Triangles and lines: Second Highlight

I've just finished the Second Highlight on the garments. Take a look. It should look a little out-of-place yet, but give a sense of light, as well.

Betsy Porter explains that "A smaller second highlight represents the Anthropos, the enlivening light of
human intellect and culture."


It definitely reveals a dimension that we are used to seeing around us, doesn't it?
After preparing all the mixtures and getting them just right, these lines took about 15 minutes per area.


Okay, maybe 20.


And as you can see, most areas are in these very pointy triangles, or trapezoids.

In the middle figure, there were LOTS of triangles.

 In the right figure, there were longer triangles.

 And in the figure on the left, we see more of the lines, than actual shapes.

(These pointed aspects are supposed to help indicate the icon's divinity, and, dare I say, sparkle.)


One of the things that I am really coming to terms with while prayerfully walking through this writing process, is my tendency for perfection. This is my FIRST icon. And I am by no means an expert in iconography, but I have this inkling to make it perfect, make it either exactly like the original, or exactly life-like. And one of the things that iconography is NOT supposed to be, is life-like. I hope I'm not repeating myself, but Iconography has an approachable, but distinctly "other" character about it. It's not like a snapshot picture. You have elongated noses, and the ignorance of three-dimensions.

Intentionally, the icon is trying to engage, but not represent the image. No idol-worship in these parts!


And this struck me this week. My perfectionist tendency lead me to confront my heart's desire. This icon is to be used completely for God's glory, and so it must be given into His hands. And the Eastern Orthodox church acknowledges this wonderfully, and incorporates the artist's mistakes into the understanding that this is not a perfect picture of the divine. And there is just one more thing that shows that. And something to recognize the next time you see an icon.


It also allowed me to let go of my need to have my icon look precisely like the Rublev's, giving me permission to make my prayers be known through the writing. What freedom! Now, if only I could get these faces down...


Another challenge for another day.


"Lord God, almighty and everlasting Father, you have brought me in safety to the beginning of this day: Preserve me with your mighty power, that I may not fall into sin, nor be overcome by adversity; and in all I do, direct me to the fulfilling of your purposes; through Jesus Christ my Lord. Amen."

The Divine Hours: Pocket Edition. Phyllis Tickle. (Oxford University, 2007.)

Finished First Float

In the whole Icon writing process, we have lots of layers including Lines, Highlights, Floats (and later, coats!), so in my mind's eye, I was thinking that highlights would articulate color, and floats would mute it. In actuality, we have the opposite! Highlights provide the depth of shapes and floats warm everything back up again with vibrant color. Here is the finished first float.

Icons showcase light inherently. Floats help illuminate and deepen the original colors of the icon. Both the figures and scene are used to articulate the "created" and inner light. There are no deep shadows in iconography. There is a sense that you are standing in the midst, invited to be a part of the conversation. There is both illumination on and from.

I found a neat excerpt from Henri Nouwen in some recent reading. Thought I'd share-
"Icons are not easy to 'see.' They do not immediately speak to our senses. They do not excite, fascinate, stir our emotions, or stimulate our imagination. At first, they even seem somewhat rigid, lifeless, schematic, and dull. They do not reveal themselves to us at first sight. It is only gradually, after  patient, prayerful presence that they start speaking to us. And as they speak, they speak more to our inner than to our outer senses. They speak to the heart that searches for God."


Behold the Beauty of the Lord: Praying with Icons
Henri Nouwen (Notre Dame, Indiana: Ave Maria, 1987), 14.

Faces

This past week I was finishing up the first highlight. And I have to tell you-- I struggled specifically with the faces. Part of the glorious mystery of the Trinity is found amidst the total oneness, and yet total three-ness of the persons. And since icons are theology in pictorial form, I was faced with the balance of expressing the oneness, most prominently found (depicted in this icon) in the faces. Take a look above. The original icon has these faces nearly identical.
I am challenged with trying to mimic these same faces. You would not think it so hard. But so much is implied in the tiniest facial lines. I've been watching faces this week, as I try to master this art. I've seen stress and worry, happiness and joy, and everything in between. Beyond mere expressions, I have noticed the amazing creativity God has used in forming his creation. Our faces are so very different. From the small tiny noses, to the long and wide ones. I've seen chubby cheeks and laugh lines-- there is so much written on our faces!

Here are my faces. There's a lot of work to do yet, so don't worry about the finished product. But tell me,

what do you see?