Tag Archives: Icon Reader

What the mandorla reveals.

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

The first light and the first song.

Seraph – Fresco by Theophanes the Greek, 14th century

From the Akathist to Jesus Conqueror of Death, composed by St. Nikolai Velimirovich on Pascha 1923 — Kontakion Nine, “The Choir of Seraphim”:

“We are the first light of Thy light and the first song of Thy voice; all the angels’ tongues together cannot express the glory and light of the seraphim, just as we seraphim cannot express Thy glory and radiance, Thou only begotten One, Beloved of the Father and the Holy Spirit. Among seraphim Thou art Seraph, among cherubim Thou art Cherub, among angels Thou art Angel, among men Thou art Man. Thou art all in all; and since Thou art all in all, Thou art servant of all and Lord of all; therefore, we who rule countless worlds below us serve in humility amid the unburning flame of the Divinity of the Trinity, carrying Thy love downward to Thy creature and the love of the creatures upward to Thee, singing the triumphant hymn: Alleluia.”

Last year for the Feast of Archangel Michael and the Other Bodiless Powers, I shared the songs that St. Nikolai gives to the Angels and Archangels. But I’m not sure I’ve posted a link to this article before: “The Divinely-Revealed Appearance of Angels in Icons.” It is so full of the mystery and glory of angels, as they reveal God’s great love toward us, that my heart was near to bursting from considering a small part of it.

This is a good day to join with cherubim, seraphim,
and all the ranks of angels as they sing
praises to the Holy Trinity.

Jan Van Eyck, The Ghent Altarpiece

Shame that is glory and grace.

“Extreme Humility”

More than two years ago I began to engage with Timothy Patitsas’s book The Ethics of Beauty. It’s an inconvenient book because of its unwieldiness, and I didn’t get very far into it until this summer, when I determined to read it on a regular basis, with its weight resting on my kitchen table and I hefting only a cup of tea.

Just in time for my trip earlier this month and the necessary sitting on airplanes, I discovered that the book is now on Kindle, Hallelujah! By the time I returned home I had made my way through 31% of its 729 pages, to page 224, in the middle of the chapter titled “Shame and Sacrifice.” I will start sharing my gleanings on that theme.

Father Stephen Freeman has written many times on his blog about shame, and until now I hadn’t read about it elsewhere. I particularly appreciated his explaining the toxic shame that cripples so many people in the modern world. In the last couple of years he’s written about healthy shame, too, as in the article “Can Shame Ever Be Healthy?” He credits the author John Bradshaw and his book Healing the Shame That Binds Us for clarifying the difference between the two, in an era when many people don’t want to acknowledge such a thing as the healthy version. But they are ignoring the science, according to Fr. Stephen:

“We are hard-wired for a response (one of the nine identified neuro-biological affects) that is accurately described as ‘shame.’ It is not a product of culture. It is universal, timeless, and biological. It can be compared to other effects such as the ‘surprise-startle’ effect, or the ‘distress-anguish’ effect, or the ‘interest-excitement’ effect. The ‘mechanism’ of the shame experience, whether toxic or healthy, is the same, differing only in its intensity and the issues that surround and embed themselves as complex, emotional triggers.”

Patitsas likewise sees the tendency of modern therapy to disbelieve in healthy shame, because:

“…it is so busy promoting self-regard and, ultimately, self-love, that it can’t possibly also teach us to look to the source of healthy shame outside ourselves. To replace the wrong kind of shame in us with the pure quality of shame, soul therapy must bring us face to face both with God and with other human beings who’ve seen what we’ve seen and yet have done better than us – that would be, in one person, Jesus Christ. Or, if you like, God and the saints…. Healthy shame is a fruit of deep organic processes; it is the glory upon the face of Moses when he descends from Mt. Sinai.”

It is interesting to put the insights of these two paragraphs together and begin to understand that to deal with our neurobiology and psyche, trying to create self-esteem without any reference to our Creator and Savior is a dead end, an unworthy goal. Yes, the inner man is essential, but the true self is only revealed by the Kingdom of God within, after “deep organic processes.”

To replace toxic or unhealthy shame with healthy shame, Patitsas continues,

“…we must also see Christ crucified, or else we will never overcome our false ideas about what is and isn’t shameful. Without seeing ‘the King of Glory’ hanging from the cross, a person will never be able to understand those times when accepting to be shamed by others is a necessary part of receiving God’s glory.”

Fr. Stephen points out a scriptural reference to shame that lines up with this, from Sirach 4:21:

“For there is a shame that leads to sin, and there is a shame that is glory and grace.”

May the Lord strengthen us in the latter direction!

Madonnas and their tears.

Icons of Mary with Christ seated on her lap are venerated in the sacramental churches of East and West, Orthodox and Catholic, and have their commemoration days just as saints do. I’m most familiar with the Orthodox tradition, and how these days are scattered liberally throughout our liturgical calendar. Today I was at Divine Liturgy in the morning, but we were remembering various other saints and events in my parish, and I didn’t notice until I was home again that today we also commemorate the Smolensk Icon of the Mother of God.

I would never have foreseen, fifteen years ago, that I would have favorites among icons of this subject, but it happens; this version is possibly my favorite of all because for ten years or more it was the only one I had in my house. My humble print resembles this one:

Icon Reader tells us that “It is known as “directress” (in Greek Hodigitria) because the Mother of God is shown directing our gaze to Jesus Christ with her hand. This style predates the Smolensk icon, and is one of the original ‘types’ traced back in Church tradition to St Luke.”

The tradition is that the first icon thus depicting Mary and Jesus originated in Antioch, and went from there to Jerusalem, then Constantinople, where it remained until, “In 1046, Byzantine Emperor Constantine IX Monomachos gave his daughter, Anna, in marriage to Prince Vsevolod Yaroslavich, the son of Yaroslav the Wise. He used this icon to bless her on her journey.” And there it stayed in Kievan Rus’.

Many, many versions have been painted based on this style, and even the Black Madonna of Czestochowa in Poland, in its less innovative versions, can be seen to contain the same elements:

It seems that Orthodox Christians in Ukraine and Belarus are also fond of the Black Madonna version of this icon, as well as sharing a love with Russians of the style generally. One of the icons in this article from 2014 is a Smolensk icon of Mary: “Weeping Icons of Ukraine and Russia.”

While Icon Reader has reservations about the meaning of these tears, he was able to affirm one clear word from the news reports that surely still stands:

“What is certain is [the] tears of the Mother of God
speak directly to the heart of every Orthodox believer,
calling all to repentance, amendment of life and return
to Orthodox faith and tradition in their fullness.”