95 Baggley, 1988, p. 79.
96 Ouspensky, 1992, p. 192.
97 Ibid, p. 159.
98 Quenot, 1991, p. 100.
99 Ouspensky, 1992, p. 174.
100 Ibid, p. 176.
101 Zibawi, 1993, p. 64.
Ouspensky and Lossky suggest that “Layers of paint, superimposed upon another, create a barely perceptible relief, lower in the darks and higher in the lights. In this way the icon is not only painted, but also as it were modeled, according to the traditional requirements of an icon’s structure.”102
The various techniques of painting icons include specific attention to the physical nature of the subject of the icon. Perspective is ignored, as the focus is not on the depth of field in the icon.103 The role of the icon is not to bring us closer to what we see in nature (eyes, nose, mouth, ears, etc.) but to emphasize the absence from this world.104 This represents a resistance to the concept of “natural” beauty as an ideal for the subjects of icons. In fact, ”…it would be outrageous to represent Christ according to the natural beauty of some ordinary human model.”105 Rather, an icon is characterized by “…an idealized type unlike any purely human model, with supranatural characteristics such as large eyes, nose and hands.”106 This is common hyperbole used to depict Christ and the saints and contrary to the ideals in the west where young men became actual models for paintings of Christ. These humanly beautiful pictures are unacceptable to the Orthodox tradition. The people in icons generally have a small mouth, implying that that the saint has no thought for his own life or what he may eat or drink, but seeks first the kingdom of God.107 Large eyes convey the idea of inner watchfulness and attention. The “…eyes often seem to be inward looking, turned away from the external world of the senses.”108
“Sensual exuberance was discarded by making the mouth smaller, and the nose thinner and longer.
102 Ouspensky and Lossky. P. 54.
103 Quenot, 1991, p. 106.
104 Ouspensky, 1992, p. 178.
105 Coniaris, 1982, p. 173.
106 Ibid.
107 Ibid, p. 175.
108 Baggley, 1988, p. 83.
The spiritual nature of man was emphasized; the expression of the eyes was also changed. They were no longer the anxious eyes of a person looking with longing on the world dear to him which he was reluctant to leave. On the contrary, the eyes of the saints testified to the peace and contentment of one who has reached his Father’s home.”109
When the thumb and 4th finger are joined the upright index finger and the bent middle finger indicates the name IC. The thumb and the 4th finger crossed with the little finger beside indicate XC. IC and XC is an abbreviation for Jesus Christ.110 These written letters also often appear on the icon as part of the halo around Christ’s head. Generally, icons portray the person in a direct pose (not profile). This is because of the viewers need to interact with the icon. He/she in the icon interacts with us.111 The forehead is often large and high indicating the power of the spirit and of wisdom, inseparable from love.112 The nose is thin and elongated giving nobility to the face. It “…no longer detects the scents of this world, but only the sweet odor of Christ and the life-giving breath of the Spirit gushing from a throat and neck which are disproportionately large.”113 “The mouth, being an extremely sensual organ, is always drawn finely and geometrically, eliminating its sensuality… The lips remain closed, because true contemplation demands silence.”114 The body no longer needs nourishment. The ears tend to be interiorized. They no longer need to hear external things but only the “interior voice”.115 The absence of naturalism indicates a “…deafness to worldliness”.116
