THE BIRTH OF THE HOLY VIRGIN (THEOTOKOS)
Celebrated 1st September
Description of the Icon:
St Anne is the central figure reclining on the bed. She is attended by various nurses who surround Her. The Holy Virgin is seen as an infant in the cradle where She is attended by a nurse. St Joachim is the figure in the lower right. In certain icons of the birth of the Holy Virgin, She is often depicted twice; in the arms of a nurse being gazed upon by Her mother, and then, as in this icon; attended by a nurse whilst being gazed upon by Her father.
Commentary:
The festival of the Birth of the Holy Virgin is an ancient one as it was recorded that a church dedicated to St Anne was erected at Constantinople in the time of Emperor Justinian. The iconography of the festival usually depicts St Anne half-lying on a bed surrounded by the nurses who are preparing to wash the newly-born infant.
According to the story relating to this festival, Anne and Joachim had remained childless for many years despite their prayers to have a child. One day Joachim was turned away from the temple by the High Priest who reproached him and his wife for not having any children. Joachim became depressed by this state of affairs and journeyed to the nearby hills in order to be away from the shame and embarrassment of his situation. Whilst he was there amongst the shepherds and his flocks, he prayed to God for is help and guidance. On one occasion whilst praying, his wife, Anne, was praying at the very same time in the garden of their home in Jerusalem. An angel appeared to both of them and announced that Anne would have a child whom they should dedicate to the service of God. In due time the prophecy was fulfilled and Anne gave birth to a daughter whom they named Mary, in accordance with the instructions of the angel.
The deeper meaning of this story serves to make clear that from the moment of Her birth – and even long before it, the Holy Virgin was especially destined to take on a role designated by God. With the Ecclesiastical year of the Orthodox Church beginning on 1st September, the birth of the Holy Virgin is the first great feast in the Annual Cycle. It is appropriate that it should be at this point as it is also seen as the beginning of the process of our salvation whereby Mary is made the willing instrument of the Incarnation.
THE PRESENTATION OF THE HOLY VIRGIN IN THE TEMPLE
Celebrated 21st November
Description of the Icon:
High Priest Zachariah is the figure in the extreme left. The Holy Virgin portrayed as an infant is the central figure standing before the high priest. Standing behind the Holy Virgin are St Joachim, Her father and St Anne, Her mother. Behind them are the candle-bearing young maidens. The Holy Virgin is also depicted sitting at the top of a flight of steps near the entrance to the “Holy of Holies”.
Commentary:
The feast of the Presentation of the Holy Virgin in the Temple was instituted in the late fourth century. The feast was created by the Tradition of the Church and, like the feast of the Birth of the Virgin, it is not the historical exactness of the story that is of concern, but rather its inner meaning. The story of Mary’s entry into the Temple and Her dwelling there is seen as Her total dedication to God in “readiness for Her future vocation” as Mother of God Incarnate.
When Mary was three years old Her parents, Joachim and Anne, decided that it was the right moment for them to fulfil their promise to offer Her to the Lord. Joachim gathered the young girls of the neighbourhood who – with lighted candles – escorted Mary to the Temple. She was welcomed in the Temple by the High Priest, Zachariah, who set Her to reside in the “Holy of Holies” where She would be fed by the hand of an angel.
In the icon, here, the scene takes place in the inner court of the Temple. The Holy Virgin is depicted twice. She is seen before Zachariah and then again sitting on the highest step near the entrance of the “Holy of Holies” where an angel comes to assist her. Despite Her small size it will be noted that She has an adult appearance. She is portrayed as an already “perfected” person – the Mother of God.
Along with the Birth of the Virgin, the feast of the Presentation of the Holy Virgin in the Temple is also a feast of anticipation. In the same way that the feast honours Mary as the “Child of God” it also invites us to look forward to the event of the Incarnation of Christ
THE ANNUNCIATION OF THE THEOTOKOS
Celebrated 25th March
Description of the Icon:
On the left is the Archangel Gabriel. The Mother of God (Theotokos) is on the right, seated.
Commentary:
The Incarnation, it has been said, was not only the work of the Father, of His Power and His Spirit; it was also the will and the faith of the Virgin. On the feast of the Annunciation, therefore, Orthodoxy celebrates not only the Divine initiative by God when He chose the Virgin as His instrument, but also marks the event of the Human response when Mary freely accepted the very special role bestowed upon Her. Mary was given a free choice in this momentous event, and Her doubts are revealed in the way in which Her incredulity and embarrassment are depicted. In compositions of the Annunciation where Mary is depicted standing whilst receiving the “Command”, the position of Her right and can vary. When Her palm is turned outwards it signifies reservation and an initial instinct to refuse the role bestowed upon Her. When, however, Her hand is turned towards Her bosom, showing the back of Her hand, it indicates Her acceptance. This is done in order to make clear that She acted with freedom of choice; consciously and resolutely accepting the will of God.
In the icon of the Annunciation, here, the Archangel Gabriel is depicted in swift motion having just descended from heaven. Mary is depicted sitting to emphasise Her superiority over the Angel. Normally She holds yarn in Her hands – or sometimes a scroll. These details are borrowed from Tradition. The thread is designed to symbolise Her insertion into time and human history. In addition, the thread has another more specific meaning. According to the apocrypha it was being spun by Mary for the veil of the “Holy of Holies” when she was living in the Temple.
THE DORMITION OF THE MOTHER OF GOD
Celebrated 15th August
Descripton of the Icon:
The Mother of God is depicted on Her funeral bier. Standing behind Her is Christ, Her Son. To the left of Christ are the bishops Dionysuis, Hierotheos,and Timothy. On either side of the bier stand the Apostles. St Peter stands at the head of the bier, whilst St Paul stands at the foot of the bier. Leaning over the bier is the figure of Antonius the Jew.
Commentary:
The feast of the Dormition probably originated in Jerusalem. This feast – known as the Assumption in the West – comprises two clear yet inseparable moments for the Orthodox faith. First, it indicates the moment of Death and Burial, but also the Resurrection and Ascension of the Mother of God.
At the time of Her death, so it is believed, the Mother of God was living in the house of St John on Mount Zion. (Tradition states that she was in Her early fifties.) The Apostles were scattered throughout the world preaching the Gospel. They all, however, returned to Jerusalem when they received the news that She had died. They all arrived in time for the burial except St Thomas. Besides the Twelve, the Apostle Paul, together with the bishops Dionysius the Areopagite, Hierotheos and Timothy were also present at Her bedside when She died. As they stood around Her, She commended her spirit into the keeping of Her Son and God; and He Himself descended from Heaven and took Her soul up with Him in His arms
The iconography of the Dormition usually depicts the Mother of God lying on the bier surrounded by the Apostles with Christ in Glory receiving in His arms the soul of His Holy Mother. The angels present at the event sometimes position themselves on either side of Christ’s mandorla forming, in effect, an outer border around the mandorla.
In the icon, here, heavenly virtues accompanying Christ are indicated by a seraphim with six wings. The incident of Antonius, a fanatical Jew, features in the majority of icons of the Dormition. He had both hands cut off by the sword of an angel for having dared to touch the funeral bier of the Holy Mother.
THE NATIVITY OF CHRIST
Celebrated 25th December
Description of the Icon:
The Holy Mother and Child are the central figures in the icon. The Holy Mother is depicted reclining on a blanket and the Christ Child is in a manger alongside. In the bottom left-hand corner is St Joseph who is seen being tempted by Satan. Satan is portrayed as an elderly hunchback dressed in dark, drab garments. On the right, facing the Holy Mother is a shepherd. On the left-hand side behind the Holy Mother are the Three Wise Men carrying their gifts. On the left and right at the top of the panel are groups of angels who announce the glad tidings of the birth of Christ. In the bottom right-hand corner are two women washing the Child.
Commentary:
In what it says to the Faithful, the icon of the feast of the Nativity of Christ has two fundamental aspects. First, it reveals the very essence of the event. – the unambiguous fact of the Incarnation of God. It sets before the viewer a visible testimony of the central dogma of the Christian faith underpinning by its details both the Divine and the human nature of the Incarnation. Secondly, it reveals the effects of this event on the life of the world and gives the Faithful a perspective of all its consequences. It is for this reason that we can see all of creation taking part in the event around the Mother and Child. For example, besides the people depicted in the icon, the angels, the star and the animals serve to illustrate the lowly and the great as well as aspects both earthly and heavenly. The position and posture of the Mother of God underlines Her important role. Her central position and size single Her out from among the other figures. She is often depicted as half-sitting, which points to the absence – in Her case – of the usual sufferings, and therefore to the virgin nature and divine origin of the birth.
THE PRESENTATION OF CHRIST IN THE TEMPLE
Celebrated 2nd February
Description of the Icon:
On the extreme left is Joseph. In front of him is the Holy Mother of God. Holding the Christ Child is St Simeon, whilst behind him is St Anna the Prophetess. In the centre of the composition, the pillars topped by a roof-like structure, is the entrance to the “Holy of Holies”, the most sacred section of the Temple.
Commentary:
This feast has its origins in Christian antiquity and was known to have been celebrated in Jerusalem towards the end of the fourth century.
The scene of the “Presentation” takes place in the Temple, in front of the altar. Forty days after the birth of Jesus, Mary and Joseph took Him to the Temple to present Him there in thanksgiving to God. It was the law that the first-born of the family should be offered to God and His service as soon as the forty day period of purification was past. In icons of the Presentation, Jesus is carried by His Mother, or more accurately, She is handing Him to St Simeon. In many, if not most cases, St Simeon is holding Him in his arms. Jesus is never presented in swaddling clothes. It is the custom that He is dressed in a short vest which usually leaves His legs bare. Seated on the outstretched arms of Simeon, He is sometimes seen giving a benediction. On occasions, on the altar, a cross, book or scroll is seen. Mary is depicted holding out Her two hands covered with Her robes in a gesture of offering. Simeon’s two hands are also covered with his garment. The covering of the hands is seen as a sign of veneration. Joseph follows Mary carrying in the fold of his garment the offering of poor parents; two turtle doves and two young pigeons.
THE BAPTISM OF CHRIST
Celebrated 6th January
Description of the Icon:
Christ is the central figure depicted standing in the River Jordan. St John the Baptist (or Forerunner) is the figure on the left. On the right are three angels standing in an attitude of worship. The Holy Spirit is depicted in the form of a dove above the figure of Christ.
Commentary:
Tradition relates that in His thirtieth year, Jesus came to St John to inaugurate His three years of ministry. It was during His Baptism that He was publicly declared to be the Second Person of the Holy Trinity; the Son of God. The voice of the Father was heard calling Him His Son, and the Holy Spirit in the form of a dove appeared above Jesus to reinforce the fact that it was indeed Jesus of whom the Father was speaking. In this way the worship of God as a Trinity was revealed, or manifested.
In the icon, here, Christ is seen standing, as it were, against a background of water, as though in a cave. This leads us to understand that His whole body is immersed. As a sign of the fact that He took the initiative to come to His servant to be baptised, Christ is usually always represented as walking or making a movement towards John, whilst simultaneously bending His head beneath John’s arm. With His right hand He blesses the waters of Jordan, which cover Him, sanctifying them by His immersion. On occasions, two small figures – one male, one female – are represented at the feat of Christ. These serve as prefigurations of the Baptism. The male figure is an allegory of the Jordan whilst the female figure is an allegory of the sea and refers to another prefiguration of the Baptism – the Crossing of the Red Sea by the Jewish people as they came out of Egypt.
In the composition, John places his right hand on the head of Christ. This sacramental gesture has always been part of the ritual of baptism.
THE TRANSFIGURATION
Celebrated 6th August
Description of the Icon:
Christ is the central figure. On the left is the prophet, St Elias. The figure on the right is Moses, the lawgiver. The three figures shown below Christ are the disciples Peter, James and John.
Commentary:
The feast of the Transfiguration is an ancient one going back to before the eighth century. It is the main feat of Christ’s Divine Glory. It is a feast of light and the revelation of the Holy Trinity.
Before His Passion, Christ ascended Mount Tabor with His disciples Peter, James and John, for the purpose of prayer. There, they witnessed Him transfigured and saw a vision in which Moses and the Prophet Elias appeared and spoke with Him. The disciples were overwhelmed by the brilliance of the Light of the Divinity surrounding Christ, and which illuminated the whole mountain. According to the Gospels of Mark and Matthew, the disciples realised that Christ was indeed the Messiah and fell down in reverence in order to worship Him. In iconographic compositions, Peter will always be represented kneeling, supported on his left hand and raising his right hand to protect himself. John – always in the centre – falls, turning his back to the light. St James flees before the light, or falls backwards.
Christ transfigured is depicted standing on the summit of the mountain. His robes are of a shining white colour and His figure is inscribed in the circle of the mandorla. The three rays pointing down upon the disciples are an indication that the action in the Transfiguration is trinitarian in manifestation.
A number of reasons have been put forward to explain the presence of Moses and Elias at the moment of the Transfiguration; they are seen as representing the law and the prophets. It is also averred that both had had a secret vision of God; one on Mount Sinai and the other on Mount Carmel. In addition, Moses is seen as representing the dead, whilst Elias represents the living.
The ascent of Mount Tabor came at a critical point in Christ’s ministry just as He was setting out upon His last journey to Jerusalem, which He knew was to end in His death. To strengthen His disciples for the trials that lay ahead, He chose this particular moment, on Mount Tabor – to reveal to them something of His infinite Glory and Majesty.
CHRIST’S ENTRY INTO JERUSALEM
Celebrated on the Sunday before Easter
Description of the Icon:
Christ is the central figure depicted seated upon a donkey. The group of figures in the extreme left are the disciples whilst those in front of the donkey are the Jewish citizens of Jerusalem. Below Christ and the donkey is a child spreading his garment on the ground. This symbolises the many children who welcomed Christ to the city. The walled buildings on the right symbolise Jerusalem, whilst the Temple is symbolised by the “onion domed” structure seen within the walls.
Commentary:
Icons of Christ’s entry into Jerusalem are usually characterised by a very triumphal and festive quality in keeping with the character of the festival itself.
The direct cause of the popular celebration which accompanied the entry of the Lord into Jerusalem was, according to the Gospel of St John, the raising of Lazarus. When these self-same people heard that Jesus was coming to Jerusalem, they took branches of palm trees and went to meet Him. A palm tree is a symbol of joy and feasting. It is for this reason that the crowds gathered at the gates of the city with palm branches in their hands to welcome Jesus. Jesus is mounted sideways on the donkey with His head tilted either towards the apostles walking behind Him, or towards Jerusalem; while His right hand either blesses or points to the crowd and the city.
It is interesting to note that as a rule children play a great part in icons depicting Christ’s entry into Jerusalem. Usually they are cutting branches whilst they sit in the tree. They spread garments before Christ and with the adults welcome Him with palm branches in their hands. The spreading of garments, according to the Bible, is the attribute of an anointed king.
THE ASCENSION OF CHRIST
Celebrated on the 40th Day after Easter
Description of the Icon:
The central figure is Christ as He ascends into Heaven. Below the figure of Christ is the Mother of God. On either side of the Mother of God are groups of disciples.
Commentary:
The earliest iconographic representations of this festival go back to the fifth and sixth centuries and have remained essentially unchanged right until this present day.
According to the Holy Scriptures, the Ascension of Christ took place o the Mount of Olives. In the icon, therefore, the action takes place either on the summit of the mountain or in a hilly landscape. Christ is surrounded by a mandorla. It represents His Glory and is a symbol of the heavens above. The mandorla is supported by angels. It is, in fact, not really necessary for the angels to be supporting the mandorla as Christ ascended by His Own Divine Power and thus did not require their assistance. They, as well as the mandorla are merely the expression of His Glory and Greatness.
In the foreground of the composition, beneath the mandorla, we see the Mother of God. There is actually no direct mention in the Holy Scriptures of Her presence at the Ascension. Her presence there is affirmed by the Tradition passed on in the Divine Service of the Orthodox Church. In icons of the Ascension, She occupies a very special position. Her importance is often emphasised by Her standing on higher ground.
THE PENTECOST [or The Descent of the Holy Spirit]
Celebrated on the 50th Day after Easter
Description of the Icon:
The disciples are seen seated in a semi-circle. Tradition relates that they were gathered in the same Upper Room where they had shared the Last Supper with Christ. At the footof the composition is a symbolical figure holding twelve scrolls.
Commentary:
Chapter two of the Book of Acts reads . . . “And when the day of the Pentecost was fully come, they all were all with one accord in one place. And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire and it sat upon each of them”.
Although it appears that the Descent of the Holy Spirit was accompanied by noise and general commotion, the composition of the icon, here, shows an harmonious order. What it is doing is representing the culminating moment of the formation of the Church.
The twelve Apostles forming a definite symmetry are a perfect expression of the unity of the body of the Church. Their grouping is completed by an empty, unoccupied place; the place of the invisible Head of the Church – Christ. Some of the disciples hold books in their hands – others scrolls – as an indication of their having received the gift of teaching. Out of the segment of the circle – which symbolises heaven – at the top of the panel, there are twelve rays which symbolise a sign of baptism with the Holy Spirit, and with fire.
The book of Joel (Chapter 2, verse 28) says. . . .” And it shall come to pass afterward that I will pour out my spirit upon all flesh . . . .” Tradition says that in order to fulfil this prophesy, the Holy Spirit descended not only on the twelve chosen Apostles, but also upon all those who were with them, “with one accord in one place” – this is, on the entire Church. It is for this reason that in the icon, here, there appear Apostles other than “the Twelve”.
THE EXALTATION OF THE CROSS
Celebrated 14th September
Description of the Icon:
The central figure, robed in the Bishop’s vestments and holding the cross above his head is St Makarios, the Bishop of Jerusalem. In the lower right with crowns on their heads are St Helena and St Constantine the Great. On the left we see the citizens of Jerusalem; which include bishops, deacons and monastics. The city depicted in the icon is Jerusalem. The domed church is the Church of the Holy Sepulchre.
Commentary:
The feast of the Exaltation of the Cross originated in Palestine. It was established to commemorate the dedication of the Basilica of the Resurrection, erected by Constantine in Jerusalem. What the feast the Exaltation refers more specifically to, however, is the finding of the True Cross by Constantine’s mother, St Helena. As news of the discovery spread through the city, crowds gathered to venerate the Cross. The Patriarch of Jerusalem, St Makarios, carried it up onto an elevated platform where he displayed it to the citizens of Jerusalem.
The feast also commemorates the second great Exaltation of the Cross at Constantinople in 629. This occurred because the True Cross had fallen into the hands of the Persians in 614 when they captured the Holy City of Jerusalem. It was later recovered by the Emperor Heraclius and brought to Constantinople where it was triumphantly exalted in the Great Church of Agia Sophia.
The feast of the Exaltation of the Cross is a glorification of the Cross of Christ and when the Cross is seen being raised the Church is glorifying the weapon of Christ by which “the curse was abolished, incorruptible life flowered again, earthly creatures acquired deification and the demon was decisively overthrown”.
Besides being the channel for redemption, the Church is also celebrating the great triumph of the Cross over powers of this world hostile to Christianity.
THE RESURRECTION OF CHRIST or THE DESCENT INTO HADES
Celebrated on the Great and Holy Saturday and Easter
Description of the Icon:
Christ is the central figure. At His feet are the brass gates of Hades, which He has demolished. In some icons the keys and the broken locks to these gates can be seen at His feet. Adam, our forefather, is seen being pulled from his tomb by the right hand of Christ. Eve, our forebearer, is seen being pulled from her tomb by the left hand of Christ. The figures on the extreme left represent the Righteous of the Old Testament. The two figures in the front of the group are the Holy Kings – St David the Psalmist and his son, St Solomon the Wise. The figures in the extreme right represent those Righteous individuals of the New Testament. The two figures in front of this group are St John the forerunner and St Joseph, the guardian of Christ.
Commentary:
The discussion o this feast has been kept until last as it is a festival par excellence and therefore demands special focus and attention.
The Resurrection of Christ, or Easter, does not enter the cycle of the twelve foremost feast days of the Church. It is the “Feast of Feasts” and the “Celebration of Celebrations”. It is the greatest of all feasts of the Orthodox Church.
The Church teaches that while the body of Christ rested in the tomb on the Sabbath – the day after the Crucifixion – His soul descended into Hades. Prior to the Incarnation, the gates of Paradise were locked to mankind. Therefore, Hades – not necessarily synonymous with Hell – was the place where the souls of all went upon death. It was neither a place of reward nor a place of punishment. It has been likened to Death’s “prison” where the souls of both the just and the sinners were confined.
In traditional Orthodox iconography the actual moment of the Resurrection of Christ was never depicted.
Both the Gospels and Church Tradition remain silent about this very special moment, and do not say how He arose. The Resurrection of Christ is regarded as being inaccessible to any perception. The incomprehensible nature of this event for the human mind and the consequent impossibility of depicting it is the reason for the absence of icons of the Resurrection itself. In Orthodox iconography, therefore, there are, in fact, two images corresponding to the understanding of this event. Each one supplements the other. One is a symbolical representation. It depicts the moment preceding the Resurrection of Christ in the flesh – the descent into Hades; the other – the moment following the Resurrection of the body of Christ, is represented by the icon of the historical visit of the spice-bearers to the tomb.
The Church teaches that the Descent into Hades is inextricably tied in with the redemption. Since Adam was dead, the degradation of Christ, who had taken on his nature, had to sink to the same depths to which Adam had sunk. In other word, the descent into Hades represents the ultimate point of Christ’s degradation, but, simultaneously the beginning of His Glory.
St John of Damascus says that, “Although Christ died as man and His Holy Soul departed from His pure body, His Divinity remained inseparable from both soul and body” Therefore, He appears in Hades, “ not as its captive, but as its Conqueror; the Deliverer of those imprisoned therein; not as a slave, but as the Master of Life”.
Christ is depicted in the icon with a bright and shining Halo; the symbol of His Glory. His garments are no longer those in which He is portrayed during His life on earth. They are of a golden-yellow colour. In the dark cave at the bottom of the icon, the figure of Satan is often seen. In certain other icons a number of other details appear. There are broken chains with which angels bind Satan. There are also keys and nails. In His left hand Christ holds a scroll which is a symbol of the preaching of the Resurrection in Hades. Sometimes instead of a scroll He holds a cross.
The descent into Hades was the very last journey made by Christ on the way of His degradation. By virtue of “descending into the abyss of the earth”, He made accessible to humankind the way to Heaven.