Drawing of another icon I am working on, this time of the Virgin of Tenderness (Eleusa).
And before anyone starts yelling that such an icon is heretical, such icons are allowed in the Catholic Church. Moreover, neither does the Orthodox Church forbid them, although many think they do.
If you have any questions about this, or an issue with the ‘issue’ itself, read more about it here.
Here are the top 10 posts and pages for 2014:
- Envy – Some Characteristics and Presentations
- Discerning Dreams, Revelations and Visions
- Purification, Illumination, Deification
- On Foreclosure of the Name of the Father – 1
- Purification, Illumination, and Deification – 2 – Characteristics
- What is Deification?
- The Icon of Our Lady of Longmeadow
- Lacan’s “Nom du Pere” Refers to the Name of God the Father
- What is True Love?
The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.
Here’s an excerpt:
The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 8,700 times in 2014. If it were a concert at Sydney Opera House, it would take about 3 sold-out performances for that many people to see it.
“In mystical experience, the soul is raised up from the visible realm to where visibility itself vanishes and the field of the invisible opens: such is the Dionysian sundering of the bonds of the visible. And after soaring up into the invisible, the soul descends again into the visible – and then and there, before its very eyes, are those real appearances of things: ideas” – P. Florensky (1996), Iconostasis, p. 45.
“At the crossing of the boundary into the upper world, the soul sheds – like outworn clothes – the images of our everyday emptiness, the psychic effluvia that cannot find a place above, those elements of our being that are not spiritually grounded. At the point of descent and re-entry, on the other hand, the images are experiences of mystical life crystallized out on the boundary of two worlds” – P. Florensky (1996), Iconostasis, pp. 44-45.
“In creating a work of art, the psyche or soul of the artist ascends from the earthly realm into the heavenly; there, free of all images, the soul is fed in contemplation by the essences of the highest realm, knowing the permanent noumena of things; then, satiated with this knowing, it descends again to the earthly realm. And precisely at the boundary between the two worlds, the soul’s spiritual knowledge assumes the shape of symbolic imagery: and it is these images that make permanent the work of art” – P. Florensky (1996), Iconostasis, p. 44.
As a small gift for Christmas, from today, Monday, 22nd December, 2014 through Friday, 26th December, 2014, you can obtain a FREE copy of the Kindle edition of my book The Divine Heart of God the Father, 2nd ed.,from any Amazon site (US, UK, CA, EU, Japan, India, Australia, Brazil, Mexico, etc.). To get your Kindle copy of the book from Amazon.com, please click on the above embedded link. Happy reading and enjoy!
Iconography of the Theotokos has a private significance for each human being because it symbolizes his materiality, physicality, and the relation of this matter to the spirit within the person. Through icons of the Theotokos we can observe sublimation and exhalation of this relationship between matter and spirit. In the pagan world, the conflict of this dualism was the most important problem. Through icons we can see that this relationship should manifest like the relationship between mother and son, so that the perfection of the human being is fulfilled – Vladislav Andrejev.
The mystery of the divine image in man is given to him through the teaching of icons – Vladislav Andrejev.
God adorns Himself in magnificence and clothes Himself with beauty. Man stands amazed and contemplates the glory whose light causes a hymn of praise to burst forth from the heart of every creature. The Testamentum Domini gives us the following prayer:
Let them be filled with the Holy Spirit . . . so they can sing a doxology and give you praise and glory forever.
An icon is the same kind of doxology but in a different form. It radiates joy and sings the glory of God in its own way. True beauty does not need proof. The icon does not prove anything; it simply lets true beauty shine forth. In itself, the icon is shining proof of God’s existence, according to a kalokagathic argument – Paul Evdokimov, The Art of the Icon: A Theology of Beauty.