Am I staring at it, or is it staring at me?
Sunday, April 30, 2006
An Iconography primer... The word
“icon” is simply Greek for “image.” In
Christendom, the term most often refers to a specific art style;
rooted in early Greek and Russian Orthodox traditions and developed
in the Byzantine Empire (330-1453) that portrays accepted Holy
images. In recent years, Iconography has attracted increased
interest in the West as an art form which ties us back to the very
early Church.
In Iconography, a number of strict artistic rules and conventions apply. Wood backed, the underlying drawing is based on balanced mathematics principles; geometrically structured and proportioned which creates eyes that are large and shadowed, eyebrows arched, noses long and straight, mouths closed, hands gracefully stylized. The forehead (seat of the intellect) and the collarbone (gateway to the heart) are emphasized. Both eyes and at least one ear must be visible (“the better to see and hear you with, my dear”). Garment folds are long and angled. Color areas are clearly defined (painting an Icon is called “writing”). To respect the Commandment against graven images and idolatry, Orthodox Icons avoid strongly three-dimensional effects; perspective is flattened or even inverted.
Even when somber events are depicted, Icons portray an underlying mood of confidence, joy, and sometimes a playful humor. The figures are always shown in a blessed state, suffused with golden light. They’ve been described as “windows into heaven” or “making the invisible visible” and are purposely designed to make you stare, think, center. (Remember those pattern pictures that were so popular for a while; the ones that when you stared just right and let your eyes relax, you’d see the hidden image?)
Written to be studied and contemplated, you’ll find that as with other art, an Icon attempts to invoke a psychological response as it invites your focus and scrutiny. So, the next time you catch an Icon staring at you, stare right back and give it some new-found scrutiny of your own.
In Iconography, a number of strict artistic rules and conventions apply. Wood backed, the underlying drawing is based on balanced mathematics principles; geometrically structured and proportioned which creates eyes that are large and shadowed, eyebrows arched, noses long and straight, mouths closed, hands gracefully stylized. The forehead (seat of the intellect) and the collarbone (gateway to the heart) are emphasized. Both eyes and at least one ear must be visible (“the better to see and hear you with, my dear”). Garment folds are long and angled. Color areas are clearly defined (painting an Icon is called “writing”). To respect the Commandment against graven images and idolatry, Orthodox Icons avoid strongly three-dimensional effects; perspective is flattened or even inverted.
Even when somber events are depicted, Icons portray an underlying mood of confidence, joy, and sometimes a playful humor. The figures are always shown in a blessed state, suffused with golden light. They’ve been described as “windows into heaven” or “making the invisible visible” and are purposely designed to make you stare, think, center. (Remember those pattern pictures that were so popular for a while; the ones that when you stared just right and let your eyes relax, you’d see the hidden image?)
Written to be studied and contemplated, you’ll find that as with other art, an Icon attempts to invoke a psychological response as it invites your focus and scrutiny. So, the next time you catch an Icon staring at you, stare right back and give it some new-found scrutiny of your own.