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The Mystical Language of Icons (Englisch) Taschenbuch – 10. April 2009

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"Theological Book Review"
"This beautifully illustrated book provides the reader with an excellent guide to understanding icons. . . For anyone interested in the production and meaning of icons, this book will be essential reading."
"New Directions"
"I guarantee you will not be disappointed by the reproductions in this book of Solrunn Nes' icons. The colours are vibrant and the faces of the figures arrest the attention of the viewer as of course they should."
"Dallas Morning News"
"Nes offers a fascinating survey of Christian icons . . . accompanied by full-color images of her work."
"Solrunn Nes has produced a fine guide to iconography in her"Mystical Language of Icons." The book is lavishly illustrated in full color throughout with Nes's own icons, each in the style of one of the various schools with which she is most conversant. All are striking and luminous and fully in accord with the objective canonical tradition. Her work reveals how one committed prayerfully to the latter can nonetheless produce art of obvious creativity. This book is unreservedly recommended.""


One of Europe's leading iconographers provides a lavishly illustrated introduction to the history, meaning and purpose of Christian icons. We discover how icons are made, and the spiritual messages contained in the motifs, gestures and even the colours of these profound symbols of faith. A number of famous icons of Christ, the Holy Trinity, Mary and the Saints are explored in depth and in relation to scripture, liturgy and early Christian writings. A deeply inspiring book that will give a lifetime's pleasure. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

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Format: Gebundene Ausgabe
In a time when what usually passes for religious art in the West is deplorable, it is always a sign of hope to come across the relative few who genuinely represent the tradition and (not to overstate the case in the least) the universal and authoritative canon of authentic Christian theological aesthetics. As regards the iconographic arts in particular, the essence of that canon is best expressed in the words of the Seventh Ecumenical Council (A.D. 787), which stated:
The making of icons was not the creation of the painters, but an accepted institution and tradition within the universal Church. . . . The idea and tradition came from the fathers, not from the painters. Only the art belongs to the painter, whereas the form without doubt comes from the fathers, who founded the Church. (quoted in Nes, p. 13)
In other words, the common classical heritage of Christian art is embedded in an objective tradition, one which is conventional, canonical, dogmatic, didactic, and liturgical. The antithesis of true Christian iconography in the Church is therefore that which presumes to abandon the objective for the subjective, tradition based on God's revelation for social propaganda, dogma for mere sentiment, the canon for self-expression.
Drop into just about any Christian book or gift shop and one is likely to see prominently displayed "Precious Moments" angels, or those many ghastly "Jesus" pictures that I've come to think of (depending on which of the various scenes is depicted) as "Happy Jesus," "Malibu Jesus," and (when he is shown helping children play baseball, etc.) "Jesus the Friendly Ghost."
If one continues looking around, he might descry cards or books of the skillfully rendered "icons" of either Robert Lentz ("Bridge-Building Icons") or William Hart McNichols.
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