The Transfiguration Icon of Jyrki Pouta Written by:

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1 The Transfiguration Icon of Jyrki Pouta Written by: Jinhua Cheng Stephanie Howorka Suvi Harine Veronika Skýpalová

2 Transfiguration is one of the 12 icons which Jyrki Pouta, a middle-aged schoolteacher from Vaajakoski, painted to the Ortodox Church of Resurrection. All the icons, in the same size (79 x 100 cm with the frame), were ordered by the Orthodox parish five years ago, but scaling of the figures and his major occupation delayed the process. The paintings, meant to be a remembrance of two dead persons who gave a heritage, were completed almost simultaneously because Jyrki Pouta colored them as series. Before painting he sketched on his mind the themes, colors of the icons and frame style to fit into their real church environment. Last year they were placed into the Shrine of Resurrection and will serve the liturgical purpose. The audience seemed to be pretty satisfied with the result, because the artist has not heard any negative comments. Though the local Orthodox community gave free hands to the artist, he had to take notice of the Gospel, traditions, existing icons and several unwritten rules being connected with surrounding culture, symbolism, technique, and the representational style of figures and the event. The number of 12 icons was chosen, because of the main liturgical feasts in the Orthodox tradition. The painter started his career as an amateur painter while he was carrying his army service in Jyväskylä 1977 and got acquainted with Fr. Arseni. Jyrki Pouta blends the tempera pigments by himself from egg yellow, water and earth minerals such as ocher, red clay, cinnabar and burnt umbra, since natural paint layers are dimly visible in light and complement each others, contrary to oil colors. Although Jyrki Pouta`s icon figures are symbolic images from outside this world the chosen colors refer to their realistic appearance. At first he draws carefully the basic structure of icon setting on a thick wooden block being made of alder. The glued alder blocks have been covered over by pure cotton linen, which are applied layers of bleaching substances such as chalk. The artist has grinded the whitened surface by sandpaper, so that the surface was later appropriate to be painted with egg tempera and highlighted with gold leaf. The gold is an important color in icons because it represents the best way of the non-material world. First background color is usually ocher or olive green, which is not clearly visible through the uppermost pigments. Finally, he leaves no signature on the icon (but the frame speaks for the author) and polishes up the entire face with a layer of linseed oil.

3 The Transfiguration of Christ is the culminating point of His public life, as His Baptism is its starting point, and His Ascension its end. The literal sources for the Transfiguration icon, Jyrki Pouta found primarily from the Bible (Matthew 17), apocryphal books and and the icon painters handbook at St. Catherine s monastery. The account of the transfiguration confirms that Jesus is the Son of God (Matthew 17:5) and points to fulfillment of the prediction that He will come in his Father's glory at the end of the age (Matthew 16:27). In the icon face of Jesus shine like the sun and his clothes are snow white as light of an innocent person, the garments of heavenly beings. Presence of light and dark cloud often signifies the Divine Presence, which surrounded also the Mount Sinai when God told the holy law to Moses. In the icon radiance is targeted from Jesus to those closest to God: Elia, Moses and the three disciples. Elijah stands on the left side of Jesus, representing the "Prophets" and the "living" because he was bodily assumed into heaven. In returned Elijah`s figure, Jesus interprets the mission of the Baptist as the fulfillment of that expectation. Moses is placed on the right representing the "Law" and the "dead" since he died on Mt. Sinai. Jyrki Pouta`s way to illustrate Moses as a young man is exceptional compared to other icons where he looks old. He led the people of Israel from the detention of Egypt, but he could see only a glimpse of the Promised Land, never getting there. Both of them have seen God's glory on the Mountain and both announced the suffering of Christ. Moses, Elia and the Christ stand on three mounts (house), in the icon what refers to Peter`s speech and suggestion to Jesus (Mt 17, 4): Lord, it is good for us to be here. If you wish, I will put up three shelters one for you, one for Moses and one for Elijah. Moreover, transfiguration, this glorious event has been related in detail by St. Matthew (xvii, 1-6), St. Mark (ix, 1-8), and St. Luke (ix, 28-36), while St. Peter (II Pet., i, 16-18) and St. John (i, 14), two of the privileged witnesses, make allusion to it. Jesus took His closest disciplines, Peter, James and John to Mount Tabor to predict them of His preceding crucifixion, offering for sinners, passion and resurrection as a sign of new life to loyal servants. Also the three Creek letters marked on the halo of Christ`s head form shape of the cross. Central position, largest size and the blue outline of Jesus emphasizes that he belongs to sky, He is part of the creator but he is coming

4 again. Blue is also the color of water (baptism) and accompanying the oval shape it symbolizes God s kingdom, which opens shortly its door to whole world. Jyrki Pouta has added shades of red and blue to the white clothing of Jesus. Contrary to western tradition, orthodoxies paint red color above blue, what tells that Jesus was born from Virgin Mary, became flesh and ascended from earth to heaven after her. According to Gospel, the disciples got startled by the brightness and turned their heads away, though Peter as the icon shows, saw the Christ. He is traditionally colored with green and locates on the bottom left. Position of hands reminds of a prayer or suspect but also of Jews who opposed and finally killed the Christ. During the Lent transfiguration leads us to Easter and we sacrifice our own earthly offering while we balance between life and death, trying to taste eternal peace.

5 References: The Holy Bible (1996). Oxford. Yrki Poyta interview ( , Vajakoski, Finland) Lectures of Zhanna Belik ( ): Empirical study of orthodox icons. Konrad Onasch (1995): Annemarie Schnieper. Iconen. Faszination und Wirklichkeit. EMB-Service fur Verleger Luzern, Schweiz. Alpatov M.V. (1974): Early Russian Icon Painting. M.