The Voice of Russia's long-time friend Mr.Jeoffrey Lund in Great Britain has written in to request that we dedicate a number of our programs to contemporary Russian icon-painters. We liked the idea very much, particularly since it coincided with our initial intention of turning out a series of programs about Russian icons. We have prepared this series with the help of art critic Nina Kvlividze, Assistant Professor at the St.Tikhonov Theological Institute in Moscow.
First, a brief historical digression.
The word 'icon' is Greek. It means 'image', or 'likeness'. According to the Holy Writ, Jesus Christ himself gave people His Visible image. This is how it  was...
The ruler of the Syrian town of Edessa, Prince Avgar, was suffering from leprosy. All efforts to cure him were in vain. However, once it was revealed to him that he would be cured if he were to see the face of Jesus Christ. So he sent his court portrait-painter Ananias to find Christ and paint His image. The artist was successful in seeking out Christ, yet could not paint His portrait due to the 'shining radiance of His face'. The Lord Himself came to his aid. He took a piece of cloth from the artist and placed it against His Heavenly Face. At that moment, the distinct imprint of His most Pure Face was left on the napkin.
The artist brought this image to Prince Avgar. When the latter saw the image, and with Faith in his heart applied it to himself, he was cured that instant.
This first icon, made by the Lord himself, was named "Icon of Christ the Saviour Not Made With Hands". Today this is one of the most revered icons in the Orthodox Church.
The very first icons of the Mother of God cradling in her arms the Infant Jesus Christ were painted back in the 1st century by Evangelist Luke. It is told that when the Mother of God saw Her first painted likeness, she pronounced: "The Grace of One born of Me and Mine shall be with this icon."
Besides the icons of the Savior and the Mother of God, there exist icons of Angels and Saints. The reverence shown icons are shown in Church is comparable to a lit lamp which shall never be extinguished, for  it was not lit by human hand, but by the Lord Himself.
"We shall be dwelling on the peculiarities of the icon-painter's trade - one that in ancient times was referred to as the "holy trade," the art critic Nina Kvlividze says. "The very name reveals to us the essential difference of an icon-painter's métier from that of any other artist. So, what is this difference? It lies in the imperative combination of the actual manual trade with the labour of prayer. Without prayer, combined with fasting, no icon-master of the past ever started work. In this connection let me mention the first Russian icon-master - the Venerable Alipiy.
Alipiy lived at the end of the 11th - early 12th centuries in Kiev. When still a youth he was sent to the Greek icon-masters to learn from them his future trade. The latter had arrived in Kiev for the purpose of decorating with their artwork the Assumption church of the Kiev-Pechery Monastery. Alipiy diligently learned from these icon-painters, moreover, according to the chronicler who narrated his life story, he did this not so much for mastering the actual profession of icon-painter, as for the feat of prayer it was inseparably linked with.
Not a moment of the day did he waste idly. Besides writing new icons, he spent a lot of time and effort restoring old ones.
Interestingly, in our day and age these two types of activity - painting icons and restoring old ones - have gone their separate ways, turning into totally  different professions. The restorers, which this country boasts a great many of, and who have done a tremendous amount of excellent work, giving a vast number of icons a second lease of life, are perceived by us as simply painters. Quite often they do not even profess any Faith in God, and treat icons as mere artworks.
However, let us return to Saint Alipiy. He was eager to emulate the ancient zealots, monks of the 4th - 5th centuries, who brought glory to themselves in the Egyptian desert. Alipiy was so humble and scored such heights in the feat of prayer, that the Lord endowed him with the gift of miracle-making. It is known that the Venerable Alipiy was able to cure people of various illnesses, for example - leprosy. All he had to do was apply his paintbrush to the places that were troubling people or causing them pain.
There was one particular episode in the life of this Saint:
Once a certain Kiev resident commissioned seven large icons be painted. He sent some monks to deliver the wooden boards and money for these icons. However, these monks didn't tell Alipiy anything about the commissioned work, and when the client arrived for the icons, they maligned the Saint, saying he'd taken a lot of money for the icons, yet had no intention of doing the work. They even pointed out the place where the icon boards had been lying for some time. When the Father Superior of the Monastery summoned Alipiy to answer for his actions, the above-mentioned wooden boards were brought in. At this point the Lord Himself intervened on behalf of the slandered monk: miraculously, the commissioned icons of the Mother of God, the Savior and the Saints had appeared on the boards.
Thus, the miracle of 'an icon, not made by hands' was effected in our country, in Ancient Russ.
And here is another miracle connected with the Venerable Alipiy.
Not long before his death, he was commissioned to paint an icon of the Mother of God, timed to the holiday of Assumption. The client intended to place the icon in church.
However, due to ailing health, for a long time the Saint couldn't begin work. The client was growing impatient... The venerable Alipiy tried to soothe him, saying:
"Child, do not fear! When the time comes you will receive your icon!"
On the eve of the Assumption of the Mother of God an Angel came down to the cell of the Venerable Alipiy and painted the commissioned icon. The client was happy, and on the actual day of the holiday, the icon was solemnly brought into the church.
"What renders this episode so noteworthy?" asks Nina Kvlividze, and replies. - The personal Holiness of the icon-painter enlisted the Lord's sympathies, and as a result, his icons were able to work miracles, while even the process of painting them was often accompanied by miraculous feats. This explains why ancient icons were never signed by their authors. It was enough for them to receive evidence that their work was received benevolently by the Lord, and that the Lord Himself and His Angels were helping them in this.
In our time we could say the ancient icon-painting tradition is not so much being continued as revived. Many schools and workshops have emerged. I would  like to say a few words about the icon workshop of the Moscow Theological Academy, situated in the Holy Trinity St.Sergius Monastery not far from Moscow. Not only are they reviving the ancient technical skill of icon art, but, no less important, the image of piety that goes hand in hand with this labor, at once a labour of trade and prayer.
I would also like to mention the icon-painting classes of St.Tikhonov Orthodox Institute of Theology, where I teach. Our teaching staff is made up of graduates of the Icon-painting school of the Holy Trinity St.Sergius Monastery.
These icon-painting schools are very important as not only art schools, but schools of spiritual learning, of humility"
"In our time," says Nina, "we are witness to numerous miracles, effected by icons in the most diverse corners of this country. This multitude of miracles is comparable to ancient times. Thus, a great many icons are exuding the holy chrism. In other words, in some logically and physically inexplicable manner, drops of sweet-scented oil of myrrh appear on the surface of the icons. It is really amazing... Moreover, this phenomenon is happening to both ancient and newly painted icons! The church regards this presently quite widespread phenomenon as a sign of the Lord's grace and benevolence towards the Orthodox Faithful of the Russian land. Possibly, the Lord is seeking to sustain and strengthen us in the face of impending trials and tribulations," says Nina Kvlividze.
As for the icons exuding oil of myrrh, just recently a house of one Christian woman, residing in Klin, outside Moscow, became a pilgrimage site for many when they discovered that 300 icons, large and small, painted on wooden boards and on paper - were all exuding oil of myrrh. However, the oil on each of these icons differs! Each icon has its own - in scent and taste. The woman gathers each of the oils in individual containers. Up until recently she simply gave them all away to those Orthodox Christians who came to visit her. However, there were so many pilgrims coming to her house that taking pity on the hostess, soon afterwards the clergy forbade her to accept visitors. However, the author of this program - Tatiana Shvetsova - was fortunate to be anointed with the oils from several of those icons (the oils were brought from Klin by an acquaintance of hers). She received proof that, indeed, the oils were all different in scent and taste. In fact, these scents were unlike anything known on earth...
"The icon," Nina Kvlevidze says, "is an art, reflecting the Lord's Heavenly Grace. It is not the painter who imbues the icon with his aura, but the Lord and the Mother of God sent their benevolent grace to us through certain icons."
ICON OF THE MOTHER OF GOD OF VLADIMIR
"The icons are a source of God's grace," our contemporary St.John (Maximovich) said of icons. "One should never regard them as mere worldly objects, but instead - show a particular reverence when coming into contact with them. The Lord's grace emanates from them, yet it smites those who approach them without according respect..."
Indeed, the icon is a window into the Heavenly world, the Lord's revelation, manifested in lines and colors; it is the embodiment of a prayer. An icon is an inalienable part of the Orthodox service and the Holy Tradition, that our Church is founded on.
Among the numerous antiquities of this country, there is one that is a monument of world importance. This is the icon of the Holy Mother of God of Vladimir. 
First, let us recall what it looks like.
The Mother of God is holding the Infant on Her right arm, while the Infant Christ nestles up to Her cheek and embraces Her round the neck with His arms. The Infant's right leg is bent so that we can see the sole of his foot. This is a characteristic feature that permits us to recognize this particular icon of the Holy Mother of God of Vladimir from among other images of the Holy Mother.
The Virgin Mary bears a pensive look as she cradles the Infant. He glance is directed into the distance. This look is at once detached, remote, wise and sorrowful: She knows what road of trials Her Infant is destined to traverse...
From the moment of its appearance in Russia in the 12th century, the Icon of the Mother of God of Vladimir became Russia's most revered sacred relic. The reason for this is the tremendous role the icon played in our country's history.
The Icon was already mentioned in the first Russian chronicles, when it was not yet called the Vladimir Icon. Legend has it the icon was written by Evangelist Luke in the Virgin's lifetime. When Luke demonstrated it to the Mother of God, she pronounced: "The Grace of One born unto me and mine shall be with this icon."
Clergymen insist that this icon traveled a long and winding road through the centuries: that took it to Palestine and Constantinople before it found itself in the capital of the ancient Russian state - Kiev. This is corroborated in similar statements by diverse Russian chronicles.
After the icon found its way to Kiev, its destiny was closely linked with Prince Andrei Bogoliubsky, son of the founder of Moscow Prince Yuri Dolgoruky, who at one time held the principal position of authority in Ancient Russia - occupying the Kiev throne.
Leaving Kiev outskirts to take up permanent residence in the Northern lands, Prince Andrei pondered which icon to take as his Guide. Such was the custom of the time. He was directed to the Image of the Holy Mother of God that was brought from Constantinople and was located at one of the Convents outside Kiev.
By that time the icon was already famed for its miracles: it changed position of its own accord three times, and was once witnessed to have soared in the air inside the church.
Upon hearing this, Prince Andrei came to the Convent, scrutinized all the icons and realized that the one he'd heard mentioned was, indeed, artistically superior to all others. So his choice fell on that icon.
At night, without asking his Father's blessing (his Father was ill disposed to let his offspring leave) prince Andrei and his wife, accompanied by several Boyars, a clergyman and some deacons and their families set off Northward-bound, for their destination: the Vladimir-Suzdal Princedom.
During the journey the pious Prince frequently turned to the icon for help, and since this help was prompt in forthcoming, it only served to strengthen his faith in the miraculous powers of the icon.
The first miracle occurred during their crossing of the river Vazuza overflow. The Prince ordered his guide to seek out a ford. The guide rode out into the tempestuous river and suddenly started drowning together with his mount. Terrified, the Prince began praying before the icon. He begged that it spare him the sin of being in answer for another's death. Unexpectedly, the guide found himself in the middle of the river with a whip in hand and miraculously made it to the bank, joining the Prince in fervid prayers to the Mother of God.
The road to the Vladimir-Suzdal Princedom was a difficult and treacherous one. The second miracle worked by the icon was not long in manifesting itself.
The pregnant wife of the priest Mikula approached the stream with her daughter-in-law and for safety's sake got off the wagon, to cross on foot. Suddenly, the horse went wild and, throwing off the guide, got its legs entangled in the folds of the woman's dress, as a result trampling her underfoot. The priest Mikula started praying to the Holy Mother of God. The mount dashed off into the woods, while the woman got up none the worse for wear, only bemoaning her ruined headgear.
Miracles continued when the icon was already in the town of Vladimir. It cured the sick. It helped the Prince when his pregnant wife fell gravely ill. Despite all gloomy predictions, she not only gave birth to a healthy child, but recovered completely, too.
One of the chronicles that has reached us through the centuries narrates the following story:
When Prince Andrei decided to move the icon of the Mother of God to the town of Rostov, the horses came to a dead stop, refusing to budge. They were promptly substituted by others, yet the situation was repeated. The Prince began to pray to the Holy Mother of God and received from Her the decree that he leave the icon in Vladimir. Prince Andrei named the exact place where the horses had come to a halt - some 11 kilometers outside Vladimir - Bogoliubovo, which means a place loved by the Lord and the Holy Virgin. The Prince had two stone churches erected there, and placed the icon of the Mother of God in one of them. While in Vladimir itself, the Prince laid the cornerstone of a huge stone Cathedral, in honor of the Assumption of the Virgin. When in 1160 the building was completed, the Prince presented the Cathedral with many icons and rich church paraphernalia, had it decorated in gold and precious stones. He had the miracle-working icon of the Mother of God brought here from Bogoliubovo, decorating its covering with gold, pearls and precious stones.
The icon helped Prince Andrei claim victory over the Volga Bulgar tribes, who made devious incursions into Russian lands, and upset trade by attacking Russian merchants.
The last event mentioned in the chronicles referring to the icon of the Vladimir Mother of God was one that occurred during the building of new city walls in the city of Vladimir, and the famous Golden Gates. Prince Andrei intended to surprise the town residents with these Gates on one of the Feasts of the Holy Virgin, yet... when the day of the feast came and the people gathered, the Gates unexpectedly came crashing down, nailing 12 people underneath their dead weight. Apparently, the mortar was still wet. Andrei Bogoliubsky, weighed down by his responsibility for the death of those unfortunate folk, once again addresses prayers to the Holy Image of the Mother of God. When they lifted the Gates afterwards, the people turned out to be alive and well! Everyone around was astounded by the miracle!
The icon of the Mother of God of Vladimir, so greatly loved and revered by Andrei Bogoliubsky, accompanied him on his last journey, after his death.
The new ruler of the Vladimir-Suzdal Princedom - Prince Yaropolk - on the very first day of his enthronement, took the keys to the Assumption Cathedral, plundered its coffers, and after stripping the icon of the Mother of God of its precious casing, presented it as a gift to his brother Gleb Ryazansky for the latter's timely aid.
The residents of Vladimir, quite naturally outraged, summoned a different Prince to take over - Mikhail from the town of Chernigov. After a successful battle he solemnly entered Vladimir.
Gleb Ryazansky was so frightened, that he sent the icon of the Mother of God he'd been given back to Vladimir, as well as the precious treasures the icon had been stripped of. By doing so he won forgiveness.
The people welcomed the return of the Holy relic, and newly-decorated, it once again claimed its rightful place in the Cathedral.
During the Mongol-Tatar yoke that stifled Russia, Vladimir was burnt down and plundered. However, the icon of the Holy Mother of God of Vladimir miraculously survived, although it was again stripped of its precious casing.
Later, after the hordes were banished, with the advent of the new Prince, the town of Vladimir and the Assumption Cathedral were rebuilt and the Holy relic yet again installed there, newly spruced and richly decorated.
However, prior to that, in 1395 the icon of the Holy Mother of God of Vladimir saved Moscow from the invasion of Tamerlane.
Discovering that Tamerlane was moving towards Moscow, a delegation was dispatched from there to Vladimir, to ask for the Holy Icon of the Mother of God. The Vladimir residents sent the icon to the Muscovites. Soon, almost all of Moscow turned out to solemnly welcome its arrival. The precious Holy relic was brought into the principal Cathedral of Russia - the Assumption Cathedral of the Kremlin, and placed there at the Czar's Gates. All of Moscow prayed before this icon, with tears in the eyes, so that the town, and all the country, be delivered from the evil Tamerlane and his hordes.
Meanwhile, Tamerlane was making his way straight towards Moscow, pillaging, destroying and murdering on the way.
All the while, the people of Moscow were praying tirelessly to the icon of the Mother of God of Vladimir, begging Her intercession on their behalf, so that their town and the country be saved. They were awaiting news of Great Prince Dmitry of the Don.
Finally, oh great joy! It transpired that on the very day when the Holy relic, the priceless icon of the Mother of God was welcomed to Moscow, Tamerlane had ordered his troops to turn round and abort all plans of an attack.
The chronicles state that the night before, Tamerlane had a terrible dream. He saw a huge mountain, from the top of which Orthodox Saints were descending towards him, all brandishing staffs, and in their midst - the Holy Mother of God in scarlet robes, leading a multitude of troops and threatening retribution lest he impinge on their land. The invader took this for an ill omen and chose to leave Russia.
This occurred on August 26th old style (September 8th new style). This day became one of the festive days in honor of the icon of the Mother of God of Vladimir. For seven centuries on this day the Orthodox Christians give thanks to the Holy Virgin for saving the country from one of the most dreaded enemy incursions.
Besides this day, the Russian Orthodox Church has two more holidays in honor of the icon of the Mother of God of Vladimir. In June - in gratitude for saving Moscow from the Tatar hordes led by Khan Mahmet-Girei in 1521. And in July - in honor of Moscow's liberation from the invasion of Khan Ahmat in 1480.
Afterwards, the icon of the Vladimir Mother of God was frequently moved from Vladimir to Moscow and back. Later a special copy was made for Moscow. Experts believe the famous Russian icon painter Saint Andrei Rubliov had something to do with this copy. All the more so since it was also proved miracle-working, frequently protecting Moscow from the enemy.
In 1480 the icon was installed in the Assumption Cathedral of the Moscow Kremlin, which was referred to as the Home of the Holy Virgin.
The icon left its Home only once, in 1812, during Napoleon's invasion of Russia. It was as if in exile, traveling the roads of Moscow, Vladimir, Murom, until finally, after the victory over Napoleon, it once again returned to its rightful place in the Assumption Cathedral of the Moscow Kremlin.
The icon of the Mother of God of Vladimir participated in the laying of the founding stone of Moscow's Christ the Savior Cathedral, erected in honor of the victory over Napoleon, as well as in its consecration. Its picture claimed its place in a large arch of the eastern façade. An exact copy of the Vladimir icon was also placed in the left pew of the church.
Throughout the centuries the icon underwent restoration work on numerous occasions. Presently it is in St.Nicholas's Church of the famous Tretyakov art gallery in Moscow. The icon is encased in a stout transparent cover. The icon has its own guard, who watches for the slightest alterations in the paint layer or the board its written on.
On holidays of the icon of the Vladimir Mother of God many believers come to the church. With great reverence they approach the holy relic, and as in times of old, address their pleas for help to it. And a special Akathist dedicated to it is heard on those days.
THE LANGUAGE OF THE ICON
The icon is a means of conversing with God and His Saints. Its principal purpose is for prayer. Experts in icon art insist that the language of an icon is understandable only to people who are familiar with the Holy Writ, who attend church services and participate in the Holy sacraments of the Church. It  is both wrong and immoral to study an icon purely from an artistic aspect. This would be rather like a theatre critic attempting to write a review on the Liturgy.
Nonetheless, there are quite a lot of people who reject the lofty purpose of icon art, superciliously regarding it as a form of naïve art. One should pity these people: they are deliberately forfeiting a great joy: that of coming into contact with the remarkable world of the icon.
We shall attempt to bring you closer to an understanding of the language of the icon. Helping us in this will be Professor of Moscow's St. Tikhon Orthodox Theological Institute Deacon Andrey Kurayev:
"Since an icon painter conveys a transformed reality, the artistic means he makes use of are, likewise, unusual," says Deacon Andrey Kurayev. "One of these is the so-called reversible perspective. To better understand what we are dealing with here, let's compare the methods that an icon painter and an artist resort to in their work.
In order to imbue his artwork with the requisite perspective, the artist ensures there is a focal point in the painting where all the lines converge. This point is strategically placed on the imaginary line of the horizon, deep within the picture plane. Everything in the painting that is depicted as being  in the distance - seems diminished in size. Thus, if a road is portrayed, in the painting it gradually narrows towards the imaginary line of the horizon. If the object portrayed is a bench, its far end will be narrower than the end closest to the on-looker. Thus, the illusion of three-dimensional space is created.
This principle of depicting perspective is called 'linear'. The first artist to experiment with it was Giotto, that Italian genius of the Pre-Renaissance.
In the case of the icons, reversible perspective is traditionally used. The spot where all the lines converge isn't situated on the line of the horizon, deep within the picture plane, but rather on the person standing before the icon and looking at it."
Reversible perspective is more ancient than linear. Icon painters and illustrators of ancient Christian manuscripts were convinced of man's imperfect  sight. They believed it could not be relied upon due to its corporal nature. As a result, they attempted to depict the world not as they saw it, but as it really was. The question of what the world was really like could only be solved conceptually, when dogmas of Faith were used to fall back on instead of experience of corporal life.
As we have already said, the icon is a window into the sacral world - a world that is opened to you as you look at an icon. This world draws you into it like a vortex, and broadens right before your gaze. This 'space' is characterized by features that differ greatly from the familiar earthly environment that surrounds us. These characteristics cannot be fathomed by mere corporal vision, and defy the logic of our daily world. Reversible perspective makes all the objects in the painting seem bigger the farther away they are from the viewer.
It would be a gross mistake to regard reversible perspective as nothing more than an inability to depict space. Ancient Russian icon painters were well familiar with linear perspective, yet refused to accept it. Reversible perspective was their way of protesting against the temptations of 'corporal  vision'.
And so, as Deacon Andrei used to say, in reversible perspective everything focalizes 'in the onlooker, standing before the icon and gazing at it'.
"What does this signify?" asks Father Andrei, and answers. "It means that it is not so much man who looks at the icon, as the icon that gazes at man. Remember, Dante has the words: "I raised my eyes to the skies, to see if they could see me." Well, the icon is the answer to this query of Dante. Those depicted in the icon are looking at you - and you are no longer alone."
Learning from the Byzantine icon masters, the Russians adopted and preserved their color symbolics. The golden glow of mosaics and icons enabled one to sense the shining glory of the Lord and the majesty of the Heavenly Kingdom, where it is never night. The golden color symbolized the Lord Himself.
The purple, or 'scarlet' color in the icons was found in the robes of the Mother of God - the Holy Virgin.
Red in the icon was a color of warmth, love, life, life-asserting energy. This is precisely why the red color came to symbolize the Resurrection of Christ - the victory of life over death. However, at the same time this is the color of blood and suffering, the color of Christ's sacrifice. The wings of the Angels - Seraphs, surrounding the  Lord's Heavenly throne - glow a bright red.
The white color is a symbol of Heavenly light. This is the color of pristine purity, holiness and simplicity. As a rule the Saints and the Righteous were depicted in icons and frescos as wearing white robes. The Righteous - people kind and honest, living by the rules of 'truth and verity'. The same white color was used in vestments of the infants, in depicting the souls of the dead and the angels.
Blue and azure were used to depict the infinite sky, the symbol of the other - Eternal world. Blue was believed to be the color of the Virgin. It embodied at once the corporal, earthly - and the Heavenly. Murals in many churches dedicated to the Mother of God are dominated by a Heavenly blue color.
Green is the color of Nature. This is the color of grass and leaves, youth, Nature's blooming, hopes, the eternal cycle of life. Green was used to depict the earth, and it was present where life began - in scenes of Christ's birth.
Brown is the color of the bare earth, ashes, all that is perishable and transient. Blending with the royal purple in the robes of the Mother of God, this color served as a reminder of man's perishable nature.
Black is the color of evil and death. In icon art black was resorted to in coloring caves - symbols of the grave, and the awning chasm of Hell.
True, in some subjects the black color could be the color of the mystery, symbolizing the unfathomable depth of the Universe.
The black habits of the monks, who had renounced ordinary life, symbolized a rejection of previous pursuits and pleasures - a kind of 'living death'.
The color that was never used in icons was grey: a mixture of black and white, evil and good, it became the color of confusion, emptiness and  nihility. There was no place for such a color in the world of the icon.
In addition to this account of the color symbolics in icon art, a few words about the so called color perspective.
"There is a certain law of our perception," Deacon Andrei says. "We see objects that are far from us in hazy hues. The substance of atmosphere tends to subdue the colors. Thus, a line on the distant horizon will seem somewhat bleak to us, not so much green as bluish. While, all that is closer to us is perceived as being much brighter.
In the icon all the traditional color perceptions do not work. Thus, the icon background is usually of a defiantly glowing, golden color. On the other hand, the vestments of the Saints, who are much closer to the on-looker, are depicted in subdued shades. In other words, it is the background that is more aggressive. This is the first thing we notice, and only afterwards does our eye catch the diverse figures of the Saints depicted on it. This is the inverted color perspective the icons are notes for."
Some find the icons static. However, Deacon Andrei categorically disagrees, motivating this in the following way:
"One person, who has presently come to embrace the Faith, started reading the Gospel when still an atheist. When he finished reading it, he said: "To begin with I criticized the Bible, but afterwards it started critisising me." It is the same with an icon: it doesn't draw in our glance, but rather, pierces our very soul with its radiance. This is undeniably so for an Orthodox believer. After all, icons are not painted for atheists. A believer cannot remain indifferent and inactive upon seeing an icon: it provokes him into prayer.
Thus, when you chance to hear people say that an icon is static, I would advise you to ignore this idle talk. An icon is very dynamic. However, the dynamics of an icon  are of a very special nature. An icon addresses you and demands a response."
So, an icon is a mystical mediator between the earthly world and the Heavens.
The import of an icon was determined at the VII oecumenical council in Nicea in 787. Likewise, the concept of icon art was formulated then.
The decisions of the council, addressed to the entire Christian world, said that icon painters should strictly abide by the rigorous icon canons. This strictness was necessitated by the fact the icons were endowed with the status of a medium for preserving church historical legacy. Thus, any violation of the canon was imbued with a danger of its distortion, or in other words - a lapse into heresy, which was severely punished.
The church prohibited an artist from resorting to his imagination in his icon art. Similarly, he could not fall back on a live model. This would have signified a complete and conscious alienation from the prototype. "Icons should be painted in letter and spirit, not in conjecture and whims," insisted the eocumenical council decisions.
Despite the severity of traditional forms, an icon is endowed with tremendous impact in expressing spiritual life. The icon master wielded great power when depicting the glance of the Saint, the expression of his eyes - the essential spiritual reflection of man's face.
Doctor of Theology Archbishop Sergius Spassky wrote:
"Where there are holy icons, the evil designs of mankind's enemy - the evil spirit - lose much of their power. This is why the evil forces are always attempting to destroy them. If holy icons help Christians in their struggle with the visible enemies, all the more invaluable is their help in fighting the invisible enemies; we know that with the help of holy icons evil spirits were successfully driven out of people possessed by them."
"Be gone, you jealous Devil!" said the Holy St.John of Damascene. "You are envious of our ability to see the image of our Maker and thus receive His blessing; you are jealous because we see His salutary sufferings, marvel at His perfection and gaze upon His wondrous miracles, perceiving and singing praises to His Heavenly powers. You cringe in envy at the great honor the Saints are endowed with by God; you do not want us to look upon depictions of their glory lest we are driven to emulate their Faith and courage of spirit. You hate the corporal and spiritual benefit that we derive from our Faith. Yet, we do not listen to you, man-hating Demon."
ICON OF THE MOTHER OF GOD OF KAZAN
The Icon of the Mother of God of Kazan is one of the most revered and glorified Russian icons. It played a tremendous role throughout the entire history of our state.
The name of the icon - Mother of God of Kazan - indicates that it was acquired in the town of Kazan, in the Volga region. The story of how exactly this came to be, was narrated in one of his sermons by the well-known and much-loved by Orthodox people contemporary elder, the Spiritual Father of Patriarch of Moscow  and All Russia Alexi II, Archimandrite Cyril. This is what he said, in part:
"In the second half of the 16th century a vast part of the territory of the Kazan Tatars was integrated into Russia. Simultaneously, the Christian faith began to take root here... However, if initially the preaching of the Gospel enjoyed success, after a while, due to lack of good preachers, strong both in spirit and letter, the spreading of the Christian faith in the Kazan region started to wane noticeably. Besides, in 1579 Kazan suffered from a devastating fire. This circumstance was made use of by the local Mohammedans to launch an attack against the Christians. The Mohammedans vowed that the fire was a sign of the Lord's anger, vent on the advocates of the Christian faith.
So, to strengthen faith in those assailed by doubts and to give comfort and solace to the Orthodox Christians, the Lord demonstrated to them His benevolence...
Not far from the place where the fire began there was the house of one of the streltsi guards. This dwelling was also demolished in the flames. The daughter of this man, the 9-year-old Matrona, had a vision of the Mother of God, who told her that concealed in the ground under the debris of their burnt-down house was an icon. She instructed the girl to tell the local Archbishop of this.
The girl narrated her wondrous dream to her mother, but she didn't believe her. And then the vision of the Mother of God visited the girl again, and repeated all She had said before. Once again, the mother paid no heed to her offspring's words.
Finally, the vision manifested itself a third time.
The girl saw the icon of the Mother of God, with fiery rays emanating from it. At the same time a formidable voice was heard, saying: "If you do not convey My words, I shall appear elsewhere, while you shall perish."
Upon awakening from this awesome vision, Matrona began loudly calling her mother, begging her to go and speak to the Archbishop. This time, convinced by her daughter's genuine fear, the mother did as the girl asked. Together they went to the Waywodes and the Archbishop Jeremiah. However, none of the men gave credit to their words. So then the mother began digging the ground in the place the Mother of God had indicated. Many other people soon joined her. However, all their efforts were in vain. Then the girl Matrona herself picked up the spade. The moment she started digging the ground, she unearthed the precious image, radiating with a wondrous light. News of this miracle swiftly made the rounds of the town, and all the residents gathered to take a look at the icon. People could not contain tears of emotion. They began fervently praying to the Holy Virgin: "Save us, Our Holy Mother!"
From the very moment of its emergence, the icon began to demonstrate its miraculous powers. As it was transferred to the town Cathedral, a man by the name of Joseph, who had been blind for three years - was cured. Already inside the Cathedral yet another blind man - Nikita - likewise, reacquired vision. From then on the icon began to effuse miraculous currents, and proving particularly efficacious in treating people with eye disorders.
Some time later an exact copy of the icon was made, and together with a description of the history of its acquisition and its miraculous deeds, sent to Moscow, to Czar Ivan the Terrible. Upon receiving this gift, the Czar ordered that a Church to the Holy Virgin be built in Kazan, and a Convent founded. For this purpose he set aside an impressive sum from his royal coffers. The first Mother Superior of the convent was the same Matrona, through whom the people had acquired the icon of the Holy Mother of God of Kazan.
The first service before the icon of the Mother of God of Kazan was conducted in a church where the future Moscow Saint, Patriarch Hermogen served as clergyman at the time. A direct participant and witness of the acquisition of the holy relic, in 1594 he wrote a narrative under the title "Tale of the miracles and wondrous appearance of the image of the Holy Mother of God in Kazan". This narrative describes numerous instances when people were cured after praying before the holy icon.
Patriarch Hermogen is also author of a church service in honor of this holy relic.
Up until 1612 the icon of the Mother of God of Kazan was locally venerated. However, the year 1612 marked the beginning of its nationwide veneration, during our Homeland's struggle against the invasion of the Poles. At the time, through Her icon image, the Holy Mother of God interceded on Russia's behalf and saved it from annihilation.
From Kazan a special copy of the icon of the Mother of God was sent to the troops under the command of Prince Dmitry Pozharsky. Once the warriors received the miracle-working relic, with the help of the Holy Virgin they fearlessly took on the Poles, reclaimed the Moscow Novodevichy Convent the enemy had seized back from them, released the prisoners, and from then on victory attended all their battles with the Polish invaders. Alas, Patriarch Hermogen fell victim to this struggle. The Poles who had seized him prisoner starved him to death for his refusal to collaborate.
At the end of October of 1612 the Poles fled from Moscow in panic, with Prince Dmitry Pozharsky and his armies in hot pursuit. On the very first Sunday after this victory there was a festive procession of the cross to Lobnoye site on Red square. The warriors' gonfalons and the miracle-working icon of the Mother of God of Kazan soared above the jubilant crowds.
While emerging from the Kremlin towards Prince Dmitry Pozharsky and his army was another cross-bearing procession, where the Archbishop Arseni carried the principal Moscow holy relic - the icon of the Mother of God of Vladimir, which he managed to safeguard even while imprisoned by the Poles.
The Orthodox Host welcomed its holies with reverence and rejoicing...
The icons of the Mother of God of Kazan and the Mother of God of Vladimir were solemnly accompanied to the Assumption Cathedral of the Moscow Kremlin, where a grateful service to the Savior and His Most Pure and Holy Mother was conducted.
Since then on October 22nd old style (November 4th new style) all Orthodox Russia marks the memory of the icon of the Mother of God of Kazan.
During the war against the Swedes, before the famous battle of Poltava in 1709, Czar Peter the Great and his army prayed before the icon of the Mother of God of Kazan, and in 1721 he had a copy of it brought from Moscow to the newly-built St.Petersburg.
In 1811 the icon of the Mother of God of Kazan was placed in the specially built and consecrated for the purpose Kazan Cathedral. Soon, in 1812, the great Russian army commander Mikhail Kutuzov came to pray before the miracle-working icon for a speedy victory over the French invaders, led by Napoleon. The first significant victory was scored by Russian troops on the day commemorating the icon - October 22nd old style. Afterwards, the Russians pursued the French invaders all the way to Paris, which they entered in a triumphant march of victory.
In the other terrible war - the Great Patriotic war our country fought against Hitler's fascist invaders in 1941-1945 - the Holy Virgin helped us through its icon of the Mother of God of Kazan. This is what our contemporary, one of the most revered in Russia clergymen Archpriest Vasily Shvetz writes in his notes:
"When the great Patriotic War began, Patriarch of Antioch Alexander III addressed all Christians of the world with a plea for material and spiritual help for Russia. At the time our country could boast a precious few true friends. Though, there were also great zealots of devout prayer like Seraphim of Vyritsa, who stood on a stone for a thousand days and nights praying for the salvation of the country and our people. However, at God's will one of the country's few friends, Metropolitan Elias of the Lebanon hills, from the Antioch Patriarchate, was chosen to administer the Lord's intent regarding the destinies of Russia. The Metropolitan realized full well just what Russia meant for the world, and always prayed for our country's salvation and the spiritual enlightenment of our people.
Metropolitan Elias went down underground, where no sounds could penetrate the stone walls, the place bare with the exception of the icon of the Mother of God, and willfully shut himself up there. He accepted neither food nor drink, did not sleep, and remained standing on his knees praying to the icon of the Mother of God, lit by a lamp. Every morning the Metropolitan was brought news from the front regarding the number of casualties and how far the Nazis had advanced. After three days and nights of vigil, the Holy Virgin Herself appeared before the Metropolitan in a pillar of fire, and announced to him he'd been chosen to make known the Lord's instructions for our country and its people. If everything contained in the instructions was carried out to the letter, the country would not perish.
The Mother of God announced that all monasteries, churches, seminaries and theological academies should be opened throughout the country. Clergymen should be summoned back from the front and the prisons, and begin church services. "Right now there are plans in action regarding the surrender of Leningrad," said the Holy Virgin. "It must not be surrendered! Let them take out my Kazan Icon and carry it in a cross bearing procession around the city, then the enemy shall never set foot on its holy ground. This city is a chosen one.
A church service before the Kazan icon must be conducted in Moscow, too. And then it should be in Stalingrad, which should not be surrendered at any cost. The Kazan icon should accompany the troops right to the country's borders."
Metropolitan Elias made contact with representatives of the Russian Orthodox Church, the secular government of the country, and passed on to them the Lord's decree. The archives still contain the various telegrams and letters that Metropolitan Elias sent to Moscow.
Joseph Stalin summoned head of the local Patriarchate Metropolitan Sergius Stragorodsky and Metropolitan of Leningrad Alexi Simansky and promised them that everything Metropolitan Elias of the Lebanon Hills had conveyed would be fulfilled. Stalin could see no other way of saving the situation. Everything happened just as it was predicted."
The icon of the Mother of God of Kazan was taken in a cross bearing procession around the city of Leningrad, and the enemy never did seize it, despite the long siege.
Moscow was saved similarly. And this was a miracle, for the Germans were within 30 kilometers from the Kremlin. The defeat of Hitler's army on the outskirts of Moscow became the beginning of their end.
Afterwards the Kazan icon of the Mother of God was taken to Stalingrad, where people constantly prayed before it, remembering the fallen. The icon stood among our forces on the right bank of the Volga, and the fascists couldn't cross the river no matter how hard they tried.
The famous Battle of Stalingrad began with prayers before the icon of the Kazan Mother of God, and only after these prayers was a signal given to our forces to launch an offensive. The icon was brought to the most difficult sections of the frontline, where the situation was critical, and where an offensive was being planned. The soldiers were with holy water, and they responded with sincere joy!
In his notes, the already mentioned Archpriest Vasily Shvetz narrates a story he heard from one officer-veteran of the Great Patriotic war, who fought on the approaches to Koenigsberg. The following events amazed him:
This happened during the storming of Koenigsberg in 1944... Our troops were totally exhausted, while the Germans, on the other hand, were still a force to be reckoned with. We were suffering huge losses and a terrible defeat seemed imminent... Suddenly we saw the Commander of the front arrive, accompanied by clergymen carrying an icon. This was the icon of the Mother of God of Kazan. The clergymen said prayers and headed with the icon strait for the frontline. We watched them bewildered: there they were, walking tall, fearless of being shot! In the meantime, a barrage of fire was coming from the German side... Yet, the clergymen calmly walked towards the fire.
Suddenly, the firing from the German side ceased, as if cut short. Then our command gave the signal to begin the storming of Koenigsberg from land and from sea.
The Germans surrendered by the thousands... Afterwards, the prisoners said that right before our assault "the Madonna appeared in the sky" - that is how they referred to the Mother of God. It was visible to the entire German Army, and absolutely everyone's weapons failed - they could not fire a single shot."
In 1947 Stalin made good on his promise and invited Metropolitan Elias of the Lebanon Hills to Russia. He was accorded a gracious welcome. Profoundly moved, the latter said:
"It gives me great pleasure to witness the revival of the Orthodox Faith on the territory of Holy Russ, and see that the Lord and the Mother of God haven't forsaken your country, but rather the opposite - have displayed particular benevolence towards it."
The Metropolitan was sent off with precious gifts: a copy of the icon of the Mother of God of Kazan, a cross and a small chest icon of the Mother of God, encased in precious stones from all regions of our country. Thus, the entire country contributed to a gift made by the most skilled of jewelers.
One can endlessly continue narrating the various miracles that have occurred and are still occurring upon prayers to the icon of the Mother of God of Kazan.
THE MOSCOW ICON-PAINTING WORKSHOP
At the present time there are quite a lot of icon-painting workshops, since there is a growing demand for icons for the resurrected and newly-built churches and monasteries in Russia. We will tell you about one of the best-known icon-painting workshops in this country, whose icons are in particular demand.
In 1994, at the end of his tenure as the British Ambassador to Russia, Sir Brian Fall visited the icon workshops in the town of Zelenograd outside Moscow. This was a recently set up, yet already well-known school under patronage of the Moscow icon-painting workshop, a member of the Orthodox Brotherhood in the name of the Holy Andrei Rubliov. The Ambassador commissioned from the young icon-painters several icons for the Queen of England. This was one of numerous  instances of acknowledgement received by the relatively young icon-painting workshop.
The Moscow icon-painting workshop is housed in a two-storey wooden building with a small chapel alongside it.
"The Moscow icon-painting workshop was set up in 1991 in Zelenograd," says Igor Drozhdin, its General Director. "To begin with it focused exclusively on exhibition work. Then, an icon-painting studio-school was established. Afterwards, we were able to gradually accumulate the strength required to take on serious icon commissions - such as painting iconostases."
Excuse me, but at this point I would like to explain what an iconostasis is, since this is an exclusively Russian phenomenon. The word 'iconostasis' derives from the word 'icon', and the Greek 'stasis', meaning standing place. It is a screen with icons and carved doors in an Orthodox church, separating the sanctuary from the nave. The classic Russian iconostasis as we know it emerged at the end of the 15th - early 16th century. It consists of 5 tiers of icons and is a figurative depiction of the Heavenly Kingdom.
"When the workshop was only being established we spent a lot of time searching for the right kind of people for it," the Moscow icon-painting workshop General Director Igor Drozhdin goes onto day. "The Lord, however, brought them to our  door, so to say, from all corners of Russia. These were all very different artists, who had felt a love for icon-painting. The workshop financed their training for the icon art.
Later it was decided to set up a studio-school, where the Moscow icon-painting workshop would prepare icon-artists to meet their own specific requirements.
We admit only people who undergone churching or at least those intending to do so. This is the basic criterion. Of course, it is advisable that they know how to draw. As a rule the people who come to us are professional artists, some with honorary titles. Yet, experience shows this isn't really obligatory. In fact, more often than not it becomes an impediment. Sometimes, we accept people who can not draw at all, yet they display remarkable skill at mastering the icon-painting art. So the first and basic condition for admission to our workshop is a firm belief in God. After all, icon-painting is a form of preaching Christianity, the Profession of the Orthodox Faith. If there is no Faith, there is nothing whatsoever to talk about. A non-believer can create but an imitation of an icon, yet not the icon proper. As for painting icons for profit - this is a sure way of bringing on serious, drastic consequences for oneself. Better seek a different occupation."
Igor Drozhdin believes an icon-painter shouldn't paint anything else but icons. He must dedicate his talent to God alone. However, if he attempts to paint something otherwise than icons, he will never succeed as a true icon artist. The talent of an icon-painter comes from the Lord and should serve the Lord only.
"Our principal activity," Igor Drozhdin says, "is painting iconostases for Russian Orthodox Churches. We have painted iconostases for diverse eparchies - Vladimir, Moscow, others. We spent a particularly long time - seven and a half  years - working in the Novgorod eparchy, in the North-west of the country. We painted several large iconostases for ancient Russian monasteries, such as the Yuriev Monastery, founded almost a thousand years ago, soon after Christianity was introduced in Ancient Russia."
At the very beginning of their activity the artists of Moscow's icon-painting studio-school painted an iconostasis, gratuitously, for one of Moscow's oldest churches - honoring St.Nicholas the Miracle Maker. This is what Igor Drozhdin says about it:
"In 1996, many icons of the iconostasis began to exude oil of myrrh. Actually, we are living through such a period right now when this is occurring to thousands of icons. They not only exude oil of myrrh, but renew themselves, 'weep', bleed, radiate with a special light - in a word, a great many miracles are occurring from these icons.
This has already happened before in our history, though, perhaps to a lesser degree. As a rule these miracles occurred before every one of the big wars that Russia was drawn into. In this manner the Lord reminded the Russian people of Himself, seeking to imbue them with spiritual fortitude before advancing trials and severe hardships, and summoning them to seek penitence.
It is possible we are, likewise, on the threshold of new hardships. All the more so since this was prophesied by many Russian Saints.
The artists of our workshop, all our brethren - we all hope the Russian people, at least some part of them, will find the strength to repent of their betrayal of God, and their love of 'impiety'?"
Igor Drozhdin recalled the recent apparition of the Holy St.Serafim of Sarov, who pointed to the icon of the Mother of God of Chenstokhov summoning people to  pray before it for the Salvation of Russia, since this icon is closely linked with our country.
As legend has it, the icon was painted by Holy Evangelist Luke in Jerusalem. Later, in 326, Empress Yelena, who set off on pilgrimage across the Holy Places of Jerusalem, acquired the icon there and brought it with her to Constantinople. Afterwards, in the 13th century, the icon found its way into the hands of Russian Prince Lvov, who brought it from Constantinople to the city of Lvov that he founded, and placed it in his castle. In the 14th century, when South-Western Russia was invaded by Poland, the icon fell into the hands of Polish Prince Vladislav. Still later, the Tatars, who invaded Russian lands, besieged the castle where the icon was kept. Prince Vladislav ordered the icon be brought out of the castle church and placed on the city wall. An arrow, sent by the Tatars, pierced the icon, hitting the image of the Mother of God in the cheek. The wound bled... At the same moment a deleterious gloom came down on the earth, making the Tatars die in great numbers. After the Tatars had been gotten rid of, Prince Vladislav had a vision in his sleep, where a voice told him to move the miraculous image from the castle to Mount Chenstokhov. It was here, on the Mount, that Prince Vladislav founded a monastery, where in 1382 he brought the icon, entrusting it to the care of monks of the Paulinsk order.
In 1430 the monastery was invaded by the 'Gusity' - proponents of the reformation of the Czech church. After looting the monastery, they set their sights on the icon of the Mother of God. They had already carried it outside and placed it on a special platform. Yet, the horses refused to budge. Thus, the icon stayed on at the monastery. In 1813, during Russia's war against Napoleon's forces, when the Chenstokhov fortress was successfully captured by Russian forces, the Father Superior and the monastery brotherhood presented General Saken with a copy of the Chenstokhov icon. Russian Emperor Alexander I had this copy richly framed with precious stones and placed it in the Kazan Cathedral of St.Petersburg. Since that time on March 6th Russia annually marks the day of the Chenstokhov icon of the Mother of God.
Artists of Moscow's icon-painting workshop have a particular love and reverence for the Chenstokhov icon of the Mother of God.
"We have done a lot of work with this image: we made quite a lot of copies from it. Part of them, by the Grace of the Lord, miraculously started to exude oil of myrrh. This greatly strengthened our faith in this icon. We acquired additional confidence that all our efforts to popularize this particular icon were important and didn't go unheeded by the Lord. We witnessed many miracles from the Chenstokhov icon. Here is one example.
Once, visiting the display of paintings at Izmailovo district of Moscow, we saw a beautiful icon of the Mother of God, in excellent condition. On the back of it we read the inscription which said it had been painted in the 18th century in Lvov and was an exact copy of the Chenstokhov icon of the Mother of God.
Upon buying the icon, we decided we'd make a precious porcelain cope for it, but first we'd have the icon slightly restored, since there was a scratch mark, as if made with a nail, on the cheek of the Virgin. After this was done, and the porcelain cope was ready, it turned out the scratch was back where it had been. We had the icon restored again, and after placing it in its casing, sent it off to a large exhibition that was underway in Moscow then, at the Central House of Artists. While the icon was there, the scar reappeared on the cheek of the Mother of God. We began wondering what this meant. After reading up on the history of this icon, we discovered we were not the only ones who vainly attempted to restore it - yet, the scar reappeared every time. Once, the stubborn restoration artists even heard a voice from the icon, instructing them to leave the wound in peace - such was the wish of the Mother of God."
According to Igor Drozhdin, much in the destiny of the Moscow icon-painting workshop was connected with the Icon of the Mother of God of Chenstokhov. Quite by accident it transpired that people who became devoted friends of the workshop, all had the icon of the Mother of God of Chenstokhov in their homes.
As a tribute to this icon, artists of Moscow's icon-painting workshop had an ancient well they discovered nearby sanctified and suspended the holy image of  the Mother of God of Chenstokhov above it.
Artists of the Moscow icon-painting workshop hold in great esteem all canons of the icon art, and abide by them scrupulously. They paint many icons based on ancient subjects. However, new times have brought with them new themes.
"First of all, these are icons of the new Saints: new martyrs, confessors and the prophets. There have appeared icons of Grigory Rasputin, the maligned elder, devoted friend to the family of the last Russian Emperor-martyr Nicholas II. He has not yet been glorified by the church, but undoubtedly will be. His name shall be purged of all the lies and slander that defiled it for years. Among the new icons are also those of the Royal martyrs. There are new icons of the Holy Mother of God, such as the newly emerged one "Stand for Christ to the martyr's Cross!" In this icon the Mother of God is depicted wearing a helmet and mail-armor. A unique image... It has a fascinating history. Once someone took a photograph of the Chenstokhov and Smolensk icons of the Mother of God and when the film was developed, to his amazement the photographer discovered that in these icons the Mother of God was wearing a helmet and mail-armor. Later, icons were painted from these photographs.
There are icons of Russian warrior Yevgeny Rodionov, our contemporary, who died at the hands of Chechen bandits for refusing to take off the holy cross from  his neck and renounce the Orthodox faith. He hasn't yet been glorified by the church, yet, miracles are occurring on his grave, and people are already praying to him as to a Holy Martyr.
Among the new icons there is also one dedicated to famed Russian Admiral Fyodor Ushakov, canonized recently by the Russian Orthodox Church."
Icon-painters carefully cherish the ancient traditions of icon art, and work with due regard for them. Throughout their entire work they are accompanied by prayer. They show similar consideration for the technology of icon art.
"The workshop," Igor Drozhdin says, "uses exclusively God-given natural materials: mineral paints, gelatin, fish glue, etc. We prepare the paints ourselves. We buy diverse minerals from geologists, grind them up into a powder, mix them with egg yolk and wine, and these are the paints we use for painting icons! All this as a counter to contemporary acrylic technology.
Generally speaking, we work in a way similar to Russian icon-painters of old. Andrei Rubliov painted in this way!"
07/21/2005 |