Byzantine Traditions in
Russian Religious Art
Workman, O. ( 2013). The Byzantine church of Holy Angels in San Diego, CA. [Photograph].
Olga Workman, PhD Walden University
Interconnectedness of iconographic studies with other humanities
Iconography:
--a multifarious study of liturgical images with symbolic meanings and icons, presented in the form of visual narratives
--a doorway to broader and deeper understanding of art, language, and the history of Orthodox Christianity
--interconnection with a broad spectrum of other humanities, as it covers specific theological themes and concepts in the context of distinct artistic, cultural, and historical traditions
Mina, M. (n.d.). The Byzantine mosaic. [Photograph].
A trifold passage from analysis to synthesis
A passage from analysis to synthesis in iconographic studies is trifold and includes elements of:
--factual and expressional pre-iconographic description, requiring artistic knowledge
--iconographic analysis of specific objects and events in the framework of stylistic and contextual changes
--iconographic interpretation of symbols with references to history
Complexities of analysis
Complexities of iconographic analysis stem from:
thousand-year-old religious tradition
allegorical richness
restoration of unfamiliar to modern viewers deities and historical figures
reconstruction of bygone events, rituals, and cultural traditions
description of ritual objects, attributes of power, church furniture, buildings, holy books, communion ware, accessories, or sacred written symbols
presentation of cities, mountains, rivers, lakes, animals, and plants that are unfamiliar to the modern viewers
Prerequisites and resources of epistemological certainty in iconographic studies
What does an icon mean?
How do we know what it means?
How do we know that our knowledge is true?
Resources:
--religious writings, art criticism, political documents, chronicals, literary works, philosophical literature, social commentaries, and historical investigations --personal interviews with clergymen and icon painters
--study of museum collections and museum catalogues
Workman, O. (2013). Iconographic resources [Photograph].
Seekers of God
An Orthodox theologian, Pavel Florensky Beyond Vision Iconographer E. Trubetskoy Icons: Theology in Color An architectural historian Alexei Komech The Golden Ring: Cities of Old Russia “While the Lord continues to raise up examples of radical conversion, like Pavel Florensky, Etty Hillesum and Dorothy Day, he also constantly challenges those who have been raised in the faith to deeper conversion.” --Benedict XVI
[Pavel Floresnky and Sergey Bulgakov, a painting by Mikhael Nesterov]. (1917). Retrieved from http://themoynihanletters.com/from-the-desk-of/letter-9-benedicts-unfolding-spiritual-testament
„‟Felix qui quod amat, defendere fortiter audet .’’ ‘’Happy are those who courageously dare to defend what they love.’’ --Ovidius
Recommended museums and cathedrals
Turkey and Greece
Hagia Sophia, Istanbul
Chora Church, Istanbul
Russia
Tretyakov Gallery, Moscow
Pushkin Museum of Fine Arts, Moscow
Kremlin Armory, Cathedrals of Annunciation, Dormition, St. Michael’s, and St. Basil, Moscow
Rublev Museum, Moscow
Museums and Cathedrals of Vladimir, Novgorod, Pskov, Suzdal, Tver, and Yaroslavl
USA
Metropolitan Museum, New York City, N.Y.
Timken Museum, San Diego, CA
The rise and fall of Byzantium
In 324 CE, Constantine the Great founded a city with a significant strategic importance for the Roman Empire and called it Constantinopolis nova.
Constantinopolis became a capital of a strikingly beautiful area stretched over the Thracian Bosphorus, the shores of the Hospitable Sea (‘’Pontos Euxeinos’’), and the Mediterranean Sea.
The period of 330-1204 marked evolution of Byzantine religious aesthetics.
The rise and fall of Byzantium
Its glory was darkened by iconoclasm (resistance to images) of 726-843. In 730. Leo III forbade icons for worship and initiated the iconoclastic dispute which lasted almost a century and ended with the victory of iconodules.
The following years of 1261-1453 separated the Greeks and the Romans in the questions related to obedience to the Pope, the procession of the Holy Ghost, purgatory, clerical celibacy, and leavened bread in the Eucharist.
Weakened by internal and external tensions, Byzantium fell under the
Ottoman Empire on May 29, 1453.
Visual literacy stimulated by the linguistic divide and cultural diversity
In Byzantium, the first administrative
language was Latin, replaced by archaic Greek in the 7th century. Numerous regional languages of Asia, Europe, and North Africa coexisted with the linguistic divide of the official and spoken languages.
Rich culture embedded in Hellenistic traditions stimulated cross-fertilization of arts and development of a new medium.
Mina, M. (n.d.). Presentation of the Virgin. Chora Museum, Istanbul. [Photograph].
‘Philoxenia’ or love of strangers.
Sacred art became a consistent symbolic extension of written language and an expression of divine revelations and true teaching in mental pictures. Icons were canonical and in conformity with authorized symbols. They were considered written like books, not painted like secular images.
Russian Orthodox religious tradition: Inspiration by the beauty of sight and sound
Exploration of faith before 989
Vladimir, Prince of Kiev, and the Christianization of Russia in 989.
The October Revolution of 1917
Resistance to propaganda, 1917-1989
Resurrection of the tradition, 1989—present
Mystery of an icon
The Greek word eikon denotes ‘image by virtue of likeness or mimesis.’
An icon mysteriously depicts inconceivable, limitless, infinite, and immeasurable Ultimate Reality.
An icon presents a deductic prototype and a letter symbol of an invisible saint or other holy personage.
It invites a faithful to meditate, to soften, and tranquilize a turbulent mind.
In a Russian home, icons are placed in the beautiful (‘red’) corner.
Portable personal icons may be buried with their owners.
[St. John of Krondstadt ] .(2013).Retrived from http://orthodox-sandiego.webs.com/english/about_church.html
Icon as an integral part of liturgy and church architecture
Icons as an integral part of liturgy
And church architecture:
manifest Christian theology and concrete religious practices through art
Invite to follow a liturgical path to God
represent celestial reality in form of mosaics, monumental frescos, and canvas paintings covering cupolas, arches, and church walls
Workman, O.(2013). The Annunciation, Tempera paintings on canvas by Mila Mina at the Byzantine church of Holy Angels in San Diego. [Photograph].
An iconostasis:
--a templon or a screen with the doors decorated with tiers of icons, partitioning the altar from the nave.
-- simultaneous visual narrative, showing separate moments in the life of the saints and deities.
Difference between Byzantine and Russian iconostases
Left: Workman, O.(2013). An iconostasis at St. John of Krondstadt Church in San Diego, CA. [Photograph].
Right: Workman, O.(2013). An iconostasis (The Royal Doors) at the Byzantine church of Holy Angels in San Diego., CA. [Photograph].
Tall and closed iconostases are typical for Russian Orthodox churches. They differ from lower and partially open Byzantine iconastases.
Subject matter:
The Trinity or The Triune God
Transcendent and invisible God the Father, Logos, the Eternal Word, Wisdom,
and preincarnate Christ
Tangible to human senses God the Son, Christ Emmanuel (‘’God with us’’), Christophany, incarnate Logos or Wisdom, Christ Pantocrator (the God-Man Ruler of all), Our Savior (Spas), the One Who is, the Mandylion (the Holy Face on a piece of cloth), the Almighty, Christ Enthroned, Processional Cross, the King of Glory, and the King and Highest Priest
Joseph and Semion with the Child Christ, the Baptism of Christ, the Transfiguration, the Raising of Lazarus, the Entry into Jerusalem, the Mustical Supper, the Crucifixion, the Descent from the Cross, Epitaphios or Lamentation (Plashchanitsa), the Descent into Hell, Doubting Thomas, and the Ascension
God the Holy Spirit, a theophany (manifestation) as a dove, flames, or twelve rays of divine power
Subject matter: The Virgin Mary
Panagia (all-holy)
Theotokos (not Christotokos)
The Virgin Orans, the Platytera (More spacious than the Heavens), Our Lady of Sign (Znamenie), the Hodegetria (showing the way), the Eleousa, (merciful, tender), the Nursing Theotokos, and Our Lady of Perpetual Help
Nativity of Mary, Presentation of Mary in the Temple by Joachim and Anne, the Annunciation, the Nativity of Christ, the Presentation in the Temple, Dormition (Koimesis), the Assumption of Mary, Protecting Veil of the Mother of God (Pokrov)
Subject matter: The heavenly court
Deesis or the heavenly court
The prophets, such as Ezekiel and John the Baptist
The archangels (prince messengers): Michael, Gabriel, and Raphael
The non-corporal beings, such as winged cherubs and seraphs
The Evangelists: Matthew (man), Mark, (lion), Luke the Painter (ox), and John the Theologian (eagle)
The Holy Apostles, such as Peter and Paul
Saints and martyrs: George of Lydda, Martyrs of Sebaste, Pakaskeve, and Anastasia
Fathers of the Orthodox Church: Nicholas of Myra and Seraphim of Sarov
Diverse Iconographic media
Encaustic works, mosaics, cloisonnés, frescos, egg temperas, bone and wood carvings, illuminated manuscripts, bronze, silver, and gold castings, paintings on canvas or fabric, embroidery, images on candleholders, pictorial crosses, engolpions (icons worn by bishops), banners, ampules (portable bottles with oil), and computer-generated icons
Workman, O.(2013). Portable icon with relics of St. Fabian, St. John of Kronshtadt Church. [Photograph].
Workman, O.(2007). Candleholder .[Photograph].
Workman, O.(2013). Icon painter Mila Mina in her workshop.[Photograph].
Images written by philosophers
Greek ‘graphicos’ means to write and paint. As icons connote not the realm of flesh, but the realm of the human mind, icon writers (painters) are also known as philosophers who do not sign their works.
Workman, O.(2013). Icon restorer Oleh Skiropadsky at work. [Photograph].
Images that are written, not painted
Iconographers and icon restorers are divinely inspired, talented, and experienced craftsmen or virtuoso artists. They tend to work in teams.
Workman, O. (2013). Private collection portable icon. Moscow Kremiln, 1919. [Photograph].
Russian icons
Russian icons : --a symbolic continuation of Byzantine theological philosophy and artistic traditions in Russian religious art --works of art rooted in Egyptian sarcophagus paintings, and early Christian cult of burial and worshipping practices --egg tempera paintings on a solid, well- seasoned wooden panel, covered with layers of gesso, a piece of cloth, and a thin 22 K golden leaf of or without it
Mina,M. O. (n.d.). The Mother of God. [Photograph]
Framing
Due to perfect filling and tight cropping there is no visual escape for the viewers.
Plain, embossed, or jewel-studded frames are an integral part of icons. Frames decorated with fruits, leaves, vines, and flowers are more common for Byzantine than Russian icons. Icons can be without frames.
Gold halos refer to a holy mind and frame the most important elements of the icons.
Internal frames created by overlapping background mandorlas (elliptical aureoles representing the heavenly world) and lozenges (diamond shapes representing the created world).
Interestingly, mandorlas and lozenges surround the figures of the Virgin Mary and Christ, but not angels and archangels.
Internal frames such as mandylions represent a background napkin or a handkerchief.
Workman, O. ( 2013). The Byzantine Church of Holy Angels in San Diego., CA. [Photograph].
Transfigured and transformed perspective
Workman, O. (2013). The Ascension. [Photograph].
Spatial relationships, presented in a dream-like world
Arrangements in a vaporous manner, inviting for an extended introspection due to the illusion of disintegration
Background landscapes presented as minimalistic theatrical decorations or pieces of drapery
Elimination of background noise by scaling down of insignificant objects
Byzantine perspective or God’s view of the world
Characteristic features of reverse (inverted) perspective:
-- placement of the vanishing point outside the icon and converging lines at the heart of the faithful.
--cubistic presentation of different sides of objects and subjects
--a more credible picture space
--representation of buildings by arches and narrow towers
--thrown forward tables, footrests, thrones, books, and mountains
Purposes of reverse perspective:
--presentation of God’s view of the world
--depiction of space leading to eternity
--invasion of private space
--facilitation of direct, person-to-person communication with saints
Workman, O.(2013). The Birth of the Virgin and The Presenttaion of the Virgin in the Temple, Tempera paintings on canvas by Mila Mina at the Byzantine Church of Holy Angels in San Diego, CA. [Photograph].
Workman, O. (2013). Pokrov. Icon on Wood. [Digital Image]
Formal balance and symmetrical division of compositional parts
Importance of the geometric center
Fixed distances between compositional elements
Mixed time and space references in calendar icons and icons depicting serial events
Focus on the celestial realm and spiritual life
A symbolic distinction between internal and external space
A red veil as a symbol of inner space
L0ss of gravity due to deliberate subversion of spatial laws
Calendar icons and icons
depict serial or historical events in simultaneous time and space planes.
Biblical symbols often coexist with paganistic references.
Loss of gravity
Workman, O. (2013). History of Russia. Mounted Print Icon. [Digital Image]
Workman, O. (2013). The Holy Angels. Fresco at The Byzantine Church of Holy Angels. [Digital Image]
Figures hang loose and appear floating in gravity-free space.
Living bridge between saints and worshipers
Prayer in front of an icon: -- a holy event -- a participatory event and direct encounter with a holy person or God -- reception of moralistic messages with a clearly visible borderline between good and evil. The early Coptic and Byzantine icons with chubby and even cartoonish figures The later Byzantine and early Russian icons, especially Russian Novgorod icons,
with intentionally elongated and flat figures Manifestation of spiritual power over mortal flesh Figures without shadows Signs of age denoting maturity of spirit Holiness of the mind, highlighted by the nimbus Consistent depiction in profile all that is evil, such as unrighteous people, Judas,
Christ’s tormentors, Satan, dragons, and animals
Personification
Expression of abstract and complex notions through personification:
--a man looking like a king as representation of the Cosmos in icons of Pentecost.
--a man with a water jar representing the River Jordan in the icon Baptism of Christ
-- a dark man in chains representing death
-- a woman in the dark personifying night
-- a skull as representation of Adam, died in sin
-- flat bodies of saints with flat feet and hands as personification of flesh liberated from corruption
Proportions
Byzantine and Russian anatomically incorrect proportions:
--stumpy Byzantine saints with solid chins, chests, knees, heels, and large heads.
--elongated Saints with small mouths, thin but elongated noses, and bulging foreheads in early Russian icons
--expression of divine sincere love and devotion
[The Savior Enthroned from Timken Museum of Art]. (15th century) Retrieved from http://www.timkenmuseum.org/collection/russian-icons/savior-enthroned
Depiction of tension
The subject of the icons :
--detached and involved at the same time
--appealing to broad audiences
-- reflecting on conflict between freedom and coercion
-- depicting a man as both exalted and problematic
--contemplating about the rivalry of thought and faith, desire, and restraint.
[Our Lady of Jerusalem from Timken Museum of Art ]. (17th century) Retrieved from http://www.timkenmuseum.org/collection/russian-icons/our-lady-jerusalem
Archetypal energy and personification of moral qualities
Workman, O. (2013). St. Princess Olga of Kiev; St. Prince Alexander Nevsky, Holy Romanov Royal Family. Mounted Print Icons. [Digital Images]
Mediators between the faithful and God, such as Saints and martyrs: --play deductic roles of dematerialized historical figures --convey unambiguous historical and cultural references --denote a departure from classical humanistic traditions in individual and group portraits --display important social status indicated by placement and regalia
The Wall of Saints. [Online Image] .(n.d.) Retrieved from http://www.christthesaviourhbg.org/icons.html
Vivid repertoire of symbolic gestures
Mina, M. (n.d.). Underpaintings of Russian icons. [Photographs].
Icons present a silent form of prayer. However, their quiet stillness is effectively complimented by expressive plasticity of dramatic gestures and postures. Icons reflect on a broad range of essential human activities, such as praying, teaching, writing, walking, climbing, flying, sleeping, thinking, drinking, eating, nursing a baby, etc. Postures can be erect, raised, lowered, inclined, bent, twisted, or turned.
Workman, O. (n013.). Fragment of Christ Pantokrator. [Photograph].
Depicting emotions according to humanistic traditions
Mina, M. (n.d.). Mosaic in the central dome, Church of the Dormition, Daphni, Greece. [Photograph].
Exaggerated staring eyes, gestures, and postures communicate awareness and a wide gamut of emotions: • Love, affection, and sensuality • Kindness and gentleness • Hospitality, compassion, vitality, and care • Peacefulness and contemplation • Dignity and reservation • Stoicism and asceticism • Solemnity and somberness • Sorrow, pity, grief, pessimism, and tragic
passion Early icons during and after iconoclasm avoided emotionalism. Novgorod and early Russian icons appear more reserved and ascetic.
Workman, O. (2013). St John The Evangelist from St. John of Kronstadt Russian Orthodox Church. [Photograph]
The pivot of the Orthodox moral code
The Virgin’s eyes floating in the eye sockets express:
Visible beauty of love
Love as a faculty of the human soul
Love as an intellectual property
Love as affection
Spousal love
Parental love
Devotional love
Love through obedience and faith
Workman, O. (2013). The Mother of God. Gift icon. [Digital photograph]
Harmony, purity, and beauty of colors
Icons , painted in quick, little circles, bring joy to the world with harmony and striking beauty of simple color schemes. Saturated colors demonstrate refined tonal transitions and exhibit geometric purity of details, lines, symbolic letters, and borders. Color pigments are created from minerals, animals, insects, and plants. Egg tempera enhances subtlety and luminosity of indigo-deep blue, ivory, jade, raw sienna, Indian red, and sapphire colors. Local colors become distinct under daylight conditions.
Workman, O. (2013). The Baptism of Christ. Greek mounted icon. [Digital Image].
Workman, O. (2013). Mother of God. Russian Mounted Icons. [Photograph].
Mina, M. (2013). Mother of God. Mosaic icons in Hagia Sophia. [Photographs].
Color symbolism of the dream-like world
The head and upper body of the Virgin Mary is covered with maphorion, a veil. The cherry color of her veil implies royalty. The golden stars denote virginity before, during, and after the birth of Christ.
Symbolic hierachy of colors remains canonical: White –glory of transfiguration Gold and yellow –life and the life-giving sun Green – spring and growth, Dark blue –heaven Light blue – the sky visible to the living Brown—poverty and asceticism Black- separation from God, ignorance, sin, and death
Hierarchy of colors depicting transition from chaos to order
Workman, O. (n.d.). Old Testament Trinity..Religious Icon Gift. [Digital Image].
• Roskrish or the dark and muted colors, representing premordial chaos
• Sankir is an opaque olive color, used as a base color for heads and throats
• The base color, but two or three times darker, used for outlines
• Layers of colors
• White and yellow highlights
• Changeant colors and double reflection
Rublev, A. (c. 411). Old Testament Trinity.[Online image]. Retrieved from https://www.boundless.com/art-history/byzantines/middle-byzantine-art/rublev-in-moscow--5/
Connection with divine energy
• Silver, gold, and ‘tvoreynie kraski’
• A flat monochromatic gold background
• Depicting eternal light tonal transitions
• The golden net of foreground highlights
Light mirroring eternity
Workman, O. (2013). St. Nickolas in church St. John of Kronstadt [Photograph].
Workman, O. (2013). Candle stand at St. John of Kronstadt . [Photograph].
• Internal light shining in silence and stillness • Imitation of eternity • Fluidity of lighty • Embossed covers or oklads
Light of eternity
Mina, M. (n.d,). Christ as Pantokrater, dome mosaic in the Church of the Dormition, Daphni, Greece.. [Photograph].
External light as an active and important component of of iconographic paintings
Virtual tour of Hagia Sophia at http://www.3dmekanlar.com/en/hagia-sophia.html
In conclusion
The tradition of depicting decisive moments independent of time and space is not relinquished in modern iconography. Most importantly, its potent influence can be traced in the works of 19th and 20th century art, represented by a constellation of brilliant artists, such as Ge, Serov, Vrubel, Nesterov, Petrov-Vodkin, Korin, and Glazunov.
Though icon painting strives for new expressive forms, the evolution of icon painting is not simple.
Canonical principles do not change.
Praying to an icon remains a mystical and deeply visual contemplative
experience. It requires complete concentration, stillness, and control of thoughts.
It provides a way of palpable and tangible communication with God and the saints.
"The real voyage of discovery consists not in seeking new lands but in seeking with new eyes." ~Marcel Proust
Acknowledgment
The Reverend Robert Pipta, the Pastor of Holy Angels Byzantine
Catholic Church
+1 (858)-277-2511
Archpriest Eugene Grushetsky of St. John of Kronstadt Russian Orthodox Church Outside Russia +1 (619) 282-3304 +1 (619) 282-1164
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