Here we witness Jesus’ special relationship with his mother and the generosity he offers to the wedding couple. Another moving miracle often depicted in icons is the miracle at Cana, where the water turns to wine as it is poured into large jars.
This moment may call to mind various times of fear and anxiety in our lives, as we try to awaken the powers of Jesus dormant inside us. Consider the icon of the tempest on the lake: while Jesus sleeps in the boat, his disciples are pictured as fearful and anxious. Combined with Scripture passages, they can inspire us to contemplate the hidden powers of God. The miracles of Jesus, either of nature or healing, are also presented as dynamic events. The icons depicting the prodigal son and his loving father, for example, express in a gesture of embrace the longing of the two for each other, and of God’s very longing to embrace us as well-perhaps even at that same moment of contemplation. Gazing at icons of these parables can enliven the imagination, helping to flesh out what may be hidden behind the words of Scripture. The Gospel accounts of the parables of Jesus are also filled with colorful and dynamic images. The symbols of the Father and the Spirit are above him, while below he is flanked by the heavenly world of the angels on one side and by his human friends and followers on the other. The traditional icons of the Baptism of Jesus in the River Jordan often show him sanctifying the river as he is immersed in it. (Since Luke emphasizes Mary’s role in the incarnation, he is often described as the first to have painted the icon of Mary-with words, of course, not paint.) Painting the Life of Jesus The icons of the nativity of the Lord reflect moments of excitement, wonder and peace at the birth of the Lord Jesus in Bethlehem, expressed in narrative form in the Gospels of Matthew and Luke. They seek to depict what Luke suggests in his Gospel account of these events, though more is left to the imagination. Likewise the icons that represent the visitation of Mary to Elizabeth depict a holy kiss and a welcoming hug between the two joyful mothers. The icons of the annunciation to Mary by the Angel Gabriel vary in their depiction of the scene, though usually they emphasize the spiritual nature of the visit, with a special emphasis on Mary’s discerning posture. In such icons the emphasis is not so much on Mary’s humility, but rather on her enormity as the mother of God. Clearly the icon painter intends to show her great value before God. One is impressed by how often in the painting (or the writing, as it is called) of these icons, Mary appears larger than Jesus. In both representations Mary symbolizes the altar and the throne upon which and through which Christ is being fully transfigured to our world. Two types of icons are most reflective of Mary’s mystery: in the first, she is depicted holding the grown-up child Jesus in her arms in the second, she gives praise with open arms as the child dwells in that perfect circle of her womb. Though the child may often be asleep in our earthen vessels, he is nevertheless a sign of the peace of the Father dwelling within us. Like a mirror vessel, she reflects a profound mystery: that we too hold God within us and can touch the divine with our hands. Gazing upon her, the viewer is moved by her gestures, especially the movement of her hands and eyes.
Holding the infant Jesus in her arms, she radiates the light of Christ. They rouse the imagination and generate emotions in the viewer.Įspecially noteworthy among all icons are those of the Blessed Mother. The primary power of icons lies in their physicality: they make the presence of the holy tangible. The Christian mysteries reflected in iconography are primarily the Incarnation and the Redemption. Still, as one embarks on this journey of prayer, it is useful to keep in mind a few guiding principles and to reflect on the history of this holy art form. There is a freedom of engagement in the contemplation of art that varies from person to person and with time and place. Christians interested in making use of icons in prayer can imitate Nouwen’s method, but they need not do so. Nouwen recounts the weeks he spent “gazing” at four Russian images and reflecting on select passages from Scripture.
Henri Nouwen provides an enlightening introduction to the practice in his book Praying With Icons. Praying with icons is an intuitive art gained with practice and experience. William Hart McNichols and Robert Lentz, O.F.M., practice the art of modern iconography. The popularity of icons, which are a rich resource for prayer, continues to this day as such artists as the Rev. Icons have been objects of faith, controversy and fascination for centuries.
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