| All rights reserved. |
Betsy Porter
Art and Iconography
CREATION and the DIVINE ORDER
Art and Iconography
CREATION and the DIVINE ORDER
The creative power of God can be imagined as a passionate and inquiring
Wisdom, a Logos, a Spirit which supports and pervades the universe.
How can anyone make icons of this creative force? Although the Orthodox
tradition provides only a few examples, inspiration is everywhere!
Several of the icons on this page have a dark blue background shining with
8-pointed stars, to emphasize the cosmic importance of the event or person
depicted.
Wisdom, a Logos, a Spirit which supports and pervades the universe.
How can anyone make icons of this creative force? Although the Orthodox
tradition provides only a few examples, inspiration is everywhere!
Several of the icons on this page have a dark blue background shining with
8-pointed stars, to emphasize the cosmic importance of the event or person
depicted.
ADAM AND EVE
Egg tempera and gold leaf on sculpted board, 9 x 12 inches, 2003
Inspired by a woodcut illustration by Caren Loebel-Fried
Photograph by Richard Anderson
Although this was painted as a secular piece, a wedding gift for my
nephew and his bride, many friends have seen it as depicting Adam and
Eve in the Garden of Eden.
The parents of us all, sexual and unashamed, make their bed in a
friendly plant, surrounded by the moon and stars. The roots of the plant
go deep into the unknown and mysterious past, and its leaves reach out
in expectation and hope to an equally unknown future.
Adam and Eve have a difficult life ahead. But in this special moment, love
is all, and the universe is beautiful.
Egg tempera and gold leaf on sculpted board, 9 x 12 inches, 2003
Inspired by a woodcut illustration by Caren Loebel-Fried
Photograph by Richard Anderson
Although this was painted as a secular piece, a wedding gift for my
nephew and his bride, many friends have seen it as depicting Adam and
Eve in the Garden of Eden.
The parents of us all, sexual and unashamed, make their bed in a
friendly plant, surrounded by the moon and stars. The roots of the plant
go deep into the unknown and mysterious past, and its leaves reach out
in expectation and hope to an equally unknown future.
Adam and Eve have a difficult life ahead. But in this special moment, love
is all, and the universe is beautiful.
THE TREE OF LIFE
Egg tempera and gold leaf on shaped sculpted board, 13 x 15.6 inches, 2006
Photograph by Richard Anderson
This piece was commissioned by the Island Press of Washington,
DC, and used as cover art for Evolution and Christian Faith by Joan
Roughgarden.
It symbolically depicts the numerous and inter-related life forms of
planet Earth, coming into being in response to the presence of the
Holy Spirit, shown as a descending dove. The image contains air,
land, and sea, by day and by night, all filled with active small
creatures. All of the creatures are in contact with the tree, its trunk
and branches and roots.
This highly detailed image took at least 80 hours to complete. It is
much influenced by American folk art. Nature guidebooks were of
great help in painting the little creatures.
Egg tempera and gold leaf on shaped sculpted board, 13 x 15.6 inches, 2006
Photograph by Richard Anderson
This piece was commissioned by the Island Press of Washington,
DC, and used as cover art for Evolution and Christian Faith by Joan
Roughgarden.
It symbolically depicts the numerous and inter-related life forms of
planet Earth, coming into being in response to the presence of the
Holy Spirit, shown as a descending dove. The image contains air,
land, and sea, by day and by night, all filled with active small
creatures. All of the creatures are in contact with the tree, its trunk
and branches and roots.
This highly detailed image took at least 80 hours to complete. It is
much influenced by American folk art. Nature guidebooks were of
great help in painting the little creatures.
THE HOLY TRINITY
Egg tempera and gold leaf on shaped sculpted board,
13 x 15.6 inches, 2004
Based on an icon by Andrei Rublev in the Tretyakov Museum, Moscow
Border inscription from Christopher Bamford (paraphrased)
Photograph by Richard Anderson
This highly symbolic image of three angels, gathered around a
table outdoors, has become the most popular and beloved icon
of the Holy Trinity: Father, Son, and Holy Spirit. They are
pictured at a moment of solemn decision as to their future
relationship with the problematic human race. The bread and
wine on the table prefigure the Eucharist, and remind us that
their decision is not without cost.
This icon type derives from the story (Genesis 18: 1-15) of
Abraham and his wife Sarah, an elderly and childless couple
who entertained three mysterious strangers, outside their tent
under the oak trees. The strangers promised that Sarah would
bear a son whose descendants would become a great nation.
Earlier icons of “The Hospitality of Abraham,” showing Abraham
and Sarah with their visitors, gradually developed into “The Holy
Trinity,” where only the three angelic visitors are depicted.
Egg tempera and gold leaf on shaped sculpted board,
13 x 15.6 inches, 2004
Based on an icon by Andrei Rublev in the Tretyakov Museum, Moscow
Border inscription from Christopher Bamford (paraphrased)
Photograph by Richard Anderson
This highly symbolic image of three angels, gathered around a
table outdoors, has become the most popular and beloved icon
of the Holy Trinity: Father, Son, and Holy Spirit. They are
pictured at a moment of solemn decision as to their future
relationship with the problematic human race. The bread and
wine on the table prefigure the Eucharist, and remind us that
their decision is not without cost.
This icon type derives from the story (Genesis 18: 1-15) of
Abraham and his wife Sarah, an elderly and childless couple
who entertained three mysterious strangers, outside their tent
under the oak trees. The strangers promised that Sarah would
bear a son whose descendants would become a great nation.
Earlier icons of “The Hospitality of Abraham,” showing Abraham
and Sarah with their visitors, gradually developed into “The Holy
Trinity,” where only the three angelic visitors are depicted.
THE FOURTH DAY OF CREATION
Egg tempera and gold leaf on sculpted board, 12 x 12.5 inches, 2002
Based on a woodcut from a Venetian Bible, 1511
Border inscription from Bishop Seraphim Segrist
On the fourth day of Creation (Genesis 1: 14-19), God fills the sky
with sun, moon, and stars – dancing them into being! Plants have
already started to grow on the young earth; but fish and birds and
animals are yet to come.
This is the springtime of the world, full of possibility!
Egg tempera and gold leaf on sculpted board, 12 x 12.5 inches, 2002
Based on a woodcut from a Venetian Bible, 1511
Border inscription from Bishop Seraphim Segrist
On the fourth day of Creation (Genesis 1: 14-19), God fills the sky
with sun, moon, and stars – dancing them into being! Plants have
already started to grow on the young earth; but fish and birds and
animals are yet to come.
This is the springtime of the world, full of possibility!
THE HOLY SILENCE or THE SILENCE OF GOD
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2006
Photograph by Richard Anderson
The mysterious figure in this icon, personifying the silence of God, is identified
with Christ but is here depicted as a female angel. Although dressed and
crowned as a princess, she does not seek to be noticed, but holds her hands
crossed in peaceful expectancy, to receive whatever God offers her.
This icon type was popular in 18th-19th century Russia, and is identified with
the silent inward “breath prayer” or “prayer of the heart,” a brief personal
mantra containing a name of God, repeated constantly until it becomes
integral to the rhythms of body and soul. The inscriptions in the border come
from The Way of a Pilgrim, a classic description of this way of prayer.
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2006
Photograph by Richard Anderson
The mysterious figure in this icon, personifying the silence of God, is identified
with Christ but is here depicted as a female angel. Although dressed and
crowned as a princess, she does not seek to be noticed, but holds her hands
crossed in peaceful expectancy, to receive whatever God offers her.
This icon type was popular in 18th-19th century Russia, and is identified with
the silent inward “breath prayer” or “prayer of the heart,” a brief personal
mantra containing a name of God, repeated constantly until it becomes
integral to the rhythms of body and soul. The inscriptions in the border come
from The Way of a Pilgrim, a classic description of this way of prayer.
 |  |  |  |  |  |
 |
 |
 |
 |
 |
 |
SOPHIA, THE WISDOM OF GOD
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 1999
Photograph by David Elliott
Sophia, the personification of Holy Wisdom, appears in Proverbs 8 as
present and assisting at the Creation, and in Proverbs 9:1-6 as a hostess
who invites everyone to her feast. She has been much revered in eastern
Orthodoxy. Churches and cathedrals, most famously Hagia Sophia in
Constantinople-Byzantium-Istanbul, have been dedicated to her. More
recently, she has been understood as a feminine image of God.
Orthodox icons depict Sophia as a red-winged angel, enthroned as empress,
the central figure in a large composition. Here I have developed the central
figure as depicted in Scripture, hostess and priest at that wonderful banquet
to which she graciously invites us all.
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 1999
Photograph by David Elliott
Sophia, the personification of Holy Wisdom, appears in Proverbs 8 as
present and assisting at the Creation, and in Proverbs 9:1-6 as a hostess
who invites everyone to her feast. She has been much revered in eastern
Orthodoxy. Churches and cathedrals, most famously Hagia Sophia in
Constantinople-Byzantium-Istanbul, have been dedicated to her. More
recently, she has been understood as a feminine image of God.
Orthodox icons depict Sophia as a red-winged angel, enthroned as empress,
the central figure in a large composition. Here I have developed the central
figure as depicted in Scripture, hostess and priest at that wonderful banquet
to which she graciously invites us all.
Christ Emmanuel (at right)
egg tempera, shell gold, and gold leaf on shaped panel, 9.5 x 12.5 inches, 2007
photograph by Richard Anderson
In this highly symbolic representation, the Christ Child is shown as Eternal
Logos, awaiting incarnation as the Light of the World.
His garments are illuminated with fine gold lines ("shell gold") applied over the
paint. This historic technique requires careful workmanship and advance
planning.
egg tempera, shell gold, and gold leaf on shaped panel, 9.5 x 12.5 inches, 2007
photograph by Richard Anderson
In this highly symbolic representation, the Christ Child is shown as Eternal
Logos, awaiting incarnation as the Light of the World.
His garments are illuminated with fine gold lines ("shell gold") applied over the
paint. This historic technique requires careful workmanship and advance
planning.
Back to Gallery
Christ Emmanuel (at left)
egg tempera and gold leaf on sculpted board, 9.5 x 10 inches, 2002
Here is a simpler and "earthier" interpretation of that longed-for baby, the future
of the human race, the hope of the world, the potential of each one of us.
egg tempera and gold leaf on sculpted board, 9.5 x 10 inches, 2002
Here is a simpler and "earthier" interpretation of that longed-for baby, the future
of the human race, the hope of the world, the potential of each one of us.
