The icon as a living tradition: Diversity within unity in Russian iconography

The icon tradition is rooted in timeless theological truths, which are summarized in the formula of St Athanasius the Great that God became man so that man, by grace, can become god. These truths have informed not only the use but also the style of Orthodox icons over the centuries. This unity of purpose and inspiration explains why we can so readily distinguish an icon from other types of painting of religious subjects. And yet within this unity there is also great variety of style. The icon tradition is not static, as though the icon painter is restricted to precise copying from a set body of work. The realities and events that icons depict are so profound that no one culture, epoch or individual can express their meaning exhaustively. This is why a central tenant of Orthodox spirituality is that each culture should live and express life in Christ in its own unique way, whilst retaining unity of belief and sacrament with the whole Church. This 4 enculturation is a natural continuation of Pentecost, where the twelve apostles preached the same Gospel but in different languages. At its conversion, for example, Russia adopted from of its parent Byzantine culture the forms of its church architecture, iconography and music. But very soon it adapted what it adopted. Architects transformed the round dome into the onion dome; Russian iconographers began to model their figures less than the Byzantines and instead concentrated on the contrast of flat areas of colour; and Znameny chant grew out of Byzantine chant. In this lecture we will first summarize the theological basis of the icon tradition – what is unchanging, and then consider some of the Russian icon schools, their characteristics and what may have produced their particular forms.