Greek European Culture

Art, Orthodox Christianity, Western Christianity

Theology in Iconography.

By Sylvain Rey

“When you want to paint the walls of a church, begin with a circle of different colors at the top of the cupola, as if you were drawing a rainbow amidst the coulds during the storm. Inside the circle, represent the Christ blessing and carrying the Gospels with the letters IC XC. Below, around the circle, paint a row of seraphims and beneath them, the prophets…”
Manual of Painter by Denis of Fourna.

Anyone who visits Europe from East to West or West to East will be amazed at the churches and cathedrals that, in almost every town and city, is the center of the city: churches are often the largest and tallest buildings, and the entire community seems organized around it, a witness to the role that our religion played on our continent until recently. At first there seems to be unity in this European civilization that so many admire, a unity which the place granted our churches and cathedrals in olden times recalls. No doubt, we are here in Europe, and every visitor, whether European himself or not, coming from more distant lands, whether believer or not, will recognize and admit this fact: as we know that we are in Buddhist or Shinto land because of all the temples and shrines that exist all over the cities and towns of East Asia, we are here in Christian land.

Yet, beyond the apparent unity that seems to prevail in the former Christendom, a much deeper rift appear if we take even a little time to consider. We may have equal admiration for the cathedrals of Chartres and Notre-Dame as well as for those of St. Basil and Hagia Sophia, this admiration does not erase the obvious differences between the two pairs. The former pair, jewel of the triumphant Gothic style of the 13th century, is well known for the characteristic spires which rise up to the skies, resting on the gothic crossed vaults and arches. In Greek-speaking areas, the dome prevails, of which the Russian ‘onion bulb’ is but a variation.

1 Comment

  1. Vasiliki

    The thing that is MOST striking about the Aghia Sophia when you enter is that you do indeed feel as if you are in heaven … although it is stripped completely of its Orthodox identity – heaven is in this building and most people will leave with a cense of overwhelming emotions inside them that they can not explain! That was also my experience … involuntary tears and wonder …

    I learnt that Iconography is not the only window to heaven. Post iconoclasm, we show a great emphasis on icons as part of our Orthodox culture but prior to this the Christians places a great emphasis on the architecture of the churces; this almost being forgotten in our day and age.

    Architecture (as well as art) is a critical window to heaven and patristically, in early church writings, we find many architectural analogies describing salvation in heaven …

    All these together – art, iconography, architecture and the spiritual and prayerful atmosphere of the participants all assist in creating heaven on earth!