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RESEARCH IN ICONS
Book of Matthew
22:42 Watch therefore: for ye
know not what hour your Lord doth come.
Book of Mark
10:50 And he, casting away his
garment, rose, and came to Jesus
10:51 And Jesus answered and said unto him, What wilt thou that I should do unto thee? The blind man said
unto him, Lord, that I might receive my sight.
10:52 And Jesus said unto him, Go thy way; thy fate hath
made thee whole. And immediately he received his
sight, and followed Jesus in the way.
Living in
harmony with the Holly Scriptures, actually joining actively and creatively
the spoken Gospels word for the sake of self realization, reveals to us that icon really is and must
be alive. Icon is integral part of our life and helps us in reviving and creating
community with God. Only the thorough contemplation of icon (mentally profound
conversation with a picture) leads to the creative and prolific revelations
of the observer. The very same relationship presents the iconographer (a painter
of icons) with his creative and authentic iconographic solutions. Therefore,
icon means identification with life for the iconographer. It is his starvation
and nourishment, his joy and tear, fate and hope, fatigue and rest. It is
his path for searching and safe path for potential finding self.
Some basic issues (that justify
iconographic research) will be stated here. Since
icon carries the Holly Secret that is not entirely comprehensive to a human,
its content is neither final nor exhausted. Consequently, icon permits supplements
and alterations in certain way. Every humans deeper
step into its content will reveal to him a new world, new expression or new
image. Both the iconographer and the one who prays in front of the icon are
motivated to deepen their relation with the Secret by faith and consciousness
about their own weakness to comprehend the entireness of the icon. This aspiration
can lead to fruitful solutions in harmony with the Gospel. On the other hand,
new saints bring new icons (the life of church exists now as it will in future
and was in the past and it is led by the Holly Ghost which means that as the spiritual cognitions were possible
in the past they are possible today and tomorrow. Finally, the act of copying
an icon will always introduce a part of iconographers time, portion of his
personality, an achieved degree of effort to reach the Almighty (so to say,
iconographer neither is nor can be an objective camera - after all it is not
his goal and the very act of copying can not be taken literally as well).
Up to this chapter we have been occupied with reading of icons and now
we would try to get deeper into the act of its creation. The technological
process was explained in the chapter Writing-Technology of Icon so
we should concentrate on the thematic-theological understanding of its birth
(OCOKOLJIC Jugoslav: Ikona,
pisanje, citanje i sozercanje ikone
sa teologijom
ikone, Beograd, 2004). This problem could be solved by exploring the deepness of an icon. The way
of creating it and the language of the icons painter are harmonized with his
time and previous revelations (simple evidence, noticeable at first sight,
is the change of saint's clothes as well as in replacing scrolls with books
painted in saints hand though more complex evidence lies in the survey of
icon's composition). Such language is better recognized
by a contemporary human. It never and in no way disturbs the essential
Message emphasizing its Truth in the foreground. In that way, the manuscript
of an iconographer remains one of the means of revelation. In accordance with
these considerations, we can look at differently manu-scripted
works of art that still preserve the basic features of our Lord on the following
illustrations.
The iconographic image of Jesus Christ through centuries
From the 6-th to 11-th
centuries
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.
The basis of thematic-theological
ground of an icon is the Holly Scripture Message which is based on historical event and the Message
of our Lord Jesus Chris (Great festivals, the icons that describe life
of the painted saint, acatistic icons...). The method
of constructing an icon presents the process of unification and visualization
of these two elements. The balance of these two structurally integral parts
expresses the contends of an icon. Domination of
either element is variable. It is artistically easier to express historical
record and event while presenting the spiritual part evolves substantial problems.
This problem can be overcome by application of symbols
with artistic elements that could be used. In that respect, the use of symbols
with artistic elements can be of decisive help (the idea could be presented by symbols only). Nowadays, iconography
tends to be pleasant and is liable to likeability trying increasingly to meet
demands of expressing beauty on the account of expressing exaltation (see
chapter Esthetics in op. cit.). Very dominant expression of beauty
in the terms of soft hues of color and shading leads the icon to express physical
(natural) which is only one part of the icon as a whole. It seems that only
the original drawing from the early Christian period (similarity) could save
the icon from these tendencies. It seems that contemporary iconographers have
forgotten well known thought of unknown apologist
from the 2-nd century who described the Christians
in a letter to a Dignet: They live in the body not
by it. Apostle Paul said the same in the book of Romans (8,12):
so then , brethren, we are debtors, not to the flesh, to live according to
the flesh. How to escape and avoid the above mentioned
trap which does not appear in iconography for the first time (baroque)? It
seems that only transparent, fresco-like deposits of paint (see fresco from
Sopochani monastery) layers of egg tempera could lead us out
of that trap. Such manner of painting the icons could be perceived on some
icons from Novgorod school where the very ground layer could be distinguished.
In the same way, only the appropriately spread emission of rays of light on
icon, namely from the face in central position, can help substantially. The
successful depiction of the saint's radiation will regain the icon's basic
sense. Iconographer tries to dematerialize the material.
Anything that prevents in any way the expression and presentation of spiritual
value is worth of either being changed or excluded
from the painting. The iconographer is primarily interested in the idea and
secondarily in the appearance. He thinks and expresses himself in the form
of ideas. The iconographers effort is manifested
by the best and nearest possible depiction of unchangeable Truth (as much
as Truth itself permits that).
We know that every icon is
Christ centric. Two elements are involved in the presentation of saints: portrait
of historical person and eschatological imagination of holiness of
that same person. Therefore there are two elements
that originate from two natures of our Lord.
Partial truth can not exist without the complete one. In accordance to that
statement, we have done the preliminary analysis of the structure of all Great
Festivals. When the dominant structural line of the picture is clear then
the message of the picture is clear as well and does not show the sign of
dilemma. Dominant vertical in all 12 Principal Great Festivals originates
from the Cross. The vertical line is the carrier
of the Cross, the symbol of Christianity. The vertical line of the
Cross explains the way of descending of God's energy to us
and ours ascending to Him. Following structural analyses of Great Festivals
icons will show that this vertical line is dominant.
Mother
of God 
Saint John the Theologian
Crucifix
As to the composition the icon
of Crucifix consists of the following verticals: the pillar of the Cross with the body of our Lord and two other verticals each
slightly bent on the right and the left side. On the right
is the Mother of God and Saint John Theologian on the left, and since they
both bow their heads and body towards Crucifix the vertical is slightly bent.
All Great festivals can be based on the same concept of dominant vertical
according to the following hierarchy: THE ESSENCE AND THE ACTION OF THE
HOLY TRINITY (symbol) and in the graphical presentation 
and 
and the TESTIMONY
(event) in the graphical
presentation 
.
The icon
of Last Supper is also included since it is usually present on the iconostasis.
The Annunciation
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy
Trinity : The essence and the energy
WILL AND ACTION: (Book of Luke 1,26)
Blessings of the Holy Ghost (Angel Gabriel)
Holy Mary (Testimony: willing
acceptance)
The Nativity of Christ
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy
Trinity : The essence and the energy
WILL AND ACTION:(Book of Luke 2,11)
Jesus Christ (child in its cradle, consequently
Human being), Holy Mary and Saint Joseph and sheperds who are the witnesses
(Testimony: The Birth of Salvation)
The Presentation of Jesus Christ in the
Temple
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy
Trinity : The essence and the energy
WILL AND ACTION:
(Book of Luke 2,26)and Blessing of the Holy Ghost (action)
Jesus Christ and Saint Simeon (Testimony:
The unification of Old and New Testament)
The Baptizine of Our Lord (The Epiphany)
ALMIGHTY
IN THREE HYPOSTASIS (persons): The Holy Trinity : The essence and
the energy
WILL AND ACTION:(Book of
Luke 3,22)and the Blessing of the Holy Ghost: the dove(action)
Jesus Christ and Saint John The
Baptizer (Testimony: The Baptizine)
The Transfiguration
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity : The essence
and the energy
WILL AND ACTION: (Book of Luke 9,35) and the Blessing of the Holy Ghost: Mandorla, prophets, action)
and Jesus Christ (here as a God, not as a "Servant")
three apostles (Testimony: witness
in helplessness)
The Raising of Lazarus
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION: (Book of
John 11,41) and the Blessing of the Holy Ghost: action.
Jesus Christ and Lazarus (Testimony:
the Miracle of Our Lord)
The Entry into Jerusalem
ALMIGHTY IN THREE HYPOSTASIS (persons): The
Holy Trinity : The essence and the energy
WILL AND ACTION: (Book of John 12,15)
and and the Blessing of the Holy Ghost: action.
Jesus Christ sitting on an ass
in front of the door of Jerusalem (Testimony: confirmation of prophecy of
Old Testament)
The Crucifixion
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy
Trinity : The essence and the energy
WILL AND ACTION: the Blessing of the Holy Ghost: action.
Jesus Christ on The Cross (at the
bottom is the cave with Adam` s skull). Testimony: the crucified body and
witnesses: Holy Mary and Saint John.
The Descent into hell
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION: the Blessing of the Holy Ghost: Mandorla, action) and Jesus Christ
Jesus Christ breaking the door of
hell (Testimony: the victory over hell)
The Ascension of Our Lord
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION: the Blessing of the Holy Ghost: Mandorla, (action) and Jesus Christ
Mother of God with apostles (Testimony:
witnesses)
The Descent of the Holy Spirit
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION:(Book of John 20,21/22) and
(Book of Matthew 2,1) and the Blessing of the Holy Ghost (blazing flames)
Apostles (Testimony: reception of
Blessing of The Holy Ghost)
The Ascension (Dormition) of the Mother
of God
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION: the Blessing of the Holy Ghost: Mandorla, (action) and Jesus Christ
with a bent soul of Mother of God
The catafalque with a body
of Mother of God and apostles (Testimony: the funeral)
The Last Supper
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The essence and the energy
WILL AND ACTION: the Blessing of the Holy Ghost and Jesus Christ
Testimony: apostles
ALMIGHTY IN THREE HYPOSTASIS (persons): The Holy Trinity
: The Essence
and the Energy are presented by nine lines distributed in cross-shaped
position with widening in their ends. Depending
on the concept of presentation they can vary and
sometimes be reduced to three lines only starting from the upper part of the
icon. They are always on the upper part of the icon above the presentation
of the Testimony.
or 
Graphical presentation of the will
of the Holy Trinity
Blessing
of the Holy Ghost is painted depending on the appearance and action according
to what is written in the Holy Scriptures (see Appearance of Holy Ghost, op.
cit.)
Testimony is painted according
to the description from the Holy Scriptures
In order to get deeper into
the research of the icon painting it is necessary to pay attention to artistic
elements; in other words, to composition of artistic
elements (relations between forms, colors, dark-light, hues, expressions).
Prior to that parallels between iconography and fine arts should be stated.
There is an attitude that modern fine arts are alienated and have nothing
in common with icons. The prediction that its end is close (Lecture of father
Luke, prior of Cetinje Monastery, Vrnjacka Banja, December 2002) seems to harsh. More acceptable attitude is that fine arts are going
to unite completely with icon in the end since it is it's
basic root. This process of unification is going through fundamental examinations which can sometimes mislead and bypass the whole
idea. However, the icon itself passed such temptations and has not freed itself
completely from them yet (influence of baroque and tendency that beauty prevails exultation). First steps of fine arts towards the
icon can be recognized in impressionism which frees the light from the object
(light is an independent phenomenon in the presentation, the inner light,
the light of God) which is the characteristic of the icon from the very beginning
and traditionally presented through golden surface. These steps can be noticed
in cubism which eliminates illusion of the third
dimension and dislocates the point of perception, actually, using several
points of perception of the space and object and axonometric perceptions as
well (two dimensional expression on the flat painted surface is the truth
that the icon incorporated in its expression from the very beginning. It can
also be noticed in abstract art which eliminates the life of shadows and releases
the colors from the objects (the color in the icon is completely free from
the object and has abundant language of symbols and in that sense it acts
independently). Such parallels can also be found
in modern Serbian painting. The researches of the Mediala
movement in the relation to pan-painting (universal painting by Leonid Shejka with centric position of a "cadis") directly
originate from and have connection with well known
composition principles of the icon presenting the life of a saint.
Thematic entirety is achieved
by fine arts entirety (Andre Lott divided the work of fine art into fine art
and thematic entirety and also established that fine
art entirety survives only by appropriate application of fine art elements).
This attitude directs our research towards ESTABLISHMENT OF NEW RELATIONS
BETWEEN FINE ARTS ELEMENTS WITHIN THE ICON. Establishing new relations means
neither finding the Truth nor reaching anything more than previously known
and given, but to transfer evangelistic Message more essentially and clearly
to contemporary human and to free the icon from all the elements that draw
the attention from the Truth (like new attempts in spiritual music or literature
to interpret the Holy Scriptures). Such statements as "Icons replace
books to the illiterate" (Saint Basil the Great) and "Icons are
placed in temples as means of religious education for those who can not or
do no read the Holy Scriptures" (Saint Nile from the Sinai) certainly
are correct but nowadays they should not be crucial and determinative for
the icon. Pedagogical and informative dimension of the icon that was claimed
by widely spread illiteracy of the Middle ages does not have to be in the
center of attention today (narrative dimension of icon). Descriptive dimension
and spiritual one are to be balanced. We are aware of the fact that this approach should
be taken literally because icon-painting has more
than once shown deeper Secrets than the words are able to make known. The
testimony in the terms of a historic event need not be the central theme of
the icon any longer. The life of Jesus Christ is wonderful and joyous and
it proves the victory of God and love over evil and cruelty. In the icon
one can find consolation, joy and compatibility with God. For that reason,
icon should contain the element of emotion and motivation for opening one's
hart. It must be totally clear to the reader of this
text that the iconographer who studies the icon from inside always raises
his soul's eyes to the primary image and his mind to that which is inapprehensible
as it was said by Saint Sava about the true faith in Zica's sermon. He stated
that every creative step must be confirmed and harmonized with the Evangelists
Message in the same way his efforts directs icon message to be united more
intimately and deeply with the hart of the believer.
"Watch therefore; for ye know
not what hour your Lord doth come" (Book of Matthew, 24:42) is the law
for the iconographer during the process of contemplating the icon, preparing
himself for painting, praying, fasting and painting the icon, during the time
he is being harmonized and reunited to the Church tradition by the appeasement.
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ANALYSIS OF ICONS I
grasped the human face of God and my soul was saved
(Saint John of Damascus)
Some suggestions and analysis
of suggestions for the composition of icon are brought out
here in accordance with previous considerations.
The Annunciation (14-th
Century, Ohrid)
In the upper part of the icon
the source of rays of blessing enlightening Virgin Mary can be seen and read. On the right side of the icon Angel Gabriel
with unfolded wing just arrived bringing the news standing in the position
of blessing in front of the one who is to receive the news about the bearing
the Son. On the left side of the icon, Virgin Mary is sitting on the throne
(she will become the Supreme Empress) with her hand raised expressing surprise
about the Heavenly Might while being occupied with spinning (yarn is placed
in her left hand). Human gesture of surprise is limited to her hand only as
her whole figure shows Godly Appeasement. At the moment
of receiving and accepting the Message, Virgin Mary receives the blessing
of the Holy Ghost and remains permanently imbued with it. The holiness of
Mary is expressed by her static pose, peace and steadiness. It should be noticed that time is excluded from this icon in accordance
with previously stated meaning of depiction; it is excluded because the present
and hereafter events are presented simultaneously. Vellum (red fabric symbolizing
the interior) is placed above the throne pointing
out to us that this moment is intimate and special. The background architecture
is presented in axonometric view. The lines of reversed
perspective bring us into the Holy Event (outward from icon and inward from
the spectator).
The Annunciation (20-th
Century, iconographer Jugoslav)
Giving and accepting the blessing
is painted in accordance with the Holy Book with
symbols, namely, in geometric red lines. The widening in their ends take over
the symbolic meaning of reversed perspective, actually, they denote spreading
the Message from the icon to the spectator due to the fact
that architecture is repealed and replaced by absolute purity - white
background. Icon retains titles and aureoles. Angel Gabriel and Holy Mary
are present in the icon. The thematic essence of the icon is BRINGING AND
RECEIVING THE HOLY NEWS.
Angel Gabriel: his attribute
of the heavens might the wing is standing out in foreground. Holy Mary is enveloped by his wing, which means that the Holy Message
is delivered. In vertical sense, the Angel is in the upper part of the icon
painted in transparent and airy colors in contrast to the tip of the wing
painted in heavy opaque contrasting brown (earth colors) which present his
descension to mankind (envelopment of Holy Mary, possessiveness,
embrace explain the delivery of the Message from the Heaven to the Earth.
Holy Mary is sitting with her right hand raised in the sign of surprise retaining
the same symbolic meaning as the one in the traditional presentation. Mother
of God is sitting on the throne with her legs on the small support that symbolically
means that it is all happening in our space and time. Gold color remains only
in aureoles while the background is white. In that way the dimension of natural
space is limited only to the support under her feet, which gives room to more
complex symbolism, namely, white surfaces, clear, virgin, absolutely pure
and sinless present the dimension of the Holiness. White color contains in
itself in the best possible way spacelessness and
timelessness, namely, the absolute and the eternal.
Overlapping, as an artistic
element is not usually used in icons because the
icon always presents the entire truth; here it is specially applied in front
of the body of the Angel and it introduces us in the secrets of the Heavens
Might. The Angel appeals to our mental perception only as much as God decided
so.
What is excluded
in our icon in relation to up to date presentations: the gesture of the Angel's
hand blessing Virgin Mary. The Blessing is presented in two ways in the traditional presentations;
not only through the gesture of the Angel but through the rays from the segment
of mandorla as well (geometrically). As to their
identical meaning, omission of one symbol is made.
Architecture, throne and vellum are narrative elements and their omission do not disturb the essential idea of the icon The
Annunciation. By these purifications the icon enhances
clearer and more focused expression of the fundamental Message. The attention
of both spectator and prayer is not distracted by
any details and it stays fixed to the Message. The iconographer will not enter
into eschatological dimension by excluding these narrative details because
the Testimony and symbols of the Essential Message are balanced
in such presentation.
What happens with the symbol
(in this case the wing)? It is no longer static and descriptive but it becomes
active (reminder: iconographer expresses the idea with the help of the world
of symbols).
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The Annunciation,
(Ohrid), 14. century The Annunciation,
iconpainter Jugoslav, 60 x 40cm, 2004
Saint Petka (Paraskeva)
Look: Saint Petka (Paraskeva)
by iconpainter Jugoslav, 60 x 48, 2003
How to reach
the soul of Byzantine fine art: internal radiation of saint's
light? Substance and form confine our perception of light. Once light frees
itself from these two limitations it becomes immaterial and shapeless thus becoming
penetrative and creative light of God. The icon explains how the above-mentioned
liberation occurs. The described light can be presented
only by a symbol and that symbol in the icon is the gold platted surface that
surrounds the iconographed face. At that stage
natural light turns into darkness and the internal light illuminates the real
world making it comprehensible to us. There is a certain tendency to solve
this problem by locating the sources of radiation on the face, on the very
attribute of the saints, generally using one centric vertical. We have to
keep in mind two elements: crucial objects should be arranged in the center of the icon and reversed perspective
makes that present dynamics provoke and underline the impression of protruding
towards the spectator. The efficiency of presenting the radiation of Godly
Light towards his creations is the most beautiful act that one iconographer
can create with talent received from God. Absolutely white
color has sometimes been used in the background of the face instead of the
gold platted surfaces, as can be seen on reproductions (see symbolism of colors,
op. cit.). One example - proposition and one of the possible ways of presenting
the internal light of the iconographed without the
application of gold will be shown. Gold can be traditionally applied in that example - proposition
but it neither changes the essence of the expression nor the message itself.
For the presentation of more than one person there are no accurate directions
in technical sense, where and how to locate the internal light. Perhaps the analysis of the icon and centered
composition with basic vertical might be of help in solving the problem. In
the reproduction of the icon Saint Petka red color
is predominant symbolizing the well-known connection with the martyrdom. This
example shows how dominant color - symbol should be applied, how it serves
the theme and how it solves the problems of internal radiation of the Saint.
It should be specially emphasized
while painting the Saint's figure from the waist up, iconographer must pay
special attention to the fact that his task is not only to express the radiation
of light from the face but from the entire figure as well. The internal light
is present in the Book and in the Cross (most often
in the Saint's hand) and in the gesture or blessing as well. Therefore, the
principle of transferring the message from the icon to the spectator must be applied to the entirety of the icon and accomplished by radiation
(this refers to other presentations of festivals, biographies, achatistic etc.). In this manner the unity of entirety,
namely, of the Holy scene is obtained. Radiation
has its source in the central vertical line as a rule, almost always. This vertical could be disturbed if God's hand
is present in the upper corner of the icon since it demands specific solution
of light (see mandorla).
The prayer and the right approach
to the icon will be of great help to the iconographer solving this difficult
task. Presentations of events become unique entireties from Eshaton similar
to the presentation of a single Saint, so the icon as a sacred object finds
its place from Eshaton to real world (remainder remains that central vertical
line originates from the basic composition of the icon - see Research in iconography).
The Crucifixion
The earliest example of the
icon of Jesus Christ presented with closed eyes is the Crucifixion
(7-th Century, Sinai) which suggests his suffering by body on the Cross. During
the Middle Ages this expression of suffering will prevail which
means that human nature of Jesus Christ becomes more dominant. So, human nature prevails the icon's message together with
the presentation of the entire body. It is the matter of our interest how
to achieve an equilibrium in this presentation and how to express the two
natures of Jesus Christ on the Cross more completely.
The
Crucifixion through centuries
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Sinai,
8-th century Studenica, 13-th century Ohrid, 13-th century
Here we have one of the comprehensive
aspects of the Message of the Crucifixion, actually the possible interpretation
of the Cross and the proposition of the answer to
the previous question. Vertical axis is the Heavens Axis where God descends
and takes bodily shape, namely, the Holy Face as the evidence of his presence.
Our proposal-presentation of the icon Crucifixion originates from the
presentation of the icon of the Holy Face (remainder: Theology of Icon, the
very first icon is the one made by God himself and all the icons originate
from that one which was not made by human hand). Starting from the bottom
to the top of icon we can read: sin presented as Adam's skull (the blood of
Jesus Christ washes off the Primal Sin) on the bottom, on the top the Heavenly
Kingdom (God's hand in mandorla accepts the righteous
souls) by and through Jesus Christ. The widening of the vertical axis can
be noticed only in the upper sphere, which symbolizes the endlessness
of the Heavens world. The Action and the Will of the Holy Trinity is there
as well. The mandorla's dark center is
interpreted and apprehended as incapability to comprehend God's light, which
spreads and overpowers natural cognitive light. Spreading of the God's
light is universal. In the case of the icon The Crucifixion within
this universal spreading we will follow the spreading
alongside the vertical and thereafter the horizontal axis. Cross-shaped gold
platted surface confirms that this is the right approach (remainder: gold
is a symbol of God's light in iconography). Therefore, we can read that God's
Message expressed in the icon The Crucifixion, consists of the crucifixion
not only in the physical sense but of entirety of the being as well.
The act of crucifixion implies
separation and unification, recognition of polarities and reconciliation in
the unity of polarities. Reconciliation is in the center of the Cross
where equilibrium is, where the center of the entire world is, actually
in the Holy Face. Reconciliation originates from the Crucifixion and emerges
in belief (the more the poles are distant in the beginning, the better benefited
the achievement in the equilibrium and the fate better founded as well). The
gold platted Cross: gold is the God's light so the Cross made by
God is given to the mankind as the path sign. One of the numerous polarities
(according to traditional expression of the Crucifixion) joy and sadness,
day and night or rationality and emotion are given to us from God as a gift
through his messengers: two angels above the horizontal axis. We will concentrate
on the horizontal axis. This is the axis of the Earth, the axis of knowledge
given to us from the time of Moses (the Old Testament) to the time of Saint
John the Theologian (the New Testament - the Revelation). This axis presents
our existence and cognition. It is meaningful only when crossed by vertical
axis (to the sign of the Cross). Then we can talk about the contemplation
(high level of recognition). The lower part of the icon is filled with the Festivals of our Lord as the historical
testimony of the life of Jesus Christ and the life of the Mother of God. The
Festivals begin with the Annunciation and end with the Ascension of the Mother
of God. Mother of God is the first human being who ascended to the Heaven.
By reading the Festivals of our Lord, namely by understanding the clear message
at the end and also by tending to polarize, actually, by better understanding
the most opposite poles within our living and finding reconciliation we contemplate
Love, Fate and hope for the Salvation. The white background in our icon reveals
and means purity, clearness and absoluteness of the Truth. The Crucifixion
in its unity contains all the polarities, all the human doubts and torments.
It calls for revelation of the crucified within self, for love, wisdom and
benefaction. Once comprehended deep inside, the Crucifixion leads us to podobje - godlikeness (which means similarity
with God). For that reason, in our icon of the Crucifixion,
the crucified body of our Lord is not in the center of the cross (physical
suffering) but the HOLY FACE, actually the very reason for crucifixion, accomplishing
podobje - the godlikeness, similarity with
God.
Look
The Crucifixion, iconographer by Jugoslav, 98 x
98 cm, 2003
The Icon of
Orthodoxy
Another research of the composition
of the icon is proposed here. The starting point
in the creation of this icon was the traditional composition of Deisis
as triptych. The right part of the triptych contains the Crucifixion presenting
Body, Passion and Sacrifice. In the traditional presentation of Deisis
Mother of God is present in this part; the first
godlike human being. The connection between Deesis
and the Icon of Orthodoxy is realized
here by the presentation of God Man and his bodiliness
and passion. The instruction given to us by God, crucifixion and solution
of this human state, through bloodless sacrifice seems to us as a path to
the Truth. The Holy Face, namely the Truth, is in the central position (in
the traditional presentation Jesus Christ is presented
on the throne). Left part of the triptych contains the Hand of God with righteous
and accepted souls. Faith, Hope and Love. The left
part of triptych, on traditional composition of Deesis
contains the presentation of Saint John the Baptist, namely the one who announces
the arrival of the Salvation. We have proposed the presentation of the symbol
of Salvation, namely, a God's Hand holding righteous souls. In that way the symbol clearly announces Evangelistic Message.
The illustrated triptych can be named the Icon of
Orthodoxy.
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The Icon
of Orthodoxy,
by iconpainter Jugoslav,
triptiph 38 x 83cm, 2003