A priest blessing several icons
The Question
Orthodox Christians routinely have their icons blessed by a
priest or bishop. Bishops often anoint them with Holy Chrism. There are even
special services for blessing different kinds of icons: of Christ, of the
Mother of God, of feasts, etc. Most
people would never imagine putting an unblessed icon in their houses; it would
be a kind of sacrilege, but once the icon is blessed - whatever its subject,
taste, canonicity, etc. - many think that what was a simple picture before the
blessing becomes an icon after, because of the blessing. It becomes at least
a “better” icon. Being only a “profane” image before, it becomes “holy” after,
because it has been blessed. Very few Orthodox would question this practice
which they feel is legitimate, traditional, and totally in agreement with
Church Tradition. I hope to show that despite the widespread habit of blessing
icons, this practice is not in agreement with Church Tradition, and that it is
in fact contrary to it and based on a theology of the icons that is foreign to
Orthodoxy.
The History
From Pentecost, 33, to the 7th Ecumenical
Council, 787, which condemned iconoclasm:
During this period, there is a total silence in the
historical documents. As far as we know, no one ever wrote on the subject of
blessing images, and there is no trace of a prayer for blessing them.
The Time of Iconoclasm, 730-843:
The Second
Council of Nicaea, 787[1]. Here is one of the attacks made by the
iconoclasts against the iconodoules, read during the council along with the
answer given by the Fathers[2].
The
Iconoclasts: …nor is there any prayer of consecration for it [an icon] to
transpose it from the state of being common to the state of being sacred. Instead,
it remains common and worthless, as the painter made it.
The
Orthodox: …many of the sacred things which we have at our disposal do not need
a prayer of sanctification, since their name itself says that they are
all-sacred and full of grace. Consequently, we honor and embrace them as
venerable things. Thus, even without a prayer of sanctification, we revere the
form of the life-giving cross. The very form of it is sufficient for us to
receive sanctification. By the veneration which we offer to it, by the making
of its sign on our forehead, and also by the making of its sign in the air with
the finger, like a seal, we express the hope that it dispels demons. In the
same way, when we signify an icon with a name, we transfer the honor to the
prototype; by embracing it and offering to it the veneration of honor, we share
in the sanctification. Also we kiss and embrace the different holy utensils
which we have, and we express the hope of receiving a blessing from them. Therefore, either they [the
iconoclasts] must say idly that the cross and the holy utensils are common and
worthless - since it is a carpenter, or a painter, or a weaver who has made
them, and because there is no prayer of consecration for them - or they will
have to accept also the venerable icons as sacred, holy, and worthy of honor.
For, just as when one paints a man, one does not render him
without a soul, but he remains one who has a soul and the icons is called his
because of his resemblance, so it is when we make an icon of the Lord. We
confess the Lord’s flesh to be deified, and we know the icons to be nothing
else but icons, signifying the imitation of the prototype. It is from this that
the icon has taken also the name of the prototype, which is the only thing that
it has in common with the prototype. That is why it is venerable and holy[3].
The Life of
Steven the Younger[4]
Chapter 55: “Recall from Exile. Conversation with
Constantine V”
The saint
[Steven] answered him [Constantine V]: “Oh Emperor, it is not the matter that
is in icons that Christians have ever been ordered to worship, but they prostrate
themselves in front of the name of the person who is seen on the icon…”
Then the
saint replied: “And who then in his right mind worships what is created when he
prostrates himself in front of objects that are in the churches, whether they
be of wood, stone, gold, or silver, and that have been changed into holy
objects by the name written on them?”
Nicephorus
of Constantinople, Discourses against the Iconoclasts[5]:
“In truth,
just as churches receive the name of their holy patron saints, so also images
of those saints have their names written on them, for it is what is written on
them [the name] that makes them holy.”
In this
treatise, the Patriarch attacks the affirmations and arguments of the Emperor
Constantine V who convoked the Council of Hieria in 754 to give approval to his
iconoclastic doctrine. The emperor maintained that an image of someone,
in order to be properly called image must be consubstantial with the prototype.
So then the only image of Christ which is consubstantial with him, of the same
substance as him, is the Eucharist, the holy gifts of communion. All other “images” of Christ and the
saints are falsely called images because their substance — wood, stone, colors,
etc. - are different from that of the persons represented. What is more,
for the bread and wine to become the consubstantial image of Christ, there must
be a prayer of consecration in the liturgy to change them. The “images” of
Christ and the saints are falsely called images for two reasons: [their
substances are different, and] there is no prayer of blessing to transform them
into the substance of Christ and the saints.
In
answering the emperor, Patriarch Nicephorus attacked his position saying that
the emperor was trapped in a double error. First, to the argument that the
image and its prototype must be consubstantial, Nicephorus answers that the
link between the image - the type - and the person represented - the prototype -
is not one of consubstantiality, but likeness and the sharing of the person’s
name. The image of Christ, he continues, being made of wood and colors,
is called Christ because it resembles him in that it reproduces the physical
characteristics of his humanity and because it carries his name. Further, Constantine was again in
error because he did not distinguish two types of sanctification: the
sacralization which is produced by the prayers of the Church - the blessing of
water at Theophany, for example - and the sanctification that comes about by
imitating Christ, by participation in his acts, words, and death - the martyr
and others, for example. In the first case, a prayer of blessing is
necessary; in the second, no.
English even has two words, actually the same word but
pronounced differently, to distinguish these two kinds of holiness: blessed,
two syllables, and blessed (blest), one syllable. “Their wedding was a blessed
event which was blessed by the bishop and five healthy children.” The icon does
not belong in the second category but in the first. Therefore, it is holy, not
because of a blessing prayer, that the Patriarch and the Orthodox in general
knew did not exist, but because of its likeness to the prototype and the fact
of having his or her name written on it.
From the 9th century to the middle of the 17th
century
During
these centuries, there reigns another silence in the prayer books and the
writings of Orthodox authors on the subject of the blessing of icons.
1649,
Metropolitan Peter Moghila of Kiev.
This is the
publication date for the metropolitan’s Trebnik - Euchologion - in which, for
the first time in an Orthodox source, we have short prayer services for the
blessing of icons. See below, the texts and analysis of these prayers.
1669-1706, Patriarch
Dositheos of Jerusalem[6].
L.H.
Grondijs[7] quotes a passage of Dositheos
Only in the
17th century did anyone start to ask questions about the subject [of blessing
icons], and Dositheos of Jerusalem discussed it in a long, accusatory text
against the schismatics, that is, the Roman Catholics. In the 4th
chapter of his History of the Patriarchs of Jerusalem, Dositheos attributes to
his adversaries (to Catholics), who favored venerating icons, the argument that
the pope recites such prayers over them. Here is what Dositheos had to say: “We
answer this third argument by saying that blessing icons is neither necessary
or indispensable. We refer readers to the 6th session of the present council
(the 7th Ecumenical Council of Nicaea) where it dealt with the council held
under Copronym [Constantine V, the Council of Hieria in 754] which criticized
icons in this way: [Nicaea II quoting the iconoclasts] ‘The icon does not have
a blessing to be sanctified and transferred from the common to the sacred; it
remains common and profane as the painter created it.’[8] What is more, the
council answered by the voice of Deacon Epiphanius but did not say that there
was a blessing for icons, but that the image of the cross was not blessed and
that it was made without a blessing.
1730, The First Blessing Prayer for an Icon in
a Greek Euchologion[9]
When a Bishop blesses the Ikon, he anoints
the four sides of it with Holy Chrism, and then says the following prayer:
Bishop: Let us pray to the Lord.
Response: Lord, have mercy.
Bishop: Master, our Almighty King, Father
of our Lord and Savior Jesus Christ, You gave orders to your servant Moses to
sketch a picture of a Cherub in the holy Tent, and from this, we took the
custom of sketching icons as a remembrance of those whom they represent. Therefore,
we pray to You, O Lord our King, to send the grace of your Holy Spirit,
together with your angel, on this holy icon so that every prayer which is
offered to You through this icon may be accepted by the grace, mercy, and
compassion of your only-begotten Son, our Lord, God and Savior, Jesus Christ,
the Lover of Mankind.
For all glory, honor, and worship are yours
due, Father, Son and Holy Spirit, now and always and for ever and ever. Amen.
The
following passage is a note included in the Euchologion by its publisher.
About the prayer that the bishop says over
the newly painted icon, please note that the Sacramentaria Latina contains a
similar blessing without anointing with chrism, especially what is used in the
Ordo Praedicatorum, as well as the Pontificale Romanum. Even though in
the past, due to too much negligence, a blessing of this manner was rejected by
usage, but now this fundamental books that [that we have] in hand conserves and
maintains them.
The 19th century: the Opposition of St.
Athanasius of Paros and St. Nicodemus the Hagiorite on Mount Athos.
A study by
Philip Meyer on this subject[10]
Some
disagreements of lesser importance were fought over alongside the main points
of contention. Among them, this one: Do images need a blessing to be
holy and function as icons? Athanasios of Paros[2] denied the necessity of a
blessing and affirmed that images function as images because of their likeness
to the person represented. Nicodemos
the Hagiorite agreed[3] and referred to Dositheos of Jerusalem who had said
that the blessing of icons was a «papist » affair and an innovation.
[2] (also in the Ekthesis already mentioned)
[3] The
Rudder (Pedalion), S. 261, 1887, p. 261; Dositheos, Historia peri tôn en
Hierosolymois patriarcheusantôn,Bucharest, 1715, p. 658.
Athanasios of Paros[11]
From Dionysios Tsentikopoulos:
The need
for permanently affirming the truth in time and space as well as the reality of
the creation’s participation in the divine and uncreated grace of God concerns
even the smallest detail of the Church’s life-giving liturgical activity. Because
of this, St. Athanasios of Paros felt it proper to correct each notion that
falsified the theology and dogma of liturgical life. This is why he seized on
the blessing prayer for the holy icons in the Euchologion. St. Athanasios
reflected on the theological and dogmatic question of such a prayer. He saw how
the very existence of the prayer overturned the Church’s teaching.
Icons
spread their holiness in the Church because the grace of the Holy Spirit is not
limited to the people represented [the prototypes], but it extends to the icons
themselves [the types]. The Church’s icon represents the creation
transfigured in the uncreated Light. St. Athanasios strongly affirmed the
theological distinction between the essence and the energies of God, between
the inaccessible essence and the energies in which the creation can
participate. That is why we believe in the real participation in God’s
uncreated and luminous grace. We also believe that this grace sanctifies the
people represented and their icons. Therefore, we recognize “just how an
external prayer and a foreign blessing are not necessary for the icons to
become holy, sacred, and worthy of veneration since it is by their own form and
meaning that they are sanctified.” The icons are holy without a blessing prayer
since they represent the renewed and sanctified creation. The 7th Ecumenical
Council made the theology of the icon very clear when faced with the
iconoclastic challenge. (Athanasios of Paros, Ekthesis, p. 122) St. Athanasios
ofParos saw iconoclastic traces in the blessing prayer for icons, and he set
forth the statement of the Ecumenical Council as an argument against that
prayer.
St. Nicodemos of the HolyMountain[12]
It is not
necessary to anoint the holy icons with myron (or chrism oil) nor to have them
sanctified by the bishop with special prayers[for three reasons]:
1) Because
we do not adore [sic] the holy icons because they are anointed or have had
prayers said over them, but irrespectively, as soon as we lay eyes on a holy
icon, without pausing to examine into the possibility of its having been
anointed or having had a special pray said over it, we at once proceed to pay
adoration [sic] to it both on account of the name of the Saint and on account
of the likeness it bears to the original. That is why in Act 6 of the
present Council, the Council of the iconomachs in the reign of Copronymus
disparaged the holy icons by asserting that the name of the pictures neither
has any sacred prayer sanctifying it, in order that from what is common it
might be transferred to what is holy, but that, on the contrary, it (sc. the
picture) remains common and dishonorable (ie. not entitled to honor), just as
the painter made it. To these allegations, the holy Seventh Council replied
through Deacon Epiphanius, by asserting that it did not say that any special
prayer is said over the icons, but said that like many other sacred objects
they were incapable of receiving (benefit from) any special prayer, but, on the
contrary from their very name they are replete with grace and sanctity, in the
same way that the shape of the vivifying Cross is, which is entitled to
veneration and adoration [sic] among us in spite of the fact that it is made
without having any special prayer said over it; and we believe that with its
shape alone we acquire sanctity, and with the adoration [sic] which we pay to
it, and the marking of it upon our forehead: and the seal of it which is made
in the air with the finger (note that in days of yore the sign of the Cross was
not made with three fingers, as it is today, but with one finger alone, which
fact is stated by St. Chrysostom in one of his discourses: and see concerning
this the footnote to c. XCI of Basil) in the hope of chasing away the demons.
Likewise, in the same way that we have many sacred vessels, and kiss and
embrace them fondly, and hope to receive sanctity from them, in spite of the
fact that they have not had any special prayers said over them, so and in like
manner by fondly kissing and embracing and paying honorary adoration [sic?] to
a holy icon that has not had special prayers said over it we partake of
sanctity, and are analogically lifted up and carried back to the honor of the
original through the name of the icon. But if the iconomachs cannot assert that
the sacred vessels are dishonorable and common because of their not having had
any special prayers said over them for the purpose of sanctifying them, but are
just as the weaver, the painter and the goldsmith finished them, yet they
regard them as holy and precious; in the same way they ought to regard the
venerable icons as holy and precious and sacred even though they have not had
any special prayers said over them to sanctify them.
2) The holy icons do not need any special prayer or any
application of myron (or chrism) because, according to Dositheos (p. 658 of the
Dodecabiblus), it is only the Papists (or Roman Catholics) that perpetrate the
iniquity of qualifying pictures with certain prayers and devotions. For they
boast that the Pope manufactures pictures from pure wax, holy oil, and water of
sanctification that he reads marvelous prayers over them, and that because of
these special features these pictures perform miracles (just as they lyingly
state that Leo III sent such a picture to King Charles of France, and he
reverenced it: and that Pope Urban sent another picture to John Paleologos, and
this one was honored with a litany in the Church), Do you see that the prayer
which is read over holy pictures is a Papal affair, and not Orthodox: and that
it is a modern affair, and not an ancient one? For this reason, no such prayer
can be found anywhere in the ancient manuscript Euchologia. In fact. we have
noticed that this prayer is not even found in Euchologia printed only a hundred
years ago!
3) It
becomes evident that holy icons do not need any special prayer or application
of myron (i.e. holy oil), because the picture painted on the walls of churches,
and their naves and in their aisles, and in general in streets and on doors,
and on the sacred vessels… are never anointed with myron and never any special
prayer said over them, and yet, in spite of this, adoration [sic] is paid to
them relatively and honorarily by all on account of the likeness they bear to
the originals. That is why the erudite Bishop of Campania, Sir [lord]
Theophilus the Saint did not conceal this truth, but stated in the book which
he has just recently produced that the holy icons do not need any anointing
with myron nor the saying of any special prayer by a bishop.
Analysis of the
Blessing Prayers
The Slavonic Texts[13]
Let us
examine first of all the prayers introduced by Metropolitan Peter Moghila into
his Euchologion/Trebnik in 1646. There are five short services for
blessing icons:
The Holy
Trinity: the three angels (Hospitality of Abraham), Theophany, the Transfiguration,
and the Descent of the Holy Spirit;
Christ and
the feasts of the Savior;
The Mother of God;
The Saints;
Various
icons laid out together.
First of
all, note the number of categories,
five; why multiply the number of separate services, especially when the last
blessing service combines all the categories. Obviously the Metropolitan
thought it was a good thing to have five blessing services. Even though he had
leanings toward things Latin, Roman Catholicism was the great adversary of
Orthodoxy at the time, and I wonder if he did not want to impress the
Catholics, as well as the Orthodox, by the number of prayers. Actually feeling
inferior to the Latin Catholics, he probably wanted blow the Orthodox horn to
show Orthodoxy’s superiority: “You see, you Catholics, who think you’re so
superior, we Orthodox have five services for the blessing of icons.” This is,
however, only my hypothesis.
The
structure of each service is the same. The differences between them are
found in the references to the Bible and Church history, references that change
with the various categories of icons: for example, singing the troparion of
Theophany for an icon of the Baptism of Christ, mentioning the story of King
Abgar for an icon of Christ, etc. Here is the structure of the services:
An initial
blessing: “Blessed is our God…”, initial prayers and a psalm that appropriate
for the icon category;
A great
blessing prayer (almost an anaphora),
Commemoration
of the the event in the Bible or Church history that is the basis of the icon,
The first
epiclesis which asks the Lord to bless the icon,
An ecphonesis;
A second
epiclesis for blessing;
Sprinkling with holy water;
The
troparion or hymn of the icon or the feast;
The dismissal.
Let us now
look closer at the significant parts of the blessing: We do have here a real
invocation, epiclesis, of the Lord to act and bless the images. It is
noteworthy that the epiclesis is faithful to the Orthodox tradition which sees
any blessing as an invocation asking that the grace of God, the Holy Spirit,
come down not only on a particular object but also and, first of all, on “us,”
the faithful who are going to prayer in front of the image. The most obvious
example of such an epiclesis is the one in the Eucharistic liturgy.
In the
first epiclesis, we hear petitions like the following:
…and we pray and entreat and humbly beseech
Thy deep compassion: Do Thou look down mercifully upon us and send down Thy
heavenly blessing, and in Thy Thrice-holy Name, bless and sanctify it (them)…
Do Thou look down with mercy upon us and upon this Icon (these Icons)…send down
upon it (them) Thy heavenly blessing and the grace of the Most-holy Spirit and
bless and sanctify it (them)…
The second epiclesis:
…do Thou harken now unto our prayer and
send down Thy divine heavenly blessing and bless and sanctify this Icon (these
Icons) by the sprinkling of this Holy Water… Through her [the Mother of God]
prayers and intercessions, by Thy grace in the sprinkling of this Holy Water,
bless and sanctify this Icon…
The sprinkling with holy water:
This Icon is sanctified by the grace of the
Most-holy Spirit, through the sprinkling of this Holy Water, in the name of the
Father, and of the Son, and of the Holy Spirit.
The Greek Prayer
The first thing we notice is that the Greek prayer is much
shorter; just one short prayer. Here is
its structure:
Instruction
to the bishop (pontifex/archiereus) to anoint the icon on its four corners;
A very
short reference to and commemoration of Moses and the cherubim;
Epiclesis
for the grace of the Holy Spirit, as well as an angel, to descend on the icon
“so that every prayer which is offered to You through this icon may be
accepted…”;
Ecphonesis.
It is very
important to underscore the note added, I presume, by the Greek Orthodox editor
of the Euchologion. (See the text above.) He admits that the practice of
blessing icons is an innovation, but he attributes the lack of blessing prayers
to “too much negligence” in the past. The editor appears happy to have
“rectified” this problem by adding the prayer. He obviously gets part of his
inspiration from three Catholic texts, and feels — I are reading between the
lines — relieved now that the Greek Orthodox do like the Roman Catholics. Not
only has he taken his queue from a Catholic model, but he also judges the
Orthodox tradition of not blessing icons to be a “negligence.” What the Greek
prayer lacks in length and development in relation to the Slavonic texts, it,
and the note, make up for by their clarity about the reason the prayer was
introduced into a Greek euchologion. I suspect, however, without direct
confirmation, that Metropolitan Peter Moghila had the same reason. The Roman
Big Brother blesses paintings while the poor Orthodox do not. An obvious sign
that the Orthodox must abandon their own tradition and adopt a new practice,
and the theology that justifies it, both of which come from a source other than
that of the councils and fathers of the Church.
A
comparison of the Slavonic and Greek texts shows the following similarities and
differences.
THE SLAVONIC TEXTS THE
GREEK PRAYER
1. very long and developed texts, several categories of
icons 1. short, simple text, one
prayer for all icons
2. published in Slavonic, 1649,Kiev 2. published in Greek, 1730,Venice
3. a priest or bishop blesses 3. a bishop blesses
4. epiclesis, invocation of the Holy Spirit on the people
and the icon 4. epiclesis,
invocation of the Holy Spirit on the icon alone
5. no petition for an angel to be sent 5. petition for an angel to be sent
on the icon
6. sprinkling with holy water 6. anointing with myron
7. no explanation for the innovation of blessing icons 7. the editor’s note explains the reason
for the new practice of blessing icons
8. theology of blessing: to transfer a profane object to the
sacred domain 8. theology of blessing: to
transfer a profane object to the sacred domain
9. a developed theology of sacralization: reason for the
blessing: to obtain for the faithful who pray before the icon a) mercy, grace,
deliverance from evil and affliction, remission of sins; b) to endow the icon
with the power of healing to keep away the devil and all evil, and to make it a
source of healing, deliverance, and protection. 9. an undeveloped theology of sacralization: reason for the
blessing: that the prayers of the faithful in front of the icon be heard
10. complex, well structured services 10. simple prayer
11. services found among other prayers and services of
blessing: for animals, youth camps, mother’s day, priestly vestments, holy
vessels, and bells 11. a prayer
placed between the blessing of a diskos and patten and a general prayer service
(moleben)
What is the
theology expressed in the blessing prayers for icons? First of all, the
blessing formulas as well as the sprinkling with holy water and anointing with
holy chrism are nearly the same as those used to bless other objects used in
the Church: bells, vestments, fruit, etc. Icons therefore are placed in the
category of objects made by artists and artisans and offered for the service of
God and his glory. And to begin the service, a prayer of blessing is recited.
And here
then is the crucial question: Are icons in the general category of objects we
use in Church, or are they rather in a separate category because they carry the
likeness and name of Christ or the saints, two things that other objects do not
have? It seems that the prayers themselves, the sprinkling or anointing
suppose that a painting of Christ or the saints is precisely like other Church
objects, and because of the blessing, sprinkling or anointing, such paintings
become icons worthy of being used in the Church, or at least, they become
“better” icons. By the prayers and the priest’s action, an unsanctified,
perhaps profane, painting passes into the category of “holy icons.” Is that not
just what the iconoclasts said, in a slightly negative way. “Holy images are
falsely called holy because there is no blessing prayer to transfer them from
the category of the profane to the category of the sacred.”
A footnote
A little
publication about the blessing of icons[14]. Foreword
This tentative translation of the prayers
for the blessing of Ikons from the Russian Trebnik (Book of Needs) [in fact
Metropolitan Moghila's texts] is primarily intended to make more generally
known the theological significance for the composition and veneration of our
Ikons. The prayers in the first place put the veneration of Ikons firmly
inside the worship of the Church to form an integral part within the whole
fabric of Orthodoxy: a confession of faith; the fulness of reverence paid to
Ikons, either in the making or praying, cannot be isolated from the whole sweep
of the faith since, as the prayers of blessing indicate, it [veneration] rises
from precisely the same common theological source as our Liturgical worship; it
may be one stream amongst others, but the water is common to all and rises from
the single source of the One Church.
So far so good. But then (emphasis added):
Thus, at the outset, for a true
appreciation of the Ikon, it is not to the composition that we should turn, nor
to the attitude of those who reverence it, nor even to personal devotion, but
to the initial prayers of its blessing which make it what it is. It is
these prayers which are the prologue, in effect the clue, to the theology: in
the very fact of the institution of a liturgical blessing, and in the doctrine
of the text.
In other
words, according to Mother Thekla, to understand icons correctly we should not
be greatly concerned about the “composition,” that is, what is actually
painted, whether it is canonical or not, even heretical or not; nor should we
pay too much attention to the “attitude of those who reverence it,” that is,
whether they themselves - laymen and clergy - understand what an icon is,
whether in fact they have a superstitious or, at the worst, an idolatrous
attitude toward icons; and finally we should not worry much about people’s
“personal devotion,” about their practices, that is, how they use icons. What
is essential to properly appreciate the Church’s icons is to understand the
blessing prayers because they make the icon what it is. We can only deduce that
whatever the “icon” was before the blessing prayers it was not an icon, and
through the prayers, the “un-icon” became an icon. Is that not precisely what
the iconoclasts said: an ordinary picture is not holy or properly called an
icon because there is no blessing prayer to transform it into a holy icon?
Under such an attack, the Fathers of the Nicaea II in no way felt obliged to
create such prayers since their understanding of what makes an image a holy
icon has nothing to do with such prayers. Is it not strange then that, since the blessing prayers did not exist during
1500 years of Church history, being composed only in 1649, we can further
deduce, if Mother Thekla is right, that Orthodox Christians, and the Church
herself, did not truly appreciate what an icon was during all that time,
because there were not only no blessing prayers, but also because they
consciously refused to create any. They were obviously “negligent,” as the
editor of the Greek Euchologion actually said. I hope that I have shown that
the Fathers and the Church were not negligent in their appreciation of what
icons really are. It is in fact Metropolitan Moghila and the editor of the
Greek Euchologion, as well as those who share their thinking, who do not truly
appreciate what an icon is.
Conclusion
We must
simply recognize a very bizarre phenomenon: a practice and a theology that
justifies it, both of which are widely accepted among Orthodox Christians and
are “officialized” by services in the euchologions/trebniks, are in fact
contrary to the Tradition of the Orthodox Church as that was expressed by the
7th Ecumenical Council as well as by the universal practice of the Church until
1649. Even though some have protested against this situation, their
protests have not been enough to realign the practice and thinking of Orthodox
faithful and clergy about blessing icons. Is this situation surprising? Tragic
yes, but surprising? No.
The fact that the introduction of the icon
blessing prayers coincides with the decadence of icon painting. From the 17th century,
images among the Orthodox started to depart from the canonical tradition. So
why should we be surprised if the theology of some and the prayers many did the
same? From the point of view of the art historian, this situation is but one
more phenomenon to recognize and to study, nothing more. But, for Orthodox
Christians, the Church’s iconography should never be studied outside the
Tradition that gave it life, as do art historians. We Orthodox must deal with the subject from
within the Tradition, as an expression of our faith, of the faith of our Church
- and even better, as an expression of the Church’s faith, period. Art
historians - even Soviet ones - have made remarkable studies of icons, and we
are enormously indebted to them for their works. The more we can learn
the better, whatever the source, but for art history, as for religious studies
as opposed to theology, researchers study their subject as something detached
from themselves; they examine it “scientifically,” “objectively,” “coldly.” Art
history can never study icons as a theological phenomenon, that is, as a
manifestation, a revelation of Christ in his Church. But then, this is
precisely our point of view. Therefore, it can only be catastrophic when the
iconographic tradition of the Orthodox Church departs from its own sources; it
can only be a pollution of that tradition and of the revelation itself. But as
we have seen, there have been voices crying in the wilderness.
If it is
true that we are living in the full bloom of a renaissance of traditional and
canonical icons, despite the opposition of certain Orthodox themselves, we
cannot limit ourselves to just the visible aspect of the tradition, that is, to
icons themselves, but we must examine all the elements that surround the
iconographic tradition. That is why I want to draw attention to a
phenomenon which, from my point of view, is not in agreement with the Church’s
purest tradition; I seek to invite the faithful and clergy to greater
vigilance. If all Orthodox agree that it is always necessary to defend Holy
Tradition against corrupting influences, then we must make sure that what we
defend is in fact part of that Tradition.
As for a
dedication ceremony to put a stamp of approval on an icon and to begin its
official veneration and public reception, why do we not ask a liturgist to
prepare a service of dedication that will set out the theology of the icon as
found in the long prayers of the Slavonic services. This public
dedication service could include a procession of the icon after which it would
be placed on an analoy in the middle of the church. Then, perhaps a litany for
all those connected with the painting of the icons, with an invocation of the
Holy Spirit on all who will venerate it. After that, the clergy and the
faithful would venerate it publicly for the first time. Finally, the priest
would bless the faithful with the icon, as he does with the Gospel book. Such a
ceremony would have the advantage of showing the Church’s approval and
reception of a new icon while avoiding the notion set out by the present
services: by priestly prayers and ministrations, an unsanctified painting
becomes a holy icon.
[1] The
Council of Nicaea II, Mansi XIII; Icon and Logos: Sources in Eighth-Century
Iconoclasm, Daniel Sahas, Toronto, Ontario, University of Toronto Press, 1986.
[2] Mansi
XIII, 269E-272A, Sahas. P. 99.
[3] Mansi
344B, Sahas. P. 159.
[4] La Vie
d’Étienne le Jeune par Étienne le Diacre, Marie-France Auzépy, Aldershot,
Hampshire UK, Variorum Ashgate Publishing Limited, 1997. P. 253-254. The
English translation is by the author.
[5] Nicephorus
of Constantinople Discours contre les iconoclastes, Nicéphore de
Constantinople, Marie-José Mondzain-Baudinet, trad., Paris, Éditions
Klincksieck, III, 54, 1989. P. 259-260.
[6] History
of the Patriarchs of Jerusalem, Bucharest, 1715, (nine years after the death of
Dositheos). P. 658-659.
[7] Actes
du VIe congrès international d’études byzantines, tome II, Paris, École des
Hautes études à la Sorbonne, « Images de saints d’après la théologie byzantine
», L.-H. Grondijs, 1951. P. 168-169.
[8] The
Greek text: “Hé tôn eikonôn onomasia ouk echei euchén hagiazousan autén, hin’ek
toutou pros to hagion ek koinou metenechthé, alla menei koiné kai atimos hôs
apértisen autén ho zôgraphos.” Suggestion: The fact of giving the name
[of image] to images does not depend on a blessing prayer to transfer them from
the common [profane] to the holy, without which prayer they would remain common
[profane] and not honorable [worthy of honor or veneration] as the artist made
them [created, produced them]. Another suggestion : It is not because of a
blessing prayer that an image is called image, a prayer that would transfer it
from what is common to what is holy, and without that prayer, it would remain
common and not worth of veneration, as the artiste created it.
[9] Euchologe
selon le rituel des Grecs 2, J. Goar, éd., Venise, 1730. P. 672. This
English translation, except for the “Note in the Euchologion,” which is from
the author, comes from the Byzantine Melkite Euchologion published by the
Eparchy of Newton (Our Lady of the Annunciation), Roslindale, Massachusetts. http://www.mliles.com/melkite/ikonbless.shtml
[10] Meyer,
Philip, « Lehrstreitigkeiten im achtzehnten Jahrhundert (vgl. Urkunde XIX) »,
Die Haupturkunden für die Geschichte der Athosklöster, 1894 ; Reprint
Amsterdam, 1965. P. 79. (« Des différents savants du XVIIIe siècle (voir
document XIX) », Les documents importants pour l’histoire du Mont-Athos).
[11] Athanasios
of Paros, Ekthesis, eitouv homologia tés aléthous kai orthodoksou pisteôs genomené
hypo tôn adikôs diabléthentôn hôs kainotomôn, (ekd. Theodôrétou hierom.) pp,
122-123, quoted in Dionysios Tsentikopoulos, « Basikes kateuthynseis tés
didaskalias tou hagiou Athanasiou tou Pariou », Agios Athanasios ho Parios,
Paros, Greece, 2000. P. 134‑135.
[12] St.
Nicodemos of the Holy Mountain on the blessing of icons, The Pedalion, « On the
7th Holy Ecumenical Council: Prolegoumena », The Rudder, Chicago, Illinois, The
Orthodox Christian Education Society, 1957. P. 419-420.
[13] The
Great Book of Needs, vol II, A Monk of St. Tikhon’s Monastery, South Canaan,
PA, St. Tikhon’s Press, 1987. P. 210‑233.
[14] Mother
Thekla, The Blessing of Ikons, MinneapolisMN, Light and Life Publishing
Company, no date given. P. 1.
Fr. Steven Bigham
The Orthodox Arts Journal (2012)
expertmus в Коллектив Музея имени Андрея Рублева выразил Г.В. Попову НЕДОВЕРИЕ
