Windows into Heaven: An Introduction to the Russian Icon

Minto, Marilyn

ISBN 10: 189975010X / ISBN 13: 9781899750108

Published by Aureus Publishing, 1996

About this Item

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Seller Inventory # rev1518211837

Bibliographic Details

• Title: Windows into Heaven: An Introduction to the Russian Icon
• Publisher: Aureus Publishing
• Publication Date: 1996
• Language: English
• ISBN 10: 189975010X
• ISBN 13: 9781899750108
• Binding: Soft cover
• Condition: Good
• Weight: 200 grams

About this title

Synopsis

Windows Into Heaven is an introduction to the Russian Icon. The book contains full colour plates and is a useful guide to anyone interested in icons and iconography.

Synopsis

My love of the ancient art form, of Russian icons, was stimulated by the art of that most radical period in Russian art, the first two decades of the twentieth century. Modern painters like Natalia Goncharova and Vladimir Tatlin often imitated the strong outlines and bold patches of colour of medieval icons, clearly excited by a method of painting that to many a western eye still seems so primitive. One purpose of this book is to try and persuade readers to lay aside prejudices about the icon's uniformity and lack of sophistication, and to see it in a new way. Then the world of icon painting may reward with the eloquence of its simplicity, may calm the spirit in a way that the intellectual, tormented world of modern art cannot, and possibly even involve readers as they have never been involved in art before. To enter into this new way of seeing, the reader needs to be introduced both to a complex historical and theological background, and to a tradition of painting quite different from any other. The main sections of this book are devoted to discussions of a variety of actual icons, most of which can be seen in Russian churches and museums today. It is hoped that this approach will appeal to students and travellers who may have the opportunity to see the original artefacts. The general reader too may appreciate this approach; since icons are based on prototypes and therefore have many similarities, discussion of one may clarify much about another. Regrettably background details have had to be kept to a minimum. Three books, "The Meaning of Icons" by Vladimir Lossky and Leonid Ouspensky, John Baggley's "Doors of Perception" and John Stuart's "Ikons" will provide excellent additional reading for those keen to delve deeper into the subject. Hopefully the uniqueness of icon painting will emerge as the many icon subjects included are discussed in the context of the icon stands (iconostases) on which they are often placed. Several icon stand schemes are provided, so that the reader may appreciate both the complex relationship of one icon with another, and the symbolism involved in Orthodox worship, of which icons form so essential a part. A visit to an Orthodox church in any part of the world should make clear the role that icons play as liturgic art; it should also highlight the essential interrelationship of everything within the church, not only of one icon with another, but also with the lighting, the architecture, the unaccompanied oral singing, the liturgy. These are links that are reinforced by the lack of pews, for as Orthodox believers stand in the nave, symbolising the earth, they are able to enjoy fellowship before God with others. Before them is the icon stand that acts as a barrier between this world, the nave, and the next world, the sanctuary, but one that can be overcome. For when the Royal Doors at its centre are opened, they offer a pathway to the Kingdom of Heaven; by the same token, the believer can move forward on the path towards redemption. The involvement of the icon in this complex process is introduced in Chapter 4, then explained as individual icons are discussed in Chapters 5 to 9. Icon subjects are presented alphabetically; schemes illustrating the subject matter, such as events from saints' lives that are included in icons' border scenes, are included where appropriate. Each subject is introduced by the relevant biblical or apocryphal text. All biblical references are taken from the standard authorised version of the St. James bible. There then follows an analysis that considers what theological, historical or aesthetic aspects are incorporated into the message, and with what effect. In some cases comparisons of icons on one theme are discussed. Hopefully this will encourage readers to appreciate both the variety of ways in which icon painters were able to convey both the grace working through them, and the different techniques employed in the process of externalising their experiences, despite the code of rules under which they worked. In every case, the gallery or church in which the icon can be seen is indicated, together with the dates of church festivals, first according to the Russian Orthodox church, which falls thirteen days behind. A glossary of useful terminology together with a map detailing the main icon centres from the fourteenth centuries onwards, are included at the end. Cyrillic transliteration follows an adapted Library of Congress system.