Free Ebook Icon as Communion: The Ideals and Compositional Principles of Icon Painting, by George Kordis
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Icon as Communion: The Ideals and Compositional Principles of Icon Painting, by George Kordis
Free Ebook Icon as Communion: The Ideals and Compositional Principles of Icon Painting, by George Kordis
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Notes and observations on the drawing stage in icon painting. The chief objective was to present the thought underlying the Byzantine artistic system, and how this is expressed in the handling of the face, the human figure, and the composition.
- Sales Rank: #431714 in Books
- Published on: 2011-02-28
- Binding: Paperback
- 110 pages
About the Author
George Kordis is Assistant Professor of Iconography (Theory and Practice) at the University of Athens (Greece). In addition, he teaches the art of icon painting at the Athens School of Art. He is Visiting Professor at the Yale Institute of Sacred Music's summer program; at the University of Art and Design in Cluj Napoca, Romania; at the School of Theology of Bucharest, Romania; and at the Pedagogical University of Odessa, Ukraine.
Most helpful customer reviews
23 of 23 people found the following review helpful.
Wonderful book
By yaya
I highly recommend this book to anyone interested in icons. Unlike other icon painting books this one deals with the compositional layout of the icons instead of how to paint them. Other books, many of which are very good for learning to paint icons, really fall down when it comes to design. You basically have to copy old icons. Not that it's bad to copy (in icon painting it is the accepted way to learn), but at some point icon artists are going to want to mature into designing their own. This book will be a great help for that. It is thoroughly orthodox and yet is able to teach freedom within a traditional framework.
In addition, the drawings that are included are truly exquisite.
16 of 18 people found the following review helpful.
No iconographer should be without this book
By Fr. Photios
This book is very unique. It deals with the drawing and composition of Byzantine icons. There is literally nothing else like it around in English. I thought it was a very valuable technical resource once you chewed through the theory. His painting style isn't much to my tastes, but his approach to drawing and composition are to be emulated. This book should be studied and memorized before anyone even attempts to paint an icon. My teacher (Fr. Patrick Doolan) always told me, "A good drawing equals a good Icon".
Fr. Photios
[...]
5 of 5 people found the following review helpful.
He develops his argument in such a way that one can easily remember the distinguishing aspects of a Byzantine line
By dmlq48
George Kordis, Icon As Communion: The Ideals and Compositional Principles of Icon Painting, translated by Caroline Makropoulos (Brookline: Holy Cross Orthodox Press, 2010). Pp. 102. Paperback $19.95.
This book doesn’t focus on the theology of the icon itself, but rather it focuses on the theology of the line. By connecting the way the line is drawn to Orthodox theology, he is able to distinguish a Byzantine style that sets it a part from other styles of art. What he does is actually quite remarkable. He develops his argument in such a way that one can easily remember the distinguishing aspects of a Byzantine line, yet, at the same time, he’s teaching the reader about key Orthodox theological points. It’s like getting two birds with one stone – the reader learns about God and art at the same time.
Kordis’s thesis is based upon the doctrine of salvation: theosis (deification – or becoming god by grace). Theosis is the participation of humanity in the energies of God, rather than the nature (essence) of God. This participation is a movement by both God and humanity towards each other, and this movement is communion. However, it’s not human nature as a whole that has to move towards God, but rather each individual, who is a specific existence, also known as a “hypostasis.” Here’s where it gets really exciting.
Each line drawn in an icon distinguishes the various forms (garments, facial features, buildings, etc.), thus giving each form a specific "hypostasis." If lines didn’t do this, you’d just have blobs of color. However, each of these lines, each of these hypostases, have to work harmoniously together to give the whole composition meaning. When drawn well, the lines generate movement and energy, which draws the viewer into a relationship with the icon. Kordis also writes that each hypostasis has to be reconciled with the whole composition. This means that it looses its individual autonomy to acquire a common energy and a common point of reference. He says that in this way each line is purified of its passion. If this didn't happen, you'd have a work of Picasso rather than an icon.
Wow! This describes the Christian life perfectly. We, as individuals, are a part of human nature, but human nature doesn’t exist as a thing by itself. Human nature needs a specific mode of existence, such as an individual, i.e., hypostasis. Yet, the process of salvation is to do the will of God. We learn to do this by conforming our individuality to his will, or, in short, we loose our individual autonomy to acquire a common energy. In short, just like the line in an icon that seeks to reconcile itself to be a part of the larger composition, we too seek to reconcile ourselves to God so that we can be a part of the larger composition, which is participation in the energies, or life, of God. When we loose our independence to exist in harmony with God, then we are not static, but rather we exist in a relationship and have communion with God.
This brings us full circle – the icon as communion. Of course Kordis goes on to talk about what sort of lines fit this profile and what lines do not (and why). He also goes on to talk about the overall composition of an icon and how it must have balance. Because the Prosopon School of Iconology (in New York City) has a large influence in the Orthodox iconology world (especially in the United States), let me compare Kordis’s argument to them. The Prosopon School develops their theology also in terms of deification. However, their theology centers on color and how color is built up in such a way as to transfigure the individual ("In your light, we shall see light"). What the Prosopon School is to color, Kordis is to line. In short, I believe both schools of thought are complimentary and I’d love to see someone bring them together.
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