THEOLOGY AND SPIRITUALITY OF ICONS

Transcription

1 Faculté de théologie et de sciences religieuses Université Laval THL 1242 Iconologie/Iconology THEOLOGY AND SPIRITUALITY OF ICONS Wednesday evenings from 7-10 p.m., starting September 9, 2015 Prof. Dr Paul Ladouceur Trinity College (University of Toronto) & Université Laval Web site: INTRODUCTORY PRAYERS In the Name of the Father, and of the Son, and of the Holy Spirit. Amen. O Heavenly King, the Comforter, the Spirit of Truth, who are everywhere present and filling all things, Treasury of blessings and giver of life, Come and abide in us, cleanse us from every impurity, and save our souls, O Good One. Our Father, who art in heaven, hallowed be Thy name. Thy Kingdom come. Thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive those who trespass against us; and lead us not into temptation, but deliver us from the evil One. Glory to the Father, and to the Son, and to the Holy Spirit, now and always, and unto the ages of ages. Amen.

2 1. Course Description. Icons are one of the most distinctive features of Orthodoxy Christianity. Icons are described as a theology in colour, a window to the infinite, an image of the Kingdom. From the earliest times Christians sought to complement the spoken and written proclamation of the Gospel by means of images. For this purpose they initially adopted certain forms of Greco-Roman art, which soon evolved into a distinctive sacred art governed by its own rules, traditions and theology. Icons are an integral aspect of Orthodox personal prayer and the Orthodox liturgy. Icons are meant to be read for the theological and spiritual messages that they convey, and not only gazed upon as works of art. These messages are contained in the images, figures, objects, colours and composition of icons, that is their distinctive visual language and symbolism, as if they were the vocabulary, grammar, and syntax of a living language. This course will study icons from several perspectives: history; theology; liturgy; and art. The objectives of this course are to become familiar with the history of Christian art in general and icons in particular; to learn the fundamental features of the theology of icons and their veneration; to understand the keys to grasp the meaning of icons and their significance in religious life. The course will touch on the main features of the history of icons, including the origins of Christian art, the development of features particular to icons, the iconoclastic controversy of the 7 th -8 th centuries, and the major schools and styles of icons in the Orthodox world, with emphasis on the major Byzantine-Greek and Russian styles. The theology of the icon will be studied primarily through the iconoclastic conflict and modern theology of icons, with emphasis on major primary texts, from the iconoclasts and the Orthodox, especially St. Theodore Studite, St. John of Damascus, and the pronouncements of the Seventh Ecumenical Council (Nicea, 787) and the Triumph of Orthodoxy (843). The course will emphasize the interpretation of iconographic symbolism, with a focus on the main types of icons of Christ and the Mother of God, and the icons of Holy Week and the twelve major liturgical feasts. Icons will be studied in relation to primary sources, especially Biblical, liturgical, and hagiographical texts, and also dogmatic texts and sermons. The main features of iconographic techniques will also be presented. Lectures will be in English, with discussion in English and French as appropriate. Written work (for credit) may be in English or French. The course will be given in Montréal (location to be confirmed in August 2015). For enrolment contact John Hadjinicolaou: Tel.: johnh@megaweb.ca. For additional information on the content of the course, contact the Instructor. 2

3 2. Course Requirements for Credit. Marking Scheme. Attendance and participation in class 25 points. Review of St. John of Damascus, Three Treatises on the Divine Images 25 points. Written take-home exam or essay 50 points. Required Reading. Course Reader: Before Thy Holy Image: Readings on the History, Theology and the Spirituality of Icons. ($32.00) St. John of Damascus, Three Treatises on the Divine Images (Crestwood, NY: SVS Press, 2003). 163p. ($23.00) Jean Damascène, Le visage de l'invisible, trad. A.-L. Darras-Worms (Les Pères dans la foi 57), Paris p. Préface Marie-Hélène CONGOURDEAU Editeur : Jacques-Paul Migne, 1994 ; 2004 ISBN : Achat en France : La Procure + Chapitre.com : 11,90 EUR + envoi UdeM/BLSH : BR 65 J45 A3512 UQAM : BR 65 J396 D25 Book Review The written book review (minimum of 2,000 words - maximum of 2,500 words is due no later than December 31, It may be submitted in English or in French by mail or by (Word format only). Guidelines for Book Reviews The review should follow standard essay format, with footnotes for sources other than the book being reviewed. References to this work may be made in brackets in the text itself, e.g.: (Title of the book, p. 123). Your review should address the following specific issues and questions: 1. Who is the author? In what context did he wrote the book? Who is the intended audience? 2. What are the main points that the author makes in the book? 3. How do you see the relationship of the book with the Orthodox spiritual tradition? 4. Describe the secondary material which accompanies the main text. Is this secondary material useful to your reading and understanding of the book? 5. What aspects of the book are most helpful or enlightening to you personally? Take-Home Exam OR Essay. Students may choose between a Take-Home Exam OR an Essay. 1) Take-Home Exam. Students are required to answer five of the ten questions in the take-home exam. The questions will be based on the book of readings (The Burning Bush) and material covered in class. Students may use other sources as well to prepare their answers, such as one or more of the recommended general secondary sources mentioned below, as well as the sources of the various readings contained in the book of readings. Answers to the questions must be type-written and should be at least 400 words and no more than 500 words (including quotations). All citations, including any material taken from internet, should include proper references (footnotes) to the source cited (author, title, publisher, year, page number). The take-home exam will be distributed at the class of December 2, 2015, and is due no later than December 31, Answers may be submitted in hard copy or by (Word format only) and may be in English or in French. 3

4 4 2) Essay. In consultation with the professor, students will select one topic or theme for the subject of a written essay. Students should utilise both primary and secondary material pertaining to the selected theme. Students selecting the essay option are encouraged to consult the professor concerning the bibliography, outline and any other issues arising in the preparation of the essay. The subject of the essay may be one of the topics covered in the lectures, or a topic pertaining to the subject of the course of special interest to the student. The written essay must follow standard essay format. It must be type-written and should be a minimum of 2,500 words and a maximum of 3,000 words. The topic of the essay should be selected and approved by the class of October 14, 2015, and the essay is due no later than December 31, The essay may be submitted in hard copy or by (Word format only) and may be in English or in French. Criteria for the assessment of the exam / essay: 1. Scope of research undertaken and employed. 2. Clear and concise presentation of material. 3. Establishment of linkages (continuities and discontinuities) among ideas and authors. 4. Originality of the student s ideas, analysis and conclusions. 5. Correct use of both primary and secondary sources. 6. Correct use of and format for citations, references and footnotes. 7. Adequate bibliography. 8. Proper essay format and correct grammar, spelling and punctuation. 9. The following is insufficient for the purposes of this class: an essay or answers to questions on the take-home exam consisting solely of quotations or summaries of material, without further comment, analysis, interpretation or use of secondary material that is, no personal valueadded input. 10. Also unacceptable is material copied from books, articles or internet without proper attribution: this is plagiarism. All material copied or quoted from these sources must be accompanied by proper references (footnotes).

5 3. Other Recommended Reading Leonid Ouspensky and Vladimir Lossky, The Meaning of Icons (Crestwood, NY: SVS Press, 1997). 222p. ISBN: Price: $68.00 (Reg. $ = $75.50) Leonid Ouspensky, Theology of the Icon (Crestwood, NY: SVS Press, 2006). 2 vols., 528p. ISBN: Price: $ (Reg. $ =$54.55) Alfredo Tradigo, Icons and Saints of the Eastern Orthodox Church (J. Paul Getty Museum, 2006). 384 p. ISBN: Price: $30.00 PDF files of the following illustrated catalogues of major exhibitions of Byzantine art at the Metropolitan Museum of Art (The Met, New York) may be downloaded free of charge from the Met s website: Kurt Weitzmann and Margaret English Frazer, Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century (New York: Metropolitan Museum of Art, 1977). [Byzantine art, page 1]. [94 MB] Helen C. Evans and William D. Wixom, eds., The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D (New York: Metropolitan Museum of Art, 1997). [Byzantine art, page 2]. [86 MB] Helen C. Evans, ed., Byzantium: Faith and Power ( ) (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2004). [Byzantine art, page 1] [99 MB] Also recommended: Kurt Weitzmann, ed., Age of Spirituality: A Symposium (New York: Metropolitan Museum of Art; Princeton, NJ: Princeton University Press, 1980). [Byzantine art, page 1] [24 MB] Pevny, Olenka Z., ed., Perceptions of Byzantium and Its Neighbors ( ) [Symposium] (New York: Metropolitan Museum of Art, 2000). [Byzantine art, page 3] [27 MB] Helen C. Evans, Robert Hallman and Melanie Holcomb, "The Arts of Byzantium" in The Metropolitan Museum of Art Bulletin, 58, 4 (2001). [Byzantine art, page 1] [35 MB] For all these publications, go to the Publications page of the Met website: In the search form on the left, enter Byzantine art in the Keyword box and press Go at the bottom of the form, or go directly to this page: 5

6 6 4. Course Outline and Readings Before Thy Holy Face (subject to modification). 1 Course Introduction; Outline; Course Requirements. Early Christian art. Mango, Cyril. The Art of the Byzantine Empire : Sources and Documents (Toronto: University of Toronto Press, 1972). Mango, Sendler, Egon, 1. The History of the Icon, from The Icon, Image of the Invisible: Elements of Theology, Aesthetics, and Technique (Redondo Beach, CA: Oakwood Publications, 1988) The Iconoclastic Controversy. History: Phases; Councils; Iconoclast theology of images. Mango, Cyril. The Art of the Byzantine Empire Mango, Extracts from the Iconoclast Horos of Hieria, and Extracts from Antirrhetics by Nikephoros, Patriarch of Constantinople, from Marie-José Mondzain, Image, Icon, Economy: The Byzantine Origins of the Contemporary Imaginary (Stanford, CA: Stanford University Press, 2005) Sendler, Egon, 1. The History of the Icon, from The Icon, Image of the Invisible: Elements of Theology, Aesthetics, and Technique (Redondo Beach, CA: Oakwood Publications, 1988) Theology of the Icon: St John of Damascus; St Theodore Studite. Mango, Cyril. The Art of the Byzantine Empire Mango, St. Theodore the Studite, First Refutation of the Iconoclasts, from On the Holy Icons (Yonkers NY: St Vladimir s Seminary Press, 1981) Definition of the Holy Great and Ecumenical Council, the Second in Nicea, from Daniel J. Sahas, Icon and Logos: Sources in Eighth-Century Iconoclasm (Toronto: University of Toronto Press, 1988) Sendler, Egon, 2. The Icon: Theological Elements, from The Icon, Image of the Invisible: Elements of Theology, Aesthetics, and Technique (Redondo Beach, CA: Oakwood Publications, 1988) Byzantine Art and Iconography. Mango, Cyril. The Art of the Byzantine Empire Mango, Constantine Cavarnos, Introduction: Byzantine Iconography as a Sacred Art, from Guide to Byzantine Iconography, Vol. 1 (Boston MA: Holy Transfiguration Monastery, 1993) Anna Kartsonis, The Responding Icon, in Linda Safran, ed., Heaven on Earth: Art and the Church in Byzantium (University Park, PA: Pennsylvania State University Press, 1998) Russian Icons. 6 Iconography (techniques); Iconographic Conventions and Symbolism; Canons of Iconography Steven Bigham, Three Russian Councils, and Canons on Iconography, from The Image of God the Father in Orthodox Theology and Iconography and Other Studies (Torrance CA: Oakwood Publications, 1995) Dionysius of Fourna, The Painter s Manual [Selections] (Redonodo Beach, CA: Oakwood Publications, 1989). 115

7 An Iconographer s Sketchbook: Drawings and Patterns. Vol. 1, The Postnikov Collection [Selections] (Redonodo Beach, CA: Oakwood Publications, 1997) An Iconographer s Sketchbook: Drawings and Patterns. Vol. 1, The Tyulin Collection [Selections] (Redonodo Beach, CA: Oakwood Publications, 1998). St John of Shanghai and San Francisco, Concerning Talents and Iconography John Baggley, The Visual Language of Icons, from Doors of Perception: Icons and their Spiritual Significance (Yonkers NY: St Vladimir s Seminary Press, 1988). p=6 Leonid Ouspensky, The Meaning and Language of Icons, in Vladimir Lossky and Leonid Ouspensky, The Meaning of Icons (Yonkers NY: St Vladimir s Seminary Press, 1979) Leonid Ouspensky, The Technique of Iconography, in Vladimir Lossky and Leonid Ouspensky, The Meaning of Icons (Yonkers NY: St Vladimir s Seminary Press, 1979) Egon Sendler, Aesthetic Elements: 6. Geometric Structures, 7. The Proportions of the Human Body, and 8. The Icon and the Laws of Perspective, from The Icon, Image of the Invisible: Elements of Theology, Aesthetics, and Technique (Redondo Beach, CA: Oakwood Publications, 1988) Icons of Christ. Vladimir Lossky and Leonid Ouspensky, Feasts of Christ in The Meaning of Icons (Yonkers NY: St Vladimir s Seminary Press, 1979) Andreas Andreopoloulos, The Iconography of the Transfiguration, and Elements of the Transfiguration Icon, from Metamorphosis: The Transfiguration in Byzantine Theology and Iconography (Yonkers NY: St Vladimir s Seminary Press, 2005) Icons of the Mother of God. Vladimir Lossky and Leonid Ouspensky, Feasts of the Mother of God in The Meaning of Icons (Yonkers NY: St Vladimir s Seminary Press, 1979) Icons of the Major Feasts I. 10 Icons of the Major Feasts II. Ernst Kitzinger, Reflections on the Feast Cycle in Byzantine Art, Cahiers archéologiques, 36 (1988) Vladimir Lossky and Leonid Ouspensky, The Principal Feasts, in The Meaning of Icons (Yonkers NY: St Vladimir s Seminary Press, 1979) Canonical and Problematic Icons: The Trinity; Rublev s Trinity; The Holy Family. Steven Bigham, Three Russian Councils, and Canons on Iconography, from The Image of God the Father in Orthodox Theology and Iconography Paul Evdokimov, Andrei Rublev s Icon of the Holy Trinity, from The Art of the Icon: A Theology of Beauty (Redondo Beach CA: Oakwood Publications, 1990) Icons and Modern Art; Blessing and Veneration of Icons; Ecumenical Aspects of Icons. Paul Evdokimov, Modern Art in the Light of the Icon, from The Art of the Icon: A Theology of Beauty (Redondo Beach CA: Oakwood Publications, 1990)

8 5. Take-Home Exam & Essay Format The essay should be in Word format, using Times New Roman 12 pt type, and either double-spaced or one and half spaces. Footnotes should be numbered consecutively throughout the text and placed at the bottom of the page on which the reference occurs. Please use the footnote feature of Word if submitting the essay electronically. The Bibliography should be located after the body of the essay and any annexes and include all references consulted, even if not quoted directly in the body of the essay. For other elements of style, students should follow the Chicago/Turabian Style as adapted by St Vladimir s Seminary and SVS Press (except for Canadian/British rather than American spelling), available at the following address: FOOTNOTES 1 Alexander Schmemann, Of Water and the Spirit: A Liturgical Study of Baptism (Crestwood, NY: St Vladimir s Seminary Press, 1974), John Meyendorff, Introduction à l étude de Grégoire Palamas, Patristica Sorbonensia 3 (Paris: Éditions du Seuil, 1959), Constantine Cavarnos, St Macarios of Corinth, St Vladimir's Theological Quarterly 12.1 (1968), John A. Douglas, The Ecumenical Patriarch, The Christian East 6.1 (March 1925), 4 5. Subsequent references to the works given as examples above would read: 9 Meyendorff, Grégoire Palamas, Schmemann, Of Water, Cavarnos, St Macarios, Douglas, The Ecumenical Patriarch, 8. INTERNET SOURCES (indicate date of consultation) 15 Richard John Neuhaus, Alexander Schmemann: A Man in Full, First Things 109 (January 2001): < ftissues/ft0101/public.html> (March 19, 2009). 16 Bishop Kallistos (Ware), The Passions: Enemy or Friend?, In Communion 17 (Fall 1999). < k2.htm> (March 19, 2009). BIBLIOGRAPHY Cavarnos, Constantine. St Macarios of Corinth, St Vladimir s Theological Quarterly, 12.1 (1968). Douglas, John A. The Ecumenical Patriarch, The Christian East 6.1 (March 1925). Meyendorff, John. Introduction à l étude de Grégoire Palamas, Patristica Sorbonensia 3. (Paris: Éditions du Seuil, 1959). Salomon, David A. The Gregory of Nyssa Home Page < (April 30, 2001). Schmemann, Alexander. Of Water and the Spirit: A Liturgical Study of Baptism (Crestwood NY: St Vladimir s Seminary Press, 1974). BOOKS OF THE BIBLE References to books of the Bible should follow in brackets immediately after the text quoted and use standard abbreviations for the books of the Bible: Blessed be the God and Father of our Lord Jesus Christ, who comforts us in all our tribulation (2 Co 7:3-4). See the St Vladimir s Seminary and SVS Press Style Sheet for a full set of abbreviations of the books of the Bible. 8