![]() ![]() “For the Orthodox, the icon is a really holy thing, and if you’re not Orthodox, how can you make an icon?”īut in the United States the broad interest is often welcomed. “It tends to be people from outside of American culture who are more worried about it,” she said. Hull said when she has traveled to Russia, she has met with some opposition to the notion of teaching non-Orthodox students about iconography. “Iconography is a special way to approach God and a special way to create instruments for others to approach God.” “We mostly do this in some circles which are non-Orthodox,” Davydov said of the workshops, which are limited to 14 people to allow one-on-one interaction with each student. Sophia class, Wesley Theological Seminary, a United Methodist–affiliated school, also held an iconography class taught by Philip Davydov, a Russian iconographer. However, it does speak to and lead people into a spiritual journey.” “Not everybody who takes the class converts to Orthodoxy. ![]() “Every person sees hundreds of images a day, and the icon is beginning to speak to people in a way that it hasn’t before,” Hull said. Hull, a Presbyterian convert to Orthodoxy, thinks icons are attractive to people in an age that is image-driven. Lynette Hull, an iconographer with the Prosopon School of Iconology, estimated that the school’s six-day intensive course has had more than 5,000 students in the past 25 years. Hundreds of intensive classes, costing several hundred dollars, are held across the country. Those involved say the growth in interest-from people of diverse traditions-has been building over the last couple of decades. “Lord Jesus Christ, God of all, enlighten us, imbue the soul, the heart, the intellect of Your servant,” they prayed, standing before easels in a bright, window-filled room steps away from the sanctuary of St. It was printed on a sheet for the students to read together before picking up their paintbrushes to “write” an image of the Christ child embracing his mother. The artistic process taught in iconography classes is bathed in prayer, both individual and corporate.īefore his history lesson, Papadopoulos began the workshop with an iconographer’s prayer. It’s about a reality that is revealed in the image, revealed in the holy scriptures, revealed in the sacrament, and it’s something that one needs to recognize as very special.” “It says the spirit is not about three dimensions. ![]() “The two-dimensional image denies three-dimensional presence,” he said. The flatness of the image, its stillness, the large eyes of its figures and the often symmetrical style are all intentional ways of distinguishing between the ordinary world and a heavenly realm. David Morgan, a religion scholar and art historian at Duke University, said the iconography tradition, which dates to the early centuries of Christianity, is designed to be distinct from more naturalistic art, which became more common in the Renaissance period. ![]()
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