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Iconography
endeavors to negate physical reality in
order to portray reality as transformed by
Grace. Complex and deliberate artistic
techniques are used to do this. The
iconographer purposely elongates the body
and features of the saints so that the
observer will see not the human but the
aesthetic nature. To portray the presence of
God's glory within a saint, skin tones are
ochre rather than pink giving a shadowless
illusion of inner light. The halo surrounds
the head as a radiating presence of this
same spiritual light.
Mouths are small and closed as a reminder to
take care when one speaks. High foreheads
and large and widely set eyes reflect wisdom
and openness to God's grace. Long thin noses
offer minimum access for the aromas of
reality to enter the holy one. Full-faced
images or half-turned images with both eyes
showing are used. When depicting holy
personages, gaunt facial features are
similar from figure to figure. Hair,
posture, and setting are used rather than
personal physical features to individualize
the images. The body is deemphasized by the
voluminous folds of clothing.
Being difficult to immediately identify
because of similarity of features, the
saints are identified by name on the right
side top of the icon. Agios written to the
left of the image means Saint. Icons of
events from the Gospels are also titled.
Names and titles can be written both
horizontally and vertically and often are
written on multiple lines for artistic
effect. Abbreviations use first and last
letters of words.
Inverted perspective and use of space in
icons are additional tools used to convey
theological concepts. Two dimensional or
even reversed perspective is used by design
to take one's mind from reality to the
divine. One should not come away impressed
with the worldly beauty depicted in an icon.
Distortions are intentional, often used as a
technique to draw one's eye to the prominent
figure in the icon. The flat gold
backgrounds allow concentration on only the
image. In icons with multiple figures,
relative size of the figures and distorted
posturing reflect their relative importance
theologically.
In the fourth
century when Constantine stopped persecution
of the Christians and formally recognized
the Christian faith, the Church flourished.
Thousands were converted. With so many new
to the faith, instruction and proper worship
became very important. Iconography was seen
as an important vehicle for instruction in
the symbolism of the liturgy and faith for
the growing Church. Maintaining and
enhancing the integrity of their instruction
was secured by the placement of iconography
according to the teachings of the Church. By
the ninth century the Iconoclastic
destruction had passed and the classic
design for placement of iconography was well
established. From the ninth to the 16th
century iconographic creativity and richness
of style continued to flourish within the
parameters set by the Church Fathers.
Even after the
Great Schism with the Western Church in 1054
AD, iconography continued to flourish in the
Eastern Church. With the plunder of
Constantinople in the 1200s by the
Crusaders, however, the master artisans of
the Byzantine Empire scattered to Italy, Mt.
Athos and other areas of the Mediterranean
world. The ecclesiastical center of
Orthodoxy moved from Constantinople to
Nicaea in Asia Minor. This period of
Paleologan Renaissance was the last majestic
period of the Byzantine Empire. Iconography
of this period reflected greater emotion and
intensity as the Church was influenced by
monastic traditions concerning the role of
the Holy Spirit.
Contemporary
iconography has been influenced by the noted
Greek oceanographer Fotis Kontoglou
(1895-1965) who led a return to the classic
Byzantine style. Orthodox iconography is
today recognized as a treasure for all ages
as witnessed by the popularity of Orthodox
Sacred Art exhibits mounted at such
prestigious institutions as the Art
Institute of Chicago and the New York
Metropolitan Museum of Art. Icons are the
legacy and treasure of the Orthodox faith
and still fulfill their role as “Windows to
Heaven'' for all who choose to see.
(Written
by Faye Peponis, who has served the Greek
Orthodox Church for over 35 years in various
administrative and teaching capacities. She
holds a Bachelor's Degree in Education from
DePaul University and a Master's in
Education from Purdue University.)
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Excerpts and Photography
from
Ecclesia: Greek Orthodox Churches
of the Chicago Metropolis
by Panos Fiorentinos
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