A Brief Description of the Writing of an Icon

Just as medieval monks copied ancient sacred texts, icon painters copy ancient icons.  The icons here were written in this way, following ancient traditions and using traditional materials. Each step in writing the icon and the materials used, have sacred meanings.  Most are “written” on traditional Russian icon boards made of poplar with “kovcheg” (a hollow within which the image is written). The boards are covered with linen and many layers of gesso made of marble dust. The linen speaks of the shroud of death, and the marble of the tombs. The whiteness of the gessoed board speaks of the uncreated light of God, which turns the darkness of death into the light of eternal life.  It is this light which the iconographic process allows to shine through the image that will be written upon the board.

Next an image is etched into the gesso as a line drawling. Red clay (symbolizing the earth from which God created Adam) is painted around the edge of the board, and under the halo in the icon.  The clay is then sanded, burnished, and gilded with 24K gold leaf which is “breathed” onto the clay, just as God “breathed” life into Adam. A line of red is drawn around each halo, symbolic of human life.

Now egg tempera is mixed using an egg yolk, pure water, and a drop of vinegar. Traditional mineral pigments which have been ground fine are mixed with the tempera and the first layer of color (Known as “roshkrish” which meand “chaos”) is floated onto the icon board.  This “chaos” represents the chaos of Genesis 1, the chaos which is the ground of all new creation.  Lines are then painted, following the inscribed lines, separating colors from colors and begining to impose order.  The first of three highlights are applied. The first symbolizes the natrual order, and gives shape to the forms.  The second represents human intellect, and creates facets of light.  The third represents spiritual light, and it is sharply focused and calls attention to that which is most important. After each highlight, a transparent wash of color is floated over the icon.  Mistakes are not corrected, but must be left to be transformed by successive layers, just as in life we cannot erase the consequences of poor choices and failures, but must leave them to God’s grace.

Lines are now repainted, details, names, and inscriptions are added, and the final highlight (the “Prosopon” ro “the light of God”) is written as tiny white lines, especially around the eyes. In this same white pigment, a white line is drawn around each halo, symbolizing the transformation (or transfigruation) of the human by the divine.

The icon must be left to dry, which can sometimes take many weeks. When dry, it is anointed with “olipha” (a linseed oil varnish), which is poured onto the icon in the form of a cross, reminding us of our baptism.  As the oil is rubbed into the icon, the pigments become even more brilliant and translucent.  When the oil has dried, which often takes months, the icon is ready to be blessed, frequently by placing it upon the altar during the Eucharist, and then by speical prayers.

Nancy does accept commissions for icons upon request.  For information contact: nancy@riverrespite.com.

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