The word icon, from the Greek eikon, simply means image. In the Orthodox Church, all forms of sacred art, irrespective of medium, are part of the icon concept. This includes wall decorations (such as mosaics and frescoes); reliefs on wood, metal or ivory; illuminated manuscripts or books; embroideries, tapestries, and enamel work. In the Western Church, icons generally refer to paintings in the Orthodox tradition using egg tempera and gold leaf on a prepared wooden panel.
The icons at Transfiguration fall into this latter category. They are based on authorized Byzantine and Russian models and employ traditional motifs and techniques in their execution. The contemporary writing of an icon (icons are said to be written as they are regarded as visual scripture) is not simply the rigid process of making an exact copy, but rather it is a process of recreation in which the artist enters into a creative dialog (through prayer and meditation) with the historical prototype—a concept going back to Plato in Greek classical times. The process draws on both the past and the present, with emphasis on the spiritual rather than the physical. The iconology of icons is as complicated as their iconography, and if you are interested in learning more about this fascinating subject, watch this newsletter! Transfiguration has offered classes on icons in the past, and is likely to do so again.
Hanging behind the altar at Transfiguration is the icon of Christ Pantocrator. The word Pantocrator means “Ruler Over All”, and this image has been prominent in the Church since about the third century. Simply stated, it shows Christ as Creator, Savior, and Judge. He wears a dark blue cape
(himation) over a red tunic (chiton), symbolizing the two natures of Christ, the human and the divine. The gold drape over His right shoulder (the clavus) was used in Rome and Constantinople as a sign of high office. His right hand is raised in blessing with His fingers forming the first two and last two letters of His name in Greek–ICXC. His left hand holds the “Book of Life”, representing His return in judgment. His nimbus, or halo, is an ancient symbol denoting a sanctified state. The Greek letters ó on the arms of the nimbus cross are the present tense of the verb to be, and may be translated as the abiding one or the one who is. Thus, the same transcendent and indescribable God who presented Himself to Moses as “I am who I am” (Ex 3:14) is invisibly present behind the Son by virtue of His own name!
At the back of the church, hanging over the votive stand, is the icon known variously as Hagia Sophia or Hodegetria. The name Hagia Sophia (Holy Wisdom in English) comes from the great church in Istanbul of the same name, where a similar mosaic image has been venerated for over 1300 years. In Byzantine times, before the Doctrine of the Trinity was fully defined, the third person of the Trinity, (the Holy Spirit), was believed to be a woman known as Holy Wisdom. Hodegetria means “The one who points the way”, and refers to the position of the right hand of the Mother of God that points to the Christ Child enthroned on her lap. According to popular legend, this particular icon was first written by St. Luke the Evangelist, with the living Mary serving as his model. Here Mary is Theotokos, the God Bearer, presenting her child to the world. Jesus is shown both as child and man, the visible form of the paradox that He is both God and man. One hand is held in blessing and the other holds a scroll. These signs signify that Jesus is both the pre-existent
Logos (the scroll) and the coming savior (the blessing sign).
The background of both icons is 24K gold leaf. Gold is an important aesthetic element of all icons, but more importantly it represents a theological element: the uncreated and unending Light of God. Uncreated light, unlike created light (such as sunlight or candlelight), casts no shadow and has no
visible source. On an icon, created light sources are subordinate to the uncreated light, which expresses a fundamental quality of God’s nature. Nobody has created the Creator. God is uncreated. God is the only one who exists by virtue of Himself! For humans, this is an absurd and incomprehensible concept—which is one of the reasons we have icons in the first place. By meditating and praying with icons and by struggling to understand their many faceted symbols, icons become a tool for understanding, and a window to the divine.
The icon that now hangs on our sanctuary cross is a symbolic representation of the event described in the Gospels. The composition of this icon follows a strictly symmetrical scheme and tries to faithfully represent that event. A stylized mountain landscape consists of a central peak flanked by lesser peaks on either side. Jesus stands (or almost floats) on the central peak. He is clothed in a white and gold robe that appears to have dazzling light coming from within it. This is not sunlight. It is the uncreated light of God. Furthermore, He is surrounded by a gold and red boat-shaped image known as a “mandorla”—the ancient symbol of the creator God. At Jesus’ feet is a round medallion showing an agnus dei—the Lamb of God, which is the phrase that John the Baptist used to identify Jesus when our Lord appeared for His Baptism. On either side of Jesus’ upraised arms are the Greek letters that form the abbreviations of His name (Jesus) and His title (Christ). In the ancient world, names and titles were believed to have great power and most icons are tagged with the name of the principal subject.
Jesus is flanked by two prophets. Moses is on His left (your right), and Elijah on His right, each standing on his own peak. The image of Jesus is larger than the two prophets. This follows an iconic convention, which calls for the most important figure to be the biggest. Moses carries the tablets representative of the Law, and Elijah wears the “cloak of prophesy” that he passed on to Elishah before ascending to Heaven in the chariot of fire.
James, Peter, and John are represented by the three medallions at the bottom of the icon. Normally, the three apostles are shown as figures rather than symbols, however, the round shape of this icon did not permit that design. The medallions, however, are accurate copies of the symbolic representations of these apostles that appear in the stained glass windows at the back of The Church of the Transfiguration. These designs have been a part of this church since its construction. James is symbolized by three shells. After his martyrdom in the first century, Jame’s remains were moved to the village of Compostela in NW Spain, and the cockle shell became the symbol worn by pilgrims to his tomb. Peter is symbolized by the crossed keys, based on what Jesus told him: “I give you the keys to my kingdom.” James’ brother John is identified by the serpent in the chalice, which symbolizes his willingness to drink from the same cup as Jesus, and which leads to his death.
The Latin word for transfiguration, transfiguratio, means “to be changed to another form”. The Transfiguration, therefore, is a revelation of Christ’s divine nature, a manifestation of the Trinity, and confirmation of the continuity between the Old and the New Testaments. This is shown symbolically by all of the white and gold lines that criss-cross the image of Jesus and seem to come from within Him, rather than from an external source. This light is the central feature of this icon and is known as the uncreated light of God. It is a supernatural light with transforming power that has its source in God’s own being. As Jesus becomes that light, his true nature is revealed. As Paul says in his letter to the Colossians, “For in Him the whole fullness of the Godhead dwells bodily.”