Category Archives: icons

What the mandorla reveals.

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This year we Orthodox celebrate the Ascension of Christ on May 21st, which is, as always, 40 days  after the feast of the Resurrection of Christ. It’s been a while since I published this article about the feast and about the significance of the mandorla, so I’m offering it again:

christ forgiving resurrection 2Until a recent vocabulary expansion, I knew little Italian beyond pizza and zucchini. Now I know mandorla, which means almond. In the language of iconography, it means a background shape, often an almond shape but not always, which conveys meaning having nothing to do with the nut.

In this article “Within a Mandorla” Fr. Stephen Freeman explains:

“Revealed in the context of a mandorla is that which we know by the revelation of Scripture but which might not have been witnessed by the human eye – or – if witnessed – somehow transcended the normal bounds of vision.

“Mark says that [Christ] was “carried up into heaven and seated at the right hand of God.” This last formula is a creedal confession – but not an eyewitness description. That Christ was taken up and that He is seated at the right hand of the Father is the faith and dogma of the Church. But the Church knows this in a mystical manner and not in the manner of a newspaper reporter.”

And from Icon Reader:

“Sometimes a star – but the usual elliptical shape gives it the name mandorla, which is Italian for the nut. The almond tree is the first plant to flower in Greece, sometimes as early as mid-January, and as such is a symbol of new life and fertility. Ancient Greek myths also link almonds, and the almond-shape, with new life; yet preceding all these in time, and succeeding them in importance, is the story of Aaron’s rod, which blossomed forth not only flowers, but almonds (Numbers 17:8)”

The mandorla can represent light that was actually seen by those present at an event, but it often also symbolizes the majesty and glory that is beyond our earthly vision or ability to put into words.

From Wikipedia: “These mandorla will often be painted in several concentric patterns of color which grow darker as they come close to the center. This is in keeping with the church’s use of apophatic theology, as described by Dionysius the Areopagite and others. As holiness increases, there is no way to depict its brightness except by darkness.”

The story of what the disciples of Jesus saw with their own eyes is told in the first chapter of the Book of Acts:

“So when they had come together, they asked him, ‘Lord, is this the time when you will restore the kingdom to Israel?’ He replied, ‘It is not for you to know the times or periods that the Father has set by his own authority.  But you will receive power when the Holy Spirit has come upon you; and you will be my witnesses in Jerusalem, in all Judea and Samaria, and to the ends of the earth.’ When he had said this, as they were watching, he was lifted up, and a cloud took him out of their sight.  While he was going and they were gazing up toward heaven, suddenly two men in white robes stood by them.  They said, ‘Men of Galilee, why do you stand looking up toward heaven? This Jesus, who has been taken up from you into heaven, will come in the same way as you saw him go into heaven.’”

The Lord has ascended into heaven
that He might send the Comforter to the world.
The heavens prepared His throne, and the clouds His mount.
Angels marvel to see a Man high above them.
The Father receives Him Whom He holds, co-eternal, in His bosom.
The Holy Spirit commands all His Angels:
“Lift up your gates, ye princes!
All ye nations, clap your hands:
for Christ has gone up to where He was before!”

-Hymn for the feast

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.