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

References

Antonova, C. (2010). Beauty will save the world. Retrieved from http:// books. google.com/books?id=1ksDKW9PiI4C&pg=PA173&dq=Clemena+Antonova+Beauty+will+save+the+World&hl=en&sa=X&ei=EYqSUZfiEOOJjAL54oGIDg&ved=0CC0Q6AEwAA#v=onepage&q=Clemena%20Antonova%20Beauty%20will%20save%20the%20World&f=false Bakker. E. (Ed.). (2010). A Companion to the ancient Greek language. Malden, MA: Blackwell Publishing Ltd. Clarke, M. (2010). Oxford concise dictionary of art terms. New York, NY: Oxford University Press.

[Cinemartini].(2013, July 7). St.Tikhon‟s Orthodox Monastery Museum and Icon Repository. [Video file]. Retrieved from http://www.youtube.com/ watch?v=nRMvX4e8Ph0 Father Ivonov, V. (1987). Russian icons. New York, NY: Rizzoli. Florensky, P. (2006). Beyond vision. Chicago, IL: The University of Chicago Press. Hutter, I. (1971). Early Christian and Byzantine art. New York, NY: Universe Books. Komech, A. (1991). The Golden Ring: Cities of old Russia. New York, NY: Abbeville Press, Incorporated. Mango, C. (1997). New religion, old culture. In J. Lowden (Ed.). Early Christian and Byzantine art (pp. 96-120). New York, NY: Oxford University Press.

References

Martin, L. (2002). Sacred doorways: A beginner‟s guide to icons. Brewster, Massachusetts: Paraclete Press.

Metropolitan Hilarion. (2011). Theology of icon in the Orthodox church. Retrieved from https://mospat.ru/en/2011/02/06/news35783/

Moynihan, R. (2013). Benedict‟s unfolding spiritual testament. Retrieved from http://themoynihanletters.com/from-the-desk-of/letter-9-benedicts-unfolding- spiritual-testament

O’ Neil, J. (Ed.). (1979). Treasures from the Kremlin: An exhibition from the State Museums of the Moscow Kremlin at the Metropolitan Museum of Art. New York, NY: Harry N. Abrams, Inc.

Popov, G. (1993). Tver icons 13th-17th century. St. Petersburg, Russia: Aurora Art Publishers.

Putman Foundation Collection: Russian Icons. (2011). Timken Museum of Art. Retrieved from http://www.timkenmuseum.org/collection/russian-icons/our-lady- jerusalem

Russische & Griechische Ikonen.(n.d.). Galeri Philipp Von Külmer. Retrieved from http://www.ikonengalerie-von-kuelmer.de/index_frame.php

References

Skrobucha, H. (1963). Icons. Edinburg, UK: University of Edinburg. Talbot Rice, T. (1947). Russian icons. London, UK: The King Pengion Books Tarasov, O. (2011). Framing Russian art: From early icons to Malevich. Chicago, IL: The University of Chicago Press. Tarasov, O. (2004). Icons and devotion. From early icons to Malevich. Chicago, IL: The University of Chicago Press. Trubetskoy, E. (1973). Icons: Theology in color. St. Vladimir’s Seminary Press. Weitzmann, K. (1978).The icon: Holy images—six to fourteenth century. New York, NY: George Braziller. Wheeler, M. (Ed.). (1988). Jesus images of Christ in art. New York, NY: BCL Press. Флоренский, П. (2013). Иконостас. Retrieved from http://royallib.ru/read/florenskiy_pavel/ikonostas.html#0 Флоренский, П. (2013). Обратная перспектива. Retrieved from http://royallib.ru/read/florenskiy_pavel/obratnaya_perspektiva.html#0

.

Presenter’s contact information

Olga Workman, Ph.D.

760-720-9088

olga.workman@waldenu.edu