Transfigured Light
Transfigured Light
Master iconographer Vladislav Andrejev on the practice, teaching and sacred purpose of his craft.
Iconographer Vladislav Andrejev was born in 1938 in St. Petersburg, Russia. After his formal educational studies, Vladislav became interested in religious art, which was impossible to practice during the Soviet regime. The search for deeper meaning in life and art urged him on to solitary travels in parts of the Russian wilderness, including the Carpathian and Caucasus Mountains, where Orthodox recluse-monks lived in hiding. The search also led him to encounters with the monk-iconographer Abbot Alipiy of the Pskov Caves Monstery and to independent study of icon painting. In 1980 Vladislav emigrated to the United States. Becoming established in America during a period when interest in the Icon was growing, he has since written numerous icons which can be found in churches and homes throughout the world.
Over the years Vladislav’s iconographic technique and teaching method has grown into a distinct school of painting and iconological interpretation. In 2000, the Prosopon School of Iconology was formally named, receiving the blessing of Archbishop Peter (L’Huillier) of New York and New Jersey, and the support of Theodosius, Metropolitan of All America and Canada (OCA). In this new stage of growth, the School is composed of the founder and a core faculty of trained instructors heading Prosopon studios in locations throughout the United States, Russia and Europe. Since its inception, the school has introduced thousand of students to the theory and practice of iconography.
Theotokos Oranta
What is the primary intention behind the art of iconography?
The purpose of the icon is to translate religious existence into a visual image and culture. It is important to take note of two significant principles in icon writing: the first virtue of icon writing is that art and religion are united within it. Questions about art transition into religious concepts, and religious questions transition into concepts on aesthetics. In other words, we strive to express religion as the aesthetic culture of our life.
The second crucial meaning of the icon is expression - the illustration of theology. Even though in today’s world the aesthetic value of an icon is widely accepted and oftentimes icons displayed in museums are considered equally as important as some of the greatest masterpieces of art, originally they were written solely for the needs of churches and the faithful.
The relevance of the icon in this particular context is bound to the biblical teaching that man is created in the image and likeness of God. In the Greek text the word that expresses “image” is εικών (icon). This is where the concept of the icon and icon writing originates, and translates into a vision of the actual image of human nature and its inner state of being. This reveals to us the main essence of the icon.
How did you come to devote yourself to this craft?
Perhaps the defining moment of my life was predetermined during my childhood by my grandmother. Grandmother was a religious person and she left an imprint of her devotion within me. As a child, this religious outlook on life felt natural while I was in her presence.
Later as a young man in a different worldly setting, faith retreated to the background of my existence. During my time in art school as a teenager, I experienced much dissatisfaction with the semantic notions accompanying art as it was taught in those days. I found that the aesthetic value of works was highly regarded, yet the development of the concepts behind the interpretations was exceedingly limited. Beauty and technical perfection seemed to be enough.
During this time I discovered that my semantic understanding of life was sorely lacking as well, and it was the right time for its rebirth. This underlying feeling found its expression and satisfaction through my discovery of the icon. When I first encountered the icons I was greatly impressed by the deep meaning contained within them; the unity of aesthetics and religion.
As an artist I began to study and uncover for myself the religious symbolism of the icons, and it was like two separated worlds became one for me. My childhood faith found space within my grown-up creative consciousness. I think all people are creative in nature, but for me it became important to give this artistic creativity an opportunity to coincide with religious creativity.
Another significant change in my life took place in the early 1980’s when I was invited by the founder of The School of Sacred Arts, Helen Hirsch, to teach classes on icon writing. This event came into my life unbidden from the outside, but instilled within me a further necessity to develop myself as an icon writer.
The instruction of the students and my interactions with them gave me a push toward a concentrated contemplation of the tradition of the icon, and brought me to the development of the iconological method of writing that is now taught at the Prosopon School. This process not only significantly increased my activity and proficiency as a teacher, but also greatly improved my artistic technique.
How did you come to found the Prosopon School?
The School of Sacred Arts was founded by Helen Hirsch in 1983, and lasted for ten years. During this time many people became acquainted with the tradition of the icon. Upon the closing of the school, my students expressed a desire to continue their learning, and I began to hold classes in my studio. Discussions and thoughts on the idea of establishing a school gradually surfaced.
As the number of students grew, I developed a specific method of teaching. My studio was then located in Highland Mills, NY, just outside of New York City. In the year 2000 the Prosopon School of Iconography and Iconology received the blessing to be established from the Orthodox Church in America on behalf of Archbishop Peter, the Archbishop of the Diocese of New York and New Jersey at the time. The blessing came as a reply on the 4th of July which, besides being a commemoration of the Day of Independence for the United States, is also the day the Orthodox Church commemorates Saint Andrei Rublev, the patron saint of icon writers and the author of the famous Icon of the Holy Trinity.
Can you share more about the teaching method you have developed?
I consider my approach to teaching rather subtle and not demanding. This style developed as a result of the cultural receptivity of the students in the U.S. and their openness to the idea of learning, even though most first-time students often come to me with a vague understanding of what the study of the liturgical icon entails.
The Prosopon School’s method of instruction is founded on a parallel between practice and theory. We encourage our students to contemplate and practice new skills not only by discovering “how” the icon is made, but also “why.” This two-sided approach uncovers the deeply important symbolism found in icon writing. We emphasize the importance of what occurs during the practice of icon writing, leading the students to uncover specific thoughts that are best expressed in this way.
If the student has difficulty understanding the symbolism of the icon, they are given an opportunity to explore a more basic semantic understanding, and approach the icon with a more artistic focus. The higher the level of mastery, the deeper we must comprehend the icon’s true purpose. Perhaps from this perspective it is even more important to understand the essence of this process than to have perfected the ability to create an image.
The path of the student consists of three consecutive steps. The first is the acknowledgement of complete commitment and trust: it is essential to learn how to entrust oneself completely to the instructions and, likewise, how to implement them with satisfactory results. The second step requires the student to become proficient in the groundwork of the method of icon writing; in other words, to be able to independently write an icon following the instructional steps put forth by the Prosopon School.
On this level the student widens their perception of the harmonies of color, learning to understand the subtle differences in the contrasts of colors, and the precision of graphic elements. The third step involves attaining a level of mastery. The student must be proficient in both the process of icon writing, beginning with the ability to independently create a drawing, as well as in the symbolism of the icon.
A master icon writer will closely follow all the steps of the method so that the end result may be considered a true representation of the teaching of the Prosopon School. This final step will begin to reveal a reverse process for the student, as the icon will begin to influence, or “write” the icon writer. It will work on showing the students different ideas for perfecting their perception and technique. The main attention is pointed to the inner realization of the image, as well as contemplation.
A demonstration of Vladislav Andrejev writing Archangel Michael
The technical process of writing an icon consists of 21 steps: the first 7 steps are preparatory work, the next 7 are solely focused on painting, and the last 7 steps involve adding finishing details that bring life and artistry to the image. As a whole, this process embodies the idea of ascending from the emptiness of the blank icon board to the finished image of the icon. Likewise, each of the steps represents certain cycles of life. When the icon writer completes a step, the result must reveal the integrity of the idea encompassed by the symbolism of that step.
What materials are used to create the icon?
The School uses an egg tempera technique as the basis - a solution of egg yolk and white wine. The coloring substances are derived from natural minerals ground into pigment powder prepared using ancient recipes. The pigments have various qualities, for example they can be coarse or fine. The finest ones are used for intense colors and intricate details, a medium grind gives the paint a translucent textural color, and a coarse grind with noticeable sand-like granules is used for painting aspects that require a more pronounced texture.
Earth pigments have been used in icon writing since ancient times. Examples of these may include ochres, other pigments derived from semi precious minerals such as lapis, malachite, and pigments containing oxides and various chemical reactions resulting from metals such as the green oxide of chrome or zinc white. Organic colorings are also used, such as indigo. The uniqueness of mineral pigments comes from their crystalline structure that is preserved even when finely ground. Each little particle has the potential to shine just as richly as a large-scale crystal, producing the effect of light - something especially noticeable when these crystalline pigments are added to the more subtle earth pigments.
The quality of pigments is essential because light serves as the foundation of expression in icon writing. Light brings breath into the icon. In technical terms, the white color of the gesso background shines through the transparent layers of colors applied over it. This technique calls for a kind of lightness to the writing and allows the icon writer to create a sense that the image is immaterial.
Symbolically, transparent paint resembles the overcoming of inert matter as it concedes to light which, in turn, raises it. The white color of the gesso background symbolically represents the first created Light, in accordance with the Book of Genesis, “and God said: let there be light. And there was light.” (Gen 1:3)
In contrast to this, the thickly applied paint represents the self-sufficiency of matter in the absence of Divine presence. Non-transparent paint expresses color, but does not create the effect of luminosity. The absence or weakness of faith in the world is depicted by the dense paint, a matter through which Divine light does not shine through. Therefore, the path of spirituality may be described not so much as a search for something new, but more so as the transfiguration of matter through Divine light.
When in the technique of icon writing every particle of paint is surrounded by emptiness, problems arise as soon as the particles join and form an opaque area. The paint loses its transparency, and we lose our life-creating foundation, the sense of Divine presence and Spiritual light. As a result, a person begins to feel fear and despair for their “light-less” life. We already possess that which we initially search for, but we do not see it because our consciousness is “thickened” with materialism.
All people have one essence - that of light, but not all are close to their essence, and this separation from the primordial spiritual nature creates a state of atheism and disbelief within us. In the context of icon writing, it is necessary to depict the presence of light since it is the foundation of our creed: “This is the message which we have heard from Him and declare to you, that God is light and in Him is no darkness at all.” (1 John 1:5)
Furthermore, the spirit expressed or revealed by light is tied to our breathing. Our body breathes in air, but our soul has the breath of God, as it is written in the Book of Genesis: “And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.” (Genesis 2:7)
A demonstration of Vladislav Andrejev writing the Christ Pantocrator
Can you say more about this distinct use of the world ‘light’, and how it differentiates itself from artistic depictions of light in other traditions?
In systems of secular art, and even Catholicism, light is often seen and depicted as a phenomenon of this world. But the light we are attempting to express through iconography is not of this world—it represents a very different context and aesthetic, the source of which is to be found outside the sensory realm, and therefore implies a very unique, spiritual quality. In the ancient world in Hellenistic culture this light was referred to as ‘ether’. We may also call it the Light Divine, the Light of God, the Eternal or Uncreated Light.
As Christ says: “I am a light to the world, but not of the world. I am coming from a different place.” So we believe that iconography should be able to express the presence of that light. Although it may physically seem to be an impossible task, we believe there is a way to evoke the essence of this light through the art of the icon.
This essence is emphasized and drawn out in many different ways: sometimes through garments in a manner that appears more illustrative than realistic, and in some ways you could say even very modern-like. The artist may also add final strokes that draw brilliance from the expression of the face and the eyes. And then through enveloping the figure in illuminated stylizations, there is implied a profound notion: that one’s soul could be depicted as visually beautiful and round, or could appear as what we call faceted, cut into many shapes like a diamond, where there’s a quality of a bit more sharpness, a bit more focus and mental clarity, representing the spiritual nature of a person.. an expression of the more developed and refined characteristics of the soul.
What is it like practicing and teaching iconography here in the US, compared to when you were living in Russia?
During my time in Russia, icon writing was not looked upon favorably by the governing authorities. It was borderline illegal. Upon emigrating to the United States, as an artist I received the freedom of creative expression in religious art. Never had I imagined that I would be a teacher, whether in Russia or the U.S. I did not consider myself well-gifted with the abilities of a teacher, but I approached the prospect with all seriousness as many people began to put their hopes in me to receive knowledge about the icon. Since instructional activity was offered to me from the outside, not of my own will, I accepted it as a call from above.
In terms of the difference of circumstances in creativity and instruction found both in Russia and in the U.S., I feel there is more creative freedom and openness in the people in the U.S. When I was in the Soviet Union, only specific ideas had the right to exist, and any ideas that did not blend into the accepted system were immediately crushed, and their propagation was closely pursued by the law.
That being said, in the present time I also teach many students who currently live in Russia, many of whom have been participants for over twenty years. Throughout this time I’ve found that the circumstances around these issues have greatly improved in Russia since I first came to the US. The authorities no longer persecute religion, and political oppression has been mostly lifted.
Another factor that might have influenced the conservative nature of iconography in Russia may very well lie in the historical fact that its teachings were originally received by the Russian Orthodox Church itself as an already wholly formed doctrine. Perhaps because of this there is a general unwillingness to “shuffle the stones,” and a distrust toward new interpretations.
Writing Angel Hysechia
On the other hand, Orthodoxy in America formed a bit differently. At the foundation of American Orthodoxy lay immigrant communities that helped spread the interest. There wasn’t any oppressive national mentality, and there were many diversities in the practice of church services, interpretation of symbols, etc.
Observing such a variety of liturgical traditions while adhering to the same fundamental teaching, one can see the many possibilities in interpreting the incarnation of the foundations of faith, and this, in turn, creates a sense of freedom. American society promotes the tradition of discussion, a cultural interaction which allows one to disagree, but likewise obligates one to hear others’ opinions. Paraphrasing the Apostle Paul, opinions must exist and be voiced amidst the believers.
I think this is a more direct path to the state of true faith. Faith should not be a strict label - its positions should be developed and renewed through ample discussions. Faith should follow the questions of life. This is how the icon is uncovered. The icon is an expression of life; it thrives on new methods that correspond to its purpose. It is a language that must find a way to express the states of being through which life occurs. Of course, the spiritual foundation does not change within the liturgical icon. Rather it is the form of its incarnation that continuously changes.
You mentioned the differences between different national forms of Orthodoxy—are there also differences between Eastern and Western approaches to the icon in Christianity?
If we look at the history of the development of iconography in the Christian world, especially the Eastern Christian world, we see that firstly in the 6th to 7th centuries the illustrative element was mainly emphasized and developed. There are many references to the icons as expressions of the Bible through pictorial forms during that time. But then there arose a period of iconoclasm, a time when the image was refused from the presence of the churches and liturgy; it was rejected.
Then, beginning in the 12th to 15/16th century, first in Byzantium and then in Russia, the icon was once again accepted as an important element in the Church’s system of beliefs. During this time the icon began developing more and more toward the mystical expression of the faith, rather than simply literal illustration of the texts (illustrative).
In Western Christianity, the icon has always developed a little more toward the illustrative character of the image. Throughout its history there was no strong movement of iconoclasm in the Western church, so the image was always accepted, but accepted in a more limited role—mainly to help the illiterate population comprehend the teachings and stories of the gospel, where the Eastern church was on the other hand progressively searching to unlock the icon’s potential for mystical expression.
Why do you feel the Eastern church went more deeply into this mystical dimension?
In the Eastern Christian church the three elements of the icon, the gospel and the cross are all of equal veneration. This is very important because in the Protestant tradition for example, the word (gospel) means everything. For Orthodox Christians however the cross represents the power of the Divine—it is not merely the crucifix, not the cross of the body, but a principle and energy of the Divine Light itself, which animates and brings into action all the other elements. So all three are of equal veneration. This is a very important context within which to understand what the icon represents in the Orthodox tradition.
Could you describe the elements of inspiration you draw from in the creation of the icon?
Firstly, I am inspired by the life that surrounds me; secondly, by church and art cultures; and thirdly, perhaps the deepest and main inspiration for me is the reading of theological and philosophical literature. This progression reflects the path of inspiration as it is in reality: beginning from the most accessible and direct, and advancing to the more covert and complex.
Upon the awakening of interest in creativity, the first intention is to manifest creative work for its own sake, rather than devotion to an elevated state of spiritual consciousness. One understands art as an expression of life, a direct reflection of our existence in this world, but this reflection is often tangled and unclear. In order to achieve a clearer idea and view of the foundations of life, we need to approach that which is known to be a religious depiction, or an icon.
The icon serves as an intersection of these interfacing dimensions. The artistic language depicts imagery representative of human life, while semantic fulfillment occurs via the illumination of religious consciousness. The images of this life are varied and short-lived; the time of living passes by while important questions remain, and these questions are religious in essence. Since the life of man seems to be so fleeting, it is only natural to yearn to know its meaning.
Contemporary art is constantly created for the sake of art itself, but in icon writing it is not so. In the icon, the visual progression meets the semantic meaning through symbols, and in the ideal icon both components are mutually dispersed to such a degree that the physical impression of the image is surpassed, and the icon brings us to feel the presence of who or what is being depicted.
Writing the Theotokos Hodegetria
Finally, my inspiration is drawn from the icon itself. Upon achieving a certain level of skill in icon writing, the image opens up constant opportunities for spiritual realization. It is important to learn how to listen to, or in our case visually contemplate, our actions through the creative process. Mastery of execution depends on the inner state of the performer.
Questions arise through the process, and by answering these questions we raise and widen our level of perception. The work of an icon writer always involves the union of the religious symbol with the artistic symbol. An icon writer does not speak solely of art or solely of religion, but always of the point of their intersection, of the state of merging or, in iconological terms, incarnation.
Do you ever draw upon other artistic mediums for creative ideas and references?
Just as the icon is illustrative and in part is purposed to tell a story, music and other artistic mediums can also tell stories and evoke images, etc.. but what is specific to the icon, and music can also achieve the same result, is to give us a certain spiritual condition, a condition that will take hold of us without a description of the story or the elements. So for the icon and certain forms of music, Bach for example, the art form draws this condition into you, and draws you into this condition, which become inseparable at some point. The icon is intended/supposed to achieve this same effect, where it is not ultimately so much about the details of the elements and the symbols, but rather the spiritual state that is to be achieved.
When I teach classes I always remind my students that this art was always developed within a certain cultural context, and to understand the icon broadly and deeply you mustn't avoid searching and learning about other aspects. For example the poetry of hymnography gives us the themes of the icons; without knowing the hymns you don’t truly understand what you’re looking at. The choral music of the Church also creates an atmosphere in which the icons begin to unlock and open. These art forms are integral in nature, and when I work with my students we often like to put some nice choral music on while painting.
ZNAMENNY Chant Books
What do you ultimately hope to pass on through your iconographic work?
In the contemporary world, the icon has surpassed the borders of the strict understandings of the church. Many people admire and accept icons outside of their church intent. Art historians study icons as a form of painting, and icons are exhibited in both widely known and small museums. The contemporary icon writer cannot deny this reality. The quality of artistic expression must correspond to the artistic perception of contemporary society, as it would be favorable for new icons to join this artistic heritage.
Many of those who come to study icon writing do not seek a professional career, but rather wish to obtain the culture of perception that has been preserved through this tradition. Students value the opportunity to come into contact with these ancient sources of inspiration. During the process, students are given the possibility to reevaluate these sources in the context of modern life not only in an abstract way, but also through practice.
I think that the icon changes the consciousness of the contemporary person in a positive way. Based on my teaching experience, I can say that the icon instills spiritual peace and balance, and widens one’s worldview. The icon provides answers to fundamental questions about the nature of our existence. Upon becoming enriched through communication with the icon, people are eager to share their insights and meditations with others in a peaceful, soulful state.
The practical study of icon writing is a way of learning that is unique from any common academic form. It is a study that leads to the discovery of the inner self. The foundation of this learning is not just the icon itself, but iconology as a culture of perception as experienced through the language of the icon. The main task is the discovery of the inner world within oneself, and the motivation to move spiritually. The method for achieving this is by meditating on the questions of inner life.
In my icons I aspire to keep true to the traditions I have learned, while aspiring to contribute to a renewed artistic language that speaks directly to our times, and reflects the receptivity of my contemporaries. I would like the “hints” of the new aspects I incorporate into my technique to develop into an integrated and natural language of artistic expression. This language will not so much be a repetition of the past, as it will be a new form that contains the timeless energy of the present.
The spirit does not increase or change, but rather is completely renewed and, likewise, the forms that express the spirit are in need of renewal. In the beginning of the twentieth century we saw an age of renaissance. Contemporary art was born. Even though in my opinion that era did not create a holistic artistic culture, needless to say it posed compelling ideas on the subject of the meaning of art. Many of these ideas reflected those of the medieval icons. However, the contemporary art that followed the path of revolutions expanded far beyond the borders of tradition. In my icons, I sincerely hope to unite the crucially life-faithful ideas of contemporary art with the traditional, religious meanings of the Spirit.
Vladislav Andrejev
— Learn more about the Prospon School of Iconography at: prosoponschool.org —
