Category Archives: icons

From Uncreated Light to electrics.

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For it is the God who commanded the light to shine out of darkness, who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ.
-II Corinthians 4:6

My priest mentioned in a homily recently that the verse above was his favorite; of course that made me pay close attention to it. Soon afterward I read an article by the iconographer Aidan Hart, “Lighting in Orthodox Churches: Liturgical Principles and Practical Ideas,” which has kept me thinking on this Light … and I’m certain I could benefit from further meditation on Hart’s ideas — because they flow from the truth that Christ Himself stated, that He is The Light of the World.

How do we reflect this reality symbolically when choosing physical lighting for our churches? And how might lighting help us to worship or distract us? If any of these questions is interesting to you, you might like to read the whole article, which I have linked above and below. Or skip the text and look only at the more than two dozen photographs of most beautiful churches and monasteries — and one mosque — illustrating the principles that Hart discusses. I especially loved the photo showing alabaster windows such as this one:

Mausoleum of Galla Placidia, Ravenna

Hart reminds us that “The Church is ultimately a community of persons and not a building.” It follows that “Its light should illuminate the personal rather than the abstract.” He compares the needs of monasteries to those of parish churches, and The Blue Mosque to Hagia Sophia. The pros and cons of natural light, candles, oil lamps and electric lights are discussed; he explains how an environment with quiet light can help us to “learn the art of stillness, watchfulness, interiority.”

I’ll close with one paragraph that is rich with theological principles worth musing on, and leave you to click on the link for the whole article:

The second century neo-Platonist Plotinus wrote that “beauty is symmetry irradiated by life”. This was interpreted by the Byzantines as symmetry irradiated by light, for light was regarded an image of divine, animating and transfiguring life. But this Byzantine aesthetic of moving rather than static light was ultimately rooted in Trinitarian theology. The uncreated light of divine love is One, but it is also dynamic, moving within the Trinity and moving down to creation. Of course the term moving is a human concept and is ultimately inapplicable to God, who has no need to move from place to place. But the term is applicable inasmuch as it reminds us that God is not a single monad, that God is love because He is Three. Christian beauty is therefore rooted in relationship rather than an abstract and static ideal. And this can be reflected in church lighting.

-Aidan Hart, “Lighting in Orthodox Churches: Liturgical Principles and Practical Ideas”

St Demetrios Church, Thessaloniki (not taken by me)

We encounter the small black dot.

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“The intimate darkness of our most precious cognitive organ constantly reminds us – whether we like it or not – that the “inner” content of any human is never absolutely available to our cognitive powers. The most powerful among the senses, thus, recognizes the deepest human cognitive powerlessness precisely during the encounter with the most powerful sense organ of another human being. However carefully we approach or analyze it, the unique personal existence of every human always stays partly hidden in the darkness of the unknowing.

“And this is most expressively manifested when we encounter the small black dot that is the pupil of the  eye. At this place we truly do “enter into the human soul,” but at the same time –confusingly and paradoxically –  we realize that we cannot enter it. In this kind of darkness, we can get lost and go crazy, or feel warm and safe – for the same reason: because we cannot possess what it reveals/hides. This darkness can be scary or the most welcoming place in the world for the very same reason: because, herein, we recognize the utmost freedom of the human being.

“Through the encounter with the pupil of another human being, we fall directly into the other’s personal infinity, which can never be fully attained – even if our faces are only a few centimeters from each other. Experiencing this kind of infinity, finally, becomes the cognition of the utmost human freedom – freedom that does not depend even on itself.”

I added paragraph breaks to this excerpt from an article by Todor Mitrović from the Orthodox Arts Journal, on “The Epiphany of the Eye.”

I found the author’s ideas fascinating, and convincing. I am not an artist, but I do gaze upon icons quite a bit. When I do, I am looking through the “window,” not caring to analyze what features of the image are having what effect on me. This article nonetheless does help me to better appreciate the whole phenomenon. The artistry of an icon is not the most important thing about it, but contributes to its beautiful effect on our souls, our deepening relationship to Christ through prayer.

The Holy Spirit at the peak of Mount Sinai.

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When the Getty Museum in Los Angeles hosted the exhibition “Holy Image, Hallowed Ground: Icons From Sinai” in 2006-07, the courier and caretaker of the artifacts on display was Father Justin Sinaites.

He is the librarian at Saint Catherine’s Monastery on Mount Sinai, where the extremely dry climate has kept ancient manuscripts from deteriorating the way they might in many places in the world. This monk librarian came from Texas to the Egyptian monastery many years ago; at least once before I mentioned him on my blog after my late husband and I heard him speak in Berkeley, California.

As I write, the sun has set on this Sunday of Pentecost, a celebration full of joy and light. So we are now, according to Church Time, in the day after, on which the Orthodox Church celebrates Holy Spirit Day; Father Justin has written a blog post about how they keep the feast at St. Catherine’s: “Liturgy at the Peak of Mount Sinai”:

“Every year, we celebrate the Divine Liturgy at the peak of Mount Sinai on the day after Pentecost, the Monday of the Holy Spirit. This year, we were joined by pilgrims from Greece and Russia. We made the ascent in the night, and began the Liturgy at 4:00 AM.”

The blog post consists mostly of Fr. Justin’s own photographs, which I always find very appealing. I learned more about the monk himself in this interview on the Travel Potpourri website: “Saint Catherine’s Monastery Interview with the Librarian Father Justin.”

One paragraph:

“I didn’t go from El Paso, Texas, to Sinai, in one big step. There were lots of little steps. But even in El Paso, I read the account of Moses and the Exodus in the Bible. I saw Cecil B. DeMille’s “The Ten Commandments,” which contains scenes filmed at the traditional Sinai, with Charlton Heston climbing up the mountain, and walking along a ridge with the Sinai range in the background. Also, El Paso is a desert. I used to wander in the desert for hours and came to love the stark beauty of the desert landscape. All of this was in the background when I began to read about the history and the theology of the Orthodox Church.”

If you are interested in the manuscript collection itself, you may want to look at: This Reuters article, which explains that the abbot of the monstery feels an urgency about completing the project of digitizing all 4500 manuscripts in the library, many of which are in the Syriac and Arabic languages, and very rare.

But today, all I want to do is visit Fr. Justin’s blog, and through his photographs get another glimpse of the daily life and worship at Saint Catherine’s, Sinai.