An Icon is not just a painting with a religious meaning but rather a sacred image, which ascends to the Archetype; it is a window into a different, spiritual world.
The technique of writing an icon (icons are “written” not painted)
originated from ancient times and must follow strict guidelines and
requirements referred to as cannons. Along with writing the icon there are
preparatory stages such as preparation of the wooden board, paints, the
techniques of writing the icon and the fact that the icon must be similar if
not identical to the icon samples from which one creates a new image
Traditionally, icons are written on a well-dried wooden board, which is
prepared using a special method. First, several layers of glue are applied on
the board, and then the canvas is glued on top of the board. The most common
type of canvas attached is made out of linen cloth and serves as a joining
agent between the gesso and the surface.
The next step is the application of the gesso. Gesso is a white paint
mixture consisting of a binder mixed with chalk, glue, and oil varnish.
Sometimes instead of the oil, varnish honey is added. The gesso is applied
which about 5-6 layers. It is important to have the surface fully dried after
the application of each additional layer. Afterwards the surface needs to be
polished and the areas where the gold leaf is to be applied must be extra
smooth.
Once the board is ready, the drawing can be outlined on it. In most cases,
iconographers use thin paper on which the image is already depicted to trace it
unto the board. The more experienced iconographers will paint directly on the
gesso.
After the image has been drawn on the wooden board, the gold leaf is
applied unto the icon which by now is covered with either water or oil varnish.
This step requires diligence and attention to detail. Usually the gold leaf is
applied to the halo and the background of the icon.
Icons are not written with standard paints and iconographers must prepare
the paints themselves. The paints consist of pigments - well ground minerals
and a binding agent in the form of egg yolk. This mixture is combined with a
liquid mixture using a 1:4 ration. The liquid mixture is usually beer of water
with vinegar. The result must resemble a more liquid form of sour cream.
The colors are applied with a thin layer as the space on the icon must
be able to “breathe”. Both large and small round paintbrushes are used in the
process. Because every color has is significant in its symbolic meaning it is
important for the colors to be clear and easy to identify.
The first aspects of the icon that are written includes clothing,
buildings and background architecture as well as landscapes and everything
else with the exception of the faces, hands and feet on the image. The
technique requires a gradual brightening of the image, usually in about three
steps. Each crease on the clothing of saints as well as the brightened colors
imply transfiguration and immateriality of the fabric. The clothing symbolizes
the good deeds of the saints and the return to God’s grace from sin.
The next step involves writing the faces, hands and feet on the image
and is similar to the previous step but will require more layers and time. Finally,
the image need to be drawn-through with cinnabar (red paint) and whitened to improve
the sharpness and clarity of the image.
Assist is applied towards the end of the icon painting process. Assist
is a thin golden drawing that is found on the clothing of Christ, Mother of
God, and some of the saints, which signifies the Divinity in their essence.
Inscriptions and outlines are also very important in the creation of
the icon. These two aspects are the final pieces to the puzzle. Only after the
inscription is added to the image can it be referred to as an icon.
Then the icon need to be covered with oil varnish and polish. It is a
very important step in the process and the icon needs to have fully dried by
the time this part begins. Finally, the last step is the blessing of the icon.
It is best to keep an icon in a wooden case (kiot) covered with glass. This
will guarantee protection from various outside and environmental factors such
as dust, smoke, humidity and temperature changes that can in one way or another
damage the sacred image.
Article written by
Daria Chechko
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| Icons from the Icon Painting Studio of St.Elisabeth Convent |
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