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What Orthodox Iconography Is

Word Magazine  September
1964  Page 5-6







Photios Kontoglu



religion of Christ is the revelation, by Him, of the truth. And this truth is
the knowledge of the true God and of the spiritual world. But the spiritual
world is not what men used to—and still do—call “spiritual.”


calls His religion “new wine” and “bread that cometh down from Heaven.”
The Apostle Paul says, “Therefore, if any man be in Christ, he is a new
creation. The old things have passed away: behold, all things have become


In a
religion like this, one that makes the believer into a “new man,” everything
is “new.” So, too, the art that gradually took form out of the spirit of
this religion, and which it invented to express its Mystery, is a “new” art,
one not like any other, just as the religion of Christ is not like any other, in
spite of what some may say who have eyes only for certain meaningless externals.


architecture of this religion, its music, its painting, its sacred poetry,
insofar as they make use of material media, nourish the souls of the faithful
with spirit. The works produced in these media are like steps that lead them
from earth up to heaven, from this earthly and temporary state to that which is
heavenly and eternal: This takes place so far as is possible with human nature.


For this
reason, the arts of the Church are anagogical, that is, they elevate
natural phenomena and submit them to “the beautiful transformation.” They
are also called “liturgical” arts, because through them man tastes the
essence of the liturgy by which God is worshipped and through which man becomes
like unto the Heavenly Hosts and perceives immortal life.


liturgical painting, the painting of worship, took its form above all from
Byzantium, where it remained the mystical Ark of Christ’s religion and was

or sacred painting. As with the other arts of the Church, the purpose of hagiographia
is not to give pleasure to our carnal sense of sight, but to transform it
into a spiritual sense, so that in the visible things of this world we may see
what surpasses this world.


this art is not theatrically illusionistic. Illusionistic art came into being in
Italy during the so-called Renaissance, because this art was the expression of a
Christianity which, deformed by philosophy, had become a materialistic, worldly
form of knowledge, and of the Western Church, which had become a worldly system.
And just as theology followed along behind the philosophy of the ancients—so,
too, the painting which expressed this theology followed along behind the art of
the ancient idolators. The period is well named Renaissance, since, to tell the
truth, it was no more than a rebirth of the ancient carnal mode of thought that
had been the pagan world’s.


But just
as those theologians were wading around in the slimy swamp waters of philosophy,
and were in no position to taste and understand the clear fresh water of the
Gospel, “drawn up to life eternal,” so, too, the painters who brought about
the Renaissance were in no position to understand the mystical profundity of
Eastern liturgical iconography, the sacred art of Byzantium. And just as the
theologians thought that they could perfect Christ’s religion with philosophy,
since for them it seemed too simple, they being in no position to penetrate into
the depths of that divine simplicity: just so, the painters thought that they
were perfecting liturgical art, more simply called Byzantine, by making it
“more natural.”


So they
set to work, copying what was natural—faces, clothes, buildings, landscapes,
all as they appear naturally—making an iconography with the same rationalism
that the theologians wanted to make theology with. But the kind of theology you
can get out of rationalism is exactly the kind of religious iconography you can
get out of copying nature.


This is
why their works have no Mystery, nor any real spiritual character. You
understand that you have before you some men masquerading as saints—not real
saints. Look at the various pictures of the Mother of God. “Madonnas” who
pose hypocritically, and those in tears, weeping, which are even falser yet!
Corpses and idols for shallow men! Our people, who for centuries have received a
great and profound nurture from Christ’s religion, even though outwardly they
seem uneducated, call a woman who pretends to be respectable but who is really
not, a Frankopanayhia, a “Frankish Virgin,” thus making a clear
distinction between the “Frankish Virgin” and the true Virgin,
the Mother of Christ our God, the austere Odogitria, Her “more precious
than the Cherubim, and beyond compare more glorious than the Seraphim.’’ In
other words, in the simplest way possible they make a neat, sharp distinction
between the art of the world and the art belonging to worship.


religious painters who wanted to depict the supernatural visions of religion
took as models certain natural phenomena—clouds, sunsets, the moon, the sun
with its beams. With these they tried to portray the heavenly glory and the
world of immortality, calling certain things ‘‘spiritual” which are merely
sentimental, emotional, not spiritual at all.


In vain,
however. Because the blessedness of the other life is not a continuation of the
emotional happiness of this world, neither does it have any relation to the
satisfaction the senses enjoy in this life. The Apostle Paul, talking about the
good things of the blessedness to come, says that they are such that “eye hath
not seen, and ear hath not heard, neither have entered into the heart of man.”


then, can that world, which lies beyond everything a man can grasp with his
senses—how can that world be portrayed by an art that is “natural” and
that appeals to the senses? How can you paint “what surpasses nature and
surpasses sense”?


man will take elements from the perceptible world, “for the senses’ sake,”
but to be able to express “what surpasses sense” he must dematerialize these
elements, he must lift them to a higher plane, he must transmute them from what
is carnal into what is spiritual, just as faith transmutes man’s feelings,
making them, from carnal, into spiritual. “I saw,” says St. John of the
Ladder, “some men given over with passion to carnal love, and when they
received the Light and took the way of Christ, this fierce carnal passion was
changed inside them, with divine grace. into a great love for the Lord.”


even the material elements which Byzantine iconography took from the world of
sense were supernaturally transmuted into spiritualities, and since they had
passed through the pure soul of a man who lived according to Christ, like gold
through a refiner’s fire, they express, as far as is possible for a man who
wears a material body, that which the Apostle Paul spoke of, “which eye hath
not seen, neither hath entered into the heart of man.”


beauty of liturgical art is not a carnal beauty, but a spiritual beauty. That is
why whoever judges this art by worldly standards says that the figures in
Byzantine sacred painting are ugly and repellent, while for one of the faithful
they possess the beauty of the spirit, which is called “the beautiful


Apostle Paul says. “We (who preach the Gospel and live according to Christ )
are ... a sweet savour of Christ unto them that are saved and unto them that
perish. Unto them that have within them the small of death (of flesh), we smell
of death; and unto them that have within them the smell of life, we smell of


And the
blessed and hallowed St. John of the Ladder says, “There was an ascetic who,
whenever he happened to see a beautiful person, whether man or woman, would glorify
the Creator of that person with all his heart, and from a mere glance his love
for God would spring afresh and he would pour out on his account a fountain of
tears. And one marveled, seeing this happen, that for this man what would cause
the soul of another to stink had become a reason for crowns and an ascent above
nature. Whoever perceives beauty in this fashion is already incorruptible, even
before the dead shall rise in the common Resurrection,”




ye not conformed to this world, but be ye transformed by the renewing of your
mind . . .“ (Rom. xii. 2)