Byzantine Traditions in Russian Religious Art

Byzantine Traditions in
Russian Religious Art
Olga Workman, PhD
Walden University
Workman, O. ( 2013). The Byzantine church of
Holy Angels in San Diego, CA. [Photograph].
Interconnectedness of
iconographic studies with other humanities
Mina, M. (n.d.). The Byzantine mosaic. [Photograph].
Iconography:
--a multifarious study of liturgical images with symbolic meanings and
icons, presented in the form of visual narratives
--a doorway to broader and deeper understanding of art, language, and
the history of Orthodox Christianity
--interconnection with a broad spectrum of other humanities, as it covers
specific theological themes and concepts in the context of distinct
artistic, cultural, and historical traditions
A trifold passage from analysis to synthesis
A passage from analysis to synthesis in iconographic studies is trifold and
includes elements of:
--factual and expressional pre-iconographic description, requiring
artistic knowledge
--iconographic analysis of specific objects and events in the framework of
stylistic and contextual changes
--iconographic interpretation of symbols with references to history
Complexities of analysis
Complexities of iconographic analysis stem from:
 thousand-year-old religious tradition
 allegorical richness
 restoration of unfamiliar to modern viewers deities and historical figures
 reconstruction of bygone events, rituals, and cultural traditions
 description of ritual objects, attributes of power, church furniture, buildings,
holy books, communion ware, accessories, or sacred written symbols
 presentation of cities, mountains, rivers, lakes, animals, and plants that are
unfamiliar to the modern viewers
Prerequisites and resources of epistemological
certainty in iconographic studies
 What does an icon mean?
 How do we know what it means?
 How do we know that our knowledge is true?
Workman, O. (2013).
Iconographic resources
[Photograph].
Resources:
--religious writings, art criticism, political documents, chronicals, literary
works, philosophical literature, social commentaries, and historical investigations
--personal interviews with clergymen and icon painters
--study of museum collections and museum catalogues
Seekers of God
 An Orthodox theologian, Pavel Florensky
Beyond Vision
 Iconographer E. Trubetskoy
Icons: Theology in Color
[Pavel Floresnky and Sergey Bulgakov, a painting by
Mikhael Nesterov]. (1917). Retrieved from
http://themoynihanletters.com/from-the-deskof/letter-9-benedicts-unfolding-spiritual-testament
 An architectural historian Alexei Komech
The Golden Ring: Cities of Old Russia
„‟Felix qui quod amat,
defendere fortiter audet .’’
“While the Lord continues to raise up examples
of radical conversion, like Pavel Florensky,
Etty Hillesum and Dorothy Day, he also
‘’Happy are those who
constantly challenges those who have been
courageously dare to defend raised in the faith to deeper conversion.”
what they love.’’
--Benedict
--Ovidius
XVI
Recommended museums and cathedrals
Turkey and Greece
 Hagia Sophia, Istanbul
 Chora Church, Istanbul
Russia
 Tretyakov Gallery, Moscow
 Pushkin Museum of Fine Arts, Moscow
 Kremlin Armory, Cathedrals of Annunciation, Dormition, St.
Michael’s, and St. Basil, Moscow
 Rublev Museum, Moscow
 Museums and Cathedrals of Vladimir, Novgorod, Pskov, Suzdal,
Tver, and Yaroslavl
USA
 Metropolitan Museum, New York City, N.Y.
 Timken Museum, San Diego, CA
The rise and fall of Byzantium
 In 324 CE, Constantine the Great founded a city with a significant strategic
importance for the Roman Empire and called it Constantinopolis nova.
 Constantinopolis became a capital of a strikingly beautiful area stretched over
the Thracian Bosphorus, the shores of the Hospitable Sea (‘’Pontos
Euxeinos’’), and the Mediterranean Sea.
 The period of 330-1204 marked evolution of Byzantine religious aesthetics.
The rise and fall of Byzantium
 Its glory was darkened by iconoclasm (resistance to images) of 726-
843. In 730. Leo III forbade icons for worship and initiated the
iconoclastic dispute which lasted almost a century and ended with the
victory of iconodules.
 The following years of 1261-1453 separated the Greeks and the
Romans in the questions related to obedience to the Pope, the
procession of the Holy Ghost, purgatory, clerical celibacy, and
leavened bread in the Eucharist.
 Weakened by internal and external tensions, Byzantium fell under the
Ottoman Empire on May 29, 1453.
Visual literacy stimulated by the
linguistic divide and cultural diversity
‘Philoxenia’ or love of strangers.
 In Byzantium, the first administrative
language was Latin, replaced by archaic Greek
in the 7th century. Numerous regional
languages of Asia, Europe, and North Africa
coexisted with the linguistic divide of the
official and spoken languages.
 Rich culture embedded in Hellenistic
Mina, M. (n.d.). Presentation of the Virgin. Chora Museum,
Istanbul. [Photograph].
traditions stimulated cross-fertilization of arts
and development of a new medium.
Sacred art became a consistent symbolic extension of written language and an
expression of divine revelations and true teaching in mental pictures. Icons
were canonical and in conformity with authorized symbols. They were
considered written like books, not painted like secular images.
Russian Orthodox religious tradition:
Inspiration by the beauty of sight and sound
 Exploration of faith before 989
 Vladimir, Prince of Kiev, and the Christianization of Russia in 989.
 The October Revolution of 1917
 Resistance to propaganda, 1917-1989
 Resurrection of the tradition, 1989—present
Mystery of an icon
 The Greek word eikon denotes ‘image by virtue of
likeness or mimesis.’
 An icon mysteriously depicts inconceivable, limitless,
infinite, and immeasurable Ultimate Reality.
 An icon presents a deductic prototype and a letter
symbol of an invisible saint or other holy personage.
 It invites a faithful to meditate, to soften, and tranquilize
a turbulent mind.
[St. John of Krondstadt ] .(2013).Retrived from
http://orthodoxsandiego.webs.com/english/about_church.html
 In a Russian home, icons are placed in the beautiful
(‘red’) corner.
 Portable personal icons may be buried with their owners.
Icon as an integral part of liturgy and
church architecture
Icons as an integral part of liturgy
And church architecture:
 manifest Christian theology and
concrete religious practices
through art
 Invite to follow a liturgical path
to God
 represent celestial reality in form
Workman, O.(2013). The Annunciation, Tempera paintings on canvas by Mila
Mina at the Byzantine church of Holy Angels in San Diego. [Photograph].
of mosaics, monumental frescos,
and canvas paintings covering
cupolas, arches, and church walls
Difference between Byzantine
and Russian iconostases
An iconostasis:
--a templon or a screen with the
doors decorated with tiers of
icons, partitioning the altar
from the nave.
-- simultaneous visual narrative,
showing separate moments in
the life of the saints and deities.
Right: Workman, O.(2013). An iconostasis (The Royal Doors) at the Byzantine church
of Holy Angels in San Diego., CA. [Photograph].
Left: Workman, O.(2013). An iconostasis at St. John of Krondstadt Church in San
Diego, CA. [Photograph].
Tall and closed iconostases are typical for Russian Orthodox churches.
They differ from lower and partially open Byzantine iconastases.
Subject matter:
The Trinity or The Triune God
 Transcendent and invisible God the Father, Logos, the Eternal Word, Wisdom,
and preincarnate Christ
 Tangible to human senses God the Son, Christ Emmanuel (‘’God with us’’),
Christophany, incarnate Logos or Wisdom, Christ Pantocrator (the God-Man
Ruler of all), Our Savior (Spas), the One Who is, the Mandylion (the Holy
Face on a piece of cloth), the Almighty, Christ Enthroned, Processional Cross,
the King of Glory, and the King and Highest Priest

Joseph and Semion with the Child Christ, the Baptism of Christ,
the Transfiguration, the Raising of Lazarus, the Entry into Jerusalem,
the Mustical Supper, the Crucifixion, the Descent from the Cross, Epitaphios
or Lamentation (Plashchanitsa), the Descent into Hell, Doubting Thomas, and
the Ascension
 God the Holy Spirit, a theophany (manifestation) as a dove, flames, or twelve
rays of divine power
Subject matter: The Virgin Mary
Panagia (all-holy)
Theotokos (not Christotokos)
 The Virgin Orans, the Platytera (More spacious than the Heavens), Our Lady
of Sign (Znamenie), the Hodegetria (showing the way), the Eleousa, (merciful,
tender), the Nursing Theotokos, and Our Lady of Perpetual Help
 Nativity of Mary, Presentation of Mary in the Temple by Joachim and
Anne, the Annunciation, the Nativity of Christ, the Presentation in the
Temple, Dormition (Koimesis), the Assumption of Mary, Protecting Veil of
the Mother of God (Pokrov)
Subject matter: The heavenly court
 Deesis or the heavenly court
 The prophets, such as Ezekiel and John the Baptist
 The archangels (prince messengers): Michael, Gabriel, and Raphael
 The non-corporal beings, such as winged cherubs and seraphs
 The Evangelists: Matthew (man), Mark, (lion), Luke the Painter (ox), and John
the Theologian (eagle)
 The Holy Apostles, such as Peter and Paul
 Saints and martyrs: George of Lydda, Martyrs of Sebaste, Pakaskeve, and Anastasia
 Fathers of the Orthodox Church: Nicholas of Myra and Seraphim of Sarov
Diverse Iconographic media
Workman, O.(2007).
Candleholder .[Photograph].
Encaustic works, mosaics, cloisonnés,
frescos, egg temperas, bone and wood
carvings, illuminated manuscripts, bronze,
silver, and gold castings, paintings on canvas
or fabric, embroidery, images on
candleholders, pictorial crosses, engolpions
(icons worn by bishops), banners, ampules
(portable bottles with oil), and computergenerated icons
Workman, O.(2013). Portable icon with relics of St.
Fabian, St. John of Kronshtadt Church. [Photograph].
Images written by philosophers
Greek ‘graphicos’ means to write and paint. As icons connote not the
realm of flesh, but the realm of the human mind, icon writers (painters)
are also known as philosophers who do not sign their works.
Workman, O.(2013). Icon painter Mila Mina in her workshop.[Photograph].
Images that are written, not painted
Iconographers and icon restorers are divinely inspired, talented, and
experienced craftsmen or virtuoso artists. They tend to work in teams.
Workman, O.(2013). Icon restorer Oleh Skiropadsky at work. [Photograph].
Russian icons
Mina,M. O. (n.d.). The
Mother of God.
[Photograph]
Russian icons :
--a symbolic continuation of Byzantine
theological philosophy and artistic
traditions in Russian religious art
--works of art rooted in Egyptian
sarcophagus paintings, and early
Christian cult of burial and
worshipping practices
--egg tempera paintings on a solid, wellseasoned wooden panel, covered with
layers of gesso, a piece of cloth, and a
thin 22 K golden leaf of or without it
Workman, O. (2013). Private collection portable icon.
Moscow Kremiln, 1919. [Photograph].
Framing
 Due to perfect filling and tight cropping there is no visual





Workman, O. ( 2013). The Byzantine Church of
Holy Angels in San Diego., CA. [Photograph].
escape for the viewers.
Plain, embossed, or jewel-studded frames are an integral
part of icons. Frames decorated with fruits, leaves, vines,
and flowers are more common for Byzantine than Russian
icons. Icons can be without frames.
Gold halos refer to a holy mind and frame the most
important elements of the icons.
Internal frames created by overlapping background
mandorlas (elliptical aureoles representing the heavenly
world) and lozenges (diamond shapes representing the
created world).
Interestingly, mandorlas and lozenges surround the
figures of the Virgin Mary and Christ, but not angels and
archangels.
Internal frames such as mandylions represent a
background napkin or a handkerchief.
Transfigured and transformed perspective
 Spatial relationships, presented in a
dream-like world
 Arrangements in a vaporous manner,
inviting for an extended introspection
due to the illusion of disintegration
 Background landscapes presented as
minimalistic theatrical decorations or
pieces of drapery
 Elimination of background noise by
Workman, O. (2013). The Ascension. [Photograph].
scaling down of insignificant objects
Byzantine perspective or God’s view of the world
Characteristic features of reverse (inverted) perspective:
-- placement of the vanishing point outside
the icon and converging lines at the heart
of the faithful.
--cubistic presentation of different sides
of objects and subjects
--a more credible picture space
--representation of buildings by arches and
narrow towers
--thrown forward tables, footrests, thrones,
books, and mountains
Workman, O.(2013). The Birth of the Virgin and The
Presenttaion of the Virgin in the Temple, Tempera paintings
on canvas by Mila Mina at the Byzantine Church of Holy
Angels in San Diego, CA. [Photograph].
Purposes of reverse perspective:
--presentation of God’s view of the world
--depiction of space leading to eternity
--invasion of private space
--facilitation of direct, person-to-person
communication with saints
L0ss of gravity due to
deliberate subversion of spatial laws
 Formal balance and symmetrical division of
compositional parts
 Importance of the geometric center
 Fixed distances between compositional elements
 Mixed time and space references in
calendar icons and icons depicting serial events
 Focus on the celestial realm and spiritual life
 A symbolic distinction between internal and
Workman, O. (2013). Pokrov. Icon on Wood. [Digital Image]
external space
 A red veil as a symbol of inner space
Loss of gravity
Figures hang loose and appear floating
in gravity-free space.
Workman, O. (2013). The Holy Angels. Fresco at The Byzantine Church of
Holy Angels. [Digital Image]
 Calendar icons and icons
depict serial or historical
events in simultaneous time
and space planes.
 Biblical symbols often coexist with
paganistic references.
Workman, O. (2013). History of Russia. Mounted Print Icon. [Digital Image]
Living bridge between saints and worshipers
Prayer in front of an icon:
-- a holy event
-- a participatory event and direct encounter with a holy person or God
-- reception of moralistic messages with a clearly visible borderline between good
and evil.
 The early Coptic and Byzantine icons with chubby and even cartoonish figures
 The later Byzantine and early Russian icons, especially Russian Novgorod icons,

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with intentionally elongated and flat figures
Manifestation of spiritual power over mortal flesh
Figures without shadows
Signs of age denoting maturity of spirit
Holiness of the mind, highlighted by the nimbus
Consistent depiction in profile all that is evil, such as unrighteous people, Judas,
Christ’s tormentors, Satan, dragons, and animals
Personification
Expression of abstract and complex notions through personification:
--a man looking like a king as representation of the Cosmos in icons
of Pentecost.
--a man with a water jar representing the River Jordan in the icon Baptism of Christ
-- a dark man in chains representing death
-- a woman in the dark personifying night
-- a skull as representation of Adam, died in sin
-- flat bodies of saints with flat feet and hands as personification of flesh
liberated from corruption
Proportions
Byzantine and Russian anatomically incorrect
proportions:
--stumpy Byzantine saints with solid chins,
chests, knees, heels, and large heads.
--elongated Saints with small mouths, thin
but elongated noses, and bulging foreheads
in early Russian icons
--expression of divine sincere love and devotion
[The Savior Enthroned from Timken
Museum of Art]. (15th century) Retrieved
from
http://www.timkenmuseum.org/collection/russia
n-icons/savior-enthroned
Depiction of tension
The subject of the icons :
--detached and involved at the same time
--appealing to broad audiences
-- reflecting on conflict between freedom and
coercion
-- depicting a man as both exalted
and problematic
--contemplating about the rivalry of thought
and faith, desire, and restraint.
[Our Lady of Jerusalem from Timken
Museum of Art ]. (17th century) Retrieved from
http://www.timkenmuseum.org/collection/russianicons/our-lady-jerusalem
Archetypal energy and personification of
moral qualities
Mediators between the faithful and God, such as Saints and martyrs:
--play deductic roles of dematerialized historical figures
--convey unambiguous historical and cultural references
--denote a departure from classical humanistic traditions
in individual and group portraits
--display important social status indicated by placement and regalia
The Wall of Saints. [Online Image] .(n.d.)
Retrieved from http://www.christthesaviourhbg.org/icons.html
Workman, O. (2013). St. Princess Olga of Kiev; St. Prince
Alexander Nevsky, Holy Romanov Royal Family. Mounted Print
Icons. [Digital Images]
Vivid repertoire of symbolic gestures
Workman, O. (n013.). Fragment of
Christ Pantokrator. [Photograph].
Icons present a silent form of prayer. However, their quiet stillness is effectively
complimented by expressive plasticity of dramatic gestures and postures. Icons
reflect on a broad range of essential human activities, such as praying, teaching,
writing, walking, climbing, flying, sleeping, thinking, drinking, eating, nursing a
baby, etc. Postures can be erect, raised, lowered, inclined, bent, twisted, or turned.
Mina, M. (n.d.). Underpaintings of Russian icons. [Photographs].
Depicting emotions
according to humanistic traditions
Exaggerated staring eyes, gestures,
and postures communicate awareness
and a wide gamut of emotions:
•
•
•
•
•
•
•
•
Mina, M. (n.d.). Mosaic in the central dome, Church of the
Dormition, Daphni, Greece. [Photograph].
Workman, O. (2013). St John
The Evangelist from
St. John of Kronstadt
Russian Orthodox Church.
[Photograph]
Love, affection, and sensuality
Kindness and gentleness
Hospitality, compassion, vitality, and care
Peacefulness and contemplation
Dignity and reservation
Stoicism and asceticism
Solemnity and somberness
Sorrow, pity, grief, pessimism, and tragic
passion
Early icons during and after iconoclasm avoided
emotionalism. Novgorod and early Russian icons
appear more reserved and ascetic.
The pivot of the Orthodox moral code
The Virgin’s eyes floating in the eye sockets express:
 Visible beauty of love
 Love as a faculty of the human soul
 Love as an intellectual property
 Love as affection
 Spousal love
 Parental love
 Devotional love
 Love through obedience and faith
Workman, O. (2013). The Mother of God.
Gift icon. [Digital photograph]
Harmony, purity, and beauty of colors
Icons , painted in quick, little circles, bring joy to the
world with harmony and striking beauty of simple
color schemes.
Saturated colors demonstrate refined tonal transitions
and exhibit geometric purity of details, lines, symbolic
letters, and borders.
Color pigments are created from minerals, animals,
insects, and plants.
Workman, O. (2013). The Baptism of Christ.
Greek mounted icon. [Digital Image].
Egg tempera enhances subtlety and luminosity of
indigo-deep blue, ivory, jade, raw sienna, Indian red,
and sapphire colors.
Local colors become distinct under daylight conditions.
Color symbolism of the dream-like world
Symbolic hierachy of colors
remains canonical:
White –glory of transfiguration
Gold and yellow –life and the
life-giving sun
Green – spring and growth,
Dark blue –heaven
Light blue – the sky visible to
the living
Mina, M. (2013). Mother of God. Mosaic icons in Hagia Sophia. [Photographs].
Workman, O. (2013). Mother of God.
Russian Mounted Icons. [Photograph]. Brown—poverty
and asceticism
Black- separation from God,
The head and upper body of the Virgin Mary is
ignorance, sin, and death
covered with maphorion, a veil.
The cherry color of her veil implies royalty.
The golden stars denote virginity before, during, and
after the birth of Christ.
Hierarchy of colors depicting transition
from chaos to order
• Roskrish or the dark and muted colors,
representing premordial chaos
• Sankir is an opaque olive color, used as a
base color for heads and throats
• The base color, but two or three times
darker, used for outlines
• Layers of colors
• White and yellow highlights
• Changeant colors and double reflection
Workman, O. (n.d.). Old Testament Trinity..Religious Icon Gift. [Digital Image].
Connection with divine energy
• Silver, gold, and ‘tvoreynie kraski’
• A flat monochromatic gold background
• Depicting eternal light tonal transitions
• The golden net of foreground highlights
Rublev, A. (c. 411). Old Testament Trinity.[Online image]. Retrieved from
https://www.boundless.com/art-history/byzantines/middle-byzantineart/rublev-in-moscow--5/
Light mirroring eternity
Workman, O. (2013). St. Nickolas
in church St. John of Kronstadt [Photograph].
•
•
•
•
Workman, O. (2013). Candle stand at St. John of Kronstadt . [Photograph].
Internal light shining
in silence and stillness
Imitation of eternity
Fluidity of lighty
Embossed covers or oklads
Light of eternity
External light as an active and important component of of iconographic paintings
Mina, M. (n.d,). Christ as Pantokrater, dome mosaic in the Church of the Dormition, Daphni, Greece.. [Photograph].
Virtual tour of Hagia Sophia at http://www.3dmekanlar.com/en/hagia-sophia.html
In conclusion
"The real voyage of discovery consists
not in seeking new lands
but in seeking with new eyes."
~Marcel Proust
 The tradition of depicting decisive moments independent of time and space is
not relinquished in modern iconography. Most importantly, its potent
influence can be traced in the works of 19th and 20th century art, represented
by a constellation of brilliant artists, such as Ge, Serov, Vrubel, Nesterov,
Petrov-Vodkin, Korin, and Glazunov.
 Though icon painting strives for new expressive forms, the evolution of icon
painting is not simple.

Canonical principles do not change.
 Praying to an icon remains a mystical and deeply visual contemplative
experience. It requires complete concentration, stillness, and control
of thoughts.
 It provides a way of palpable and tangible communication with God
and the saints.
Acknowledgment
The Reverend Robert Pipta, the Pastor of Holy Angels Byzantine
Catholic Church
+1 (858)-277-2511
Archpriest Eugene Grushetsky of St. John of Kronstadt
Russian Orthodox Church Outside Russia
+1 (619) 282-3304
+1 (619) 282-1164
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Presenter’s contact information
Olga Workman, Ph.D.
760-720-9088
olga.workman@waldenu.edu