Concerning Icons

In modern society, it is challenging for people to comprehend and/or appreciate that sense of sacred Tradition which was preserved and defended by Christians for hundreds of years which they passed down from one generation to the next. However, though it might surprise many in the western world, there still exist those Christians who have not lost this love and respect for sacred Tradition and the importance it has in the life of a Christian. One such group of people call themselves Orthodox Christians and they have been carefully safeguarding and practicing many sacred Traditions which today have nearly forgotten. One such Tradition is that of venerating sacred icons, which entails kissing or praying before holy images. Objectively, it would appear that this simple act of veneration could easily be overlooked as just sentimentality, artistic obsession, or even idolatry. However, upon greater reflection, one will find that not only is the role of the icon essential to the practice of the Orthodox Christian faith, but that it also has a very important theology surrounding it, thus making the icon a far more significant component of the faith than one might assume. The intention of this essay will therefore be to explain icons origins and their function in Orthodox practice to prove that icons are truly elemental to Christianity and are more than mere pieces of ancient artwork.
Before explaining the origin of the icon, however, one must first define what exactly an icon is. For centuries lovely images of Jesus, the Theotokos (or Blessed Virgin Mary), and holy saints and angels were painted or created to decorate the interior of churches throughout the Christian world. These images, whether they were tiles, frescos, mosaics or wall sculptures are all considered icons. By definition, the Greek word είκώυ, or icon, means “likeness,” “image,” or “representation” (Cavarnos, 1992, p.13). The Greek word for iconography combines είκώυ with the word γράφειυ, or writing, thus denoting that those who made icons were image writers (New Catholic Encyclopedia). This was such since these artists not only created images, but also told stories through their paintings, mosaics, sculpture, etc. Icons were often used in both the eastern and western churches and served as a tool to lead the faithful towards better understanding the faith through visual art and raise their minds towards the greatest reality; this being God. Yet, to state this alone would be a great oversimplification. Therefore, the first fundamental issue to delve into is the origin of these fascinating pieces of holy artwork.

So where did icons come from? Did people simply create them for nostalgic purposes or was there a more significant purpose for them? Actually, the tradition of icons is rooted in some of the earliest days of Christianity. The proof of the use of icons can be found in archeological findings in places such as Rome and Alexandria that date back to as early as the second century (Cavarnos, 1992, p.13). The most notable are those discovered in the catacombs. The catacombs were underground tombs where the Christians performed sacred rites of worship during persecution, most commonly the Eucharistic sacrifice. On the walls of these vast crypts deep within the earth, there were images that reflected Christian beliefs. Some of these images included doves (symbolic for the peace of Christ), the Good Shepherd, the chi ro (the first two letters of the Greek word "Christòs" meaning Christ), the XTHYS ( ichtùs) or fish, the Alpha and Omega (the two Greek letters representing God eternity), and others (Christian Catacombs of Rome, 1997). From these symbols, the Christians saw visual signs that supported their faith and illustrated some of the basic tenets of Christianity. This custom eventually spread throughout Europe after the legalization of Christianity by Emperor Constantine in 313 (Cavarnos, 1992, p.13). However, the catacombs are not the first place the Orthodox look to when considering the icon’s origin; indeed, the Orthodox look as far back as 1st century Jerusalem. The name of the artist was Jesus and the image created was His own. The icon referred to here is formally known as “the Holy Face” in the west, or “the icon not made by human hands” in the east (Ouspensky, 1992, p.51). Tradition states that a King Abgar in Edessa requested Christ to visit him to heal him of his leprosy. However, while Christ chose not to visit him, He did send him a piece of cloth which He wiped His face upon that left His sacred impression. Upon Abgar receiving the Christ’s linen cloth the king was immediately healed and veneration for this icon has existed ever since. But, this act of Christ creating an icon of Himself, or more accurately, of the invisible God making an Incarnation of Himself, was for many Orthodox, a major justification for the use of icons and the reason for its emphasis in the Orthodox faith. But the question is why?

Upon the Incarnation of the Word made flesh, the faithful followers of the true God could now be confirmed in their desire to make representations of Him. Formerly, the Old Testament covenant forbade any such manifestation of God or the saints. The book of Deuteronomy illustrates this when it cites God saying:

Beware lest you act corruptly by making a graven image for yourselves, in the form of any figure, the likeness of male or female, the likeness of any beast that is on the earth…And beware lest you lift up your eyes to heaven, and when you see the sun and the moon and the stars, all the host of heaven, you be drawn away and worship them and serve them…(4:16-19).

This passage makes it apparent that to create icons would be idolatrous and offensive to God and thus sinful. However, to show how this command no longer applied to Christians upon Christ’s coming, Saint John of Damascus in his famous work Concerning Holy Icons, explains Christians must now have a change of perspective on this subject. He contends:

[This passage] is clearly a prohibition of representing the invisible God. But when you see Him, who has no body become man for you, then you will make representations of His human aspect. When the Invisible, having clothed Himself in the flesh, becomes visible, then represent the likeness of Him who has appeared.... When He who, having been the consubstantial Image of the Father, emptied Himself by taking the form of a servant (Phil. 2: 6-7), thus becoming bound in quantity and quality, having taken on the carnal image, then paint and make visible to everyone Him who desired to become visible. Paint His birth from the Virgin, His Baptism in the Jordan, His Transfiguration on Mt. Tabor.... Paint everything with words and colors, in books and on boards (Ouspensky, 1992, p.44).

Furthermore, commenting on the reason for the Old Testament covenant not allowing representations of God, but why now it was acceptable, Russian icon commentator, Leonid Ouspensky, relates that

[the Israelites had] ...a mission consisting in preparing and prefiguring that which was to be revealed in the New Testament. This is why there could be only symbolic prefigurations, revelations of the future. 'The law was not an image,' says St. John of Damascus, 'but it was like a wall which hid the image. The Apostle Paul also says: "The law was but a shadow [skian gar echon o nomos] of the good things to come instead of the true form of these realities" (Hebrews 10:1).' In other words, it is the New Testament which is the true image of reality.... That which David and Solomon saw and heard was only prophetic prefigurations of that which was realized in the New Testament (Copple).

Hence, God was not stating not to ever have icons, but to wait until the time of the Incarnation to allow for their reproduction. In short, the icon was to be part of the fulfillment of the old law and therefore, because it was fulfilled, should allow the new law to take precedence and be promoted and observed by all. God wanted this change and thus icons were introduced into the Christian world. But there is still more to be said regarding the significance of these icons.

A second point which Saint John Damascus well perceives is the impact in icon has on the individual. Speaking not from his own opinion, but in the name of holy Tradition, Saint John clarifies one of the essential purposes for the use of icons. He writes:

We who do not see Him [Christ] directly nor hear His words nevertheless listen to these words which are written in books [Bible] and thus sanctify our hearing and, thereby, our soul. We consider ourselves fortunate and we venerate the books through which we hear these sacred works and are sanctified. Similarly, through His image we contemplate the physical appearance of Christ, His miracles, and His passion. This contemplation sanctifies our sight and, thereby, our soul. We consider ourselves fortunate and we venerate this image by lifting ourselves, as far as possible, beyond the physical appearance to the contemplation of divine glory (Ouspensky, 1992, p.48).

Here Saint John Damascus stresses the importance that icons have in the life of an Orthodox believer. Icons are not just pictures the faithful look upon, no, they are also a means of worshipping God Himself. As the Holy Father St. Basil explains, “the honour of the icon passes to the prototype” (Dragas, p.60). The icon is like the vehicle that takes one to their destination. This act of veneration towards the icon can thus lead the individual soul closer to God as they reflect upon whom it is they are looking. For just as people hear the word of God read to them and are sanctified, so too when seeing the holy icons, people are being led towards holy contemplation (Ouspensky, 1992, p.48). As Orthodox writer, Paul Evdokimov explains in his book The Art of the Icon, “these images are drawn statements” (173). He declares that the icon is more than art; it is also the Word offering Himself “for contemplation in the ‘visual theology’ of the icon” (174). This is elemental in the life of an Orthodox Christian since the purpose of life is to come to full union through deification and icons are a medium through which person can enter into this process. Through this “visual theology” that Evdokimov describes, the faithful are able to be drawn to Christ since God can reach a soul not only through hearing the Word, but also through seeing Him in iconic representations.

As we have already explained, the origins of the icon are not insignificant and have great importance for the Orthodox Christian. While the Orthodox recognize that the icon is not only aesthetical, they do not deny the fact that icons are pieces of art. The Orthodox, acknowledging the icon’s multi-functions, wants to ensure that their churches are adorned with the most beautiful images and decorations possible to show their love for God and His Bride, the Church. The distinction here is that they do not love beauty for beauty’s sake, but in truth, for God’s sake. To illustrate this love for the ‘house of God’, there is a hymn chanted on the vigil of the Triumph of Orthodoxy from the Triodion which expresses this reality. The context of this chant involves the celebration of the overthrow of iconoclasm and it reads:

The Church of Christ is now embellished like a bride, having been adorned with icons of holy form; and it calls all together spiritually; let us come and celebrate together joyfully with concord and faith, magnifying the Lord (Cavarnos, 1992, p.30).

To decorate the Church is therefore a sign of one’s love for God. Nevertheless, an Orthodox Christian will never segregate the icon’s beauty from its fundamental purpose; icons must always be used to lead the faithful towards holiness, towards the end of its function, and not simply towards artistic appreciation. Working together, the objective beauty along with the subjective meaning of the icon is meant guide a person into a potentially deeper and higher relationship with God and ultimately divine union with Him.

Therefore, in tracing the icon’s origins and the place it has in the life of an Orthodox, it becomes apparent that the icon is more than ancient art. With the theology and the beauty buried deep within the icon, it is clear that the icon is a truly necessary part of the Orthodox Christian’s belief. From it an individual can come to perceive the truths that the Christian faith contains and open for them a means of both knowing and loving the Incarnate God in a more profound way. Veritably, the icon is one of the most unappreciated traditions which exists in the present world and which will hopefully again take the place of prominence it deserves among Christians of all denominations.