| All rights reserved. |
Betsy Porter
Art and Iconography
ARTICLE ON BYZANTINE-STYLE ICONS - by Betsy Porter
Art and Iconography
ARTICLE ON BYZANTINE-STYLE ICONS - by Betsy Porter
“Hope always draws the soul from the beauty which is seen to what is beyond, always kindles the desire for the hidden
through what is constantly perceived. Therefore, the ardent lover of beauty, although receiving what is always visible as
an image of what he desires, yet longs to be filled with the very stamp of the archetype.”
Saint Gregory of Nyssa
Some History and Background: “Icon” means simply “image.” The term here refers to sacred images, specifically
those developed in the Orthodox Christian tradition.
These traditional images have historically been revered as equivalent in authority to Holy Scripture, as a visual
expression of the Word of God. Some are reputed to perform healing miracles. Each Orthodox church is adorned by
an altar screen (iconostasis) covered with icons, as well as portable icons on stands. An Orthodox home will typically
include a “beautiful corner,” where icons are displayed on a special shelf. Small icons may function as meditation
objects and prayer companions. More than just sacred art, icons are treated with great reverence, as part of an active
relationship with the holy.
Icons are strongly rooted in classical Greek and Roman art. They were developed during the long-lived Byzantine
Empire (330-1453) and its descendant cultures. In recent years, iconography has attracted increased interest and
many new practitioners. The discipline continues to evolve as a living art form.
There are numerous icon styles, most prominently Greek, Russian, and Ethiopian. Most historic examples are paintings
in egg tempera on wood; others are mosaic, fresco, embroidery, tapestry, precious metals, and enamel. The most
familiar icons are half-figures of Jesus, Mary holding the Christ Child, angels, saints, apostles, and prophets. Other
types include faces, full-length figures, traditional group scenes representing special days in the church calendar, and
illustrations of Bible stories and legends of the saints.
In iconography, a number of artistic rules and conventions apply. The underlying drawing is geometrically structured
and proportioned. Color areas are clearly defined. Figures are elongated, eyes large and shadowed, eyebrows
arched, noses long and straight, mouths closed, hands gracefully stylized. The forehead (seat of the intellect) and the
collar bone (gateway to the heart) are emphasized. Both eyes and at least one ear must be visible to enable the holy
figure to see and hear the viewer. Out of respect for the commandment against graven images, Orthodox icons avoid
strongly three-dimensional effects; but the complex cubist-like highlights hint at spiritual dimensions. Perspective is
flattened or even inversed.
The image is diagrammatic as well as representational, floating on a sea of philosophy, theology, and mathematics.
Folds in the garments converge and spiral into power points; hair curls and waves with the saint’s energies; and
increasingly bright layers of highlights symbolize levels of consciousness. Light comes primarily from within the figure.
Icons have been described as “windows into heaven” and as “making the invisible visible.” Even though somber events
may be depicted, there is an underlying mood of confidence, joy, and sometimes a playful humor. The holy figures are
shown in a blessed state, suffused with golden light. They project an intense psychological presence, and may seem to
return your gaze, or even to initiate the scrutiny.
Painting (Traditionally Known as “Writing”) an Icon: Iconography is both a spiritual practice and a non-competitive
artistic discipline. This work is undertaken with prayer, in a contemplative atmosphere. Icons are left unsigned or
signed only on the back, as “by the hand of” the artist.
These sacred images have been lovingly refined over the centuries, so the iconographer does not attempt to re-invent
them, but to copy them faithfully, clearly, and expressively. Originality and “self-expression” are rarely required or
appropriate. If a modern saint or unfamiliar theme is to be depicted, one relies on precedent insofar as possible,
allowing several hours to prepare a satisfactory drawing. But every iconographer develops a unique style and
approach. The individual touch is readily visible in minor variations and in nuances of line quality, detail, highlight, and
color. With concentration and persistence, almost anyone can learn to paint a beautiful icon.
through what is constantly perceived. Therefore, the ardent lover of beauty, although receiving what is always visible as
an image of what he desires, yet longs to be filled with the very stamp of the archetype.”
Saint Gregory of Nyssa
Some History and Background: “Icon” means simply “image.” The term here refers to sacred images, specifically
those developed in the Orthodox Christian tradition.
These traditional images have historically been revered as equivalent in authority to Holy Scripture, as a visual
expression of the Word of God. Some are reputed to perform healing miracles. Each Orthodox church is adorned by
an altar screen (iconostasis) covered with icons, as well as portable icons on stands. An Orthodox home will typically
include a “beautiful corner,” where icons are displayed on a special shelf. Small icons may function as meditation
objects and prayer companions. More than just sacred art, icons are treated with great reverence, as part of an active
relationship with the holy.
Icons are strongly rooted in classical Greek and Roman art. They were developed during the long-lived Byzantine
Empire (330-1453) and its descendant cultures. In recent years, iconography has attracted increased interest and
many new practitioners. The discipline continues to evolve as a living art form.
There are numerous icon styles, most prominently Greek, Russian, and Ethiopian. Most historic examples are paintings
in egg tempera on wood; others are mosaic, fresco, embroidery, tapestry, precious metals, and enamel. The most
familiar icons are half-figures of Jesus, Mary holding the Christ Child, angels, saints, apostles, and prophets. Other
types include faces, full-length figures, traditional group scenes representing special days in the church calendar, and
illustrations of Bible stories and legends of the saints.
In iconography, a number of artistic rules and conventions apply. The underlying drawing is geometrically structured
and proportioned. Color areas are clearly defined. Figures are elongated, eyes large and shadowed, eyebrows
arched, noses long and straight, mouths closed, hands gracefully stylized. The forehead (seat of the intellect) and the
collar bone (gateway to the heart) are emphasized. Both eyes and at least one ear must be visible to enable the holy
figure to see and hear the viewer. Out of respect for the commandment against graven images, Orthodox icons avoid
strongly three-dimensional effects; but the complex cubist-like highlights hint at spiritual dimensions. Perspective is
flattened or even inversed.
The image is diagrammatic as well as representational, floating on a sea of philosophy, theology, and mathematics.
Folds in the garments converge and spiral into power points; hair curls and waves with the saint’s energies; and
increasingly bright layers of highlights symbolize levels of consciousness. Light comes primarily from within the figure.
Icons have been described as “windows into heaven” and as “making the invisible visible.” Even though somber events
may be depicted, there is an underlying mood of confidence, joy, and sometimes a playful humor. The holy figures are
shown in a blessed state, suffused with golden light. They project an intense psychological presence, and may seem to
return your gaze, or even to initiate the scrutiny.
Painting (Traditionally Known as “Writing”) an Icon: Iconography is both a spiritual practice and a non-competitive
artistic discipline. This work is undertaken with prayer, in a contemplative atmosphere. Icons are left unsigned or
signed only on the back, as “by the hand of” the artist.
These sacred images have been lovingly refined over the centuries, so the iconographer does not attempt to re-invent
them, but to copy them faithfully, clearly, and expressively. Originality and “self-expression” are rarely required or
appropriate. If a modern saint or unfamiliar theme is to be depicted, one relies on precedent insofar as possible,
allowing several hours to prepare a satisfactory drawing. But every iconographer develops a unique style and
approach. The individual touch is readily visible in minor variations and in nuances of line quality, detail, highlight, and
color. With concentration and persistence, almost anyone can learn to paint a beautiful icon.
RESOURCES – ICONOGRAPHY AND RELIGIOUS ART
The Prosopon School of Iconology www.prosoponschool.org offers 6-day intensive
workshops in iconography at various locations around North America. Their website
includes a gallery of beautiful icons (study those second and third highlights!) and an
article explaining the role of icons in the Orthodox churches.
Irene Perez-Omer of Austin, Texas www.iconarts.com offers workshops and
supplies. Her website features a large gallery with commentary.
Iconofile www.iconofile.com is a large and informative site. Certain portions of the site
ate limited to paying members. They sell icon-related books and supplies, publish an
excellent magazine at irregular intervals, and offer iconography tours.
Saint Gregory of Sinai Monastery www.gsinai.com, under the artistic leadership of
eminent iconographer Father Simon, produces icons in both egg tempera and fresco.
This website has extensive material on the theory and practice of iconography.
Episcopal Church Visual Arts www.ecva.org and Christians in the Visual Arts www.
civa.org feature contemporary religious and spiritual art in a large variety of styles and
mediums.
www.episcopalcafe.com includes an excellent "Art Blog" which features art of spiritual
and religious content, and which changes periodically.
Saint Vladimir's Seminary Press www.svspress.com and Conciliar Press www.
concialiarpress.com are Orthodox presses which publish iconography-related and
religious books. They also have greeting cards, icon reproductions, and gift items.
Icons Explained www.iconsexplained.com is a large international site with articles
about iconography, and extensive listings and links to icon-related websites worldwide.
The Prosopon School of Iconology www.prosoponschool.org offers 6-day intensive
workshops in iconography at various locations around North America. Their website
includes a gallery of beautiful icons (study those second and third highlights!) and an
article explaining the role of icons in the Orthodox churches.
Irene Perez-Omer of Austin, Texas www.iconarts.com offers workshops and
supplies. Her website features a large gallery with commentary.
Iconofile www.iconofile.com is a large and informative site. Certain portions of the site
ate limited to paying members. They sell icon-related books and supplies, publish an
excellent magazine at irregular intervals, and offer iconography tours.
Saint Gregory of Sinai Monastery www.gsinai.com, under the artistic leadership of
eminent iconographer Father Simon, produces icons in both egg tempera and fresco.
This website has extensive material on the theory and practice of iconography.
Episcopal Church Visual Arts www.ecva.org and Christians in the Visual Arts www.
civa.org feature contemporary religious and spiritual art in a large variety of styles and
mediums.
www.episcopalcafe.com includes an excellent "Art Blog" which features art of spiritual
and religious content, and which changes periodically.
Saint Vladimir's Seminary Press www.svspress.com and Conciliar Press www.
concialiarpress.com are Orthodox presses which publish iconography-related and
religious books. They also have greeting cards, icon reproductions, and gift items.
Icons Explained www.iconsexplained.com is a large international site with articles
about iconography, and extensive listings and links to icon-related websites worldwide.
ARCHANGEL GABRIEL
Egg tempera and gold leaf on panel
5 x 6 inches, 2006
Egg tempera and gold leaf on panel
5 x 6 inches, 2006
 |  |  |  |  |  |
The Prosopon Method: Although I have taken workshops with several instructors, I
am most strongly drawn to the method of Vladislav Andrejev and his associates of the
Prosopon School, with whom I have been studying since May 1997. Andrejev learned
this method secretly under the Soviet regime. It is based primarily on the work of
Saint Andrei Rublev (c. 1370-1430), the famous Russian iconographer-monk.
This method, in itself devotional and ritualized, produces a “liturgically correct” icon,
using only natural materials. The process requires a series of carefully executed
steps, each of which takes an hour or two, for a total of at least 40 hours. Every
material and step is symbolic, and part of a coherent system of symbolic meanings.
The image is written in 23 or 24 karat gold leaf and egg tempera on a wood board
covered with a layer of cloth and many coats of smooth white gesso, concocted of
chalk, marble dust, and animal-skin glue. Egg tempera paint is hand-mixed of natural
pigments (mostly pulverized minerals) in an emulsion of egg yolk, vinegar, and water.
These colors will last for centuries.
Several layers of highlights and transparent washes are applied over dark
background colors. Details and lettering are added last. The careful technique and
beautiful natural materials are similar to those used by the Old Masters. The resulting
image is marked by elegant line and detail, an appealing inner glow, subtle but
luminous color effects, and a soft sheen.
am most strongly drawn to the method of Vladislav Andrejev and his associates of the
Prosopon School, with whom I have been studying since May 1997. Andrejev learned
this method secretly under the Soviet regime. It is based primarily on the work of
Saint Andrei Rublev (c. 1370-1430), the famous Russian iconographer-monk.
This method, in itself devotional and ritualized, produces a “liturgically correct” icon,
using only natural materials. The process requires a series of carefully executed
steps, each of which takes an hour or two, for a total of at least 40 hours. Every
material and step is symbolic, and part of a coherent system of symbolic meanings.
The image is written in 23 or 24 karat gold leaf and egg tempera on a wood board
covered with a layer of cloth and many coats of smooth white gesso, concocted of
chalk, marble dust, and animal-skin glue. Egg tempera paint is hand-mixed of natural
pigments (mostly pulverized minerals) in an emulsion of egg yolk, vinegar, and water.
These colors will last for centuries.
Several layers of highlights and transparent washes are applied over dark
background colors. Details and lettering are added last. The careful technique and
beautiful natural materials are similar to those used by the Old Masters. The resulting
image is marked by elegant line and detail, an appealing inner glow, subtle but
luminous color effects, and a soft sheen.
Nikita Andrejev teaching
Dmitri and Nikita Andrejev,
sons of Prosopon School
founder Vladislav Andrejev,
are both excellent instructors
and iconographers.
photograph by Mary Plaster
Dmitri and Nikita Andrejev,
sons of Prosopon School
founder Vladislav Andrejev,
are both excellent instructors
and iconographers.
photograph by Mary Plaster