Saint John the Baptist, believed to be the precursor to and cousin of Christ, emerged after many years of self-teaching in the desert to prepare people for the coming of the  More »

Saint John the Baptist, believed to be the precursor to and cousin of Christ, emerged after many years of self-teaching in the desert to prepare people for the coming of the Messiah, as prophesied in the Old Testament. He led an ascetic life, like the Old Testament prophets, and spent years preaching the importance of penitence and baptizing the faithful in the Jordan River. John’s work culminated in his baptism of Jesus. Soon afterward, John was imprisoned for angering Herod Antipas, the Judean ruler, by denouncing him for marrying Herodias, the wife of his half-brother Herod. At the request of Salome, daughter of Herodias and Herod, St. John was decapitated. This extraordinary icon depicts St. John, already beatified, with feathered wings a halo. He holds a goblet, studded with precious gems, in which a miniature baby Jesus is placed, a clear allusion to the baptism of Christ. However, this is a symbolic representation of this subject, not a historical one. This is not an icon of the baptism, but of the Baptist. The toils of his isolated life in a desert are evident, from the dreads of his overgrown beard to the lines underneath his eyes. His emaciated wrists attest to his ascetic beliefs. Unfortunately, time has turned the varnish used to protect the paint a dull yellow. This fact explains the overall darkness of the icon. Yet, one small patch on John’s left shoulder remains where the original vibrancy of the icon can be seen. Thus, his outer robes are not green as they now appear, but were once a soft lilac. This icon must have been even more glorious in its original luster. - (PF.5685)   « Less

The oil painting of this icon is extremely realistic. However, only the head and hands of Christ have been painted, the rest of this extraordinary work is encased in a brass  More »

The oil painting of this icon is extremely realistic. However, only the head and hands of Christ have been painted, the rest of this extraordinary work is encased in a brass oklad. A repoussee technique in high relief has been utilized to produce the folds and curves of his drapery and the bulk of the open book he holds, probably the Bible. The metal itself has also been engraved to depict the floral pattern of his outer robe, the sun burst luminescence that radiates from around his head, and the Cyrillic text of the open pages. The borders of the oklad have also been elaborated by an engraved abstract motif, including a line of text inscribed at the bottom center. To represent Christ’s halo, an additional engraved oklad with pointed, crystalline-tiered edges has been attached to the icon with three brass tacks. The metal not only imitates the elegance of gold, but also contrasts and emphasizes the softness of the painted flesh. Here, Christ raises his right hand in a sign of benediction while showing us the testament of his own divinity and humanity. Like many icon paintings, this work attempts to combine the familiar and the divine into one. He is mortal, like us; yet holy, worthy of our adoration and veneration. - (PF.5686)   « Less

This large icon depicts various celebrated moments from the life of Christ as well as other Old Testament scenes that prefigure his life. The composition is arranged around a  More »

This large icon depicts various celebrated moments from the life of Christ as well as other Old Testament scenes that prefigure his life. The composition is arranged around a central panel divided horizontally representing the resurrection of Christ and his descent into Hell. Two vertical rows of four saints frame this panel on both its sides. This segment is in turn framed by a dozen different scenes representing events honored by church feasts: among them are the Annunciation, the Presentation in the Temple, the Baptism of Christ, Christ’s entry into Jerusalem, and the Old Testament Trinity Prefiguring the Incarnation. A few lines of Cyrillic text have been painted onto the top of the golden border. This icon tells the story of Christ through pictures. This icon would have been a great spiritual aid to illiterates who would only know the Bible through sermon. The Bible here has been translated pictorially, a language comprehensible to all who can see. Thus the influence of the words of Christ could be spread further to new reaches of the population, specifically the poor and uneducated, those Christ most willingly served. - (PF.5688)   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal.This icon represents one of the more popular scenes of Russian Orthodox iconography, made famous by Andrei Rublev, the most celebrated Russian Icon painter. It is a depiction of the three angels who appeared to Abraham near the oaks of Mamre in Genesis 18:2-15. The angels are seated at a table, underneath an oak tree that rises out of a cliff. Abraham and his wife Sarah are seen to the left emerging from an architectural structure. All figures wear halos, signifying their sanctity. The vibrant hues of this composition, bright oranges, deep blues, and soft greens, reveals the luminosity that characterizes much icon painting; but that unfortunately time and yellowing varnish have often faded. This painting allows us to appreciate the beauty of both the painting itself and the subject matter. - (PF.5693)   « Less

A dark green curtain has been pulled back, revealing a young girl worshipping an image of the Virgin and child. The Virgin holds her son in her left arm and presses her right  More »

A dark green curtain has been pulled back, revealing a young girl worshipping an image of the Virgin and child. The Virgin holds her son in her left arm and presses her right hand gently against her chest. The infant Christ smiles as he holds out both his hands. Both holy figures gaze directly at the young girl. Underneath, there is a large portion of this composition dedicated to Cyrillic text. The prototype of this work was based on an icon known as the “Unexpected Joy” Mother of God. Nearly identical to this type, the one major difference is that the kneeling figure here is a young woman instead of a man. The tale goes that a certain unscrupulous man would rise each day and pray before an icon of the Mother and Child before going out into the world and committing more sins. One morning, he awoke to notice that the icon began to move. Wounds miraculously appeared on the hands and feet of the Christ Child (hence he holds his palms outwards) and they began to bleed. When the man asked what caused this to happen, the Virgin replied that is was his repeated sinning and the sins of his fellow men and women that were causing her son to be crucified again. Not surprisingly, this event caused the man to repent and live out his remaining days with devout piety. This transformation filled his heart with an unexpected joy from which the title derives. Traditionally, the Cyrillic text conveys the beginning lines of the narrative, setting up the background story to complete the painted image. Why here has a young girl been substituted in place of the man? Perhaps this icon was commissioned by a family who had a troubled daughter. By specifically requesting that the artist paint a young lady instead of the usual man, they might have sought to help relate this tale to their daughter’s perspective, thereby giving her both a role model as well as a veiled warning about leading a sinful life. However, this theory is pure conjecture and the truth may never be known. Yet what we do know is that this icon is an intriguing deviation of a popular type that reveals the role of icons in the daily lives of the Russians and the power they have to bring the worshipper, no matter how faithful they are, closer to god. - (PF.5694)   « Less

Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are  More »

Saint Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are confused and historically unconfirmed. According to tradition, he was a native of Patara, formerly a city in the ancient district of Lycia, Asia Minor. Nicholas entered the nearby monastery of Sion and subsequently became archbishop of the metropolitan church in Myra, Lycia. At the end of the 11th century some Italian merchants transported his remains from Myra to Bari, Italy, where his tomb is now a shrine. Legend tells of his surreptitious gifts to the three daughters of a poor man, who, unable to give them dowries, was about to abandon them to prostitution. From this tale has grown the custom of secret gifts on the Eve of Saint Nicholas. Today, he is traditionally associated with modern Christmas celebrations.Jesus and Mary are painted in the corners next to Saint Nicholas’ halo. They rise out of a cover of clouds against the golden background of heaven. Meanwhile, Saint Nicholas stares intently out at us. He beckons us with his eyes, transfixed on the viewer. He forms a sign of benediction with his right hand and holds up the Bible in his left. Two more holy figures have been painted into the sides of the border. This icon can be characterized as a vehicle for Saint Nicholas to transport the worshipper closer to God through their veneration of this sacred object. - (PF.5696)   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal. Saint John the Baptist, believed to be the precursor and cousin of Christ, emerged after many years of self-teaching in the desert to prepare people for the coming of the Messiah, as prophesied in the Old Testament. He led an ascetic life, like the Old Testament prophets, and spent years preaching the importance of penitence, baptizing the faithful in the Jordan River. John’s work culminated in his baptism of Jesus. Soon afterward, John was imprisoned for angering Herod Antipas, the Judean ruler, by denouncing him for marrying Herodias, the wife of his half-brother Herod. At the request of Salome, daughter of Herodias and Herod, St. John was decapitated. This extraordinary icon depicts Saint John holding a golden chalice and an unwound scroll. Inside, we see a miniature baby Jesus, clearly an allusion to the baptism of Christ. However, this is a symbolic representation of the event, not a historical one. This icon in not dedicated to the baptism, but to the Baptist. From his overgrown, dreaded beard to his heavy, recessed eyes, the toils of his ascetic life, isolated in the desert, are evident. His elongated, emaciated wrist also attests to the toils of his philosophy. Stylistically, much is derived earlier Byzantine paintings and mosaics. This influence is evident in the linear, angular folds of his green and yellow drapery and the lack of spatial articulation besides the once solid gold leaf background symbolic of heaven. St. John appears here like a miraculous holy vision, permanently captured in paint for all to revere. - (PF.5700)   « Less

The painter of this icon has adapted a Westernized style of figural representation, moving away from the harsh angles and linearity of the Byzantine stylistic influences that  More »

The painter of this icon has adapted a Westernized style of figural representation, moving away from the harsh angles and linearity of the Byzantine stylistic influences that dominate Russian icon painting. No doubt the increased naturalism of the holy figures served to further humanize them in the eyes of the worshippers. We have caught the mother and child in an intimate, tender moment. The young Christ reaches around his mother and hugs her as she holds him close in a scene any parent can relate to. The vast majority of this icon has been covered in a gilded brass oklad, reserved for only the most revered images. The oklad imitates the folds and curves of the figures’ drapery in high relief, utilizing a technique known by the French word, repoussé. Further floral and abstract motifs decorate the borders of the oklad. An additional piece of metal has been attached to represent the figures’ halos. Overall, this icon brings the viewer closer to God through the humanization of the Christ child and the Mother of God. They are both clearly divine and yet also human. Through identifying with their humanity, the worshipper will become closer to their divinity. - (PF.5783)   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal. The painter of this icon has adapted a Westernized style of figural representation, moving away from the harsh angles and linearity of the Byzantine influence that dominates Russian icon painting. No doubt the increased naturalism of the holy figures served to further humanize them in the eyes of the worshippers. We have caught the mother and child in an intimate, tender moment. The young Christ reaches around his mother and hugs her as she holds him close in a scene any parent can relate to. The vast majority of this icon has been covered in a gilded brass oklad, reserved for only the most revered images. The oklad imitates the folds and curves of the figures’ drapery in high relief, utilizing a technique known by the French word, repoussé. Further floral and abstract motifs decorate the borders of the oklad. An additional piece of metal has been attached to represent the figures’ halos. Overall, this icon brings the viewer closer to God through the humanization of the Christ child and the Mother of God. They are both clearly divine and yet also human. Through identifying with their humanity, the worshipper will become closer to their divinity. - (PF.5785)   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye or the mind, but to inspire reflection and self-examination.   « Less