ° C.), however, the icons are not necessarily made of wood. One finds, for example, bronze, silver, ivory, soapstone (limestone powder compressed) enamel or marble . Some even include color plates. Icons are also often decorated with precious stones. Different materials are sometimes associated. Wood panels become dominant until the 13th century. Do not forget that the Greek term εἰκών (eikon) is used to denote any image, including murals and mosaics.

Panayotis L. Vocotopoulos, Professor of Byzantine Art, University of Athens
in "function and types icons "

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SCOPE OF SACRED ART

Virgin of the Sign, 17 ° S.

Western theology has, from its origins, showed a certain indifference to dogmatic spiritual significance of sacred art, this iconography that despite his long martyrdom is so revered in the East. But providentially, Western art was behind the theological and until the 12th century it remains faithful to the common tradition in both East and West. This unique tradition lives fully in the magnificent Romanesque art in the miracle of the cathedral of Chartres, in Italian painting, which still cultivates the "maniera bizantina.

But from the 13th century the facticity view, perspective, depth, the play of chiaroscuro, the trompe l'oeil are introduced. If art becomes more refined, it is less likely to direct entry of the transcendent. By breaking with the canons of tradition, art is more integrated into the liturgical mystery . Increasingly autonomous and subjective, he left his "biosphere" heavenly. Garments of the saints no longer feel under the folds the "spiritual body" and the angels appear as beings of flesh and blood. The sacred figures behave exactly like everyone else, dressed and placed in the contemporary atmosphere to the artist. One more step and the biblical account, the miraculous event is more than an opportunity to perform skillfully portrait, anatomy, a landscape.

Paul Evdokimov, 1901-1970, Orthodox theologian
in "Modern Art or Sophia Deconsecrated " online

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ICONOGRAPHY MELKITE

Melkite icon of Lauds, 18 ° century Syria

icons icons are called Arab " Melkite 'because they were painted by artisans Arab belonging to the Greek Catholic Church of the same name. iconographers These followed the Byzantine tradition and Greek while there adding elements of Islam.

It's probably on models imported icons in the Middle East to Syria, Lebanon and Palestine by the patriarchs and pilgrims Greek, Byzantine and Russian as the Melkite artists acquired their skills. But by taking mature, they soon began to express their own taste and their own sensitivity. Thus every face painted by artists Melkite are swarthy Arab, their oval face is softer than that of Byzantine icons, the body fuller and more rounded. More Arab costumes, furniture and everyday household objects form a striking contrast with the strict Byzantine. Melkite primitive works are characterized by the sumptuousness of the decoration directly borrowed from Islamic art, such as intertwining brushed brass, Persian rugs, brocades and damask panels of wood that can also be found on the icons. The surface of the icon is often covered with a scattering geometric designs, flowers and plants. Until the dedications which are typically flowery Arabic literary twist. This influence lasted until thoroughly the late 18 th century.

Karen Lewis, Miami University of Ohio in
" Saudi Aramco World", 1971 edition of the American Trial

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incessant rain

Icon of the Ascension , 14 ° century, Novgorod, Russia

All aspects of the one mystery of salvation radiate from the dense content icons.

must remain in a quiet contemplation before an icon begins to speak. We must surrender to His grace that gradually the heart of his message.

icon of the Ascension is a marvel of harmony where every detail has meaning. Of a whole emerges and imposes a serious musical chord. That the Church under the incessant rain of grace. Christ is the head of the Church, the Theotokos his face, the apostles its foundations.

After the Ascension, the presence Christ is internalized and becomes present in the Spirit and the Eucharist. Theotokos occupies center stage. It stands out against the background of the white angel. It is the center where the converging worlds angelic and human, earth and sky. His attitude is twofold: "praying" before God, she is the one who intercedes, and "pure" before the world, it is the holiness of the Church.

Paul Evdokimov, 1901-1970, an Orthodox theologian in
"Theology of vision"

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OF GRACE MARIE, CONSOLATION VIVIFYING

"Theotokos"

"The only name Theotokos, Mother of God, contains the entire mystery of the economy of salvation," says St. John Damascene. The analogy between Eve, Mary and the Church goes back to Irenaeus and since, for the Fathers, Mary is the enemy of the Snake Woman, the Woman clothed in sun, the image of the Wisdom of God. If the Holy Spirit personalizes the holiness of God, the Virgin personalizes the human holiness. Linked in its very being to the Holy Spirit, Mary appears consolation and invigorating. Eve New Life that saves and protects all creation and Corruption therefore figure in the Church in her motherly protection.

Paul Evdokimov, 1901-1970, an Orthodox theologian in
T héologie of Beauty "

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ICON of Pokrova (AGIA SKEP)

Icon Pokrov, 18-19 ° S. , Russia

Since the Council of Ephesus (431) the Church has constantly proclaimed the close relationship between Mary's divine motherhood and her role as mother with the Christians. The theme of Pokrov therefore rests on a long Christian tradition. The veil include a roof across the sky, and safeguarding the meeting. It is the protector maforion which represents the power of protection of the Virgin . It is both symbol and reality.

The gesture of covering his own coat someone was in the East and West, a natural gesture of protection independent of social convention. In Byzantium and Russia expressed by covering the adoption of the adopted his mantle. And when St. Bonaventure defender of Marian devotion, founded in 1270 the brotherhood of Franciscan Friars Minor, he ordered the brothers to represent under the folds of the Virgin's mantle (pallium). Therefore this representation has spread in Western art. Mary is the refuge of all humanity, for which she continues to intercede. Maforion the 10th century Byzantine (1) , could evolve into a large coat solemn. Thus the same idea of protection is expressed by these symbols very similar and profoundly human: SKEP, Pokrov (protective veil) maforion, pallium (Mantle), all make this a reality since most Christian arises from the heart of the baptized.

Cited in http://www.mariaoggi.it/ , online
translated from Italian

(1) The iconography of icon Pokrov began a miracle occurred Constantinople in the tenth century church of Blachernae. Every Friday is held the ritual ceremony during which they lifted the veil covering the statue of the Mother of God. During one of these celebrations, St. Mary Andre lives to prayer extending its cloak over the meeting as a sign of protection of the people and the city against enemy attack. The iconography, which commemorates the miracle started in the 12th century to proliferate in the workshops of Russia. Commemoration of the event is celebrated on October 1 in Russia, Oct. 28 in Greece and is the feast The most important after the Twelve Great Feasts liturgical.

City in Wikipedia, online

translated from English

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the Theotokos, ICON OF THE INCARNATION

Icon Pskov, Russia, 16 ° S.
Saint Luke painting the Theotokos

The Orthodox Church never separates Mary, the Immaculate Virgin, her Son Jesus. The icon of the Virgin Mary holding baby Jesus in her arms is never presented as an icon of the Virgin, but as the Incarnation of the only Son of God is the communion of the divine and the human takes place in Mary.

This communion of the divine and the human also occurs in the Church , instead of God's participation in the construction of a new world which will be completed in the Kingdom. In the same way that Mary has created humanity in his only begotten Son of God, the same way the Church creates the heart of humanity itself, the new humanity of God's son. Thus the Church appears as the Theotokos extended: it is the generator mystical child of God, as Mary was the only Son of physical generator. In the early centuries of the history of the universal Church, the theological issues were initially focused on the person of Christ is also under the doctrine of two natures in Christ has been clarified the doctrine of the Theotokos, the Mother of God, at the Ecumenical Council at Ephesus From there, take the patristic tradition Mary herself as an object of meditation, using the allegorical interpretation of the Bible, to compare, for example, Mary Eve, Mary being the new Eve, just as Jesus was seen as the new Adam, Mary is the one who creates a new human generation. And insistence on the perpetual virginity of the Virgin Mother also highlights this aspect of a new creature.

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Spirituality to Mary