Divine Mothers, part 2: Miraculous Icons and icon kissing

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Chant in praise of Virgin,sung  by  Orthodox monks.

Written by St Nectarios of Egina, an Orthodox saint considered 

miracle worker himself here you have translation of words

Talk about divine mothers wouldn't be complete without mentioning Orthodox icons, specially those which were and are believed to be working miracles. So many of  icons represent Virgin Mary, called Theotokos,  with baby Jesus, that this fact amazes how much respect was, and is, given to the idea of motherhood set in most sublime concepts of faith. Theotokos is translated in a simplified way as Mother of God, but exact meaning is "the birth giver to god." 

Her cult first developed in Epheus, today Turkey, where according to Eastern tradition she lived with John the Evangelist and Mary Magdalene who retired there after life of preaching, and they were visited by Paul. My apology to those of you who are St Baume Mary Magdalene enthusiasts. St Baume is a wonderful place, but I need to mention Mary Magdalene in Ephesus, as this version  is so ancient, I will do no justice to it by silence. On the left is the picture of house known today as Mary's House, where it is believed that Theotokos lived. According to tradition she was preaching and teaching people about art of healing.There is also a sacred springs which water is supposed to have healing qualities: spring of love, health and happiness. Thanks Radomil for the picture. Ephesus was also the place of the council where the dogma of divine motherhood of Virgin Mary was pronounced. There is also oral tradition in a about Mary's presence there, held by Orthodox Christian village.

As for icons:  those are not considered ordinary images, they are windows to the divine. For Orthodox Christians are presence of the sacred in this world. So, if the icon represents a given saint, this saint presence it there. The icon is treated with respect, can be touched and is kissed in love and honor, and given votive offerings after a performed miracle.

Our lady Vladimirskaya, patron protector of Russia, Eleusa type icon. The star patterns on her moforion  symbolize her VirginityThis icon is damaged, but there is strong sense of radiance.

Kissing in Eastern tradition was a very important gesture, honorific kissing included, it meaning was quite broad, which kissing the icons also includes.Western culture is only intimate sign of affection, of friendliness when the French kiss the cheeks to say hello, kisses between parents and children, and of course between lovers.In earlier days there was a lot of kissing, including kissing women on hand as sign of honor.It is still practiced in Poland and Vienna, the yearly opera event. 

In Biblical times there were kisses between men, family members who were loved, abut also between friends, or people were kissed out of respect. For ex. kissing someones feet was a sign of very strong reverence an honor.. The same in Jesus times. Christian kiss of peace is one example. Also in Greek there were three words expressing love: eros, filos, agape. Eros is erotic love, filos is friendship as love, agape is often translated as charity, but mean unconditional love, the spiritual kind, love as the essence of the divine, love totally selfless. For example the part in New Testament, where Jesus ask Peter "do you love me more than those,"and here he was referring to his disciples. I was introduced to it by someone who studied Koine Greek,  what is translated in English is love, but in Greek there are two words in questions and answers used: filos and agape. As you probably guess, the Theotokos as a mother is also example of such divine, all surpassing unconditional love.

It is an important distinction between kinds of love, and  it got somehow lost, as the distinction between kisses got lost. In the New Testament at the supper in a house of a Pharisee Jesus defended the woman who washed and anointed and kissed his feet (in Orthodox tradition it wasn't Mary Magdalene) and said: "you gave me no kiss," and praised how she showered his feet with kisses and she will be remembered. This was expression of highest reverence, and the Orthodox Christians remember that. But see by yourself not in my words, why Orthodox Christians kiss icons.

But certain  icons are not to available for kissing. Those are the miracle working icons set higher in the altar. 

The icon above is Eluesa type of Madonna, (Our Lady Valdimirskaya, today in Tretakov Gallery). Those graceful depictions are called Virgin of Tender Mercy, of Virgin Showing Mercy, also found in the West. Virgin's and baby Jesus' cheeks touch, or almost touch. Those human gestures of affection are very charming, and here is a small list of miraculous icons in this Eluesa type .

One of miracle icons is the Black Madonna of Czestochowa, this one is not an Eeleusa, but Hedegetria, The Guide as iconograhic type.  Hedegetria, called also Madonna Showing the Way, as gestures with her hand toward  baby Jesus. This is the oldest and the most common stylistic type.

Black Madonna of Czestochowa, Byzantine origin icon of Hedegetria type

The Black Madonna of Czestochowa is the regal powerful mother, who is believed to heal you when you ask for it. Many of us remember from childhood when something hurt, like for example got a bruise from falling off kick scooter, the mother kissed the bruise and felt so much better. This is not to introduce banality in the reverence of miraculous icons, it is just for reminding that the veneration also includes tender feelings which relate to very basic human experiences. Basic, not base. 

She was crowned Queen of Poland. On the walls of the sanctuary there are votive offerings, as thanks from the donors for the miracles of healing: pieces of jewelery, pieces of silver in shapes of parts of human body, also you will see some real life crutches. 

The Black Madonna is viewed as powerful protectress. The icon is of Byzantine origin, showing Italianate influences. The legend says it was painted by St Luke himself on the table from the form  Virgin Mary's own household. It is one of several icons allegedly painted by St Luke. The pattern on Virgin's robes is fleur-de-lis.  There is over 130 iconographical types of depicting Virgin Mary on icons, this one is among the regal type images.

 Those Theotokos were shown like aristocrats of Byzantine imperial court. But the icon painting, or icon-type of style wasn't limited to the areas we today associate with icons: Italy had those too. Bellow  Hedegetria by Giotto. The stripes of fabric angels wear over their robes belong to a traditional fashion of imperial court in Constantinople. Even the Eleusa type has Byzantine moforion

A very imperial looking Theotokos by Giotto

Eastern Orthodox faith didn't develop Mariology as did the Latin Church, but the devotion to Theotokos was  given, even not much disputed in theological manner. The idea that Virgin Mary was elevated above any created being found its expersion  in showing her with as much dignity as depicting a powerful empress.

Intro to icons

Byzantine tradition: icons, garments and liturgy

Once strolling through the old streets close to Krakow's Old Town Market Square I heard amazing singing, Orthodox choir. I stood on the street and listen, assuming someone had a nice CD playing, the sound coming from one of the open windows. But listening more carefully I heard that the sound came  the courtyard. Knowing from experience that those centuries-old houses quite often have beautiful an intriguing yards surrounded by walls, I went, slowly. Somehow the music pulled me. Than I saw the sign, "Orthodox Church," and an arrow. I followed, after climbing some steps in one of the old buildings I entered a church which was housed among apartments, not a regular Orthodox church building I normally knew and view from afar, but never visited during liturgy. There I saw the choir: three women with white kerchiefs covering their heads, and with them was one man, all very focused and singing beautifully. The congregation was very small, but there were icons on the walls, with  lamps hanging before them, and the liturgy was celebrated. In my country Orthodox Christians have a reputation of being excellent singers, and here was the proof, there were just so good that I was thinking it was a CD!  After the liturgy people were kissing the icons. All was very touching, I was moved by the music, liturgy, and by the solemn atmosphere. Something like in the videos below, specially the second one, the link.

The icon here is Christ Pantecrator, XXI c. by anonymous maker for tourist industry in Bulgaria, but I love it anyway!

Religions don't bother me, (unless there is some kind of abuse going on), but in general I find a lot of beauty in this kind of human involvement. The word religion comes form the words re-ligare, which means reconnect. I like this interpretation of the word's origins.

I will be writing more about Byzantine traditions, as they are important. They are part of Europe's cultural heritage, and without Byzantium there wouldn't be Italian Renaissance as we know it, nor it would there be European heritage as we know it. There the traditions of  Greece and Rome lived while in Western Europe it was a strong break. Not that ancient  philosophies were not read in the West during the Middle Ages, after all Latin Europe had medieval renaissances, but those parts of Europe were culturally developing in their own direction, and were much poorer.

Byzantine art was a mixture of classical Greek and Roman  traditions influenced by Eastern mysticism and love for imagination. Icons represented Jesus, or Mary, saints and angels, but also in its highly stylized canon there was representation of aesthetics and fashions of the imperial court. So, Jesus and Mary are dressed in robes of imperial purple, or the saints and angels depicted as dressed like important people of the imperial court. Icons didn't change much. Of course there are various schools of icon painting, and there also some influences among those schools which are more Westernized, but in general the icons are preserving the past very well, now and here. The tradition is followed rather strictly, and we can see how people were dressed long time ago, still can today see the stripes of fabric called loros still part of the garments, or see the color which are in the range of hue variations of real purple of Tyre. We can see how some courtiers looked like at the court of Constantinople, which was than the city of amazing luxury.

What fascinates me that when you look at the traditional icons or frescoes in Byzantine style and you see the liturgical garments used today, you recognize that some garment are very similar to what we see on the icons.Byzantine fashion of a millennium ago. I hope you will enjoy the beauty of the chants, and the visual part, and see similarities of the garments worn by the clergy mirroring the garments of the saints on the frescoes. It is like being among the people of Constantinople of old.

And take a loo at the fresco at 8:45, the creature with one face and six red wings with some writing (reads Cherubim) is an archaic depiction of a cherubim, one of the highest angels in angelic hierarchy. Stained glass window at 12: 25 shows also a cherubim or a seraph, those were often interchangeable. This is a sequence of very interesting and beautiful  pictures, not a liturgy video. Enjoy!

And just  in case you want more, here is another video! http://www.youtube.com/watch?v=UsL61X5fOLU The piece sung here is Agni Parthene, a non-liturgical hymnopoem to Virgin Mary. Have blessed time!

Symbolism of Color, Medieval: Red, Blue, White and Gold History of Color # 4

During the Middle Ages the idea of splendor and light was extremely important in material creative expression. Very rich vocabulary was  used to describe light in art theory and in theology. Colors were seen as a part of symbolic expression, they were not supposed so much to imitate nature, as it happened later, during the Renaissance, but the goal of using colors was to express an ideal reality. Therefore was not much interest in showing shadow in art, but a lot of interest in showing the most possible clarity in colors. Paints were even mixed such way that they stayed as close as possible to the ideal hue of the best of pigments. And beauty was a representation of some kind of ideal reality, was it  luxury of secular art, or visionary and also luxurious  world of religious art. This ideal reality was thought to exist in colors, and colors had, in opinions of medieval people, their own inner light.

This thinking about the  ideal essences of things was the legacy of the Classics, of Plato and than of Plotinus. I hope not to make things too complicated, but symbolism, philosophy, iconography, mysticism, theology, and technicalities of making art were all  interconnected.

Medieval art put extreme emphasis on purity of colors. When digging deeper in art history we will see that there were some differences between Latin Christianity and the  Byzantine Christianity, but in general color ruled the art world.

Raw pigments, powdered metal. Yes, I prepare some of my paint from time to time, like in old days.

You see here the four most important colors of the Middle Ages. Yes, gold was considered a color, unlike today. Speaking of hues, we have almost primary colors, red, blue and yellow, as gold is close to yellow, and was replaced by cheaper yellow sometimes. Plus a neutral: white.

I start this part with two of those powders on the picture, (one raw pigment, one metal powder), which were relating to light: white and gold.

White: symbolized light, also  in theology which influenced art. White was a symbol of purity, innocence and renewal of spiritual life. During the early Middle Ages angles were shown as white, but later were colorful. It truly depends on time and place: later Middle Ages had colorful angels. Also the elders of Apocalypse, robes of Jesus, prophets, newly baptized people, considered innocent, the righteous people, Jesus in moment of transfiguration. But Jesus was not always shown in transfiguration in white robes only, Middle Ages had codified symbolism, but not rigid rules.

St Sever Apocalypse manuscript. Public domain, courtesy of French Wikipedia

 This example shows white as light (stars),  and as a symbol of innate purity as seen in  this white lamb from St. Sever Apocalypse manuscript.

Gold: as white was more representing physical light in the world, and also had symbolic meaning, the divine light was gold. The light reflecting properties were used freely, not only for decorative purposes but also to communicate theological truth, to show light out of this world. As the divine light was closely relating to the idea of absolute divine wisdom which it represented, the backgrounds of paintings and mosaics are golden. But not always, blue was used too. Gold symbolizing divine light represented spiritual illumination, and to indicate this state of blessedness, connection to the divine, or divinity itself. Halos were golden most of the time. But also there were halos painted blue.

 Here is the link to Hagia Sophia interior video. for those of you on whose search engines videos embedded in this blog do not show.Hagia Sophia means the Holy Wisdom in Greek, and it was the most magnificent church in the Constantinople,  the capital of the Byzantine Empire. Usage of gold is befitting the name of the church very well.

Red was color of love in sense of selfless love, like Christ's love fro humanity, agape which is the unconditional love, and blood of redemption and blood of martyrs. Blue was symbol of heaven,contemplation, things which are divine, life lived in accordance to the highest standards. More about those colors later.

 We need to keep in mind that system of  color symbol was not  rigid. There were canons in iconography, but it doesn't mean that the artists were slavishly following them. The philosophers and theologians were interpreting colors quite freely as well, a lot of abstract thinking went into writings about colors. Does it means we can't rely at all on color symbolism in Medieval art? Yes, we can. But we should approach it with open mind, and remember that there are no absolutes. Also the symbolic language of colors in religious art was adopted by secular art, but the meaning of one color in religious art many not be exact the same in secular art. For example white was worn by French queens as the color of mourning. Purple was color of mourning too, in addition of symbolizing royal, or imperial power.

A very informative article about color http://renaissanceclothing.blogspot.com/2011/02/meaning-of-renaissance-and-medieval.html in Renaissance and Medieval  clothing. Not only is the author very well informed, but also gives warning not to interpret things too rigidly.