My Thesis Summary: The Theological Presuppositions of the Orthodox Iconographer

The Theological Presuppositions of the Orthodox Iconographer: With a Foundation in the Canons of the Stoglav Council (Moscow, 1551)

Hospitality of Abraham, St. Anastasia Monastery

Why I chose this topic:

For years I have been interested in the theology of icons, and in particular the role the iconographer has in conveying the Orthodox faith and life in Christ through holy icons. Learning of  professor Demetrios Tselingidis doctoral work on the theology of icons, Εικονολογικές Μελέτες (Studies in Iconology) Ι was eager to study with him. Thankfully he was willing to take me on as yet one more Master’s student.

When compared to the “old countries” the art of iconography is still relatively new in North America. Thus, I was inspired to work on a theme that has particular significance for the new generation of North American iconographers in the Church today. With the help of my advisor, and with a basis in the local Russian council the Stoglav Sobor (Moscow, 1551), I have compiled a basic manual for contemporary iconographers, though by no means limited to our times only. The presuppositions of the iconographer outlined in this work will be applicable for as long as someone wishes to paint theology, the faith of our Church, which has and will remain unchanged.

Introduction:

The word Stoglav means one-hundred, “named after the Church’s adoption of one hundred articles”.[1] The Stoglav council plays a large role in our systematic approach to this topic, particularly since the council made reference to how an iconographer ought to live piously and paint icons properly.    

This paper demonstrates, through adequate citations of learned scholars, that the theological presuppositions of the iconographer have their basis not merely in a local council of the Russian Church, but in the Tradition and consciousness of the universal Orthodox Church.  The importance of clarity on issues of icons and iconographers pertain to the whole of Orthodoxy because the whole Church witnesses to the faith and life in Christ through this sacred art form.  For this reason a systematic study of the necessary presuppositions of the iconographer is indispensable to the Orthodox Church at large.

Chapter One: The secondary presuppositions of the iconographer

St. Gregory Palamas, Sts. Cyril and Methodius church, Thessaloniki

Although the Stoglav council reflects and confirms an Orthodox artistic and religious point of view, it also makes blanket statements.  For this reason we take the canons laid out by the Stoglav council and, adding a theological exposition, present them as the objective standard for any iconographer of any generation in the Orthodox Church in all local churches. Thus we establish the theological foundation for the claim that iconographers are theologians of colour.

There are three minor (though still essential) presuppositions; and five primary presuppositions.  Although the Stoglav council itself did not place the categories of “major” and “minor” on the presuppositions of the iconographer we do so for the following reasons: Although, the minor presuppositions are important, failing to observe them will not necessarily damage or distort the content of holy icons.  Whereas, the major presuppositions, if not observed, have drastic implications for the content of holy icons.  For this reason we address the major presuppositions at length while we merely state the minor presuppositions in brief.

The three minor presuppositions are as follows: A. the iconographer ought to possess a gift for painting; B. he must accept and diligently teach students (both with regards to artistic talent and the moral life befitting an iconographer); and C. he must restore old and damaged icons.

Chapter Two: An Iconographer must be an Orthodox Christian

As we explain in our paper, the sacredness of holy iconography does not permit non-Orthodox to be her painters for it is an art form that expresses the centrality of the Orthodox faith, the doctrines set down by the Holy Fathers in the Ecumenical Councils. When we say an iconographer must have membership in the Orthodox Church we refer not only to the prerequisite of holy baptism, but also the willing assent to all Christian doctrines and dogmas central to the Orthodox faith.

Holy Ascetics, St. Anastasia monastery

An icon is only a true icon when it conveys the content of faith and life in the Church correctly. Icons must express the shared faith of the worshipping community if they are to become liturgical objects.

But the expression of the Christian faith and life in Christ is absent from the icon when the artist lacks the necessary prerequisite of adherence to the dogmas of the Christian faith and life in Christ.

Chapter Three: An Iconographer must struggle to lead a pious life

The activity of going to a spiritual father, confessing, living in obedience with a humble, temperate and prayerful manner is the foundation for painting sacred personages with great care.  These actions cultivate and maintain the appropriate spiritual disposition befitting an iconographer.  Wherefore not only through artistic talent but together with piety the iconographer will properly convey the spiritual content in holy icons.

Through upholding this presupposition, living a pious life, the iconographer not only becomes the instrument through which spiritual vision is depicted but he becomes a candidate for receiving spiritual vision himself.

Chapter Four: No place for imagination in iconography

This presupposition does not imply that the iconographer cannot express his own style and creativity, but that he cannot express his own fantasy in his painting.

Holy icons are images of holy personages and must be accessible to all the faithful.  If one’s imagination has construed an icon of the Mother of God, the image is no longer of her likeness but of the individual artist’s personal perception of her.  In which case the icon ceases to be an object of veneration and no longer belongs to the Church as a community.  For the image on the wood will not relate to the Mother of God herself and therefore has no relationship to the faithful.

And so, the purpose of the Stoglav canons are not to limit creativity, but to curb unrestrained use of the imagination which will result in images that do not correspond to the people they claim to represent.  And of course, they need to correspond to the prototypes for two primary reasons: First, because they were real, historical people with specific characteristics and second, icons need to be in the saint’s likeness for the faithful to recognize and communicate with the depicted person.

Jesus Christ as Ancient of Days, St. Anastasia monastery

Chapter Five:  An Iconographer must avoid painting God according to his own understanding

The iconographer ought to, at all times, follow the basic precepts for painting icons of God the Holy Trinity.  In this chapter we narrow our focus to discuss the practice of painting God the Father as an old man, or as “Lord Sabaoth” as He is most commonly referred to, as well as as The Ancient of Days, and God the Holy Spirit as a dove in icons not involving the Baptism of our Lord.  If the iconographer avoids painting the above images as a means to represent things that cannot be depicted or should not be depicted thusly outside set boundaries, he will demonstrate the care with which he struggles to paint acceptable images and will not be condemned for creating and sustaining false and uncanonical ones.

Chapter Six: An Iconographer must follow the Tradition of the Church

The meaning we attribute to the word Tradition in this section is the unwritten practice honoured and upheld by the Orthodox Church and faithful.  And so, the fifth presupposition outlines the necessity for the iconographer to follow and uphold tradition in both his work and life.

Adherence to tradition unites generations and cultures by upholding truths common to men of all ages and backgrounds and is therefore always pertinent.  Thus we establish the importance of honoring tradition in the practice of iconography. The concept of following the unwritten tradition and adhering to the canons of iconography is not a hindrance to creating new and inspired images.  Rather it offers guidelines that encourage spiritual inspiration.

An honest iconographer is one who paints according to ancient models and makes prototypical icons (if so inspired) that align themselves with the traditional characteristics of the depicted person, as well as adhere to the Orthodox faith.  Even those who merely paint icons according to pre-existing forms and models manage to communicate the essential quality of an icon, the presence of the sacred person depicted therein.

Wherefore, whether or not the iconographer is able to paint entirely new images, by adhering to tradition he will accomplish the one thing required of him.  That is, by respecting the canons and the tradition of the Church he will nevertheless communicate the presence of the prototype by depicting the name and likeness of holy persons.  For ultimately this last presupposition of the iconographer is not that he be a holy father but rather that he respect and follow the holy fathers, thus securing the canonicity and correct faith present in his icons.

Deisis icon with St. John and St. Arsenios of Cappodocia, St. John the Theologian Monastery, Souroti (where Elder Paisios of Mt. Athos is buried)

Conclusion: Vision of God as the Primary Goal of Iconography

This thesis establishes a manual for becoming an iconographer – that is someone who records (in line and color) the spiritual experience of someone else.  However, the goal of the iconographer should never be to merely paint the face of God, but to gaze upon it, to record his own experience of God.

The iconographer becomes a true theologian of color when he sees with his own spiritual eyes that which he paints.  And this is made possible when the iconographer willingly submits himself to the written and unwritten canons of the Orthodox Church. By faithfully following the presuppositions as set down in this paper, the iconographer at very least becomes a candidate for such a vision of the Triadic God.

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[1] Trepanier, Political Symbols in Russian History:  Church, State, and the Quest for Order and Justice, 52.