The Icon

According to Jean-Luc Marion, the image as we understand it in our age no longer connects to any reality and need not be understood at the end of the world because we can think of images as always pointing toward something invisible and in fact, the true image, the icon, is Christ and that is represented in Christian art that can reform us. The image disconnects itself from every original. The image itself has authority. As explained by Jean-Luc Marion, there is a symbolic knowledge in the image. He states, “…we have that which we see, but which could never be equal to what we are really aiming at: if we are looking to experience something of the sublime, pleasure, the beautiful, or love, what we aim at in this spectacle does not come down to either what we in fact see or what we are attempted to experience; it is precisely a matter of that which radically exceeds our interiority and which…exceeds it.” Through symbolic knowledge, there is a veiling and unveiling dimension of the image. For one to see, for example love and beauty in an image, it means they see beyond what is there. It is this symbolic way of knowing, in which there is this material dimension that moves you out toward a larger horizon. Further, there is an intentionality through gazing at an image. He states, “I see not the visible face of the other, an object still reducible to an image…but the invisible gaze that wells up through the obscurity of the pupils of the other’s face…The intentionality of love thus exempts itself from the power of the image since my gaze, by definition invisible, claims to cross there another gaze, by definition invisible.” In the gaze, you see a person reaching out to my person and the crossing of gazes leads to an invisibility. Jesus Christ is the key example of this as he is the visible of the invisible Father.

This brings us to the icon. Iconicity is a doctrine that is linked to the role of the visible in all of Christianity. The icon is glorified and adored because of the one who looks to us through the icon. The icon inverts the modern logic of the image, and this allows God to see us through the image. The icon further allows the viewer to see through the image. The purpose of the icon is not to see the own face of Christ, to stop there, but the trace of God to adore oneself. It is not for the aesthete, who delights in seeing beautiful things for their own sake. It is instead to bend the knee and love because of what is seen. In relation to the liturgy, one must give up the desire to see, the desire to be entertained, and what transforms the icon into the icon is the act of veneration of prayer.

There is a theological presence in relation to the icon. According to Evdokimov, the icon is not just an educative teaching about the events of salvation, it is making present that salvation. For example, in one’s home, the icon becomes the very presence of God. The icon is never simply a decoration. It is a presence, a manifestation of a presence that demands from the person who looks at it an act of worship. In the Church, there is an iconostasis, which is an icon stand that provides a place for the icon, creating a guard between what happens on the other side. The icon stand separates you from the act of worship, the sacred space. Andrei Rublev described the icon through the Trinity. In the Trinity, the icon leaves you space to enter, allowing you to approach the altar. Overall, icons take you into that time to participate in the mystery of salvation to make it present among us.

In relation to the icon, altarpieces offer an occasion to contemplate with one’s eyes to see what is offered in the Eucharist and in this seeing to offer oneself in return. Further, altarpieces are connected to the saints, as saints are necessary for a deeper communion. For example, in the Roman Canon, the saints constitute a Deësis. As the canon unfolds, the celebrant mentions the living members of the Church recalling the communion of the Blessed Virgin Mary and the first list of Saints. Williamson explores the Madonna altarpieces as they bring forth Eucharistic meaning. To begin, we examine Jan van Eyck’s Lucca Madonna, as the lactating Virgin is Eucharistic. In this image, Mary feeds the infant child of Jesus. In Jesus’ hand is an apple. This is representative of the second Adam come to redeem humanity away from the first Adam. The Virgin Mary looks with devotional wonder. She is seated upon a throne almost as if she is the Mercy seat in the Old Testament, whereby this Eucharistic sacrifice is taking place. Her body is reminiscent of an altar. Further, the Virgin Mary is decorated in a deep red for the blood of Christ. Additionally in this image, there is water for the purification at hand. The Lucca Madonna is therefore meant to recall the physical presence of Christ, in the manner in which he took up the fullest human condition and further, it recalls the Eucharist.

Williamson further investigates Robert Campin’s The Virgin and Child before a Firescreen. In this image, there is a very prominent opening into the city. This represents a communion between the public world and what is the private world. This image is extremely Eucharistic. The Child is laid out on white cloth, as if it is the corporal at mass. The original image depicted Christ’s genitalia prominently to focus on the reality of the incarnation, the real flesh and blood of it. As per Williamson, “The deliberate exposure of the genitals, invites the contemplation of the site of Christ’s circumcision, reminding the viewer that from Christ’s earliest days, he would, by his own bloodshed, begin the work of human redemption, which is daily renewed in the liturgical sacrifice of the Eucharist.” Further, in the image, the Blessed Virgin Mary’s hand is over her breast, offering it in a Eucharistic manner. There is a chalice made present, and Mary’s body again is like an altar. There is an opened book that appears to be a Missal from the mass. The pages of the book are moving which is a prominent motif linked to the Spirit. This is confirmed by the presence of fire above the Blessed Virgin Mary’s head. Mary again is gazing with wonder upon the presence of her Son. All of this draws a liturgical essence.

Next, the Florentine Frescoes present us with the hermeneutics of an image. Frescoes are key examples of images that are in a place that requires us to be aware of the physicality. According to Reddaway, “The contemporary perspective is revealing of purpose, function, and content, all of which are relevant to understanding the image better. The difference is simply that the interpretation need not to stop there: the ‘meaning’ of the images is not restricted either to their authorial (or patronal) intention, or to their reception by their original audience.” Our goal is to allow the images to reveal themselves to us and further interpretation requires our involvement.

Fra Angelico is known for his frescoes. There are three theories of what is seen through Fra Angelico’s works. There is a theological performance taking place through these works. The first theory is related to figural exegesis. You, the reader, interprets the piece, and by subtle or strange things occurring in the image, you are invited to see beyond what is visible. According to Reddaway, “Didi-Huberman’s thesis is that Angelico is a scholastic, exegetical painter for whom the figure is a sign which need not resemble its referent, place is generative, and dissemblance expresses mystery.” The figure points towards something else. There can be something strange about the image and its strangeness points you to ask further questions. Next, the purpose of the place is for one to see themself in a place and to invite themself in to be a participant. Lastly, something that does not look quite right leads to the mystery. An example of this first theory is the Noli me Tangere. First, you notice a lush garden that is unkempt. If you look more closely, the flowers do not have an exactness. Instead, the flowers are representative of Christ’s blood. There is a space here where one is invited in. This is seen in the garden, but also in the entrance to the tomb. The whiteness of Christ’s robe illuminates the face of the Blessed Virgin Mary. We are then to enter into this garden for contemplation.

In the second theory, the purpose of image is to shape a primordial, Dominican identity. The image is meant to inform the Dominican of the posture they should take in prayer and how they should represent the images in their lives. This is shown in Saint Dominic Adoring the Crucifixion. Saint Dominic kneels in a prayerful posture before Christ in which he contemplates the crucified Lord, as Christ gazes upon him.

Finally, in the third theory, the images on cell walls reveal different kinds of contemplation which change depending on the religious stage of life you are in. Therefore, if you are a novice, you will look upon an image differently than a priest. There is a movement in these images from purification, to illumination where you learn to see, advancing toward perfection.

Lastly, the Ghent Altarpiece depicts the iconic way of seeing. When the Ghent Altarpiece is opened, there are many images to be seen and contemplated. First, there are images of both Adam and Eve. Above the image of Adam and the image of Eve are depictions of the murder of Cain and Abel. Next, there are angelic hosts depicted as they sing music. The Blessed Virgin Mary is clothed as a queen as she reads a book. Jesus is dressed as the eternal high priest. John the Baptist points toward Jesus and also holds a book opened to what he is prophesied for. Through the Ghent Altarpiece, you have this offering of peace, the eternal liturgy, and you are broadened to the Deësis. Overall, the Eucharistic prayer is performed visually as you are brought in between Christ offering this, the Blessed Virgin Mary, and Adam and Eve. If one examines the piece closely, the adoration of the lamb is put into perspective. While the blood is pouring out of the lamb, you can see the vitality of its life. There is a spirit descending upon this with angels dressed for liturgical action. One sees the crowds of virgins, bishops and priests, saints and figures to sing hymns, hermits coming from the desert to give witness, and pilgrims. A fountain is also noticed to link the baptism. There is a link to sacrifice, to the non-violent liturgy of the kingdom of God in which through the violence of the lamb once slain, the communion of all men and women are brought together. Overall, the Ghent Altarpiece works to represent the entirety of the world as people from everywhere come to adore Christ, and we are invited in to reflect upon this.

Beautifully, the Madonna altarpieces, the Florentine frescoes, and the Ghent Altarpiece depict the way in which we are brought to worship through the iconic way of seeing.

Information for this blog provided by:

• Jean-Luc Marion, The Crossing of the Visible, 46–65.
• Paul Evdokimov, The Art of the Icon: A Theology of Beauty, Section IV
• Beth Williamson, “Altarpieces, Liturgy, and Devotion,” 341–406.
• Chloe R. Reddaway, Transformations in Persons and Paint: Visual Theology, Historical Images and the Modern Viewer, 109–156.
• Maurice B. McNamee, SJ, “The Ghent Altarpiece or The Adoration of the Lamb, A Visual Eucharistic Summa,” 87–118.
• Professor Timothy O’Malley, Lectures from January 14th, 2021 and January 15th, 2021.