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The Mandylion, The Holy Face,
"The Image Not Made by Hands"
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2005
photograph by Richard Anderson
Icons of this type, showing the face of Jesus (without neck or body) on a
white cloth, are much beloved among Eastern Orthodox believers.
There is a legend that King Abgar of Edessa sent a message to Jesus,
asking him to come and heal the king of a severe illness. Instead, Jesus
pressed his face to a cloth, imprinting the image of his face - which is why
this is considered the most true and accurate icon of Christ. When Abgar
received the cloth, he was cured.
"The Image Not Made by Hands"
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2005
photograph by Richard Anderson
Icons of this type, showing the face of Jesus (without neck or body) on a
white cloth, are much beloved among Eastern Orthodox believers.
There is a legend that King Abgar of Edessa sent a message to Jesus,
asking him to come and heal the king of a severe illness. Instead, Jesus
pressed his face to a cloth, imprinting the image of his face - which is why
this is considered the most true and accurate icon of Christ. When Abgar
received the cloth, he was cured.
Christ Pantocrator (Ruler of All, Sustainer of All),
"Eternal Light"
Egg tempera and gold leaf on sculpted board, 12.5 x 13 inches, 2003
photograph by Richard Anderson
Christ as Pantocrator, or Ruler of All, is typically painted overhead on the
central dome of an Orthodox church building. Such an icon must "read"
from every direction on the floor below.
This icon is based on such a painting, an 18th-century fresco in the outer
narthex of the Holy Monastery of Karakalloy, Mount Athos, Greece.
Jesus Christ is presented as a classical philosopher, holding a golden
gospel book symbolic of his teaching. The starry sky background shows
his cosmic status - and the eight-pointed star surrounding him implies
that he is the brightest star of all.
Christ is surrounded by four archangels and by four 6-winged seraphs.
The words in the margin come from a medieval hymn.
"Eternal Light"
Egg tempera and gold leaf on sculpted board, 12.5 x 13 inches, 2003
photograph by Richard Anderson
Christ as Pantocrator, or Ruler of All, is typically painted overhead on the
central dome of an Orthodox church building. Such an icon must "read"
from every direction on the floor below.
This icon is based on such a painting, an 18th-century fresco in the outer
narthex of the Holy Monastery of Karakalloy, Mount Athos, Greece.
Jesus Christ is presented as a classical philosopher, holding a golden
gospel book symbolic of his teaching. The starry sky background shows
his cosmic status - and the eight-pointed star surrounding him implies
that he is the brightest star of all.
Christ is surrounded by four archangels and by four 6-winged seraphs.
The words in the margin come from a medieval hymn.
Christ as Man of Sorrows
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2001
photograph by Richard Anderson
Here is Jesus in the crown of thorns and purple robe, as he would have
appeared before Pilate. In Orthodox imagery, Christ never loses his physical
beauty. Images of his passion are presented with only token bleeding and
without the graphically explicit physical suffering often seen in Western versions.
Icons of Christ’s passion take us to our own places of fear, grief, pain, and
horror. Here our beloved Lord, in severe grief and pain and trouble, stands with
us and for us.
Jesus appears chilled and embarrassed. Pilate’s soldiers made him look really
silly in that skimpy purple robe. The knot seems to symbolize his heart. To
emphasize the drama and tension, I painted the inner background red.
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2001
photograph by Richard Anderson
Here is Jesus in the crown of thorns and purple robe, as he would have
appeared before Pilate. In Orthodox imagery, Christ never loses his physical
beauty. Images of his passion are presented with only token bleeding and
without the graphically explicit physical suffering often seen in Western versions.
Icons of Christ’s passion take us to our own places of fear, grief, pain, and
horror. Here our beloved Lord, in severe grief and pain and trouble, stands with
us and for us.
Jesus appears chilled and embarrassed. Pilate’s soldiers made him look really
silly in that skimpy purple robe. The knot seems to symbolize his heart. To
emphasize the drama and tension, I painted the inner background red.
The Christ (the Anointed One), the Savior, Our Lord, the Son of God,
the Teacher, the Master
Jesus is typically depicted as teacher and philosopher. Like other teachers, he
holds a book. His gaze is intent, inquiring, both open and inward. His
heavenly blue outer garment and earthy red inner garment symbolize his dual
nature. The yellow silk ribbon on his shoulder, a mark of high status in the
Roman Empire, denotes the esteem in which we hold him.
His unique halo is marked by a cross and lettering, roughly translatable as “I
am who I am.”
the Teacher, the Master
Jesus is typically depicted as teacher and philosopher. Like other teachers, he
holds a book. His gaze is intent, inquiring, both open and inward. His
heavenly blue outer garment and earthy red inner garment symbolize his dual
nature. The yellow silk ribbon on his shoulder, a mark of high status in the
Roman Empire, denotes the esteem in which we hold him.
His unique halo is marked by a cross and lettering, roughly translatable as “I
am who I am.”
Christ the Teacher, "Come Unto Me" a.k.a. "My Face"
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2004
photograph by Richard Anderson
Jesus is often pictured as with an open book showing one of his sayings; here
"Come unto me, all you who labor and are heavy laden, and I will refresh you."
This icon was painted in a workshop led by a visiting Russian teacher, Fr.
Andrei Davydov. It uses some pigments which were new to me at the time; and
it is more stylized than my usual work.
One Sunday morning, this icon was on a stand beside the church door, when a
stranger entered and stared at it intently. Before I could stop him, he grabbed
3 ball point pens and wrote in large letters on the back of the icon: MY FACE.
Then he left, and we have not seen him again.
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2004
photograph by Richard Anderson
Jesus is often pictured as with an open book showing one of his sayings; here
"Come unto me, all you who labor and are heavy laden, and I will refresh you."
This icon was painted in a workshop led by a visiting Russian teacher, Fr.
Andrei Davydov. It uses some pigments which were new to me at the time; and
it is more stylized than my usual work.
One Sunday morning, this icon was on a stand beside the church door, when a
stranger entered and stared at it intently. Before I could stop him, he grabbed
3 ball point pens and wrote in large letters on the back of the icon: MY FACE.
Then he left, and we have not seen him again.
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Christ the Teacher,
"The Kingdom of God is Within You"
egg tempera and gold leaf on shaped sculpted board,
6 x 6.6 inches, 2006
photograph by Richard Anderson
This small personal icon was painted for my
bedroom.
"The Kingdom of God is Within You"
egg tempera and gold leaf on shaped sculpted board,
6 x 6.6 inches, 2006
photograph by Richard Anderson
This small personal icon was painted for my
bedroom.
Back to Gallery
Head of Christ
egg tempera and gold leaf on sculpted board
9.5 x 12.5 inches, 1999
photograph by David Elliott
egg tempera and gold leaf on sculpted board
9.5 x 12.5 inches, 1999
photograph by David Elliott
Betsy Porter
Art and Iconography
ICONS OF JESUS and SCENES FROM HIS LIFE
Art and Iconography
ICONS OF JESUS and SCENES FROM HIS LIFE
The Transfiguration of our Lord Jesus Christ
egg tempera and gold leaf on sculpted board
12 x 16 inches, 2003
photograph by Richard Anderson
During a tense period leading up to Jesus’ crucifixion, he asked three
disciples to climb with him up Mount Tabor. There the disciples had
an overwhelming vision of Jesus illuminated by divine light, and
discussing his coming death with the prophets Elijah and Moses.
Every iconographer seeks to capture the brilliant and mysterious
“uncreated light” of the Transfiguration as the interior source of light
for the icon.
In order to evoke the intense light, the background is gilded. The
three disciples James, John, and Peter are depicted without halos.
egg tempera and gold leaf on sculpted board
12 x 16 inches, 2003
photograph by Richard Anderson
During a tense period leading up to Jesus’ crucifixion, he asked three
disciples to climb with him up Mount Tabor. There the disciples had
an overwhelming vision of Jesus illuminated by divine light, and
discussing his coming death with the prophets Elijah and Moses.
Every iconographer seeks to capture the brilliant and mysterious
“uncreated light” of the Transfiguration as the interior source of light
for the icon.
In order to evoke the intense light, the background is gilded. The
three disciples James, John, and Peter are depicted without halos.
THE PRESENTATION OF OUR LORD JESUS CHRIST
IN THE TEMPLE OF JERUSALEM
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2002
Photograph by Richard Anderson
The Temple of Jerusalem was the pride of the Jewish people, the moral and
spiritual center of their nation, and the repository of their culture and scholarship.
The Temple remains central to the symbolism of Orthodox Christianity and
appears in many icons. Every Orthodox church building is modeled on the Temple.
It was customary that a firstborn son should be taken to the temple 40 days after
his birth and dedicated to God. The parents would also bring two pigeons to be
sacrificed. Here (Luke 2:22-38) we see Joseph and Mary bringing the young
Jesus to the Temple, where they are surprised by the old scholar Simeon, who has
been guided to them by the Holy Spirit.
Amazingly, Mary lets Simeon hold her precious baby. In this version, Jesus is
depicted as older than his 40 days, in intense discussion with Simeon. (I love the
way the halos of Mary, Jesus, and Simeon are shown in a cluster.) The elderly
widow Anna, who lives in the Temple, also recognizes this special child and praises
God.
IN THE TEMPLE OF JERUSALEM
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2002
Photograph by Richard Anderson
The Temple of Jerusalem was the pride of the Jewish people, the moral and
spiritual center of their nation, and the repository of their culture and scholarship.
The Temple remains central to the symbolism of Orthodox Christianity and
appears in many icons. Every Orthodox church building is modeled on the Temple.
It was customary that a firstborn son should be taken to the temple 40 days after
his birth and dedicated to God. The parents would also bring two pigeons to be
sacrificed. Here (Luke 2:22-38) we see Joseph and Mary bringing the young
Jesus to the Temple, where they are surprised by the old scholar Simeon, who has
been guided to them by the Holy Spirit.
Amazingly, Mary lets Simeon hold her precious baby. In this version, Jesus is
depicted as older than his 40 days, in intense discussion with Simeon. (I love the
way the halos of Mary, Jesus, and Simeon are shown in a cluster.) The elderly
widow Anna, who lives in the Temple, also recognizes this special child and praises
God.
Christ the Teacher, "Fear Not, Little Flock"
egg tempera and gold leaf on shaped sculpted board, 11 x 12.5 inches, 2006
photograph by Richard Anderson
I liked the small icon so much that I painted this larger one, a size suitable for display in church.
In this icon, Jesus looks quite youthful - he seems to be just starting out on his ministry, and people are listening to
what he has to say. Christ’s expression is full of hope for his mission and for his followers.
egg tempera and gold leaf on shaped sculpted board, 11 x 12.5 inches, 2006
photograph by Richard Anderson
I liked the small icon so much that I painted this larger one, a size suitable for display in church.
In this icon, Jesus looks quite youthful - he seems to be just starting out on his ministry, and people are listening to
what he has to say. Christ’s expression is full of hope for his mission and for his followers.
Christ Pantocrator (Ruler of All)
egg tempera and gold leaf on sculpted board
11 x 14 inches, 1999
photograph by Richard Anderson
egg tempera and gold leaf on sculpted board
11 x 14 inches, 1999
photograph by Richard Anderson
The Mandylion or The Holy Face
egg tempera and gold leaf on panel, 5 x 6 inches, 2008
This beloved icon type has many variations. Here it is painted
as a small personal icon, on a postcard-sized panel.
egg tempera and gold leaf on panel, 5 x 6 inches, 2008
This beloved icon type has many variations. Here it is painted
as a small personal icon, on a postcard-sized panel.