What is an Iconographer?
An iconographer is an artist who creates religious images known as icons, primarily within the Eastern Orthodox, Oriental Orthodox, and Byzantine Catholic traditions. These icons often depict sacred figures, saints, and religious events, and are characterized by their symbolic and spiritual significance. The term is most often associated with Eastern Orthodox Christianity, where iconography plays a critical role in religious practice and devotion. Unlike secular artists, iconographers are not expressing their own creativity, but reenacting a contemplative, prayer tradition, copying existing icons.
The practice is traditionally called “icon writing” rather than “icon painting,” reflecting the belief that icons function as visual theology. An iconographer is literally someone who “writes” images, highlighting the belief that icons serve as a visual scripture. Iconography is both a spiritual practice and a non-competitive artistic discipline. This work is undertaken with prayer, in a contemplative atmosphere.
Origins & Lineage
The first icons were of the Holy Martyrs and their deeds which were painted in their oratories, as indicated by the homilies of St. Basil the Great (d. 379) and St. Gregory of Nyssa (d. 394). Only later, some time during the fifth century, were the icons of Jesus Christ and of the Blessed Mother introduced. By the sixth century Constantinople, the capital of the Byzantine Empire, became a great center of sacred art. It was in Constantinople that a special style of icon-painting was developed which became known as the Byzantine style.
The golden age of Byzantine art and iconography began in the middle of the ninth century and ended with the sack of Constantinople by the Crusaders in 1204. Unfortunately, due to the iconoclasm (violent opposition against the veneration of icons and sacred objects) of the eighth and ninth centuries, almost all primitive icons were destroyed. The resolution of the Iconoclast controversy in 787 at the Second Ecumenical Council established the theological foundation for icon veneration, determining that depicting sacred figures was not only permissible but spiritually vital.
Icons were developed during the long-lived Byzantine Empire (330-1453) and its descendant cultures. The tradition spread throughout Orthodox Christian lands, developing distinct schools in Russia, Greece, Serbia, and other regions, each maintaining the essential theological principles while developing regional aesthetic characteristics.
How It’s Practiced
Iconographers use various techniques like tempera on wood, fresco, and mosaic, maintaining stylistic continuity with historical examples. The most common technique involves egg tempera paint on specially prepared wooden panels covered with gesso. Icons are left unsigned or signed only on the back, as “by the hand of” the artist. These sacred images have been lovingly refined over the centuries, so the iconographer does not attempt to re-invent them, but to copy them faithfully, clearly, and expressively. Originality and “self-expression” are rarely required or appropriate.
The iconographer follows strict conventions: The underlying drawing is geometrically structured and proportioned. Color areas are clearly defined. Figures are elongated, eyes large and shadowed, eyebrows arched, noses long and straight, mouths closed, hands gracefully stylized. The forehead (seat of the intellect) and the collar bone (gateway to the heart) are emphasized. Both eyes and at least one ear must be visible to enable the holy figure to see and hear the viewer.
“The written icon is a symbolic language in its color, geometric symmetry, tilt of the head, position of the fingers, and direction of the gaze. Each icon creator is enlightened by the silent reflection on the saint, the story, symbolism, prayer, and meditative writing/painting techniques.”
Iconographer Today
In recent years, iconography has attracted increased interest and many new practitioners. Contemporary seekers encounter iconography primarily through intensive workshops and retreats, often held at monasteries, retreat centers, or churches. Because at its heart iconography is a spiritual discipline, emphasis is placed on spirituality and embracing the work as a form of prayer. Students are encouraged to prepare for a time of silence and contemplation. In this way painting an icon can be experienced more as a spiritual retreat than a class.
No prior painting or art background is required. Every step is taught with care so that beginners and seasoned artists can experience iconography as a painted prayer. Online retreats are held over Zoom, and are offered year-round. While in-person retreats are a wonderful way to learn and practice iconography in community, the online format has some surprising advantages.
Iconographers today work both within church commissions and as independent practitioners. There is a renewed interest and appreciation of iconography among Byzantine Catholics in the United States. It is an encouraging indication of a return to centuries-old traditions. Professional organizations like the American Association of Iconographers and the British Association of Iconographers support practitioners through education, networking, and exhibitions.
Common Misconceptions
Iconography is not fine art in the secular sense. The icon should not be associated with the secular world of art and aesthetics, but refers to a spiritual dimension and forms part of a concrete, religious practice. Among Orthodox Christians the icon also has a natural function as a private devotional image. Thus icons should not be confused with a painting. It does not act as a window through which we might view the visible world through the eyes of an artist.
Iconography is not about personal creative expression. The iconographers who developed them regarded their work as awesome, like the dogmas of the true Faith, and they worked with humility and piety, on types that had been handed down to them by earlier iconographers, avoiding all inopportune and inappropriate changes. Through long elaboration, these various representations were freed from everything superfluous and inconstant, and attained the greatest and most perfect expression and power. The archetypes were not invented in a moment of individual inspiration. They were purified over centuries.
It is not merely decorative art. An iconographer creates more than just beautiful works of art; they produce theological statements. Each icon is a visual sermon in color and form. Religious adherents use icons as points of focus for prayer and meditation, believing that these images serve as windows to the divine.
How to Begin
Begin by attending an introductory iconography workshop or retreat. Organizations such as the Prosopon School of Iconology, Classical Iconography Institute, and various monasteries offer beginner courses ranging from weekend workshops to week-long intensive retreats. The Prosopon School of Iconology introduces students to the practice and theory of the ancient Christian art of Byzantine icon writing. Apprenticeship in this discipline of the hand, mind, and heart can lead beyond technical competence.
For self-study, foundational texts include “The Icon: Window on the Kingdom” by Michel Quenot, “Sacred Doorways: A Beginner’s Guide to Icons” by Linette Martin, and “The Icon, Images of the Invisible” by Egon Sendler. Books, online resources, museums, all of these will help your painting to become mature as you practice what you see. Reading as much as you can about the history as well as the technique of Icon writing is recommended.
Visit Orthodox churches to observe icons in their liturgical context, and consider beginning a contemplative prayer practice, as the spiritual dimension is inseparable from the technical craft. “What is communicated through the Word is revealed silently through the Image.” In Byzantine Liturgy therefore, Word and Icon complement each other. Each of us is an Icon of God, and through prayer and contemplation, we are able to see our brothers and sisters as God sees them, and then bring this deep sense of God’s view to the process of painting Icons.