Continuing our series on the icons of the Great Feasts of the Eastern Rite Catholic, and Orthodox Churches.

Previously

(click on the picture for a larger image)

This Sunday, June 19 is Trinity Sunday in the Western Church. In the Eastern or Orthodox Church there is technically no separate feast of the Trinity; what we call the day of Pentecost is called Trinity Sunday in the Eastern Church. The Holy Trinity is central to “Pentecost” which celebrates the substantial presence of the Holy Spirit in the Church. The icon of the Holy Trinity is brought out for veneration on Sunday and the icon of the Descent of the Holy Spirit is brought out on the next day, Monday (Monday of the Holy Spirit).

The descent of the Holy Spirit is considered the culminating action of the Holy Trinity -Father, Son, and Spirit- in the redemption of the world. The descent of the Holy Spirit at Pentecost is the final fulfillment of the promise made to Abraham. All three Persons of the Trinity take part in every providential action relative to the world. The Father is Creator of the world and does all things through the Son –the Redeemer- with the participation of the Holy Spirit –the Sanctifier. It is through the Son that we know the Father and through Him that the Spirit was sent to us. The descent of the Spirit at Pentecost is the revelation to the world of the mystery of the Trinity, consubstantial, undivided and yet distinct. (In Eastern Orthodox theology the Father sends forth the Son and the Holy Spirit. The Spirit is sent into the world through the Son, not by the Son.)

The icon of the Holy Trinity, therefore, is closely associated with Pentecost in the Eastern Church. The oldest visual expression of the Trinity is seen in the Old Testament story of the Hospitality of Abraham in which three men appear as angels to Abraham near the oak of Mambre (Genesis 18). This is the first appearance of God to man and begins the promise of redemption which will be finally fulfilled with the descent of the Holy Spirit at Pentecost. The Holy Trinity icon binds together the beginning of the Old Testament Church and the establishment of the New Testament Church.

From ancient times an image associated with the actual location where three men appeared to Abraham depicts the three as angels seated at a table under the oak tree. Abraham and Sarah serve them; their house is in the background. A servant killing a calf was often included in the scene. The scene varies from icon to icon depending on the interpretation stressed. Some theologians see the story as the appearance of the Godhead, all three Persons of the Trinity. Others saw it as an appearance of the Second Person accompanied by two angels. Since each Person of the Trinity possesses the fullness of the Godhead, the image of the Son with two angels could be interpreted as the Trinity. The point is that Abraham sees God, as much as anyone could possibly see God. The three men are often seated at table next to each other as equals; unified and yet distinct. They often are rendered in the same colors to emphasize their shared nature. In other compositions the figures are arranged in a triangular composition with the central angel placed higher in the design.

The most revered icon in the Orthodox Church of the Holy Trinity is something like the second type and was painted by (written by) St. Andrew Rublev most likely between 1408 and 1425. Abraham and Sarah are not shown in this icon and a mountain joins the house and oak in the background. The historical details have been pared down to a minimum to stress the dogmatic meaning.

The composition of Reblev’s icon is organized according to a circle (see diagram). The angels appear in a circle which unites them into one flowing movement. As a result the central angel ends up higher than the other two but does not dominant over them.

… Circular movement signifies that God remains identical with Himself, that He envelops in synthesis the intermediate parts and the extremities, which are at the same time containers and contained, and that He recalls to Himself all that has gone forth from Him. The two flanking angels incline their heads toward the central figure but all three indicate with their hands the chalice on the table (an altar) holding the head of a sacrificial animal symbolizing the voluntary sacrifice of the Son. In this way the covenant with Abraham is bound, in this icon, to the covenant in Christ’s blood (1)

The angels are very similar and yet differences are easily noticed. The Father (on the left) is more reserved and reticent and rendered in sober and difficult to identify colors. The historical detail of the central angel with the traditional purple color of the chiton and blue cloak identify this figure as the Son while the green color of new growth and renewal of the angel on the right indicate the Holy Spirit. For Pentecost, churches and houses in the East are traditionally decorated with green branches, plants and flowers expressing symbolically the power of the Holy Spirit to renew the face of the earth. Notice that the blue color of the Son’s cloak is echoed in the flanking figures indicating a shared nature.

This is the classic iconic image of the Holy Trinity.

…………………………………………………………………………………

Reference

Leonid Ouspensky & Vladimir Lossky, The Meaning of Icons, (Crestwood, Vladimir’s Seminary Press, 1994) pp 200-205

Notes

¹ On Divine Names, St. Dionysius the Areopagite, P.G. 3, col. 916 D as cited in The Meaning of Icons, Leonid Ouspensky & Vladimir Lossky, (Crestwood, Vladimir’s Seminary Press, 1994) p202

Previously in our series on Icons of the Great Feasts of the Eastern Rite Catholic, and Orthodox Churches

This year, this Sunday, June 12, is the Feast of Pentecost on both the Eastern and Western Church calendars.

(Click on pictures for a clearer image and larger) 

"Descent of the Holy Spirit", Russian, Novgorod School, 17th c.

"Descent of the Holy Spirit", Giorgio Vasari, Santa Croce Church, Florence, Italy, 16th century

The Eastern icon representing the Great Feast of Pentecost is probably unfamiliar to most Westerners. In the Western painting tradition, the tongues of fire and the presence of the Holy Mother of God are emphasized along with, of course, the twelve apostles.  Sometimes, depending on the artist and the style of the period in which the work was created, the scene can be quite animated with gesticulating figures and a composition suggesting confusion or wonderment. Excitement may seem to permeate the atmosphere. 

In the Eastern tradition, icons of the Pentecost don’t always depict tongues of fire. Instead, at the top of the icon a circle or semicircle represents heaven and from its center twelve rays point downward toward the twelve apostles, symbolizing the descent of the Holy Spirit.

Also, absent from the scene (in many Eastern icons) is the All Holy Mother of God which is strange because the Acts of the Apostles makes a point of telling us she was present. Such a glaring omission begs for an explanation. Here it is: The Pentecost icons of the Eastern Church, unlike the images of the event in the Western Church, stress the underlying ecclesiological meaning of Pentecost and less so the narrative details of the descent of the Spirit or observable physical facts, as reported in Acts.

Along the same lines, in the icon at the bottom of (many) Eastern icons, is an image of something not reported in Acts. It appears to be a tomb with a king standing in the blackness of the interior. He holds a white cloth supporting twelve written scrolls. The king actually personifies the great multitude of people gathered in Jerusalem for the holy day. The image is called “Cosmos” and the dark place in which the king stands represents the whole world which had formally been without faith and had suffered under the weight of Adam’s sin. The red garment the king wears symbolizes pagan or the devil’s blood sacrifices, and the crown he wears signifies sin which ruled the world. The white cloth and twelve scrolls symbolize the twelve apostles who brought Christ’s light to the world through their teaching.

That is the core message of the Eastern depiction of Pentecost. It is not so much about the physical manifestations of the descent of Holy Spirit as it is the substantial presence of the Spirit in the Church, acting through the Church to sanctify the world. The Ascension of the Lord represented the end of the Christ’s earthly mission and Pentecost represents the beginning of the residency of the Holy Spirit in the Church.

Rather than a general disturbance -often portrayed in Western images of Pentecost- caused by the descent of the Spirit, Eastern icons of the event express an overall sense of order, calm and solemnity. Here we see the unity and singleness of purpose of the hierarchic Church in converting the world. A formal arrangement of the apostles in a semi-circle surrounding the tomb and king is broken only by an empty space in the seating arrangement at the top of the bend. It’s actually the seat reserved for Christ, the head of the Church. On close inspection you will notice that the apostles are depicted in inverse perspective: the size of the figures grow bigger the closer they are to the seat reserved for Christ. St. Peter sits to the right (our left) and St. Paul, to the left (our right). St. Paul, of course, was not present at Pentecost but that fact is not important here where the meaning of the icon is the substantial presence of the Spirit in the institutional Church. Actually, there are a few others also represented here who were not of the original twelve apostles: Luke the Evangelist (third from the top on the left) and Mark the Evangelist (third from the top on the right).  They hold their gospel books. Paul also holds a book, symbolizing his letters. Others hold scrolls, symbols of having received the gift of teaching.

Contrasting with the uniformity of the semi-circle, and in harmony with the hierarchic detail, are the variety of poses in the figures of the apostles. No two strike the same pose. This goes to the inner meaning of the icon: although there is the one Spirit -one Body- each member is given special gifts.

As liturgical art, icons open a door for the worshiper into a transfigured world and into an experience of sacred time. An icon compresses events into one image and folds time into a holy present in order to communicate an inner meaning. It all comes together in this icon to show us the divine guidance given to the hierarchic Church in the conversion of the world.

…………………………………………………………

Source Reference

Leonid Ouspensky & Vladimir Lossky, The Meaning of Icons, (Crestwood, Vladimir’s Seminary Press, 1994) pp207-208

Picture Sources

1. Icon of the “Descent” from Ouspensky, p 206; photo by A LaVieille Russie, New York
2. Giorgio painting of the “Descent” from http://www.aiwaz.net/gallery/pentecost/gi5068c534

Back in June (2010) we began a series on the categories of Marian icons. That seemed to be well received so I’m thinking we might enjoy taking a look at the icons of the Orthodox or Eastern Catholic Churches that represent the Great Feasts of the Eastern Church: the Nativity of the Theotokos, the Exaltation of the Cross, the Presentation of the Theotokos in the Temple, the Nativity of Christ (Christmas), the Theophany (Baptism of Christ -Epiphany), Presentation of Jesus in the Temple, the Annunciation, Pascha (Easter), the Ascension of Christ, Pentecost, the Transfiguration, and the Dormition (Falling Asleep) of the Theotokos (celebrated as the Assumption in the Western Church. The Orthodox Church generally believes in the Assumption of Mary -body and soul- into heaven but it is not a defined doctrine of the Eastern Orthodox Churches).

The Great Feasts are twelve in number. Three of them -Pascha, Ascension, and Pentecost- are called the Movable Feasts because the dates of their celebration vary from year to year depending upon the date of Pascha. The other Feasts are referred to as the Fixed Feasts because they are celebrated on the same dates every year.

(Click on the pictures to see clearer images.)

Icon of The Nativity of the Theotokos

Troparion “Your nativity, O Mother of God, heralded joy to the whole universe, for from you rose the Sun of Justice, Christ our God, taking away the curse, He imparted the blessings, and by abolishing death, He gave us everlasting life.”

Kontakion “Through your holy birth, O Immaculate One, Joachim and Anne were delivered from shame of childlessness, and Adam and Eve from the corruption of death. Your people, redeemed from the debt of their sins, cry out to you to honor your birth: ‘The barren one gives birth to the Mother of God the Sustainer of our life!’”

The first Great Feast of the Eastern Liturgical year is the Nativity of the Theotokos and so the year begins with a story about Mary. The year will end with another story about Mary, her Dormition or ‘falling asleep’ (as in “Mary fell asleep at the end of her earthly life.” The Orthodox Church generally believes in the Assumption of Mary -body and soul- into heaven but it is not a defined doctrine of the Eastern Orthodox Churches.)

The Nativity of Mary icon always reminds me of the Nativity of Jesus icon for they have similar details. When we examine the Nativity of Jesus icon I think you will see what I mean.

The story behind the Nativity of Mary icon comes to us not from the canon of the New Testament but from the apocryphal book called the Protevangelium of St. James. It goes like this: The parents of Mary, St. Anne and St. Joachim, reached old age without producing any children. Anne was now barren. One day, Joachim went to the Temple to make an offering but he overheard someone ridiculing him for not being able to father a child. Ashamed, Joachim headed to the hill country to hide among the shepherds and their flocks and there he cried to God over his disappointment. At the same time, Anne was praying back home in Jerusalem. An angel appeared to the both of them at the same time and announced that Anne would give birth to a girl child whose name would be revered around the world.

There are more interesting details to the story but that’s the basic lead-up to the birth of Mary.

The icon of the Nativity of the Theotokos (God-bearer) shows St. Anne reclining on a couch having just been delivered of the baby, Mary. She is attended by servants. The environment suggests an upscale house which indicates that Anne and Joachim were fairly wealthy. In fact they were, but they divided their wealth in a most admirable way: one third went to the Temple and its staff while another third went to strangers and the poor. The remaining third was used by the family. In the foreground of the icon a midwife prepares to give the baby Mary a bath.  Joachim, the husband of Anne is usually depicted in another part of the house or at some distance from Anne. Later icons show the two together caressing the baby or pointing to her as she lies in the crib. The largest figure in the icon is Anne although sometimes Joachim is just as large.

As Adam and Eve were the parents of a fallen humanity, Joachim and Anne are the grandparents of the Redeemer of that humanity –the ‘new’ man:

The name “Mary” or “Miriam” was given by the angel when he announced to Joachim and Anne that they would have the child they had prayed for.  Only one other Old Testament person bore the name Mary or Miriam, the sister of Moses and Aaron.  Mary means “hope” and so Miriam was the “hope” of the liberation of the Israelites because she saved Moses who would become liberator and savior of her people Israel  (Exodus 2:4-8).  Like the nativity of John the Baptist and the birth of Isaac from the sterile Sarah, the nativity of the Mother of God was considered to be a prefiguring of the Resurrection.*

“But the Nativity of the Mother of God is more than a figure, for in the person of St. Anna-a woman freed from her sterility to bring into the world a Virgin who would give birth to God incarnate-it is our nature which ceases to be sterile in order to start bearing the fruits of grace.” **

______________________________________

*from a Meditation by Mary Grace Ritchey

**The Meaning of Icons by Vladimir Lossky and Leonid Ouspensky

 (Click on picture to see a larger image)

In the Western and Eastern Churches, the feast of the Assumption of the Mother of God is August 15. In the Eastern Church the solemnity is known as the Dormition (the falling asleep) of the All Holy Mother of God. The Assumption of Mary into heaven is a matter of proclaimed dogma in the Catholic Church. It is not a dogma in the Eastern Church and yet it is solidly part of the traditional faith of the Orthodox that the grave and death could not possibly hold the “Mother of Life.” To the Orthodox, the Dormition is a mystery that is held in the “inner consciousness” of the Church and is not “for the ears of those without” for fear that exposure might result in profanation. It can be contemplated only by the “inner light of Tradition.” Unlike the Resurrection and Ascension of the Lord, the Dormition and Assumption of Mary was not part of the apostolic preaching.

The feast of the Dormition actually commemorates two distinct and yet inseparable moments in the faith of the Eastern Church: the death [1] and burial of the Holy Virgin, and her resurrection and assumption. Some refer to this as a second Easter, “the secret first fruit of eschatological consummation” as the Church celebrates –before the end of time– the glory of the age to come; the end of man is realized in the present in the assumption and deification of the All Holy Mother of God.

The classical image of the Dormition has the Holy Mother lying on her deathbed surrounded by the apostles who have come, miraculously from all the ends of the earth. Peter and Paul stand at the ends of the bed with Peter swinging incense on the left. Bishops stand behind the apostles, among them St. James (“the brother of the Lord”) and the first bishop of Jerusalem. They stand out with their flatten bodies sporting patterns of black crosses on white robes. Sometimes groups of women, representing the faithful of Jerusalem, join the apostles forming a kind of select group gathered to witness the sacred mystery of the Dormition.

Christ, in a mandorla, looks upon his mother and has gathered up her glorious soul in his arms. In this icon we can also see the moment of her bodily assumption: she appears above the mandorla of Christ in her own mandorla. Angels lift her up to heaven. The mandorla, a symbol of divinity, is used here to indicate the deification of the Most Holy Mother of God and calls to mind our hope for our own deification at the end of time. In Christ’s mandorla we see heavenly seraphim, cherubim and angels.

In some icons (as we see in this one) a fanatical Jew has dared to profane the holy bed and has his hands sliced off by a sword wielding angel. The inclusion of the story in the foreground indicates the Church’s view that the Dormition can only be contemplated in light of sacred Tradition.

The feast of the Dormition is thought to have originated in Jerusalem. The Assumption of the Virgin was depicted on a sarcophagus in Saragossa at the beginning of the 4^th century. But, as a feast, it was already widely celebrated beginning in the 6^th century and so no doubt had its beginning well before that. St. Gregory of Tours is the first witness in the West to a formal celebration, then commemorated in January. Under the Emperor Maurice (582 – 602) the date of the feast was fixed as August 15.

Interesting facts here

………………………………………………………….

Notes

[1] “The Orthodox Church teaches that Mary died a natural death, like any human being; that her soul was received by Christ upon death; and that her body was resurrected on the third day after her repose, at which time she was taken up, bodily only, into heaven. Her tomb was found empty on the third day. Roman Catholic teaching holds that Mary was “assumed” into heaven in bodily form. Some Catholics agree with the Orthodox that this happened after Mary’s death, while some hold that she did not experience death. Pope Pius XII, in his Apostolic constitution, Munificentissimus Deus (1950), which dogmatically defined the Assumption, left open the question of whether or not Mary actually underwent death in connection with her departure, but alludes to the fact of her death at least five times. Both churches agree that she was taken up into heaven bodily.” Source

Reference

The Meaning of Icons (revised edition), Leonid Ouspensky and Vladimir Lossky, (Crestwood, St. Vladimir’s Seminary Press, 1989)

Previously here and here.

(Click on pictures to see larger images)

The Annunciation

Troparion

Today is the Fontainhead of our salvation

and the revelation of the mystery that was planed from all eternity: the

Son of God becomes the Son of the Virgin and Gabriel announces this grace.

Let us join him in crying out to the Mother of God:  “Hail, O Woman full of grace!

The Lord is with you.”

Kontakion

We are your own, O Mother of God!

To you, protectress and leader, our songs of victory!

To you who saved us from danger, our hymn of thanksgiving!

In your invincible might, deliver us from all danger that we may sing to you:

“Hail, O Bride and Maiden ever-pure!”

This icon depicts the Archangel Gabriel, carrying a herald’s staff, greeting the Theotokos as the Angel of God appeared to the Virgin Mary to announce the birth of Christ. (Luke 1:26-37). The staff held in the Archangel’s hand is the staff of a messenger.  The Greek word “Kontakion” literally means “from a pole”.  A scroll was rolled up and placed inside a pole and sent by a messenger.  The word “angel” means “messenger” and in this icon the Archangel carries the pole, which carries the message from God. In Western art Gabriel usually holds a white lily, symbol of purity and perpetual virginity.

Mary sits wearing a ‘maphorion’, a veil or large head-shawl, and slippers, her head turned towards the Archangel. Stars placed on both of her shoulders and on top of her head symbolize her ever-virgin life:  “And the Lord said to me:  This gate shall be shut. It shall not be opened and no man shall pass through it:  because the Lord God of Israel hath entered in by it.  And it shall be shut…and behold the glory of the Lord filled the house of the Lord.’ (Ezekiel 44: 3-4)  She remained God’s undefiled, deified temple.

The Theotokos is shown in the icon either standing or with a pedestal under her feet.  A pedestal is a symbol of honor and is used in icons of Christ, the Theotokos, John the Baptist, and Simeon in the Presentation of Mary in the Temple icon.

The All Holy Virgin is often depicted dropping a spool of royal purple yarn in surprise at the angel’s appearance. She has been spinning for the high priest in the Temple. We read in the Protoevangelium of James that one of her duties in the Temple was to make priestly vestments. In some interpretations she has been spinning the great curtain that hung across the entrance to the Holy of Holies. In most Western versions Mary is seen surprised while at prayer, holding a book of Psalms.

The circle with rays directed at the Virgin is meant to convey the action of the Father through the Holy Spirit in the Incarnation of the Son of God within the Holy Virgin Mary who is “full of grace.”

Urgency is expressed in the figure of the Archangel Gabrielle, his legs apart as if running swiftly to deliver the message. The Virgin exhibits a gesture of perplexity and prudence in the outward palm of her hand and who, after questioning the angel, bows her head in acceptance and submission to the will of God.

Mary’s ‘Yes’ is chanted in the Akathist Hymn, referred to by some as the most beautiful song of praise in honor of the Theotokos of all times. Here is the first of 24 strophes.

An Archangel was sent from heaven to greet the Mother of God, and as he saw you assuming a body at the sound of his bodiless voice, O Lord, he stood rapt in amazement and cried out to her in these words:
Hail, O you, through whom Joy will shine forth! Hail, O you, through whom the curse will disappear!
Hail, O Restoration of the Fallen Adam! Hail, O Redemption of the Tears of Eve!
Hail, O Peak above the reach of human thought! Hail, O Depth even beyond the sight of angels!
Hail, O you who have become a Kingly Throne! Hail, O you who carry Him Who Carries All!
Hail, O Star who manifest the Sun! Hail, O Womb of the Divine Incarnation!
Hail, O you through whom creation is renewed! Hail, O you through whom the Creator becomes a Babe!
Hail, O Bride and Maiden ever-pure!

(L) Rogier van der Weyden, 1435; (R) Philippe de Champaigne, 1644

(L) Simone Martini, 1313-1342; (R) Dante Gabriel Rossetti, England, 1850

(L) Pietro Perugino, 1489; (R) John William Waterhouse, 1914

___________________________________

Source of images.

Previously in this series: here, here, and here

(Click on picture to view a larger, sharper image.)

Novgorod school, attributed to the 15th c., 17 x 21 inches

The Nativity of Our Lord Jesus Christ

Troparion

Your Nativity, O Christ our God, Has shone to the world the Light of wisdom! For by it, those who worshipped the stars, Were taught by a Star to adore You, The Sun of Righteousness, And to know You, the Orient from on High. O Lord, glory to You!

Kontakion

Today the Virgin brings forth the Transubstantial, And the earth offers a cave to the Unapproachable One! Angels with shepherds glorify Him! The wise men journey with a star! Since for our sake the Eternal God was born as a Little Child!

The figure of the Blessed Mother is usually the first thing people notice in this icon. The figure is normally near the center of the design and is often the largest. In most traditional nativity icons the All Holy Virgin reclines on a portable bed of the kind Jews used while traveling. But, in some icons she sits upright on the bed. The second thing noticed by most people is the black –always black– cave also located somewhere near the center of the design. Thirdly, people notice that Mary and the dark cave are surrounded by ‘scenes’ or episodes from the story and placed in a somewhat barren, rocky or uncomfortable landscape. Finally –and almost overlooked—people see the tiny wrapped figure of the Christ child lying in the manger inside the cave. That wrapped child lying on top of the manger in a dark cave always reminds me of Christ wrapped in a death shroud and laid out on a stone tomb in a sepulcher.

Of course, the Christ child is the intended center of the icon. The small white shape of his swaddling clothes contrasts with the dark shape of the cave as “a spiritual light shinning forth in the shadow of death that encompasses mankind… The black mouth of the cave in the icon is, in its symbolic meaning, precisely this world, stricken with sin through man’s fault, in which ‘the Sun of truth’ shone forth.”¹ The uncomfortable landscape might remind us of the wilderness of the Exodus story. There, the Israelites were fed with manna bread from heaven. Here, God Himself has come down from heaven to be the bread of eternal life, the Eucharist.  He is also the sacrificial Lamb laid upon the altar of the wood manger, symbolic of the altar of the wooden cross.

Mary’s posture always suggests underlying dogmatic beliefs. In the Nativity of Our Lord icons her pose can vary in two ways and they address either the Divine or human nature of Jesus.  In some icons of the Nativity of Jesus, Mary is half-sitting, alert and attentive to the child which suggests a lack of the usual suffering associated with child birth. In that case the virginity of Mary and the Divine nature of the child are emphasized. However, in the highlighted icon for this post the humanity of Christ is emphasized through the listlessness and languor of Mary’s reclining pose. Her fatigue suggests that the Incarnation indeed took place in Mary’s womb and she has now brought him forth into the wider world. It was not just all an illusion as the heretical Nestorians taught. God did take on human flesh and become human.

Mary gazes down toward Joseph who sits in the bottom left corner confused and troubled, pondering the improbability of it all. His figure is not part of the mother and child grouping for he is not the father. The devil in the guise of an old shepherd stands before him sowing doubt that the virgin birth is possible. He suggests that if the infant were truly divine He would not have been born in a human way. In the person of Joseph, the icon discloses not only his personal drama, but the drama of all mankind, the difficulty of accepting that which is ‘beyond words or reason’, the Incarnation of God.² The scene reminds us of our own personal struggles with faith. But Holy Mary looks on in compassion and loving concern –not just at Joseph but even at us in our times of temptation and doubt.

In the bottom right corner two midwives Joseph rounded-up and brought back to the Mother of God are depicted about ready to bathe the baby. Like any other human new-born the Son of God has become subject to the necessities of human life. Often the basin appears like a baptismal font³ or a large chalice which reminds us of the ‘cup’ of the passion from which the Lord will drink.

The angels of the Gloria are at the top of the icon. Messengers as well as worshippers they usually appear with some of them looking up toward heaven glorifying God and some looking down toward man to whom they bring good tidings.⁴Among the shepherds is usually one playing a flute or reed-pipe, joining the shepherds’ own human music with that of the heavenly strains of the angels. Like the shepherds some of us enjoy communion with heaven while engaged in our daily work while others of us, more sophisticated and learned, are like the Magi in the left side of the icon who “have to accomplish a long journey from the knowledge of what is relative to the knowledge that is absolute, through the object (like the star) that they study.”⁵

The ox and the ass stand next to the manger and contemplate the Christ Child demonstrating that even the dumb animals can recognize the Creator when He chooses to reveal himself:⁶ “The ox knows its owner, and the donkey its master’s crib; but Israel does not know, my people do not understand.”⁷

Finally, from the top of the icon Divinity pierces into the natural world in the form of light beams emanating from the star of the Magi (or from the orb of heaven) illuminating the Child Jesus in the crib. As the story in the Apocryphal gospel of James goes, Joseph and the midwives, when they returned to the cave, were blinded by a bright light shining forth from the grotto, a light so bright that “they could not bear it”;⁸ as the bright light of the Transfiguration would blind the apostles on Mt. Tabor.⁹

_________________________________

¹ Leonid Ouspensky and Vladimir Lossky, The Meaning of Icons, Crestwood, (St. Vladimir’s Seminary Press, 1989) p 157. The thought, however, comes from a homily attributed to St. Gregory of Nyssa.

² Ouspensky 160

³ Solrunn Nes, The Mystical Language of Icons, (Grand Rapids, William B. Eerdmans Publishing Company, 2004) 43

⁴ Ouspensky 159

⁵ Ouspensky 159

⁶ Nes 43

⁷ Isaiah: 1, 3

⁸ James 14, 11

⁹ Nes 43

Book suggestions:

The Meaning of Icons, Vladimir Lossky and Leonid Ouspensky,  (St. Vladimir’s Seminary Press, 1999)

The Mystical Language of Icons, Solrunn Nes,  (Grand Rapids, William B. Eerdmans Publishing Company, 2004)

“Now Lord, allow your servant to go in peace, just as you promised: because my eyes have the salvation which you have prepared before all the nations a light for the gentiles and the glory of your people Israel” (Luke 2:29-32)

This feast in the Orthodox world is called The Presentation or The Meeting, and refers to the meeting of Mary and her Child with Simeon the Just (“The Host of God”) and the prophetess Anna. Both were elderly and symbolize the patient waiting of Israel for the long promised messiah, and both represent the prophetic strain within faithful Israel. As such, they are the representatives of the Old Testament in this meeting with the New Testament. Simeon’s canticle, the Nunc Dimittis (see above), identifies the Messiah and prophesizes His role as a light not only for Israel but also for the Gentiles. The event, then, is also a meeting between the promised Messiah and the entire world.

In the above icon, Mary has handed over the Child to Simeon, the ancient holy man, who has received the babe with hands covered as a sign of reference. In some icons, Mary holds the babe. Her hands are covered with the maphorion in a gesture of offering. St. Joseph, on the left, is carrying the offering of poor parents of two turtle doves which represent the Old and New Testaments or, in some interpretations, the Church of Israel and that of the Gentiles. Anna in the icon shown here stands between Mary and Joseph and holds a scroll of prophetic text. In some icons she stands behind Simeon and looks up as a sign of prophetic inspiration.

The scene takes place in the Jerusalem Temple which is represented by an altar covered with a ciborium. The altar sometimes has a cross and a book or scroll. It looks exactly like the earliest altars in the Christian Churches. Mary stands on one side of the altar and Simeon on the other. The Child is often in Simeon’s arms and held over the altar. The symbolism, of course, is of sacrifice both in the Old and New Testaments: Abraham’s near sacrifice of Isaac, and Christ’s sacrifice on the altar of the cross. The Christ Child seems to know instinctively what lies ahead for Him as He reaches back towards his mother for protection and comfort. In some icons He extends his hand in blessing. [1]

The Feast was better known, in the past, in the Latin or Western Church as the Purification of the Holy Virgin and refers to the rite of purification a woman was to perform forty days after the birth of a male child (Leviticus 12:6-8). When the time -forty days- was over the mother was to “bring to the temple a lamb for a holocaust and a young pigeon or turtle dove for sin”; if she was not able to offer a lamb, she was to take two turtle doves or two pigeons; the priest prayed for her and so she was cleansed (Leviticus 12:2-8). Forty days after the birth of Christ Mary complied with this precept of the law, she redeemed her first-born from the temple (Numbers 18:15), and was purified by the prayer of Simeon.

The Feast of the Presentation dates back at least to the fourth century when it was celebrated in Jerusalem with a solemn procession. Finding its way to Constantinople in the sixth century it eventually passed to Rome during the seventh century. In Jerusalem, around 450, lighted candles were held during the office of the Hypapante (“the meeting of the Lord”). The practice was maintained in the Western Church and became known as Candlemas. [2]

According to the Roman Missal the celebrant after Terce, in stole and cope of purple colour, standing at the epistle side of the altar, blesses the candles (which must be of beeswax). Having sung or recited the five orations prescribed, he sprinkles and incenses the candles. Then he distributes them to the clergy and laity, whilst the choir sings the canticle of Simeon, “Nunc dimittis”… During the procession which now follows, and at which all the partakers carry lighted candles in their hands, the choir sings the antiphon… The solemn procession represents the entry of Christ, who is the Light of the World, into the Temple of Jerusalem. …during the Middle Ages the clergy left the church and visited the cemetery surrounding it. Upon the return of the procession a priest, carrying an image of the Holy Child, met it at the door and entered the church with the clergy, who sang the canticle of Zachary, “Benedictus Dominus Deus Israel”. [3]

The Feast of the Presentation of the Lord is celebrated on February 2

____________________________________

[1] Russell Hart, The Icon Through Western Eyes, (Springfield, Templegate Publishers, 1991) p53

[2] Leonid Ouspensky & Vladimir Lossky, The Meaning of Icons, (Crestwood, St. Vladimir’s Seminary Press, 1989) p168

[3] Frederick Holweck, Candlemas, The Catholic Encyclopedia. Vol. 3,(New York: Robert Appleton Company, 1908). 25 Jan. 2011 <http://www.newadvent.org/cathen/03245b.htm>.

Continuing our series on icons of the Great Feasts of the Church Year

Previously here

(Click on picture for a larger image.)

Icon of “The Entry Into Jerusalem” by Rolland Luke Dingman

The depiction of Christ’s triumphal entry into Jerusalem entered the Christian repertoire of images toward the end of the 3^rd century but blossomed in popularity following the Emperor Constantine’s legalization of Christianity in 313. It is always interesting to try and determine why a story or symbol began to appear in Christian art when it did. All through the 20^th century historians assumed that the scene had imperial overtones as the depiction seemed to be copied from scenes of imperial adventus representations, scenes in which an emperor triumphantly entered a city to remind the inhabitants that the city belonged to him. Christ’s Entry image was thought to bestow religious legitimacy on imperial power by associating the Entry scene with the adventus images. It supposedly worked in reverse as well: Christ took on an imperial aura. We now know that just the opposite was true. The scene was an anti-imperial image.¹

Roman Emperor’s Adventus

The message is in the details. There is the donkey, a humble beast of burden, which is in contrast to the proud imperial chariot of the emperor². Christ wears the garb of a philosopher and holds a scroll which indicate a person who deals in higher, spiritual truths; the emperor wears the boots and short tunic of a warrior emperor who deals in earthly blood and guts. Christ is accompanied by his apostles who also wear philosophers’ clothing; the emperor is escorted by contingents of armed infantry and cavalry. Crowds of people wildly greet Christ, spreading cloaks on the ground before him and waving palms. There are no crowds greeting the emperor. Christ greets the people with a blessing; the emperor stares straight ahead, not condescending to acknowledge anyone or anything. The message is clear: Christ’s power is so far above earthly power that no impressive display is necessary. Even after earthly power has its way with Christ on Good Friday he will triumphantly rise from the grave on Easter Sunday. The crucified and risen Lord is the hope of persecuted Christians.

The Entry scene was a hopeful image and became popular at the height of the worst persecution Christians had suffered –just before Christianity was legalized. Following legalization the scene celebrated the victory that had been hoped for. The interpretation remains the same even today.

This is the iconic image for Palm Sunday (now called Passion Sunday) or, The Feast of the Entry Into Jerusalem as it is known in the Eastern Church. The icon exudes a festive quality expressive of the character of the day itself which contrasts with the stern and reflective mood of Lent.³ The icon and feast look forward to the joy of Easter. Actually the cause of this jubilant public celebration was the raising of Lazarus recounted in the Gospel read out the Sunday before Palm Sunday.⁴ Word had spread among the citizens of Jerusalem concerning the miracle and…

“…much people that were come to the feast, when they heard that Jesus was coming to Jerusalem, took branches of palm trees, and went forth to meet him.” (John 11:12, 13)

The palm branch was a symbol of joyful celebrating and Jews used them in welcoming very important persons. The branches, in Middle Eastern cultures, were also a symbol of courage and valor and so were presented as a reward to conquerors. Christ is the Conqueror of Death.

Usually, children play a large role in the Entry icons.⁵ There is often one sitting in a palm tree which stands in, or bends over, the center of the composition. More often than not, it is children and not adults who spread cloaks on the ground before the donkey. Still other children wave palms with the adults. The Gospel writers do not mention children although we can assume children would have been part of the crowd. The Evangelist Matthew, however, mentions children welcoming the Lord after His entry, when He drove the traders out of the Temple and cured the sick. Their role ⁶ may be indicated by Christ’s words, “Out of the mouth of babes and sucklings hast thou perfected praise” (Ps. 8:3). (Also, [Mark 10:15] whoever does not receive the kingdom of God like a child shall not enter it.) The young children saw Jesus simply as a King and celebrated him as such with no thought of gain or earthly power. The adults on the other hand were expecting an earthly power –a conqueror over their enemy, Rome. The children were celebrating the Conqueror of Death –that had been His accomplishment. In the Bible (4 Kings 9:13), spreading garments is done for an anointed king and since Christ is the Anointed One whose kingdom is not of this world the garments are spread before Him by children instead of by adults.

So, the Entry depicts the installation of the King of Glory in His Kingdom, the blessed Kingdom of God -the heavenly Jerusalem. His installation will take place as a result of His voluntary passion and death in the earthly Jerusalem.⁷

John Cassian (ca. 365-435) interpreted the scene or story on four levels.⁸ First, as a literal historic account of Christ’s entry into the Jewish capital, acclaimed as king, a few days before his execution. Second, allegorically or typologically, Jerusalem stands for the Church which Christ established and with which he reunites during every liturgy. Third, in a moral or topological interpretation the city stands for the individual soul who receives Christ in a spiritual way. Fourth, analogically, Jerusalem symbolizes the ‘New Jerusalem’ the heavenly Jerusalem that will come down from heaven and where the kingdom of God will blossom in fullness.

________________________

Endnotes

¹ “The Clash of Gods”, Thomas F. Mathews, (Princeton, Princeton University Press, 2003) Chapter 2, “The Chariot and the Donkey”

² Christ rides straddling the horse in images created in the Western Roman Empire; Eastern images normally depict Him side-saddled.

³ “The Meaning of Icons”, Leonid Ouspensky & Vladimir Lossky, (Crestwood, St. Vladimir’s Press, 1989) 176

⁴ Ouspensky 176

⁵ Ouspensky 178

⁶ Ouspensky 178

⁷ Ouspensky 178

⁸ “The Mystical language of Icons, Solrunn Nes, (Grand Rapids, William B, Eerdmans Publishing Company) 73

________________________

Picture Source: http://www.lukedingman.com/icons3.htm

________________________

Book Suggestions

The Mystical Language of Icons, Solrunn Nes

The Meaning of Icons, Vladimir Lossky & Leonid Ouspensky

Previously here

We continue our series of looking at the icons of the Great Feasts of the Eastern Rite Catholic and Orthodox Churches.

The angel Gabriel was at the beginning, at the Incarnation, when God took flesh of the Virgin Mary and became man. Angels filled the sky to announce His birth to shepherds. God humbled Himself and descended to earth and became flesh.

When the Lord ascended back to His Father at the end of His earthly mission, He took with Him His human body, now glorified.  Redemption was complete and, just like at the beginning, angels were present.

At the Incarnation the Lord -Divinity- descended into human flesh; in the Ascension He takes His flesh back to the Father. Like Jesus, we too will ascend to the Father, our flesh glorified.

“The Ascension of Christ is our elevation, and whither the glory of the Head has preceded by anticipation, the hope of the body too is called.”¹

In the icon of the Ascension, Christ ascends to heaven in a round shape of glory, a mandorla or full body halo reserved for manifestations of divinity. The mandorla is by definition almond shaped but circular and star ones are not uncommon.  Flanking the mandorla are angels. They might be interpreted by some people as powering the mandorla  upward but, in fact, they extend their arms in praise, for Christ ascends of His own power and not by the aid of anyone or anything else. Other angels trumpet the return of the Son to Heaven.

“Today the hosts on high, beholding our nature in the heavens, marvel at the strange manner of its ascent, and, being perplexed, they said one to another: Who is this that comes? And when they saw that it was they Master, they commanded to lift up the heavenly gates. With them we ceaselessly praise you, who again shall come from thence in the flesh, as the Judge of all and Almighty God”²

In traditional iconography of the Ascension, the mandorla consists of concentric circles of blue tones that gradate from a dark center to a lighter perimeter. Often, golden streaks of light radiate out from the figure of Christ who is shown either in white or orange robes, the colors of Christ’s divinity in icons that manifest His glory. He blesses with His right hand and holds a scroll in His left, a symbol of the gospel that the apostles are charged with taking to the ends of the earth.

In the center of the icon at the bottom among the grouping of the apostles is Mary, the Mother of God. According to Tradition Mary was present at the Ascension although sacred scripture is silent about her being there. Likewise, St. Paul (on the right) is depicted as being present  but he, of course, could not have been there as he was not as yet converted to Christ. Whenever something appears in an icon that is not mentioned in scripture we look for a doctrinal explanation. Here, it is the doctrine of the Mystical Body of Christ.

Mary’s figure is placed in the composition directly beneath the enthroned figure of Christ who is head of the Church. Mary and the original apostles and St. Paul, a later convert, form the core from which the Church will develop. Mary is the embodiment of the Church; personifying the body of the Church. She stands in the orans position of prayer, the symbol of the whole Church praying and seeking intercession with Christ, the Head.  In some icons she is depicted in the traditional martyr’s pose with hands in front of her breasts and palms facing forward. In still others, she has one hand raised with the palm facing forward and the other extended as if presenting the apostles, Church. Mary’s calm and confident stillness expresses the immutability of the revealed truth entrusted to the Church.³ The –often- more animated apostles suggest a variety of languages and means for expressing the truth.

"Last Judgment", (detail) tympanum, Church of St. Foy, Conques, France, 1107

Two angels stand among the apostles and caution them that as Christ ascended so He will return at the end of time. This eschatological aspect of the icon and the Gospel message leaves us with the hopeful expectation of the Second Coming. In fact, in icons of the Last Judgment Christ is depicted as arriving in the same mandorla type shape, accompanied by angels.

……………………………………………………………………………………..

Footnotes

¹ Saint Leo the Great, Discourse 73. First text on the Ascension. P.L. 54, col. 396

² The Ascension, Matins of the Eastern Rite

³ Solrunn Nes, The Mystical Language of Icons, (Grand Rapids, Eerdmans Publishing, 2004), p. 87

Picture Sources

Featured Icon (top):  http://philoski.blogspot.com/2010/07/icons-liv.html

Book Recommendations and Research Sources

Solrunn Nes, The Mystical Language of Icons, (Grand Rapids, Eerdmans Publishing, 2004)

Leonid Ouspensky & Vladimir Lossky, The Meaning of Icons, (Crestwood, St. Vladimir’s Seminary Press, 1994)