On the very first day of the workshop/6-day recollection, our teacher quoted Vladislav Andrejev; and I will remember the words always whenever I work on a sacred art, and have brush and paint in hand: "As you write the icon, the icon writes you."
I have an inclination towards the Arts, but never had any formal education related to it. I attended a 10-day painting class about eight or nine years ago, and that's about it. There is something in painting that relaxes me, clears my mind, and allows me to contemplate the Beauty that God has made in Creation. That's why even on my own, I risk painting, and one day hope to finish an "obra maestra." I am very much aware that I do not have the professional know-how about the discipline of painting, so I risk expressing myself using brushes and tubes of paint.
Lately however, it had been extremely challenging to finish a painting, especially those of the Blessed Virgin Mary and Jesus. I have started several, but they're all unfinished. I would try my best to find time, but something more urgent would come that would require my immediate attention. At one point I decided, maybe I really just need to put them all on hold for a while. I felt I needed a little bit more inspiration.
In the past, and especially when I was younger, I hesitated to paint because I lacked the confidence, which mostly resulted from unmerciful, ill-comments from people who just couldn't be happy for what others can accomplish. I outgrew that through the years, and learned that the talent I have is a gift from the Greatest Artist of all, and I dare not insult Him by frowning on myself. I have learned to make every painting session a prayer and work of love. Still, my hectic schedule would almost always get in the way. So when another opportunity came knocking right at my door, I knew I had to accept it, and take a leap of faith. I figured (and silently prayed) that perhaps I will learn something new that will help me hone my craft, and help me to finally finish several paintings that have started to accumulate dust.
Icons and the Image of God
Quoting from a video I watched on Iconography, "An Icon suggests two types of creativity. It is Art and Religion. These two types are complementary and interrelated, therefore an Icon painting is a process of ascent from darkness to light; so material things ascend to their spiritual essence.
The process of iconography is related to Liturgy. It is liturgical. An icon on the board is a symbolical description of reality. The teaching about an Icon is the teaching about the Image of God in man, so every step that is demonstrated on the board shows certain realities that have to be not only depicted on the board, but also to be realized in one's soul."
Prosopon School of Iconology - Philippines
The Prosopon School of Iconology in New York was founded by iconographer Vladislav Andrejev of Saint Petersburg, Russia. It was Fr. Emmanuel "Pong" Del Rosario, current parish priest of Saint Joseph the Worker Church in Balintawak, Quezon City, who was instrumental in having workshops here in the Philippines. He studied at Prosopon in the US, under Master iconographer Fr. Mefodii, a Bulgarian Orthodox Heiromonk who lives in Palmyra, Virginia. Under Fr. Mefodii's guidance and instruction, and with the magnanimous help of Lingayen-Dagupan Archbishop Socrates Villegas, and Cubao Bishop Honesto Ongtioco, the Prosopon School Philippines had its first two-sessions of Iconography workshops in 2015
I missed the 2015 workshop. I learned about it just before the sessions were to begin, and there was not a single slot left to accommodate me. So I had to pray and wait that there would be another one 2016.
And thankfully, there was another one. I almost did not push through. As in any spiritual undertaking, there were obstacles. But with a lot of encouragement from Fr. Pong, and the gift of grace and providence from the Lord, I was able to attend the Iconography workshop.
An advice from Fr. Pong that I reminded myself while writing the icon of Saint Michael the Archangel: "If in the middle of writing an icon you suddenly find yourself besieged and distracted with imperfections, do not be unforgiving of yourself for it will lead to despair. Thank the Lord instead and pray humbly. For imperfections are just the right background against which God's perfection shines the most."
"The goal of studying icon-writing is not to produce art. Neither is it to discover and learn techniques to enrich one's list of so called accomplishments and skills for the admiration and awe of others. Iconology and Iconography must always lead to the process of KENOSIS - (horizontal) - conversion/emptying of self, and THEOSIS - (vertical) - deification/ union with God. Without this cruciform of Kenosis-Theosis, iconography degenerates into mere creative activity."
Some notes on the materials:
1. Egg-tempera
It consists of an egg yolk, and white wine. (In our case, we used Chardonnay.) Father Mefodii prepared this for the class. He also prepared the natural pigments that we needed.
Father Mefodii said that natural pigments are preferred when writing an icon, because central to our understanding of the created world is the truth that everything we see is good and made by God, and part of His divine plan. The use of natural materials in iconography reflects the incorruptibility and beauty of God. One of the lessons I was reminded of in the workshop is the the sacredness of all Creation. Saint John Chrysostom said, "Nature is our best teacher. From the creation, learn to admire the Lord!" It made sense to use only the best materials because we were writing an icon that's an image of higher things!
2. The Gesso Board - The wood is the foundation or support for the icon, just as the wooden Cross of Jesus is the support of the Christian.
Once a wood is chosen (poplar or birch are good choices,) the wood is sealed and a linen cloth is applied. This prevents the painted surface from cracking in the event that the wood as it gets old cracks. I love the symbolism of the board: the linen cloth covers the board just as the linen cloth covered Jesus’s body after the Crucifixion. Several coats of gesso or ‘levkas’ made from marble dust, chalk, and rabbit skin glue is applied on the board. The white gesso represents the eternal uncreated light of God before Time, awaiting Creation.
We did not put the gesso on the boards during the workshop; they take about at least a week to prepare. We had gessoed boards shipped from the US.
3. "Covcheg" - It means ark. It is the indentation in the center space of the board. We recall how the ark was a place of refuge for Noah, his family and the animals. The covcheg where the image will be drawn recalls the Christian Church as the ark which holds the faithful and where the Christian mystery takes place.
4. "Bole" or red clay
"Clay" represents man's material, physical nature. It comes from the Hebrew word "adamah" which means earth. (Interestingly, other Hebrew words I encountered were "adham" which means man, and "adom" wich means read. Clear to me now where the writer of Genesis got the name of Adam.)
The clay on the halo signifies this: "Then the LORD God formed man of dust from the ground, and breathed into his nostrils the breath of life; and man became a living being." (Genesis 2:7)
5. The 23K Gold Leaf
It represents the heavenly and spiritual part of man. It reminds us to look at valuable resources we find on earth not merely for their monetary value, but for the incandescent beauty of their substance.
"The brilliance of gold in mosaics and icons made it possible to feel the radiant light of God and the splendor of the celestial kingdom where there is never any night. Gold symbolized the divine nature of God himself."
Steps of Iconographical Process
Each step of the icon writing process should begin with prayer and contemplation.
1. Transferring a sketch onto the board
The drawing is transferred to the board using carbon paper. Transferring an image onto the board is symbolically related with the principle of the Will ~ our personal will vs. the will of God. Artists and painters express themselves (their thoughts, ideals, or understanding of a certain concept) in their art. With iconography, there is, if I may use the word -> Obedience. It is not replicating another Sacred art, (that's totally different,) but it is, as in my personal experience, surrendering oneself to the love and Divine Will of the One whose icon you wish to write.
2. Etching the lines on the board
Etching is done using a sharp pointed tool to trace the contours of the image. It is important to etch the image on the board so that it won't disappear under different layers of the egg-tempera paint. The etched lines are the second depth on the board, the ark being the first.
The board or the frame represents the body, the arc as the soul, and the lines as the movement of the mind.
3. Application of the Red Clay
Red clay is mixed with Hyde glue and applied onto the gesso board. Father Mefodii prepared this for the class. The clay is applied onto the halo where later in the process gold shall be applied, and on the sides of the board.
During the application, I silently reflected on how truly blessed I am because I am special in God's eyes, just as all of His children are. A song by Tom Fettke came to mind while in this process of writing the icon: "Oh what is man that You are mindful of him? "
4. Burnishing
Once dried, the clay is sanded and burnished using sand paper, and a polishing tool. This process reminded me of how trials and sufferings purify the soul.
"The proof of your faith, being more precious than gold which is perishable, even though tested by fire, may be found to result in praise and glory and honor at the revelation of Jesus Christ..." (1Peter 1:7)
5. Gilding
The process of gilding reminds us of the story of Adam, and how God breathe into him that he may have life. This was done by breathing onto the clay, and then applying the gold right away. It symbolizes the union of the material (the clay) and the spiritual (the gold).
Personally, this process required a lot of prayers. Gold did not easily adhere with the clay whenever I got distracted by my own perfectionism. It took a lot of humility on my part to remember that in all things, even in art, I cannot rely on my strength alone, but more upon the grace of the Lord.
6. Burnishing the gold
The gold was then burnished as well. In some icons, ornamental work is engraved on the halos. We did not do this on Saint Michael. After burnishing, a red line is wriiten around the halo, called the "Venchik." It represents the beginning of the iconographical journey. By this time, I already have somehow learned to let go of my "personal style" when painting. It was not easy to unlearn some styles that I tend to use once I have brush in hand. Like the process of purifying gold under fire, this part of the icon writing felt like purgation ~ a cleansing not just of my mind, but most importantly of my soul.
7. Application of the Base Color
Roskrysh, from the Russian word "Roskryvat" which means to open, is applied on the image. The symbolism of roskrysh means the revelation which comes from the breaking of the white beam of light through the prism. The color as the result of this breaking is the symbol of life. In this process, the light is a vertical principle, while the color is the horizontal principle, which reminds the icon writer of the action of the cross. This process opens all the colors in the icon, which proceeds from darkness into light.
8. Redrawing the lines
The first layer of color (roskrysh) represents chaos, while the lines represent the principle of law. Father Mefodii explained that the lines symbolize man's search for meaning, and that is satisfied through discipline and prayer. There are three lines: linear, circular, and spiral. Spirals represent a personal encounter with God. In the process of doing this, I got a bit agitated whenever I could not perfect the lines. Fr. Pong reminded everyone that what matters most is the encounter with the divine~ with God who makes all things beautiful. Indeed, even at this stage, the Lord was teaching me a lesson on meekness, and total surrender!
9. First Highlights
The first application of light is done through highlights, applied on the darker area of color. They help reveal the shape or form of the parts of the icon (like the folds on garments). The process recalls God's creation of natural order, like when he separated day from night; He is the One who forms light and creates darkness. It is the task of the iconographer to form the light, and bring the image to the dimentional world.
"There is no place for shadows in an icon, as there is no place for darkness in the Divine Light."
10. Application of the First Floats
Thin layers of floats are applied over the highlighted areas. It symbolically represents a veil, which is necessary to obscure the first light, before applying the second highlight.
Father Mefodii explained the symbolism of the floats related to metanoia resulting from repentance, and how the light of God is always a source of life, and with it forgiveness.
11. Second Highlights and Floats
A continuous application of highlights and floats add volume and depth to the icon. This process of the second highlight aims to reveal the light of the soul. It represents "daylight consciousness" and the creation of human beings with our intellect and culture. The second floats cover the second interior light, because it is not yet a perfect spiritual light. In this stage of writing the icon, Father Mefodii explains that we are presented with a visual reality: a recognizable appearance of creation.
12. Final Hiighlights
The small and bright third highlight symbolizes the motion of the angelic celestial hierarchy, which leads us to contemplate God. Father Mefodii said that at this stage, the icon reveals the realm of the Spirit, the Divinity of the Theotes, or the fullness of the divine quality.
The whole process teaches about four types of light: (1) the light of gesso symbolizes the light of the first day of creation; (2) the first highlight represents the light of cosmos where light was separated from darkness. (2) The second highlight is a separation of light within light.
The tiny final highlights, called the ozhivki, bring back the light of God, and our aspiration to the divine. Floats are not applied on it as it represents uncreated light. The whole process of the transfiguration of light represents an ascent of true life towards the True Light. Father Mefodii said that this light represents countenance.
Quoting Saint Pavel Alexandrovich Florensky, "It is a face that has fully realized within itself its likeness to God."
13. God is in the detail.
Details like the eyebrows, upper eyelids and pupils of the eyes are done. Other details include the tiny crescents of pure white pigment on the eyes, and inscriptions like the name of the Saint. For the Saint Michael icon that we wrote, we had to do the staff he is holding with his left hand, and the transparent orb on his right. Inside the orb are the Greek letters "Chi Rho" (X and P) which are used in Christian symbolism for Jesus Christ. The orb belongs to Christ and represents the kingdom of the enthroned Divine King, and Saint Michael is its chief protector.
14. Sealing with Olifa
Linseed oil varnish is used to seal egg-tempera icons. But It could only be done after at least a month to ensure that the pigments are totally dry. Warm olifa is used, and it protects the surface of the icon, deepens colors, softens whites, and imparts a characteristic gentle sheen. It symbolizes "annointing", or firing of the icon.
The final thing to do is to have the icon blessed by a priest.
Here's a short video by the Prosopon School of Iconology in New York City:
In the past, I look at an Icon as just another form of art, the way I'd look, say at Raphael's Madonna and Child with the Book, or Fra Angelico's The Mocking of Christ.
But Father Mefodii has enlightened me about the symbolisms in iconography.
In the beginning the earth was without form and void, just as in the beginning, the board was just wood. Then God said, " Let there be light" and there was light. The paint itself, which used natural pigments were transformed from darkness into light, just as we all aspire to transcend from sinfulness to holiness.
The process of icon writing reminded me of the movement from being without form, to becoming a being of light. I contemplated the Creation, and how it was repeated in every icon written by myself and my companions: shadow to light, darkened face to that of a transfigured one, and the transformation from being self-centered to God-centered, to becoming a daughter who has been restored to the image and likeness of God.
Jesus who is True God, before becoming True Man, was invisible and undepictable, but his Incarnation made Him not only visible and depictable, but most importantly Emmanuel, God with us.
Life is beautiful if we really look closely, but often we are distracted by the ugliness, the chaos, the divisions, and the death that surround us. My takeaway from the icon writing workshop is the reminder that even in the midst of brokenness, pain, and sin, God always gives us the chance to repent, and to look into ourselves, where He is at the very core of our beings. More than learning the techniques, the six-day iconography workshop has made me understand deeply how this Sacred Art springs from the Eucharistic celebration, the new covenant established between God and man through the Incarnation of the second Person of God, Jesus Christ, who says, "Behold, I am making all things new." Therefore if anyone is in Christ, he is a new creation.
Sources:
1. Notes from the Lecture given by Fr. Mefodii
2. Insights from Fr. Pong Del Rosario, posted on the Prosopon School Philippines Facebook page.
3. http://catholicchampion.blogspot.com/2012/11/the-process-of-writing-icon.html
 |
| The icon of the Holy Trinity in tempera by Andrei Rublev (ca.1411 or 1425-27) |
Lately however, it had been extremely challenging to finish a painting, especially those of the Blessed Virgin Mary and Jesus. I have started several, but they're all unfinished. I would try my best to find time, but something more urgent would come that would require my immediate attention. At one point I decided, maybe I really just need to put them all on hold for a while. I felt I needed a little bit more inspiration.
In the past, and especially when I was younger, I hesitated to paint because I lacked the confidence, which mostly resulted from unmerciful, ill-comments from people who just couldn't be happy for what others can accomplish. I outgrew that through the years, and learned that the talent I have is a gift from the Greatest Artist of all, and I dare not insult Him by frowning on myself. I have learned to make every painting session a prayer and work of love. Still, my hectic schedule would almost always get in the way. So when another opportunity came knocking right at my door, I knew I had to accept it, and take a leap of faith. I figured (and silently prayed) that perhaps I will learn something new that will help me hone my craft, and help me to finally finish several paintings that have started to accumulate dust.
Icons and the Image of God
Quoting from a video I watched on Iconography, "An Icon suggests two types of creativity. It is Art and Religion. These two types are complementary and interrelated, therefore an Icon painting is a process of ascent from darkness to light; so material things ascend to their spiritual essence.
The process of iconography is related to Liturgy. It is liturgical. An icon on the board is a symbolical description of reality. The teaching about an Icon is the teaching about the Image of God in man, so every step that is demonstrated on the board shows certain realities that have to be not only depicted on the board, but also to be realized in one's soul."
Prosopon School of Iconology - Philippines
 |
| Logo of the Prosopon School of Iconology |
I missed the 2015 workshop. I learned about it just before the sessions were to begin, and there was not a single slot left to accommodate me. So I had to pray and wait that there would be another one 2016.
And thankfully, there was another one. I almost did not push through. As in any spiritual undertaking, there were obstacles. But with a lot of encouragement from Fr. Pong, and the gift of grace and providence from the Lord, I was able to attend the Iconography workshop.
An advice from Fr. Pong that I reminded myself while writing the icon of Saint Michael the Archangel: "If in the middle of writing an icon you suddenly find yourself besieged and distracted with imperfections, do not be unforgiving of yourself for it will lead to despair. Thank the Lord instead and pray humbly. For imperfections are just the right background against which God's perfection shines the most."
"The goal of studying icon-writing is not to produce art. Neither is it to discover and learn techniques to enrich one's list of so called accomplishments and skills for the admiration and awe of others. Iconology and Iconography must always lead to the process of KENOSIS - (horizontal) - conversion/emptying of self, and THEOSIS - (vertical) - deification/ union with God. Without this cruciform of Kenosis-Theosis, iconography degenerates into mere creative activity."
Some notes on the materials:
1. Egg-tempera
It consists of an egg yolk, and white wine. (In our case, we used Chardonnay.) Father Mefodii prepared this for the class. He also prepared the natural pigments that we needed.
Father Mefodii said that natural pigments are preferred when writing an icon, because central to our understanding of the created world is the truth that everything we see is good and made by God, and part of His divine plan. The use of natural materials in iconography reflects the incorruptibility and beauty of God. One of the lessons I was reminded of in the workshop is the the sacredness of all Creation. Saint John Chrysostom said, "Nature is our best teacher. From the creation, learn to admire the Lord!" It made sense to use only the best materials because we were writing an icon that's an image of higher things!
2. The Gesso Board - The wood is the foundation or support for the icon, just as the wooden Cross of Jesus is the support of the Christian.
Once a wood is chosen (poplar or birch are good choices,) the wood is sealed and a linen cloth is applied. This prevents the painted surface from cracking in the event that the wood as it gets old cracks. I love the symbolism of the board: the linen cloth covers the board just as the linen cloth covered Jesus’s body after the Crucifixion. Several coats of gesso or ‘levkas’ made from marble dust, chalk, and rabbit skin glue is applied on the board. The white gesso represents the eternal uncreated light of God before Time, awaiting Creation.
We did not put the gesso on the boards during the workshop; they take about at least a week to prepare. We had gessoed boards shipped from the US.
3. "Covcheg" - It means ark. It is the indentation in the center space of the board. We recall how the ark was a place of refuge for Noah, his family and the animals. The covcheg where the image will be drawn recalls the Christian Church as the ark which holds the faithful and where the Christian mystery takes place.
4. "Bole" or red clay
"Clay" represents man's material, physical nature. It comes from the Hebrew word "adamah" which means earth. (Interestingly, other Hebrew words I encountered were "adham" which means man, and "adom" wich means read. Clear to me now where the writer of Genesis got the name of Adam.)
The clay on the halo signifies this: "Then the LORD God formed man of dust from the ground, and breathed into his nostrils the breath of life; and man became a living being." (Genesis 2:7)
5. The 23K Gold Leaf
It represents the heavenly and spiritual part of man. It reminds us to look at valuable resources we find on earth not merely for their monetary value, but for the incandescent beauty of their substance.
"The brilliance of gold in mosaics and icons made it possible to feel the radiant light of God and the splendor of the celestial kingdom where there is never any night. Gold symbolized the divine nature of God himself."
Steps of Iconographical Process
Each step of the icon writing process should begin with prayer and contemplation.
The drawing is transferred to the board using carbon paper. Transferring an image onto the board is symbolically related with the principle of the Will ~ our personal will vs. the will of God. Artists and painters express themselves (their thoughts, ideals, or understanding of a certain concept) in their art. With iconography, there is, if I may use the word -> Obedience. It is not replicating another Sacred art, (that's totally different,) but it is, as in my personal experience, surrendering oneself to the love and Divine Will of the One whose icon you wish to write.
Etching is done using a sharp pointed tool to trace the contours of the image. It is important to etch the image on the board so that it won't disappear under different layers of the egg-tempera paint. The etched lines are the second depth on the board, the ark being the first.
The board or the frame represents the body, the arc as the soul, and the lines as the movement of the mind.
Red clay is mixed with Hyde glue and applied onto the gesso board. Father Mefodii prepared this for the class. The clay is applied onto the halo where later in the process gold shall be applied, and on the sides of the board.
During the application, I silently reflected on how truly blessed I am because I am special in God's eyes, just as all of His children are. A song by Tom Fettke came to mind while in this process of writing the icon: "Oh what is man that You are mindful of him? "
4. Burnishing
"The proof of your faith, being more precious than gold which is perishable, even though tested by fire, may be found to result in praise and glory and honor at the revelation of Jesus Christ..." (1Peter 1:7)
5. Gilding
Personally, this process required a lot of prayers. Gold did not easily adhere with the clay whenever I got distracted by my own perfectionism. It took a lot of humility on my part to remember that in all things, even in art, I cannot rely on my strength alone, but more upon the grace of the Lord.
The gold was then burnished as well. In some icons, ornamental work is engraved on the halos. We did not do this on Saint Michael. After burnishing, a red line is wriiten around the halo, called the "Venchik." It represents the beginning of the iconographical journey. By this time, I already have somehow learned to let go of my "personal style" when painting. It was not easy to unlearn some styles that I tend to use once I have brush in hand. Like the process of purifying gold under fire, this part of the icon writing felt like purgation ~ a cleansing not just of my mind, but most importantly of my soul.
Roskrysh, from the Russian word "Roskryvat" which means to open, is applied on the image. The symbolism of roskrysh means the revelation which comes from the breaking of the white beam of light through the prism. The color as the result of this breaking is the symbol of life. In this process, the light is a vertical principle, while the color is the horizontal principle, which reminds the icon writer of the action of the cross. This process opens all the colors in the icon, which proceeds from darkness into light.
8. Redrawing the lines
9. First Highlights
"There is no place for shadows in an icon, as there is no place for darkness in the Divine Light."
10. Application of the First Floats
Father Mefodii explained the symbolism of the floats related to metanoia resulting from repentance, and how the light of God is always a source of life, and with it forgiveness.
11. Second Highlights and Floats
The whole process teaches about four types of light: (1) the light of gesso symbolizes the light of the first day of creation; (2) the first highlight represents the light of cosmos where light was separated from darkness. (2) The second highlight is a separation of light within light.
The tiny final highlights, called the ozhivki, bring back the light of God, and our aspiration to the divine. Floats are not applied on it as it represents uncreated light. The whole process of the transfiguration of light represents an ascent of true life towards the True Light. Father Mefodii said that this light represents countenance.
Quoting Saint Pavel Alexandrovich Florensky, "It is a face that has fully realized within itself its likeness to God."
13. God is in the detail.
14. Sealing with Olifa
The final thing to do is to have the icon blessed by a priest.
Here's a short video by the Prosopon School of Iconology in New York City:
God makes all things new.
 |
| Saint Michael by Andrei Rublev |
But Father Mefodii has enlightened me about the symbolisms in iconography.
In the beginning the earth was without form and void, just as in the beginning, the board was just wood. Then God said, " Let there be light" and there was light. The paint itself, which used natural pigments were transformed from darkness into light, just as we all aspire to transcend from sinfulness to holiness.
The process of icon writing reminded me of the movement from being without form, to becoming a being of light. I contemplated the Creation, and how it was repeated in every icon written by myself and my companions: shadow to light, darkened face to that of a transfigured one, and the transformation from being self-centered to God-centered, to becoming a daughter who has been restored to the image and likeness of God.
Jesus who is True God, before becoming True Man, was invisible and undepictable, but his Incarnation made Him not only visible and depictable, but most importantly Emmanuel, God with us.
Life is beautiful if we really look closely, but often we are distracted by the ugliness, the chaos, the divisions, and the death that surround us. My takeaway from the icon writing workshop is the reminder that even in the midst of brokenness, pain, and sin, God always gives us the chance to repent, and to look into ourselves, where He is at the very core of our beings. More than learning the techniques, the six-day iconography workshop has made me understand deeply how this Sacred Art springs from the Eucharistic celebration, the new covenant established between God and man through the Incarnation of the second Person of God, Jesus Christ, who says, "Behold, I am making all things new." Therefore if anyone is in Christ, he is a new creation.
Sources:
1. Notes from the Lecture given by Fr. Mefodii
2. Insights from Fr. Pong Del Rosario, posted on the Prosopon School Philippines Facebook page.
3. http://catholicchampion.blogspot.com/2012/11/the-process-of-writing-icon.html
 |
| Prosopon School of Iconology - Philippines Diocese of Cubao Workshop Series | Class of 2016 |
No comments:
Post a Comment