Byzantine Iconography refers to the distinct tradition and style

embodied in the Orthodox religious images painted during the

Byzantine Empire which lasted from the 5th century to the fall
of its capital, Constantinople, in the year 1453. This rich
tradition continues to this day, over 1,500 years after the first
images were created! This enduring heritage is a testament to
the powerful religious experience that these images evoke.

The word icon is Greek for "image", although it has come to be

applied to a specific category of panel painting associated with
Byzantine art. Dating back to at least the 6th century, icon
painting usually involves portrait-like depictions of Christ, the
Virgin or saints. Such images were meant not only to represent
the original subject or prototype, but also to evoke its real
presence and thus encourage prayer and veneration.

The process of creating an icon is accurately referred to as

iconography, from the Greek, meaning "icon writing". Icons
were typically painted or "written" on wooden panels which
were covered in a layer of linen onto which several thin coats
of gesso (a chalk-based primer) were applied. Egg tempera,
combined with raw pigments, provided a basic medium for the
painting of icons. The background was usually given a layer of
gold leaf. Such materials and methods of icon writing are still
used today.

The purpose of icons is first to create reverence in worship and

second to serve as an existential link between the worshipper
and God. Icons have been called prayers, hymns, and sermons
in form and color. They are the visual Gospel. As St. Basil said,
"What the word transmits through the ear, the painting silently
shows through the image, and by these two means, mutually
accompanying one another…we receive knowledge of one and
the same thing."

The icon offers an external human expression of the holy

transfigured state, of a body filled with the Holy Spirit. By
omitting everything irrelevant to the spiritual figure, the figure
becomes stylized, spiritualized, not unrealistic but supra-
realistic. The icon figure is thereby set aside from all other
forms of pictorial art.

The work of icon painters (iconographers) had very much in

common with priest's duties, merely the work differed, for a
priest taught with words and an iconographer with a form and
a hue. There Dionysius of Mount Athos demanded in his
manual: "Let him (a painter) pray in tears, so the Lord may
penetrate into his soul. Let him go to the priest, so that he
could pray for him and read the praise of Transfiguration".
Having been fitted that way, an iconographer could start his
work.

The painting of an icon always begins with the background.

Once the background is completed, the painting of the
architecture, mountains and garments, can begin leaving the
faces and hands to be dealt with last. The eyes of a saint,
almost always supernaturally enlarged, are directed towards
the transcendental world. Narrow, ascetic-looking lips are
intended for chanting the praises and preaching the Glory of
the Lord. A high, clear forehead emphasizes the supremacy of
thought over deed. The purpose of the dark tone of the nude
parts of bodies is to remove any realistic and, more so,
sensorial traits. The frontal pose of a saint is also important, as
it does not distract the attention of the spectator to any
dramatic trait. The figures emanate their internal calmness
and self-communion, emphasized with their gaze pointed
directly towards the spectator. Contrary to the representations
of saints, the figures of sinners and demons are represented in
profile, with impetuous gesticulation precluding internal
calmness and contemplation, as a rule. According to the
doctrine- there is no chiaroscuro (light- and-shade effects) in
icons, as the sun never sets in the world of icons. The above
statement is the essential ascertainment in the art of icon
painting. Light is inherent in an icon itself, so its source may
not be visible.

The foregoing statements constitute a doctrinal theology of an

icon. It should be added, however, that the East-Christian cult
paintings become icons only after a priest has consecrated
them. The sacral traits of an icon are lost in course of time for
the benefit of its esthetic beauty, while its religious essence
becomes obliterated in favor of narrative features.
Nevertheless, an icon accompanied an orthodox member of
the Orthodox Church throughout his life- from his birth until his
death. His godparents presented a newborn child with an icon
representing its patron. According to custom, the icon had to
be the size of the infant. The newly married couples were
given wedding icons. The bride turning towards her house
would ask her parents for their blessing. The icons used for
private devotion were frequently buried with their owner, in
the close vicinity of his coffin.
As we already know, the origin of icons is related to the
Byzantine Empire. There are old tales which testify that sacred
paintings were placed in the room of prayer. They were most
often the scenes from Christ's life (so-called: historiai) and
images of a symbolic character. Icons are more than just a
painting of who or what they physically represent. Someone
not familiar with this art form generally misses all the
symbolism contained within an icon.

The number of the images of the Virgin rose abruptly after the
council of Ephesus in 431, when the formulation of the features
of the Virgin as the Mother of God was done. During the
subsequent century icons became the element of everyday
life. Pilgrims streamed from everywhere to the icons renowned
for being miraculous (eg. to the image of the Virgin the Life-
Giving Source). Shortly afterwards, in the early part of the 8th
century, as a result of the coincidence of circumstances in the
Byzantine Empire, the icon cult was prohibited, as the
venerating of sacred paintings was then considered to be
idolatrous.

The dark and cruel epoch in the East-Roman Empire was called
iconoclasm. Many early and valuable icons were destroyed at
this time. The destruction of icons was accompanied by other
atrocities aimed at creators of sacred paintings and monks
(monasteries were liquidated). There were even death
penalties performed in exceptionally cruel ways on painters
and defenders of icons. In 842 Empress Theodora assembled a
council which finally put an end to the iconoclastic controversy.
From then on, icon painting fully regained its rights and
potential for full growth, which was even more intensified due
to the numerous events that had taken place during the period
of iconoclasm.

Who was the first icon painter? According to legend, St.Luke

the Apostle and Evangelist was the one who originated the art
of icon painting. He is the one who is credited with painting a
number of icons, in particular, the image of the Virgin with the
Child. The legend of the Evangelist as an icon painter was
reflected in legends related to the iconography of the Virgin
Mary.

The art of icon painting is bound to a religious tradition that

disallows loose alterations.This preserves the pure form and
protects the specific theological and religious concepts being
presented through the icons. A special discipline is essential
for icon painters in conformity to ecclesiastical requirements.
The icon is a consecrated object, thus demanding the painter
to paint and pray for divine inspiration. The icon becomes, in a
very real sense, the work of the Holy Spirit (I Cor. 12:4-11).
Icon painting is a special vocation. The icon painter keeps in
mind the true Source of his works.