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Icons
TECHNIQUE
In early Christian centuries a variety of mediums were used for icons: marble, ivory,
tapestry, mosaics, gold, silver, enamel, terra cotta. Most commonly, however, icons are
painted on a wood panel, which is prepared with a layer of gesso, covered with canvas,
then a series of layers of glue and powdered chalk, and finally polished. The outline of the
picture is traced with a stylus or, in Russia, sketched in red paint. The background is
painted first, often with gold leaf, or a neutral color. Silver or red are not uncommon either.
The figure is painted with tempera of mainly earth colors, painted in several thin layers.
When completed it is sealed. The icons of antiquity almost never dried, thus collecting dust
and smoke from burning candles and incense which blurred the image and added to its
mysterious effect.
The Divine Wisdom, End of the 16C, Novgorodian School
Reverse perspective, a method of structuring the figures according to (unseen)
geometric outlines, arranges the lines of perspective towards the viewer in order to draw
him/her into communication with the persons in the icon. The divine is expressed through
circular structures and the earthly domain by rectangles. Usually there is a cross
underlying the structure and the figures are arranged symmetrically so that the focal point
is Christ or the Mother of God.
The Resurrection
Icons ignore time and space. Rather the value of a subject determines its size and
position in the general layout, with the possibility of portraying simultaneously scenes that
historically took place in different times and locations. For example, in the icon of the
Nativity, the main scene of the birth is in the center. Around it are smaller scenes of related
events of the early life of Jesus. The importance of a figure will determine its size in the
icon, so that one can quite literally speak of spiritual giants.
Icon of the Visitation by Three Magi to the Christ Child, 13C.
An absence of movement or shade gives the effect of freeing one of anything that
would distract from communion with the divine. There is never a source of natural light, for
God is the light of the transfigured world. To give the effect of divine light radiating out from
within a person, the face is painted dark and then layer by layer, lighter. Accents in clothes
are done with white or gold, rather than dark shades of color.
There are three main schools of icon styles:
1) From Constantinople with characteristics of asceticism and royal grandeur. Russian art
belongs to this category.
2) From Macedonia which portrays more roundness in form.
3) From Crete which used subdued colors and whose subjects have elongated features.
SYMBOLISM
Icons have a sort of shorthand in symbols that remind the viewer of fundamental
beliefs. The name printed on an icon not only signifies the presence of the person
portrayed, but also is a seal of holiness and blessing. The pose of an icon usually shows
the subject looking into the eyes of the viewer with a serious, matter-of-fact expression,
since one tried to portray the spiritual, not human qualities of the saints. On the other
hand, if a person stands in profile, it indicates one who is not open to the divine or has
not yet reached holiness. When a hand is raised in blessing with the last two fingers
touching the thumb, one is reminded of the divine and human natures of Christ.
When the blessing shows the ring finger touching the thumb, the Trinity is called to mind.
Color, as the expression of rainbow light, is very symbolic in iconography. GOLD,
color of the noonday sun, reveals the divine light which permeates all of the transfigured
world and is the color for Christ himself. It is most commonly used as the background of
an icon, creating a space that is out of the dimensions of this world. WHITE represents the
light, the eternal, those who are penetrated by the divine light, and purity. It is the color of
the Father because he was never incarnate but always invisible. BLUE is the color of faith,
of transcendence, humility, the mystery of divine life. Blue and white are the colors of the
Virgin Mary who is detached from this world and centered on the divine. RED signifies
youth, beauty, wealth, health, love, and war. It is the color of the Holy Spirit, of sacrifice
and of altruism. On its other side it can express hatred, pride or hell. PURPLE is both royal
and priestly. GREEN, derived from plants, symbolizes spiritual regeneration, peace and
calmness, and is often used for the prophets and of John the Evangelist who herald the
Holy Spirit. Pure YELLOW stands for truth but pale yellow for pride, adultery and betrayal.
BROWN is the tone of the earth, the transfigured land, or as in the case of monks' habits,
shows a slow death to the world, like decaying leaves. BLACK is the denial of all light so
it suggests chaos, anxiety, and death, but in contrast promises the coming light and new
creation. The damned are painted black and sometimes demons.
Mother of God Miroschskaja with Prophets, 12C.
Categories of saints are distinguishable by their clothing, objects in their hands, and
age. Evangelists wear tunics and display their books. Bishops, dressed in liturgical
vestments hold a book or scroll. Monks are clothed in a habit and stand straight and
disciplined like columns. Soldiers might be in a position showing movement, clad in military
uniform and carrying weapons. Bishops and monks are portrayed well advanced in years;
soldiers, doctors and women are young. Individuality of particular male saints is indicated
by the color, length and style of hair and beard.
St. Nicholas
Women are usually indistinguishable
except by the name written on the icon.
Example of Iconostasis Icon
The facial features reveal the inner attitude of saints. Eyes are large symbolizing
faith in God, while the long and slender nose shows dignity. The mouth is small, the ears
large, to remind one to listen to God's word and speak little. Spiritual wisdom and the
power of the Spirit are detected in the large forehead, and the overall slender appearance
reveals fasting and asceticism. The figures are abstract and unnatural to remind us that
on our own we do not approach God, but that he takes the initiative to draw us to himself.
The light in an icon seems unrealistic because it comes from within the holy person,
revealing the transfiguration of man.
This article was written by Sr. Marcia Vinje for a Mariology course at IMRI.
Introduction/
Theology of Icons/
History/
Kinds of Marian Icons/
Veneration of Images/
Bibliography
Return to Icons' Contents
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