Orthodox Byzantine Icons of the Lord

Dear Beloved in Jesus,

In this topic, I will explain the Orthodox Byzantine Icons of the Lord

using skete.com website for orthodox Icons.

keep me in your prayers

:sm-ool-02:

Christ Blessing

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Date: 20th c. (Late) Heritage: Greek

Christ blesses us with His right hand, His fingers formed into the shape of the Greek letters "IC XC," the abbreviation in Greek for Jesus Christ, and He holds in His left arm a jewel-studded Book of the Gospels. From the prototype of the first icon of Christ, miraculously made by the Saviour Himself, He is traditionally shown with a short beard, and having long dark brown hair with reddish highlights, parted in the middle. His expression is serious but merciful, to evoke from us a serious and loving response, for the Truth is both sober and yet hopeful for us.

Christ is shown with an outer blue robe, symbolizing the Humanity that He put on at His Incarnation, and with an inner red robe, representing His Divinity that remains for all eternity. In the cross in the nimbus or halo around His head are the Greek letters for "I AM" to remind us that although Incarnate in time, Jesus Christ is God before the ages, even before Abraham, and He is the same God Who spoke with Moses face to face. May we frequently ask His Blessing upon all of our works, feelings, and thoughts, so that we may be blessed indeed

Christ the Prisoner

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Date: 20th c. (Late) Heritage: Greek

The original of this icon helps The Orthodox Christian Prison Ministry of Minnesota’s work touch the hearts of Christ’s fellow prisoners. The night before His Crucifixion, Christ was in a local prison, and is shown here as the Nymphios, or the Bride-groom, Whom we will all meet if we come to His Banquet in the Kingdom. The Church’s tradition is that the robes Christ wears in Glory are resplendent with the humility of His humiliation, mocking, beating, and Death on the Cross, and that is why the Nymphios icon is venerated on the first three days of Holy Week. At times we may forget that Christ came to teach us by His great example how to live a life filled with meekness, forgiveness, and humility.

We see Christ bound at the hands, and He holds the reed of the soldiers’ derision as a scepter, the Crown of Thorns as His wreath of victory, His opened robe as the raiment of transparent humility, and His humble look as a regal demeanor of the King of Kings and the Lord of Lords, Whose Kingdom shall never end. Here is that Most Holy Peace that passeth understanding in visible form right before us! May we join Him in meekness today

Christ the Saviour (Russian)

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Date: 20th c. (Late) Heritage: Greek

Christ is blessing with His right hand, His fingers formed into the shape of the Greek letters "IC XC", the Greek abbreviation for "Jesus Christ". His blessing hand is turned inward as if to remind us that He is the Great Blessing, granting us an opportunity to repent and inherit eternal life. He is holding a Book of the Gospels in His left arm. It is opened to the passages reading "Judge not according to the appearance, but judge with righteous judgement. (John 7:24) For with what judgement you judge, you shall be judged." (Matthew 7:2)

Christ is traditionally shown with a short beard and long dark hair parted in the middle. His expression is serious, but not without mercy. Christ's outer robe is blue, to symbolize His humanity which he put on in His Incarnation, and His inner robe is red, to represent His divinity that He always was in eternity.

Christ Our God is the Saviour of all men who would be saved and who acknowledge their sinfulness, their need to be saved in truth by their own cooperation, and thus truly repent "for the Kingdom of Heaven is at hand

Nymphios ("Bridegroom") (Half)

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Nymphios ("Bridegroom") (Full)

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Date: 20th c. (Late). Heritage: Greek


As a husband is to his wife so is Jesus Christ to His Church. His Crucifixion is His marital vow and His mockery and beating His wedding feast. The Bridegroom icon shows Christ stripped of His garments and clothed in a scarlet robe to mock Him. He wears a crown of thorns, causing blood to flow from the wounds. A reed is placed in His bound hands as a scepter.

In Christ's halo are the Greek letters for "I AM", to remind us that Christ was the All-Powerful God who freely chose to experience pain and death. For the first three days of Holy Week this icon is placed prominently in the Church to remind us of Christ's great love and great suffering. Like the Five Wise and Five Foolish Virgins we await the Bridegroom's arrival and sing, "Behold, the Bridegroom, cometh at midnight. And Blessed is the servant whom He shall find awake. But He whom He shall find neglectful is verily unworthy. Beware therefore my soul, less thou fallest into deep slumber and the door of the Kingdom be closed against thee and thou be delivered unto death. But be thou wakeful crying, ‘Holy, Holy, Holy art Thou.’" (from the Bridegroom Matins

Great High Priest

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Date: 20th c. (Late). Heritage: Greek

"Seeing then that we have a great high priest, that is passed into the heavens, Jesus Christ the Son of God, let us hold fast our profession. For we have not a high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as we are, yet without sin. Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need." (Hebrews 4:14-16) Christ, the Infinite and Unapproachable God, was incarnate to make Himself approachable and knowable through the ardent love of His followers and believers. It is His weakness and self-emptying “kenosis” while still Almighty and His willingness to suffer for our sake that touches the heart and mind to turn to Him for help in our weakness.

This type of icon depicts Christ wearing the robes of a bishop; the crown (miter) and stole (omofor or omophorion) decorated with crosses. Christ, the Great High Priest of His Church on earth, is shown holding an open Gospel Book in His left hand and blessing with His right hand. The fingers of His hand form the Greek letters "IC XC", the abbreviation for "Jesus Christ"

Pantocrator (Sinai)

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Date: 6th c. Heritage: Byzantine

Pantocrator" is the Greek word meaning "Ruler of All", and many icons of Christ are modeled after this original. Christ is traditionally shown with a short beard and long dark brown hair parted in the middle. Often in the earliest icons there can be some naturalistic elements such as visible shadow and regular skin tones even though the medium of icons always is somewhat abstract, trying to show in artistic forms the revelation of all things as they will appear at the end of chronological time. In this icon Christ’s nose, eyes, and neck are not merely naturalistic.

The Saviour has a serious and intent look, like the King of All looking upon His people. This detailed view of Christ's face shows a dignity on one side and a different arching of the eyebrows causing enlivenment on the other. The different impressions strike a harmony between His divine and human natures. Worked in an encaustic or a wax-melting technique, this great treasure from the sixth century is one of the earliest icons of Christ still in existence. It is preserved at St. Catherine's Monastery at the foot of Mount Sinai by the climate and lack of iconoclast persecution in that area

Christ Enthroned

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Date: 17th c. (Mid) Heritage: Cretan
L ocation: Byzantine Museum, Athens, Greece

The Lord Almighty sits on a throne as the Ruler of the universe, and in His left hand He holds an opened Gospel. With His right hand He blesses with the priestly blessing, the fingers of His hand forming the Greek letters "IC XC", which is the abbreviation for "Jesus Christ". In Christ's halo are the Greek letters for "I AM", for this is the King of Kings as spoken of in Revelation (1:8), "I am Alpha and Omega...saith the Lord, Which Is, Which Was, and Which Is To Come, the Almighty." On the upper part of the throne are symbolically represented the Four Evangelists: Matthew as a young man, Mark as a lion, Luke as an ox, and John as an eagle. All four have wings to portray their angelic nature and all carry Gospel books, for they proclaimed the Good News to the whole world through the Gospels that they have written.

It is important to note that often when we focus on Christ’s amazing love for all creation, and His great condescension and humility in coming to us so approachably, we can lose sight of His Divinity, which was and is always present for those who see with sober sight and awesome awareness. May we see this also!

Reclining Child Jesus

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Date: 20th c. (Late). Style: Anapeson. Heritage: Greek

The Young Child is not sitting or lying down, but reclining to represent that He is not only the Great God or just a mere man, but simultaneously contains both Divine and human natures. Jesus' youth is portrayed by the lack of a beard, but the Divine Infant's facial features are those of an adult to portray that although He was born on earth as a little baby, He was always consciously the All-Knowing God. In Christ's halo are the Greek letters for "I AM" to remind us that this Infant is the God Before Time and is also the Peace of the World. In His left hand He hold a prophet's scroll to symbolize that He is the fulfillment of the prophets' words.

The “Anapeson”, or the Reclining Child Jesus on a couch, is a version of the famous 14th century fresco by Manual Panselinos, the foremost representative of the Macedonian school of iconography. This theme is inspired by Genesis 49:9 “Judah is a lion’s whelp...he stooped down, he couched as a lion...” which is considered as a prophecy of Jesus, the Lion of the Tribe of Judah. This particular icon is traditionally found on the west wall when present in an Orthodox temple

Holy Napkin

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Date: 20th c. (Late). Style: Holy Napkin. Heritage: Greek
L ocation: St. Anne’s Skete, Mt. Athos

The Holy Napkin, or the icon “Not Made By Hands”, is the very first icon ever made, and it was made in a miraculous way by Christ. King Abgar of Edessa, from his kingdom neighboring Israel, had sent his court artist to invite Christ to come to Edessa when he heard that the Lord was being persecuted in Israel. The artist was also asked to bring back a portrait of Christ, because the king, who had leprosy, felt that if he could only see the likeness of this Man that he had heard so much of, that he would be made well. The artist tried many times to capture His Face, but was unable, so the Lord Who loves man, knowing all things, took a cloth and brought it to His Face, and a true likeness was impressed on the cloth, which was sent to King Abgar and healed him. Thus this first icon was not made by human hands.

Later the Apostle Jude Thaddeus was sent to preach to this kingdom, and they converted to become one of the first Christian states. The original Holy Napkin cloth was kept in Edessa until 944 when it was brought to Constantinople, and it is the pattern from which all subsequent icons of Christ are made

Christ Enthroned

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Date: 20th c. (Late) Style: Enthroned. Heritage: Greek

The Lord Almighty sits on a throne as the Ruler of the universe, and in His left hand He holds an opened Gospel. With His right hand He blesses with the priest's blessing, the fingers of His hand forming the Greek letters "IC XC", which is the abbreviation for "Jesus Christ". In Christ's halo are the Greek letters for "I AM", for this is the King of Kings as spoken of in Revelation (1:8), "I am Alpha and Omega...saith the Lord, Which Is, Which Was, and Which Is To Come, the Almighty."

This is an example of a modern rendition of a traditional depiction of Christ as He will appear at the end of time, for icons are a revelation of theology and a vision of eternity made manifest for us as a foretaste “before that great and notable day of the Lord come.” (Acts 2:20) Because Christ is Alpha and Omega, the first and last letters of the Greek alphabet which St. John used when he wrote his Gospel, Epistles, and Revelation, He always stands at the beginning and end of everything, bearing witness to how we choose to respond to His call to holiness. It is up to us to choose well, and cooperate with His Will to sanctify His People

Christ The Life-Giver

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Date: 20th c. (Late) Heritage: Greek
L ocation: Theotokos Monastery, Myreleou, Greece

Christ blesses us with His right hand, His fingers formed into the shape of the Greek letters "IC XC", the abbreviation in Greek for "Jesus Christ". He holds in His left arm a jewel-studded Book of the Gospel. His blessing hand is turned inward as if to remind us that He is the Great Blessing, granting us to receive this incalculable gift: the opportunity to repent and inherit eternal life.

From the prototype of the first icon of Christ, miraculously made by the Saviour Himself, He is traditionally shown with a short beard and having long dark brown hair with reddish highlights, parted in the middle. Christ is shown with an outer blue robe, symbolizing the Humanity that He put on at His Incarnation, and with an inner red robe, representing His Divinity that remains for all eternity. In the cross, in the nimbus or halo around His head, are the Greek letters for "I AM" to remind us that although Incarnate in time, Jesus Christ is God before the ages, even before Abraham, and He is the same God Who spoke with Moses face to face. This loving Lord calls us to Him, and it is He Who also is the Creator and the Giver of Life

Christ Enthroned

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Date: 20th c. (Late)Style: Enthroned. Heritage: Greek
L ocation: St. Anne’s Skete, Mt. Athos

The Lord Almighty sits on a throne as the Ruler of the universe, and in His left hand He holds an opened Gospel. With His right hand He blesses with the priest's blessing, the fingers of His hand forming the Greek letters "IC XC", which is the abbreviation for "Jesus Christ". In Christ's halo are the Greek letters for "I AM", for this is the King of Kings as spoken of in Revelation (1:8), "I am Alpha and Omega...saith the Lord, Which Is, Which Was, and Which Is To Come, the Almighty."

Orthodox iconography we often see inverse perspective, as is shown in the shape of the throne that Christ sits upon in this icon. This is not lack of understanding of the natural perspective of a distant vanishing point, but to show that we are not mere observers but active participants included in the icon itself.

It is important to note that often when we focus on Christ’s amazing love for all creation, and His great condescension and humility in coming to us so approachably, we can lose sight of His Divinity, which was and is always present for those who see with sober sight and awesome awareness. May we see this also

Howeeeee ... elmawdoo3 bayento fakhmmmmmmmm :smilie (171):

bass

yarit shi neskha bel3arabi

:smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81):

:sm-ool-01::sm-ool-01::sm-ool-01:


s-ool-302

Christ Blessing (Theophanes)

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Date: 16th c. (Mid). Heritage: Cretan
L ocation: Stavronikita Monastery, Mt. Athos

Christ blesses us with His right hand, His fingers formed into the shape of the Greek letters "IC XC," the abbreviation in Greek for “Jesus Christ”. He holds in His left arm a jewel-studded Book of the Gospels. From the prototype of the first icon of Christ, miraculously made by the Saviour Himself, He is traditionally shown with a short beard and having long dark brown hair with reddish highlights, parted in the middle.

Christ is shown with an outer blue robe, symbolizing the Humanity that He put on at His Incarnation, and with an inner red robe, representing His Divinity that remains for all eternity. In the cross, in the nimbus or halo around His head, are the Greek letters for "I AM" to remind us that although Incarnate in time, Jesus Christ is God before the ages, even before Abraham, and He is the same God Who spoke with Moses face to face.

This icon was painted by the master iconographer Theophanes the Cretan in 1546 and is found with many more of his masterpieces at the Katholikon or main monastery church of Stavronikita Monastery on Mount Athos

اقتباس:

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المشاركة الأصلية كتبت بواسطة Maximos

Howeeeee ... elmawdoo3 bayento fakhmmmmmmmm :smilie (171):

bass

yarit shi neskha bel3arabi

:smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81)::smilie (81):

:sm-ool-01::sm-ool-01::sm-ool-01:


s-ool-302

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ههههه... قال يعني لأنو القسم بالإنجليزي اجيت كتبت عربي بس بأحرف انجليزية؟؟؟ :sm-ool-06:

حاضر يا سيدي... والموضوع عنجد فخامة لأنه بيوصف كل أيقونة وبيشرحها وانشالله بس أخلص منه نهائياً رح ترجمه للعربي...

صلواتك

:sm-ool-02:

Maywe frequently ask His Blessing upon all of our works,feelings, and thoughts, so that we may be blessed indeed].

O Lord Jesus Christ son of GOD, hear us and have mercy on us.

اقتباس:

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حاضر يا سيدي... والموضوع عنجد فخامة لأنه بيوصف كل أيقونة وبيشرحها وانشالله بس أخلص منه نهائياً رح ترجمه للعربي...

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Face of Christ (Russian) - J17

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Date: 16th c. (Mid) / Style: Of the Burning Eye / Heritage: Russian

Christ is traditionally shown from the earliest times of iconography with a short beard and long dark hair parted in the middle. His outer robe is blue, symbolizing His humanity which he put on in time at His Incarnation, and His inner robe is red, symbolizing His Divinity that He always is, was, and will be in all Eternity. In Christ’s halo or nimbus, his cross is lightly traced in red with the words “I AM” to remind us that He is the Lord of all.

This mid-16th c. Russian icon has raised edges which define the lowered interior space where the main figure of the icon is drawn. This lower space can symbolize the chalice, which contains God, for all icons are actually icons of the Incarnated God-Man Jesus Christ, Who is an icon of God the Father. Since we are made in His Image and Likeness, the sanctified humanity of the Saints are icons of Him also. Sometimes this space is also said to symbolize the Ark of the Covenant.

We see in this icon Christ’s eyes calling to us in a silent suffering love, as He serenely, yet intently, beckons us to join Him on the journey to Heaven. May we start today

Christ (Russian)

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Date: 16th c. / Heritage: Russian

Christ is shown here in a close-up detail from a 16th c. Russian icon. His robe is brilliant white with the brightness and glory of the Holy Resurrection which has just broken over the horizon of the world as He pulls Adam and Eve out of the nether world and into Heaven, as can be seen in the complete icon F53. This detail shows the intent mercy and love of God for us, for the Lord’s Death and Resurrection are not just the cosmic fix of humanity’s existential problems, but the very conscious culmination of the saving work of Christ--to deify and glorify the innate image and likeness of Mankind into the fullness of the Heavenly Man that he was created for, now remade as he was always intended to be.

We can now in truth become far more than Adam’s condition before the Fall, for the Second Adam, Christ our God, has come to refashion the potential godliness of Adam into actual godliness. St. Athanasios the Great says in reference to the purpose of the Incarnation that “God became man so that man could become God”, not by nature, but by adoption. Let us live up to our inheritance with intent Faith and Love, and so be transfigured like Him

Christ "The Merciful" (Mosaic)

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Date: 12th c. / L ocation: Staatliche Museum, Berlin / Style: Mosaic / Heritage: Byzantine

This icon is a 12th c. mosaic whose title, written in Greek on the sides of His nimbus or halo, is “Jesus Christ the Merciful.” The original is approximately two feet tall and its very high quality combined with its particular style indicates that it was probably made in about a.d. 1100 in the workshops of the capital of Byzantium, Constantinople, the Queen city of the Eastern Roman Empire for over a thousand years.

The use of mosaics in Christian iconography goes back to at least the fourth century and was extensively used in both East and West, with some of the best examples still to be seen in the churches of Ravenna, Italy and in Constantinople. Often mosaics were used directly on the walls and floors of churches, but the iconography was never put on the floor where someone could walk on the holy images. The use here of a portable icon in mosaic was not as common, but still done in Constantinople’s icon workshops at that period.

Christ gazes inwardly, pointing us to where His Kingdom remains. Let us follow Him in love to our true home

Pantocrator (1262-1263)

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Date: 13th c. (Mid) / L ocation: St. Clement’s Church, Ochrid, Macedonia / Heritage: Macedonian

This icon is of very high quality and from the inscription on the back we know the details of its origin: “This icon was painted in the year 1262-1263, in the time of Archbishop Konstantin Kabisilas.” It was donated to St. Clement’s Cathedral Church in Ochrid by the archbishop as a sign of thankful gratitude upon his release from the prison that he had been incarcerated by order of Theodore II Lascaris, the Byzantine Emperor at that time. The style indicates that the contemporary trends in Byzantine iconographic technique were followed, as the larger ecclesiastical centers of the empire received them soon after their development in the capital city. The blue and gold in this icon are quite striking.

The red cross in Christ’s halo refers to His Passion as the Son of God, which He was in all Eternity, and the son of man, which He took on in the realm of chronos, or chronological time. In His left hand He holds a prophet’s scroll to show that He is the fulfillment of the prophet’s words. The Lord’s blessing right hand is turned inwards to remind us that He calls us to the inward state of repentance and love that open the doors of Heaven to us

Christ the Saviour & Life-Giver

ملف مرفق 1574

Date: 14th c. (Late) / L ocation: Art Gallery, Skopje, Macedonia / Heritage: Macedonian

Originally from the iconostasis, or altar icon screen, of the monastery cathedral church in Zrze of Macedonia, this icon is just over four feet tall and is painted in the egg-tempera form of iconography which was borrowed from the funerary arts of Egypt and then sanctified by the Church. On the upper edge of the icon is the inscription written in Greek: “This icon of Our Lord Jesus Christ was painted in the year 1393-1394.” It is the work of Metropolitan Jovan-Zograph, a famous prelate and also a famous iconographer, who also was the painter of signed frescos in the church of St. Andrew on the Treska. The use of many pale, short lines, and also gentle transitions from the dark shadows to the pale ochre in the hands, face, and neck place this icon in the late Paleologean School of Constantinople.

Christ looks at us as Ruler and Judge on the one hand, but Saviour and Life-Giver on the other, as this icon’s name suggests, so that we will be sober in conscious understanding of our many sins and imperfections, yet hopeful that we may turn from these sins, repent, and receive Life Everlasting

Great High Priest Enthroned

ملف مرفق 1575

Date: 20th c. (Late) / Style: Great High Priest, Enthroned / Heritage: Greek

The theme of this icon is expressed in Holy Scripture in these words: “Seeing that we have a great high priest, that is passed into the heavens, Jesus Christ, the Son of God, let us hold fast our profession. For we have not a high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as we are, yet without sin. Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in our time of need.” (Hebrews 4:14-16)

Christ is depicted wearing the robes of a bishop with a bright red robe illumined with crosses, with the crown or miter of His Sovereignty on His head, with the Omophorion or stole of rulership on His shoulders, and with red shoes on His feet which represent that He is of Royal descent. The Lord sits on His Throne and rests His feet on His Footstool as He blesses us with His right hand and holds an open Gospel book in His left, to teach us how to follow Him. In St. John’s Gospel, chapter 17, He calls us all to sit with Him and then be one with Him as He is with His Father. May we all follow this calling to be true Christians indeed!

Pantocrator (Hilandar)

ملف مرفق 1576

Date: 13th c. (Mid) / L ocation: Hilander Monastery, Mt. Athos / Style: Pantocrator / Heritage: Byzantine

Originally from about 1260-1270, this icon was likely to have been a part of the iconostasis or altar icon screen of the old katholikon or main church at Hilandar Monastery on Mount Athos. This work is quite exceptional, and shares some of the stylism of other great icons of the Lord from Sopocani in Serbia and from Ochrid in Macedonia of that same period, as well as the strength of the great encaustic icon of the Pantocrator from Sinai (J24).

The Greek term Pantocrator means “Ruler of All”, for it says of Christ in the Nicene Creed that by Him “all things were made” and in I Cor 15:24-25 that “He shall have put down all rule and all authority and power. For He must reign....” Truly all things in Heaven and on Earth are under Him, but this fact can be loved or hated, depending on our own will. May we love Him and His rule in our lives.

We see in Christ’s face a most interesting expression--a mixture of sobriety and mercy, with internal and outward awareness. God is merciful beyond our imagination, but God is also the Truth. O Lord help us be illumined by this loving Truth

Pantocrator (Sinai)

ملف مرفق 1577
Date: 6th c. / L ocation: St. Catherine's Monastery, Mt. Sinai / Style: Encaustic, Pantocrator / Heritage: Byzantine

“Pantocrator” is the Greek word meaning “Ruler of All,” and many icons are modeled after this original. Christ is traditionally shown with a short beard and long dark hair parted in the middle, holding a jewel-studded Book of the Gospels in His left arm and blessing us with His right hand. Three fingers touch representing His Divinity, and two fingers are up to symbolize that He is fully God and fully Man, the forefinger bent for His Incarnation.

The Saviour has a serious and intent look, like the King of All looking upon His people. His face is not symmetrical but has a look of dignity and calmness on one side and a different look of arching of the eyebrows causing enlivenment on the other. These dissimilar but complimentary impressions strike a harmony between the Divine and Human Natures of Christ. Worked in an encaustic or wax-melting technique, this great treasure from the sixth century is one of the earliest icons of Christ still in existence. It is one of the famous icons at St. Catherine’s Monastery at the foot of Mount Sinai preserved by the ideal climate and in the lack of the 8th and 9th centurys’ iconoclastic persecution in that area

Pantocrator

ملف مرفق 1578
Date: 13th c. (Mid) / L ocation: Hilandar Monastery, Mt. Athos / Style: Pantocrator / Heritage: Byzantine

This is a detail of the famous Pantocrator (the Greek word for “Ruler of All”) icon at Hilandar Monastery on Mount Athos painted in 1260-1270.

This icon was rendered in egg-tempera and shows the classical Byzantine iconographic influence of some of the best periods of early iconography, often portraying Christ in His Majesty and compassion. It has as well elements and stylization of other similar icons of Christ from the mid-13th century, especially in Macedonia and Serbia.

Icons are always more than just humanistic and naturalistic art, for the human perspective is limited by its own limiting self-awareness that cannot become truly objective from an Eternal point of view. This objectivity is just what a true icon expresses, both the state of creation and who is being depicted at the very end of time, often involving some abstraction or non-naturalistic perspectives. Thus Christ here has a long thin nose, wide set eyes which are open and aware, a pronounced brow, and a look of profound intentional insight into us, making us think about our own interior state now and in Eternity. Looking inside may we find Him in our hearts

Pantocrator

ملف مرفق 1579
Date: 20th c. (Late) / Style: Deisis / Heritage: Greek

This contemporary Greek icon is of Christ as Pantocrator, which in Greek means “Ruler of All.” It was painted by N. Lionda and is part of a set of icons called Deisis (Greek for “Supplicating”) which shows Christ in the center as Pantocrator and flanked on either side by certain Saints, in particular the Virgin on His right hand (T35) and St. John the Baptist on His left (S132).

Traditionally understood, this set of icons expresses why the sons of Zebedee, St. John and St. James, could not be promised to sit on Christ’s right and left hand in His Kingdom, as these places were already reserved (as this Deisis iconographic tradition preserves). In some Deisis icons there are other Saints like St. Peter and St. Paul on either side further from the center. The hands of all the Saints who surround Christ are then lifted up towards Christ as to ask or supplicate for His gracious intercession.

This icon of Christ is unusual in that He is shown on a blue grey background upon which He seems to float almost as if there were clouds. Christ rules with the scepter of Love but not indulgence, revealing now the secrets of our hearts if we let Him.

Christ Enthroned (Russian)

ملف مرفق 1581
Date: 15th c./ Style: Enthroned / Heritage: Russian

This 15th century Russian icon of the Pantocrator (Greek for “Ruler of All”) was originally on the top row of an iconostasis or altar icon screen from Novgorod. The Deisis represents the Lord with His Holy Saints and Angels supplicating towards Him. In these matching icons (T36: The Theotokos, S150: The Archangel Michael, and S162: St. Peter, all standing on Christ’s right hand, and S133: St. John the Baptist, S120: The Archangel Gabriel, and S160: St. Paul all standing on Christ’s left) their hands are outstretched and their heads are bowed towards Christ sitting on the Throne of His Kingdom which will never end.

Often in Byzantine iconography, and in all the schools of iconography which have been influenced by it, we see a type of strong asymmetrical dynamism which consciously precludes the symmetrical vision of life and Heaven which is static and is seen in most Western spiritual art. In Orthodox theology, God and all of Creation are dynamic, as are all the Saints (from the Latin Sanctus, meaning holy), who continually grow more holy for all Eternity. We all must become such saints if we want to go to live in Heaven

Pantocrator (Pec)

ملف مرفق 1582
Date: 15th c. / L ocation: Pec / Heritage: Serbian

This icon of the Pantocrator (Greek for “Ruler of All”) is from the Patriarchate of Pec and was painted in the 15th century. To teach us from His life and words that were recorded as the Holy Gospels (for the Gospels are a literary icon that we also venerate in Church), Christ holds this treasure in His left arm and blesses us with the Sign of the Cross in His right. This is one of the two patterns that have come down to us from ancient icons. In the pattern seen here, three fingers are held together to represent the Holy Trinity, and two fingers are together and upright to show His Divine and Human Natures, with one slightly bent to represent the humility of becoming fully human at His Incarnation. In the other pattern, the Lord holds His fingers to show the Greek letters for “IC XC”, the abbreviation for Jesus Christ.

We see in this icon by the position of the legs, torso, shoulders, and arms a strong sense of active movement in the Lord reaching out toward us, for we are to actively participate in His Life by becoming in the words of St. Peter “partakers of the Divine Nature.” (2 Peter 1:4) May we begin to draw near today

Icon "Not Made By Hands" (Novgorod, 12th c.)

ملف مرفق 1583
Date: 12th c. / L ocation: Tretyakov Gallery, Moscow / Style: Holy Napkin / Heritage: Russian

All icons of the Holy Face of Christ are patterned after the very first icon made by Jesus Christ Himself when he presented a cloth pressed to His face miraculously embedded with His image on it to the court artist of King Abgar of the City State Edessa, a neighboring kingdom of Israel at the time just before Christ’s Passion. This image became the pattern after which all icons of Christ have faithfully followed and was kept in Edessa until a.d. 944 when it was transferred to Constantinople. It was lost in a.d. 1204 at the time of the sack of Constantinople by the Western Knights of the 4th Crusade. Since Christ Himself made this icon by a miracle, we say that it is “Not Made by Hands.”

This icon is one side of a two-sided icon originally from the Dormition Cathedral in the Moscow Kremlin and is very striking in appearance with Christ’s face boldly standing out against the large cruciform nimbus or halo in the background. His hair extends outward in four locks, with His beard in two locks, and His eyes fix on us powerfully to mystically respond by entering a deeper relationship with Him. He is most truly majestic and radiant

Mosaic Pantocrator (Agia Sophia)

ملف مرفق 1584
Date: 13th c. (Late) / L ocation: Hagia Sophia, Constantinople (Istanbul) / Style: Mosaic, Pantocrator / Heritage: Byzantine

Possibly the greatest icon of the late Paleologian Period, which began after the Restoration of the Byzantine Empire at Constantinople with the victory of Michael VIII Paleologus (1261-1282) that ended the Latin occupation. It was finished around 1280. Set in a background of gold mosaic tiles which almost shimmer, the figures of the Deisis or supplicating icon (which overall includes an icon of the Virgin and St. John the Forerunner) are made in fine tessera of mosaic tile of soft hues. It is set in the west side of the southern gallery of the Catachumena in the Great Church of Hagia Sophia, or Holy Wisdom, the architectural wonder finished under the Emperor Justinian in a.d. 585. This was the largest building in the world for over a thousand years, and considered one of the great wonders of the world.

This last great artistic outpouring in Byzantium included both the highest aesthetic standards and classical trends raised to new heights. Thus the “Ruler of All” or “Pantocrator” beckons us to seek His Kingdom first, beyond the beauty of this material world, no matter how beautiful that art or beauty may be

Nymphios ("Bridegroom")

ملف مرفق 1585
Date: 20th c. (Late) / Style: Nymphios (Bridegroom) / Heritage: Greek

As a husband is to his wife so is Jesus Christ to His Church. His Crucifixion is His marital vow and His mockery and beating His wedding feast. The Bridegroom icon shows Christ stripped of His garments and clothed in a scarlet robe to mock Him. He wears a crown of thorns, causing blood to flow from the wounds. A reed is placed in His bound hands as a scepter.

In Christ's halo are the Greek letters for "I AM", to remind us that Christ was the All-Powerful God who freely chose to experience pain and death. For the first three days of Holy Week this icon is placed prominently in the Church to remind us of Christ's great love and great suffering. Like the Five Wise and Five Foolish Virgins we await the Bridegroom's arrival and sing, "Behold, the Bridegroom, cometh at midnight. And Blessed is the servant whom He shall find awake. But He whom He shall find neglectful is verily unworthy. Beware therefore my soul, less thou fallest into deep slumber and the door of the Kingdom be closed against thee and thou be delivered unto death. But be thou wakeful crying, ‘Holy, Holy, Holy art Thou.’ from the Bridegroom Matins

Extreme Humility

ملف مرفق 1586
Date: 20th c. (Late) / Style: Extreme Humility / Heritage: Greek

Here Christ is depicted descending into Hades bearing the instruments of the Passion: the Cross, lance, and sponge. His hands are as if bound but no rope is tying them together, demonstrating that He voluntarily chose to be fettered and willingly suffered for the salvation of all. We see the bleeding wounds on His side and hands, for He has kept His wounds even in His Resurrection as a sign that His agony and suffering were real and remain as a pledge of His undying Love for each person, even to His Death on the Cross. With His eyes closed He is truly dead to the world and all of its passionate needs during His descent in to Hades, yet inwardly beholding all things as the all-seeing God.

When we think of God and the attributes that are His by nature--unconditional Love, complete omnipresence and omnipotence, Existence Itself without the boundaries of time and space, all-holiness, absolute compassion and empathy, Truth that is never swayed by partiality yet tempered by Divine Mercy, total understanding--each is astounding and hard to comprehend, but this icon’s “Extreme Humility” is perhaps the most close and dear to us

Mosaic Christ (Detail of F65) (Sinai, 6th c.)

ملف مرفق 1587
Date: 6th c. (Mid) / L ocation: St. Catherine's Monastery, Mt. Sinai / Style: Mosaic / Heritage: Byzantine

During the reign of the Emperor Justinian the Great (527-565), who codified and amplified the whole breadth of Roman Law which is the foundation of modern law, there was an attempt also to extend and consolidate the Roman Empire in both East and West and many important buildings were built including Hagia Sophia (Holy Wisdom) in Constantinople. Also at that time the fortress of St. Catherine’s Monastery was built in the Sinai peninsula and enclosed the main monastery church in honor of the Virgin Mary Theotokos.

This icon is a detail of the mosaic of the Transfiguration (F65) in the apse of the church over the main altar and is representative of the last phase of sacred art in this Justinian period (550-565). Light rays in this icon are emanating outward from Christ. According to the teaching of the Eastern Orthodox Church, the Light of the Transfiguration is the Glory of God, and Its reception into the soul is the highest and complete ideal, set for each man that comes into this world. The sacred monastic ideal is often held as a means to more directly approach a life seeking this blessedness

Mosaic Face of Christ ( Detail of J33) (Sinai, 6th c.)

ملف مرفق 1588
Date: 6th c. (Mid) / L ocation: St. Catherine’s Monastery, Mt. Sinai / Style: Mosaic / Heritage: Byzantine

Here is a detail of Christ’s Face from the magnificent mosaic icon of the Transfiguration (F65) in the curved apse over the sanctuary of the main church at St. Catherine’s Monastery at the foot of Mount Sinai, finished about 550-565 by the command of the Roman Emperor Justinian the Great (527-565). This is a sixth century treasure among the other iconographic and written treasures preserved at the monastery because of its dry climate, its lack of ever being conquered and ransacked, and also its being out of the political sphere of the iconoclastic Byzantine Emperors of the Iconoclastic (or icon-smashing) period from a.d. 726-843.

On Mount Tabor the Lord was Transfigured before His Disciples Peter, James, and John in the presence of the Holy Prophet Moses and the Holy Prophet Elijah (representing the Law and the Prophets). The brightness of this Light blinded the Apostles and they fell down in fear at the overshadowing of the bright cloud and the voice saying “this is My Beloved Son, hear ye Him.” Christ’s Face is radiant and suffused with transcendent Light and Glory. May we receive this light into our hearts today

Deisis (Sinai, 12-13th c.)

ملف مرفق 1589
Date: 12th-13th c / L ocation: St. Catherine's Monastery, Mt. Sinai / Style: Deisis, Enthroned / Heritage: Byzantine

This is a 12th-13th century icon from the central position above the Holy Doors of the upper row of festal icons of the Twelve Great Feasts of the year on the iconostasis or icon altar screen at the main monastery church at St. Catherine’s Monastery at the foot of Mount Sinai. Six of the feasts are set on either side of this icon.

Here the Lord Almighty sits serenely on His Throne as the Ruler of the universe. On Christ’s right hand stands the Virgin with her hands raised in supplication towards her Son and God, while St. John the Baptist stands on His left also supplicating. Deisis means supplication, which is the title of this type of icon. Deisis icons preserve the tradition that on the Day of Judgement the Virgin will appear with St. John the Baptist to intercede on behalf of us sinners and implore Christ to forgive and have mercy.

In this icon we can see a distinct trait of icons painted at or for St. Catherine’s Monastery over a period of many years in that the gold of the halos are burnished in concentric circles around each head. This reflects the light into two bars which move as the observer moves, like the reflection on a phonograph record

Christ "The Light-Giver"

ملف مرفق 1590
Date: 20th c. (Late) / Heritage: Greek

The Monk Michael of Mount Athos painted this three-quarter figure in 1991. We see Christ standing, carrying an ornamented book of the Holy Gospels in His left hand and blessing with his right hand, making the Sign of the Cross as an Orthodox priest normally makes over the Faithful. His fingers are formed into the shape of the Greek letters “IC XC” which is an abbreviation for the words Jesus Christ. These same letters, with a sign above them indicating that they are abbreviations, are set on either side of His halo or nimbus.

Around His head a cross is inscribed in this nimbus for even in His Glory He retained the imprint of His wounds in His hands, feet, and side as a continuing witness to His Love for us in dying on the Cross. In this cross are the Greek letters for “I AM” to remind us that He was before Abraham, even before the time when light and darkness were created, and will now be with us until the light of the Glory of the Second Coming of God.

Christ is our Saviour and Redeemer, “Light of light, true God of true God.” May He be the light by which we see all things

Emmanuel (The Savior)

ملف مرفق 1591
Date: 17th c. (Mid) / L ocation: Kolomenskoye, Russia / Style: Emmanuel, Enthroned / Heritage: Russian

Emmanuel means “God with us” and is often used to speak of Christ in His younger days. Here the Almighty God Incarnate as a Beardless Child sits on a throne as the Ruler of the universe. The Divine Infant’s facial features are those of an adult to portray that although He was born on earth as a little baby, He was always consciously the All-Knowing God. In His left hand He holds a Gospel opened to the Prophet Isaiah, “The spirit of the Lord God is upon me because the Lord hath anointed me to preach good tidings unto the meek; he hath sent me to bind up the broken-hearted, to proclaim liberty to the captives, and the opening of the prison to them that are bound; to proclaim the acceptable year of the Lord....” (Is 61:1-2)

The two small figures below are identified as the Tsar’s favorites boyar Artamon Matveev and his wife Evdokia, and they are kissing His feet. The difference in size between the Lord and those depicted helps emphasize the Glory and Majesty of God. This 1670 Russian icon of the Moscow School is from a wooden palace in Kolomenskoye built by Tsar Alexei Michaelovitch

Deisis (Athos)

ملف مرفق 1592
Date: 20th c. (Late) / Style: Deisis / Heritage: Greek

This modern Greek icon was painted by Monk Michael of Mount Athos and portrays the theme of the Deisis, or supplication of the Saints towards the Lord and their God. Here Christ on a throne as the Ruler of All is seated in Heaven and the Holy Ones who have loved Him well and followed the Lamb wherever He goes are standing behind Him on either side with both of their hands raised in supplication, asking that their prayers for the Faithful be graciously heard. The reason that the two sons of Zebedee would not be granted by the Lord to sit on His right hand and on His left in the Kingdom that would come is that these places had already been reserved for the Holy Virgin Theotokos on His right, and the Glorious Prophet and Forerunner John on His left. These two most perfectly epitomized in their lives on earth energetic love, devotion, and obedience to their Lord and God Jesus Christ; thus, in God’s Wisdom, they now stand near Him always.

At times this theme is expanded to include more Saints standing further out from the Virgin and St. John and often include the Archangels Michael and Gabriel, and Ss. Peter and Paul