The Nativity Icon Explained

To mark the Christmas season, I thought I would feature this beautiful icon, painted by my teacher, Aidan Hart (aidanharticons.com), which reflects the nativity accounts from the gospels of Matthew and Luke, which will be familiar to many. These are the main features of this image:

At the top, we see the guiding star. The star's design incorporates a threefold ray structure indicating trinitarian action, with its darker central portion representing the mystery of God. 

The Blessed Virgin Mary's recumbent position at a diagonal is intended to visually connect the upper and lower parts of the image, establishing an axis between the celestial and terrestrial realms. This emphasizes her unique role in the Incarnation, in which God took his humanity from her, which could only have happened with her cooperation.

The Christ child is wrapped in swaddling clothes, which provide a visual connection to burial garments¹, and so establish a visual prophecy of his Passion and death.

The ox and ass come from a prophetic text from the book of Isaiah²: 'The ox knows its owner, and the ass its master's crib; but Israel does not know, my people does not understand'³ and the prophecy of Habakkuk in the Septuagint, that, 'In the midst of two living creatures you shall be known'⁴. It is another indication of the humility of the Creator that Almighty God should become man in the abode of lowly animals, which become the primary witnesses of his birth.

The manger, the animal feeding vessel, symbolises an altar on which the Lamb of God is sacrificed and a tomb, prefiguring his death again.

The human figures are arranged in two distinct groupings: shepherds and Magi, representing the Jewish people and Gentile nations⁵, respectively, and between them, their presence indicates that this event is good news to all people. Indeed, this is good news for all creatures, not just man. We have considered the lowly animals already, but we also see angels, the spiritual beings who herald the good news.

The angelic presence establishes a counterpoint to the Fall narrative. In contrast to humanity's encounter with fallen angels⁶, these divine messengers appear to Mary⁷, Joseph⁸, and the shepherds⁹, receiving obedient responses in each instance.

The composition includes the apocryphal detail of midwives attending to the infant Christ, derived from the Proto-Evangelium of James (Chs. 19-20) and Pseudo-gospel of Matthew (Ch 13), serving to emphasise again Christ's human nature.

Finally, a significant figurative element is the inclusion of Joseph, who is set apart, listening to the prophet Isaiah. This is intended to communicate that although he initially doubted the Virgin Birth, his doubt quickly became acceptance. Isaiah is reassuring Joseph that what he is witnessing is the fulfilment of his messianic prophecy.

The staff that Isaiah holds is painted as a budding branch evoking the stem of Jesse: 'There shall come forth a shoot from the stump of Jesse, and a branch shall grow out of his roots. And the Spirit of the Lord shall rest upon him, the spirit of wisdom and understanding, the spirit of counsel and might, the spirit of knowledge and the fear of the Lord'¹⁰.

Notes: 

¹Luke 2:7, 12; ²Isaiah 1:3; ³Isaiah 1:3 (RSVCE); ⁴Habakkuk 3:2 (LXX); ⁵Matthew 2:1-12; ⁶Genesis 3; ⁷Luke 1:26-38; ⁸Matthew 1:20-24; ⁹Luke 2:8-14; 10. Isaiah 11:1-2 (RSVCE); ¹¹Isaiah 7:14

Slash and No Burn - New Icon of Our Lady of Czestachova

Here is another new icon of a familiar image. reader David Woolf from Wales sent this to me and I will let him describe the process by which it was commissioned: 'I wanted a travelling icon, so it is a diptych - it goes with me wherever I travel. I have a great devotion to Our Lady of Czestochowa. Aidan Hart, the artist, asked did I want her painted as the icon is currently at Jasna Gora, like the familiar black Madonna or one based upon the Iveron Theotokos? The icon currently displayed at Jasna Gora was originally of the Iveron form, but alas has been renovated on several occasions - the oil paint [yes oil paint, DC] applied by the restorers has not bonded to the underlying egg tempera, hence the ‘artistic mess’ of the icon today. Therefore I asked Aidan to recreate the original Iveron form, however because the attacks on Our Lady’s right cheek (the slash marks) are part of this archetype’s history I asked that these be added to the commission - an idea to which he was happy to comply. Furthermore the border he has used is as on the current icon at Jasna Gorna but if often hidden under a rizza.'

New Mosaic, OId Technique

Here are some photo's of a new mosaic just installed in Wales, designed and made by Aidan Hart.  (H/t David Woolf) I have taken the them from his website, here. Aidan's photos give us a sense of how it was produced as well as the what the final product looks like. The church, St Martins is an Anglican church in Cardiff on a town street and the mosaic is on the exterior. I like this - we must not underestimate the power of beauty and the face of Christ especially to draw people in to God. I found a photo of the church before the mosaic was placed there on the internet, see below. I hope the congregation will not think it is undignified that it includes in the pawn shop nextdoor. I personally think that the juxtaposition of the mosaic and shop emphases how we must think about beauty reaching out and touching people in the everyday activities of life and competing with all the advertising and other imagery that is out there. The method that Aidan used, if I have understood him correctly, is the 'Ravenna' or 'double reverse' method that involves putting tracing the design onto a temporary wet 'putty 'base (a slow drying mortar or plaster) and then placing the tesserae into the putty so that the artist can see the design developing as it would be seen eventually. Then a piece of glued linen is stuck to what is now the open face. The mosaic is turned over (carefully) and the putty is removed. This leaves a reverse image stuck to the linen. So far, all of this work is done in the studio. Now the mosaic, is placed into the mortar in situ. This means that the linen is facing outwards and the tesserae are pushed into the wall. Once this has set, then the linen is removed and the side of the tesserae that is open to the air is cleaned and you have the final image.

I remember that when I was in Aidan's classes he always used to stress how valuable it was for painters to study mosaics if they wanted to discern what colours contributed to particular effects, for example, flesh colours. Sometimes when you study paintings it is difficult to discern exactly what combinations have produced the final colour because with paint one wash is placed over another and you only see the combination, but can't see what is below the surface and has contributed to that effect. With mosaic, however, tesserae of pure colour are used to created a pixelated image and the combined effect is created in the mind's eye. So for example, a green effect might be created by having no green tesserae at all, but rather by having alternately pure blue and pure yellow tesserae sitting next to each other. When I gain a general impression I will 'see' green, but when I examine particular areas closely enough to resolve individual tesserae, I will see only blue and yellow. As painter, I can look at this  and create that particular green in my icon by using a the same blue and yellow  but in alternate transparent washes.

Above: work in progress - putting the tesserae into the base putty

The reversed image stuck to the linen, with the base putty removed and before being placed into its final position on the church

 

Every Artist Should Read This Book

The Techniques of Icon and Wall Painting by Aidan Hart. This is the best art instruction book I know of. In my opinion it should be read and absorbed by all artists regardless of the medium and the tradition they are working in. It is available in the US from Holy Trinity Bookstore, and in the UK from publisher Gracewing's website, here. It has 480 pages, 450 illustrations and 130 drawings. It comes in hardback and costs 40GBP or $70. Aidan Hart does a wonderful job in explaining the methods of the media that he works in: egg tempera, fresco, secco and gilding, with great thoroughness and right through to varnishing and even photographic artwork for publicity shots. As an experienced practitioner and teacher he anticipates the difficulties and questions of the students at every turn. At every stage links what is done to the underlying principles of the tradition, and this opens the door to so much more.

First, once the parameters that define the tradition are well understood, it gives the student the flexibility to start creating original work without straying beyond its bounds. Hart takes us step by step through that process.

Second, for those working in other traditions it gives a deep understanding as to how form (ie style), choice of medium, compositional design, even the framing is affected by the invisible truths that the artist is seeking to communicate. The way I paint man is determined by anthropology – my understanding of what a man is. The reason that we can distinguish between different traditions, for example the gothic and the iconographic, is that each is seeking to emphasize different aspects of the anthropology. Understanding how the iconographic tradition is governed by these considerations will help artists in other traditions, for example the baroque, to see how the theology governs the form of their chosen tradition as well.

The first two considerations are what transforms an artistic style from pastiche into living tradition, that is capable of developing and responding to its time, without compromising its core principles.

Third, he gives a simple and easily understandable explanation of the different variations within the iconographic traditions, and unusually, includes the Western variants such as Celtic, Carolingian, Ottonian and Romanesque icons and explains just why they are iconographic.

Aside from this even much of what he is teaching at a technical level is of use to all painters: especially colour theory, harmonization of design, and the different attributes of using line and tone to articulate form. Although vital, drawing skill is not enough. Hart has as well a wonderful sense of composition and colour harmony and this book gives us great insights into how he does it. He shows us that as well as experience and good judgment, there are many guiding principles that the artist can make use of. For example, as well becoming lighter and darker, colours actually change in light in shade – a green might become bluer in shadow, rather than simply dark green. Aidan explains sytematically, colour by colour, how to adjust for light and dark so as to keep a coherent, unified image. In my opinion it is worth buying the book for his personal insights in this area alone.

All this is supplemented by over 400 pictures, which include not just complete pictures of paintings, but also many which focus on small details that what he describes in the text.

Aidan Hart is Orthodox, but he does not snipe at the Western Church (as sometimes happens with other Orthodox writers) and so Catholics can read and enjoy it without worry. That said there is one small note of caution: in accordance with St John of Damascus, he describes the icon as being ‘grace bearing’. Catholics should be aware that their own tradition can describe it slightly differently. In accordance with the 9^th century Eastern Father St Theodore the Studite, it tends see the action of the icon as one that is analogous to a sacramental, ie, that seeing it makes us more susceptible to the action of grace, but it is not in itself a channel of grace. I discuss this more deeply in a previous article, here.

This book is recommended as reading for anyone interested in sacred art and will, I believe do much in the future to aid the development of sacred art in the Church. Well done Aidan Hart.

Book Teaching Icon Painting by Aidan Hart

It is with much excitement that I await the arrival of a new book on the theology, history and painting techniques of icon painting. I have just heard that this has now been published by Gracewing in the UK and he told me that as yet there is no US distributor. If anybody knows how I can get hold of a copy, let me know! You can see details on his website here.

Looking at the contents it is extremely thorough. It discusses the various styles of iconography, Eastern and Western. In painting techniques it describes, step by step with illustrations (there are 460 illustrations in its 450 pages) and covers both the membrane technique - where the form is modelled in monchrome and thin washes of colour are placed over before final modelling; and the 'proplasmos' technique, where the painter starts with dark layers of paint and moves to the highlights systematically. He covers egg tempera, fresco and secco. To have a book with so many illustrations of his work makes it worthy of consideration for that alone (it retails at 40GBP).Aidan is a superb teacher (the best I have come across) who in his classes who reduces things to underlying principles quickly and simply so equipping the student to do much to teach himself after he leaves. The reports I am getting from England of those who have seen it are that it is every bit as good as it promised to be.

As a faithful Orthodox Christian, Aidan has the prejudices against other, Catholic, artistic liturgical traditions and culture that one would expect. As with any book by Orthodox, Catholics should be ready for this, but in my experience, there is little that we should be worrying about in such a discussion of the iconographic tradition, and much to learn. Certainly I am going to find out how to get hold of a copy and will report as soon as do so.

Below you have some very rough step by step paintings of the membrane technique, in which there is an underpainting in monochrome and then transparent washes are applied over it - left to right, starting top left.