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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.
In this useful guidebook, the authors debunk common misconceptions about Orthodox icons and explain how they might enrich the devotional lives of non-Orthodox Christians.
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.
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.
Originally part of a series of broadcasts made by the author prior to World War II, this small book was meant "to present some of the great truths concerning man’s spiritual life in simple language.” As one critic has noted, “Underhill has admirably and eloquently achieved her objective.” Evelyn Underhill was a prolific British writer on mysticism and spiritual growth. Her other books include The School of Charity and Abba.
How do space and architecture shape liturgical celebrations within a parish? In Theology and Form: Contemporary Orthodox Architecture in America, Nicholas Denysenko profiles seven contemporary Eastern Orthodox communities in the United States and analyzes how their ecclesiastical identities are affected by their physical space and architecture. He begins with an overview of the Orthodox architectural heritage and its relation to liturgy and ecclesiology, including topics such as stational liturgy, mobility of the assembly, the symbiosis between celebrants and assembly, placement of musicians, and festal processions representative of the Orthodox liturgy. Chapters 2–7 present comparative case studies of seven Orthodox parishes. Some of these have purchased their property and built new edifices; Denysenko analyzes how contemporary architecture makes use of sacred space and engages visitors. Others are mission parishes that purchased existing properties and buildings, posing challenges for and limitations of their liturgical practices. The book concludes with a reflection on how these parish examples might contribute to the future trajectory of Orthodox architecture in America and its dialogical relationship with liturgy and ecclesial identity.
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.
Solrunn Nes, one of Europe's most admired iconographers, illuminates the world of Christian icons, explaining the motifs, gestures, and colors common to these profound symbols of faith. Nes explores in depth a number of famous icons, including those of the Greater Feasts, the Mother of God, and a number of the better-known saints, enriching her discussion with references to Scripture, early Christian writings, and liturgy. She also leads readers through the process and techniques of icon painting, showing each step with photographs, and includes more than fifty of her own original works of art.
Living Icons presents an intimate portrait of holiness as exemplified in the lives and thoughts of ten people of faith in the Eastern Orthodox Church. In this inspiring volume, Michael Plekon introduces readers to a diverse and unusual group of men and women who strove to put the Gospel of Christ into action in their lives. The "living icons" Plekon describes were, among other things, priests, theologians, writers, and caregivers to the homeless and poor. One was an artist who became the greatest icon painter in this century; another was assassinated for his teachings in post-Soviet Russia. These remarkable people of faith lived through times of great suffering: forced emigration, the Great Depression, World War II, and the Cold War. Many of them were criticized, if not condemned, by ecclesiastical opponents and authorities. Yet each demonstrate a unique pattern for holiness, illustrating that the path to sainthood is open to all. With the fall of state socialism, Eastern Orthodox churches and monasteries are being reopened and receiving renewed interest from believers and nonbelievers alike. Plekon calls to our attention people like Saint Seraphim of Sarov (1759-1832), a monk, mystic, counselor, healer, and visionary; Father Alexander Men (1935-1990), a Russian whose writings after Glasnost ultimately led to his tragic assassination; Mother Maria Skobtsova (1891-1945), a painter, poet, and political activist who was killed in a concentration camp for hiding her Jewish neighbors; and Father Lev Gillet (1893-1980), one of the twentieth century's greatest spiritual teachers. Living Icons, which includes a foreword by Lawrence S. Cunningham, brings to life the beautiful, and often unfamiliar, spirituality of the Eastern Orthodox Church through some of its most remarkable members. It shows with simplicity and clarity that Christ and the Gospel are often manifested in extraordinary ways in the lives of ordinary people.