109 Nicolas Zernov. Eastern Christendom: A Study of the Origin and Development of the Eastern Orthodox Church. (New York, NY: G. P. Putnam’s Sons, 1961), p. 278.
110 Baggley, 1988, p. 85.
111 Ouspensky, 1992, p. 187.
112 Quenot, 1991, p. 97.
113 Ibid.
114 Ibid.
115 Ibid.
116 Ibid.
“Lengthy fingers and elongated bodies indicate dematerialization in the most eloquent way…”117 The arched eyebrows signify being “…consumed in the fire of contemplation.”118 In this way, sensual powers are internalized. “The bodies no longer have a sex: naked Christ, St. Basil the Blessed, or St. Mary the Egyptian have asexual bodies, deeper “inner” bodies, “bodies on the innermost parts of their bodies,” to quote an expression dear to the mystics.”119
Transcendence In Icons
In the icon, the naturalistic is distinguished from spiritualistic. The naturalistic is inadequate, as it is influenced by the fall. Icons do not portray naturalistic ideas or images.120 Rather, the transcendent is emphasized. The icon is devoid of emotional explanation. It is a peaceful transmission: “The icon does not represent the divinity. Rather, it indicates man’s participation in the divine life.”121 Christian art is not to represent everyday life but life infused by the Gospel. Lazarev has given us a number of examples of icons that emphasize a sense of the transcendent – moving beyond this world.122 Some examples of this transcendence are: The Holy Face (12th century), Angel (12th century), Saint Nicolas The Wonderworker (13th century), The Apostle Peter (14th century), The Virgin Hodegetria (1482), The Savior Of The Fiery Eye (14th century). Generally, Christ is portrayed as serene when on the cross. This highlights the contrast between the spiritual and the physical and other kinds of pain he must have experienced.
117 Quenot, 1991, p. 100.
118 Zibawi, 1993, p. 40.
119 Ibid, p. 41.
120 Ibid, p. 47.
121 Ouspensky, 1992, p. 166.
122 Viktor Nikitich Lazarev. The Russian Icon: From Its Origins to the Sixteenth Century. (Collegeville: The Liturgical Press, 1997), p. 142, 144, 148, 194, 316, 252, respectively.
The Eastern Orthodox cross always includes the footrest and nameplate. The footrest allows Christ to stand rather than to hand by his arms and hands.123 Again, this contributes to a sense of the transcendent in the icon, and, specifically, in the face of Christ. The subject (Christ) has risen above the things of this world.124 We see this same transcendence in the description of the face of Stephen while he is being stoned to death (Acts 7:54-56). This is true of any “transfigured” person in the bible.
Some Examples of Icons
A few examples of icons are included here. In spite of the fact that there are far too many icons to be considered, observation of a few examples is helpful in understanding both iconography and some themes in icons. The physical features of the subjects of icons, discussed earlier, are evident in these examples.
There are many icons of Christ. Some of the most common are the Acheiroppoietos Icon (made without human hands) which was discussed earlier, and Pantocrator (the one who presides over the world), seated on the throne, with scroll or book.125 An example of Christ Pantocrator is included on the next page.126 This icon is found in all Orthodox Churches. It is generally painted in the dome above the center of the Nave.
