On Iconography


Samples of Icons by a Contemporary Iconographer
Blog of a Contemporary Iconographer


The Cathedral was a place where the illiterate peasants would learn of the Divine not through speech, for Mass was said in Latin, and certainly not through reading, but through the images that surrounded them on all sides. The West overthrew that order in the name of Enlightenment, of course – the power of image was replaced with what was to be rational discourse, where men talked to each other and were not talked to by their surroundings.

In the East, the power of image continues to this day. Perhaps it should be looked at as a corrective for us. After all, we yak and yak and yak. Words are piled on top of words because if we say enough things, we might say something that is true and we will have apprehended Truth in that case. Congress’ constant piling of useless law on top of useless law is an extension of this phenomenon. More speculatively, Western art, with its emphasis on literal representation (or even, in the moderns, “form”) seems also to be an attempt to get at Truth through drawing a lot of lines.

An icon has features we would consider strange: gold skies with stylized features of people and things. Form is always distorted for symbol or style. In two dimensions, no one is depicted as moving in a way we would consider real. An icon is depicting sacred space – stories of the saints and the Bible – and thus is really a “window into the divine” (Louise Cowan’s words).

The image, then, is the Truth. Attempts to “hit at” the truth are not what the icon is about. The icon is always perfect. It offers us the clarity and power of belief, of the knowledge that there is something above us. Our attempts should be not to understand, but to be awed, to observe, and then, finally, to listen.


  1. The white background is a much easier on the eyes with the smaller font size. That’s pretty good, using art to point out how useless congress is, I like it a-lot!

  2. Ashok- really interesting post- I think you are entirely right about the power of the contemplation of images- its one of the reasons that I have fallen in love with film recently. Incidentally I wonder if one of the strands of film history at the moment could be an answer to this or at least a revival of this- if you think of Kubrick say Barry Lyndon or Sokurov’s The Sun you see films which are stripped of dialogue and are basically images in succession. Its the texture not the wording of the film that matters.

  3. I’m digging this post. I used to be in the replication of truth camp, honestly. It’s not a very exciting place.

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