2 comments about Ponder These Things: Praying with Icons of the Virgin.

1. Rowan Williams, the Archbishop of Canterbury, has written a series of meditations on three icons, specifically on three forms of icons of the Blessed Virgin Mary with the Christ Child. The first is the Hodegetria, Mary who shows us the way. Mary and Christ in this icon manifest their unique identities in a relationship: she is one who engages us in order to point us to Christ the way that leads to life, he is one who looks with love on humanity. The second icon is the Eleousa, the tender loving Madonna, named for the obvious affection of the Virgin for her child. But Rowan focuses here more on the love with which the God-man embraces his mother and through her the whole human race, passionately leaping over the boundaries that would seem to separate humanity from divinity. The third icon is the Orans, where Mary is the sign of the Church at prayer containing within herself/itself the God-man as the source of that prayer, remarkable in his hiddenness in the Church, in society, and in our own lives. The archbishop concludes with a reflection on the legend of Mary being raised in the temple and working on the sanctuary veil. The veil is the symbol of that which separates God and humanity, a symbol rent in two at the death of Christ. These few words, however, only point in the general direction of Rowan's deeper reflections, and the book deserves rereading and further meditation. Bishop Kallistos Ware writes an appreciative introduction. Protestant, Orthodox and Catholic alike may benefit from and appreciate this work.



2. `Ponder These Things: Praying with Icons of the Virgin' is the latest book by Rowan Williams, recently appointment to be Archbishop of Canterbury after a distinguished career as an academic and cleric in the Church of England (Anglican Church). Williams has a great affinity for the wider breadth of Christian experience, drawing influences and inspiration from Protestant, Catholic and Orthodox practices across the centuries. In this book, which is introduced by Bishop Kalistos Ware, a prominent Orthodox theologian, Williams explores ways in which meditation and prayer can be strengthened and enhanced with incorporation of iconographic images.

   Protestants particularly have lost the tradition of the use of art work as representative objects for worship. However, the debate over the appropriateness of icons and other imagery is almost as old as Christianity itself. That Jesus could be depicted without violation of the `no graven images' commandment took a long time to be decided, and finally was deemed permissible because of Jesus' human nature. Rare the depiction of God or God the Father as anything more than a cloud, a hand, or some other vague symbol meant to characterise, more than anything else, the mystery involved rather than an actual physical likeness. Michaelangelo's depictions on the Sistine Chapel ceiling are remarkable not simply from their aesthetic quality, but also in that the image of God is very direct and distinctly human in form.

   However, icons are a special form of art. They are not simple paintings, however elegant, as Ware points out in his introduction.

   `The icon is not simply a work of art on the same level as any other work of art. On the contrary, the icon exists within a specific context; and, if divorced from that context, it ceases to be truly itself. The icon is part of an act of worship; its context is invocation and doxology. The art of the icon is a liturgical art. In the tradition of the Orthodox church, the icon is not merely a piece of decoration or a visual aid. We do more than just look at icons or talk about them; we pray with them.'

   Williams draws his work from an event in his own ministry back in Britain.
   `These meditations are really about how we are led by faith both to live in the world, fully flesh and blood in it, and at the same time to be aware of the utter strangeness of God that waits in the heart of what is familiar - as if the world were always on the edge of some total revolution, pregnant with a different kind of life, and we were always trying to catch the blinding momentary light of its changing.'

   Using three traditional icons and one modern piece, Williams draws us into a method of contemplation and consideration with the icons. The Hodegetria, the Eleousa, and the Orans traditional icons show depictions of the Virgin Mary in very traditional ways; one who is faithful, who is loving, who is sign and a direction of the way we are to go. Traditionally the Virgin Mary is the first human being to have faith in Jesus, faith in his mission and faith in God's direction of that purpose. The Magnificat is a verbal depiction of this kind of faith; icons are the visual depiction. As the scriptural text talks about Mary `pondering these things in heart', so to are we called, when praying with the icons, to exhibit that kind of faith and loving nature, sureness of God's call and direction to us, whatever it may bring.

   The modern piece is not what one would consider an icon in the regular sense. Using a modern art scarlet and purple fabric study by Leigh Hurlock, Williams explores a legend of Mary, the story of her weaving the sanctuary veil, a curtain that separated the Holy of Holies from the eyes and physical presence of those who came into the Temple. In a sense, Mary's being provided the substance to weave both the veil and the way to see past the veil to holiness through Jesus.

   Purple is the colour of royalty; scarlet is the colour of martyrdom, or the cross. The colours are significant, as are the images, in making the completeness of the experience as an iconographic piece.

   This is a small book. It has a mere 75 pages or so of text, and thus could be read fairly quickly. However, to do so would be to deny oneself the richness of the experience. One can glance at an icon, generally a fairly small object, and think one has seen it. However, the true experience of an icon, and the true experience of this book, comes from re-reading, stopping, meditating, and slowly working through each detail. The book is generously illustrated in word and graphic art. Each of the icons is presented in full colour, with details highlighted in larger size at appropriate points in the text.

   Through all the meditations, we are looking for God, and hopefully come to realise that God also looks for us.

   `We find the God who has taken up residence in the heart of our humanity, who prays when we are not looking, not trying, who is at work when we are silent or helpless, and who can never be pinned down to a here or there in our individual lives or in the Church at large.'

   Ponder these things...

1 comments about Medieval Images of Saint Bernard of Clairvaux (Cistercian Studies Series).

1. The book beautifully reveals Bernard. I would suggest there is no better book, i have painfully read several, on Bernard. I have accumulated much knowledge about the saint and enjoyed it. Splendid book. I loved it. Very little resolution in graphics. I wonder why. Notwithstanding, I still use images on desktop.

No comments about Art and the Augustinian Order in Early Renaissance Italy (Church, Faith and Culture in the Medieval West).

No comments about Sacred: Exhibition Catalogue.

3 comments about A Treasury of Anglican Art.

1. This book is a must for every Episcopalian and would make a wonderful Christmas present (especially for your favorite Episcopal priests!) The Anglican Communion is the largest world wide body of Christians after the Roman Catholic Church -- but is not nearly as well known in the United States . The unfortunate media coverage which our beloved church has received recently makes it seem like a loony liberal cult rather than the heir of a magnificent Christian trqadition.The beautiful photographed pictures and well written descriptions of art and architecture throughout the Anglican world is sorely needed during this time of uncertainty and division between traditionalists and revisionists within our church. Just viewing these beautiful pages is just the right prescription for all Anglicans to remind us of what is truly lasting and essential, and puts the right perspective on the petty and self serving transitory "issues" which so preoccupy so many of the American Church hierarchy. Get this book today -- you will be glad you did!



2. The volume is a good introduction to a neglected aspect of religious art. The range is good although there are some notable omissions. The contribution of many of the womens' religious communities could have had a little more coverage as many were famous for their artwork as well as their contributions to the Gothic Revival and Arts and Crafts movements. There are a few technical problems with the book in that at least 17 of the illustrations are reproduced in reverse i.e. in mirror image. The western rose window of the Cathedral of St. John the Divine on pg. 24 is upside down. The frontispiece illustration is incorrectly identified as by Raphael, it is one of the Barbarini tapestries illustrating the life of Christ, the illustration on pg. 68 is not from the Litlyington missal (it looks like a 13th text on Gregory the Great?), the caption on pg. 157 'monastic' should read 'canonical' as York Minster was never a monastic cathedral, it was served by secular canons.



3. Most people are familiar with the sacred art of the Catholic Church - but few realize that the Anglican Communion has made a significent contribution as well - particulary in the 19th century when Sacred art elsewhere as stagnent or waning. From the stain glass of Tiffany to the sculpture of August Saint-Guadens, Anglican Churches, particular those in America, set the standard. But this book also covers much more - the from ancient English cathedrals to small chapels in the Caribbean there is suprise on every page. It is especailly refreshing to see so many contemporar works that are carrying on this tradition and at the same time, paving new ground. my only "problem" with this book is it did not contain Fred. Hart's beautiful carvings at the National Cathedral in Washington -no only one of the great works of Sacred art in recent years, but probably one of the most overlooks masterworks of the 20th century

5 comments about The First Mormon Temple: Design, Construction, and Historic Context of the Kirtland Temple.

1. Robison's insights into the the progression of the construction of the Kirtland temple are priceless windows into the most significant landmark in the timeline of mormon architecture. This is a great coffee table book for historic preservation buffs and mormoms alike that won't be put down!



2. Robison's insights into the the progression of the construction of the Kirtland temple are priceless windows into the most significant landmark in the timeline of mormon architecture. This is a great coffee table book for historic preservation buffs and mormoms alike that won't be put down!



3. Robison's insights into the the progression of the construction of the Kirtland temple are priceless windows into the most significant landmark in the timeline of mormon architecture. This is a great coffee table book for historic preservation buffs and mormoms alike that won't be put down!



4. Robison's insights into the the progression of the construction of the Kirtland temple are priceless windows into the most significant landmark in the timeline of mormon architecture. This is a great coffee table book for historic preservation buffs and mormoms alike that won't be put down!



5. Robison's insights into the the progression of the construction of the Kirtland temple are priceless windows into the most significant landmark in the timeline of mormon architecture. This is a great coffee table book for historic preservation buffs and mormoms alike that won't be put down!

No comments about An Icon Painter's Notebook: The Bolshakov Edition.

1 comments about Source, The.

1. Very useful. A time-saver and a good starting point in worship planning. A "must have" for a contemporary service planner.

2 comments about Mexican Churches.

1. This is a book of photographs of the interiors of Churches in Mexico, and their shrines and alters, and saints which adorn them.
   
   Porter's photographs capture a religious grace which is direct, simple, beautiful, and moving. Seeing these pictures gives an outsider into a window on a world in which life may be difficult, but heart and faith are celebrated and strong.



2. Contiene una amplia colección de fotografías que muestran la gran variedad y riqueza arquitectónica de las iglesias de México, algunas de las cuales son poco conocidas, y que en cierta medida deben su esplendor al sincretismo cultural hispano-indígena. Las fotografías fueron tomadas alrededor de 1956, por el excelente fotógrafo, sobre todo de paisajes, Eliot Porter (quién abandonó la fotografía por la medicina).

   It contains a large colection of photos that shows the great variety and arquitectonic richness of Mexican churches, some of them are not well know, and their splendor is in certain way product of the cultural hispano-indian sincretism. The photos were taken around 1956 by the excelent photographer, landscape specialist, Eliot Porter (who quit medicine for photography).

No comments about Illustrated Guidebook to Locales Connected with the Life of Zanabazar: First Bogd Gegeen Of Mongolia.