ICONIC DISPLAY
Symbolism, reverence illuminate Christian images
Musée Ukraina Museum has a unique art exhibit on display. The exhibit is titled Exhibition with Iconography in Our Time, The Power of Visual Prayer.
The presentation showcases the work of local iconographers Anna Mycyk and Gisele Bauche, and their iconography students.
“The icons were written over the last dozen years,” says Mycyk. “The work itself is timeless in nature since the prototype drawing for each icon has evolved over the centuries through the hands of countless iconographers.”
Icons are written following strict rules and guidelines, with prescribed patterns and colours. The materials used have inherent symbolic meanings.
Icons are considered to be written rather than painted because they are imbued with symbolism and meaning in the materials used and in their stylized rendition. Mycyk says their purpose is to actively engage the viewer.
The Exhibition with Iconography in Our Time displays several dozen icons in varying sizes. In some cases, several renderings of the same icon are hung together, and while all follow the same basic prototype, each bears a slight unique difference because each was written by a different iconographer.
An interesting segment on exhibit is a display cabinet containing the materials used in writing an icon, beginning with a poplar wood board that is carved and covered with linen. The display also includes an icon of Saint Theodosia, a nun who lived in the eighth century and was a defender of icons during the iconoclastic period, a time when the veneration and writing of icons was strictly forbidden. For her devotion to icons, Saint Theodosia was martyred.
Some of the materials used in icon writing include chalk made of marble dust and rabbit glue; tempera made of egg yolk and wine or vinegar with ground earth and mineral pigments; clay bole; gold leaf; and linseed oil varnish.
Sarah Donnelly, a member of the current iconography group, comments on one spiritual aspect of the process. “After applying six or seven layers of clay bole, you then brew a pot of tea, take a sip of the hot tea, hold the board close, and breathe on it three times, signifying the Father, Son and Holy Spirit. Your warm breath softens the clay to accept the application of gold leaf. This symbolizes God breathing life.”
She says she has learned “to resist the temptation to rush through each step. I meditate on the care and love the Divine Creator had in forming me and all living creatures (and inanimate objects, as well.) It reminds me of Psalm 139:13 which says, ‘For you created my inmost being; you knit me together in my mother’s womb.’”
Prayer and reverence are integral to the preparation and process of writing icons.
Bauche says, “We give thanks and praise for the grace of the Holy Spirit who guides us in the writing of icons ... We focus on prayer and meditation to ‘listen to God with our hearts.’ Icon writing is meant to be communication with God and His Word.”
She says during the sessions theology is shared as well, offering a deeper understanding of the spiritual qualities of icons and their symbolism.
Over the past 15 years, iconography has been taught in Saskatoon in weeklong retreats, weekend workshops, and twice-a-week workshops for eight weeks in fall and winter. In 2017, Mycyk and Bauche directed a program on Wednesday evenings.
“It is consistently filled with lots of enthusiastic participants,” Mycyk says. “That’s what gave us the inspiration to hold the exhibition. Our workshops have grown beyond our expectations. We currently have 21 people involved each week.”
Participants come from a wide range of Christian backgrounds, which Bauche says has created a wonderfully harmonious community with an ecumenical spirit. “Some have been with us from the beginning.”
Among them are Baptist and Lutheran pastors, an Anglican priest, members of the United Church, Antiochian Orthodox Church, Ukrainian Greek Catholic, Roman Catholic churches, and more.
Mycyk says the purpose of the exhibition is an opportunity to show the wider community “what we do and to allow us to recognize the people who commit time, energy and love to the writing of icons.”
“The wonderful blessing of this endeavour has been the opportunity to meet and recognize the many gracious people who have been drawn into the realm of iconography.”