The Festival Icons of the Orthodox Tradition: 2
Baptism of Jesus by Saint John the Forerunner (Theophany): January 6
...it came to pass that Jesus also being baptized, and praying, the heaven was opened, and the Holy Ghost descended in a bodily shape like a dove upon Him, and a voice came from heaven which said, "Thou art my beloved Son; in thee I am well pleased."  Luke 3: 21-22
This episode of both kenosis and theophany is
called the Epiphany in the Eastern Church. When
the feast celebrating the magi was joined with the 
Nativity, this replaced it. In this the full Trinity is
manifested, as is the full nature of Jesus (God and 
man). The descent into the River Jordan is an echo 
of Jesus' descent to Earth in the Nativity and a pre-
figuration of the Anastasis, or descent into Hades after
His death. Adam's sin had closed Heaven, Christ has
now opened it. Small figures represent the Jordan and
the Sea, while fish in the water signify baptized Christians.

 
 

16th century, Russian icon
18th century, Russia
Metamorphosis (Transfiguration): August 6
The Fifth Theophany
And after six days Jesus taketh Peter, James and John his brother, and bringeth them up into an high mountain apart. And (He) was transfigured before them: and His face did shine as the sun, and His raiment was white as the light. And behold, there appeared unto them Moses and Elias talking with them. Matt 17: 1-3
*****
But Peter and they that were with him were heavy with sleep: and when they were awake, they saw his glory, and the two men that were with Him.  Luke 9: 32
This event on Mt. Tabor has its origins in the establishment
of a church on the reputed site by St. Helena in the 4th century. 
The feast itself dates in the East from the 8th century, in the West
from 1475. Moses signifies the Old Law, and Elias prophecy, both 
of which Jesus fulfills. The sacredness of Tabor echoes that of Sinai,
and may be seen in missing or loose sandals. The apostles lack haloes,
as they have yet to be sanctified (hence their fearfulness). The divine 
light is present in the form of the mandorla, Christ's clothing and even 
the rocks. In some ways, this is a "reverse Anastasis."

 
 

1400, Kastoria, Greece
 
 

15th century Greek icon
 
 

15th century, Russian, Novgorod School

 
 

15th century Russian icon
Constantinople, mid-twelfth century, now at St. Catherine's, Sinai
 
 

Constantinople, late twelfth century mosaic panel, now in Paris

 
 

Theophanes the Greek, done in Russia, 15th century
Raising of Lazarus: Saturday before Palm Sunday
The Sixth Theophany
Jesus therefore again groaning within himself cometh to the grave. It was a cave, and a stone lay upon it. Jesus said, "Take ye away the stone." Martha, the sister of him that was dead, saith unto him, "Lord, by this time he stinketh: for he hath been dead four days" ... Then they took away the stone ... and he that was dead came forth, bound hand and foot with graveclothes; and his face was bound with a napkin. Jesus said unto them, "Loose him and let him go." John 11:38-44
John, the only source of this story, has this public 
display of Christ's power over death occur just before
His entry into Jerusalem. The stench signified the very
real death of Lazarus: how is it conveyed? Mary and
Martha's thankfulness is clear as they fall at His feet. 
The disciples fall in behond Christ, while the people of
Bethany are separated, or reduced to those removing 
the stone. In the catacombs this scene appears some 40 
times: how does the version below differ from the others shown?

Rome, Via Latina Catacomb, 4th c.
 

Kastoria, Greece, c. 1400
 

Crete, 16th century icon

Early 12th century, Cypriot, from iconostasis at St. Catherine's, Sinai
From early 13th century 
iconostasis at Sinai
Mount Athos, 12th century; 
now in Athens
Entry of Christ into Jerusalem: Palm Sunday
[People] took branches of palm trees and went forth to meet Him, and cried, "Hosanna : Blessed is the King of Israel that cometh in the name of the Lord." And Jesus, when he had found a young ass, sat thereon; as it is written: "...behold thy King cometh, sitting on an ass's colt." John 12: 13-15
*****
And they brought the colt to Jesus, and cast their garments upon him; and He sat upon him. And many spread their garments in the way; and others cut down branches off the trees, and strawed them in the way.  Mark 11: 7-8
The true King enters not as a conqueror, but side-saddle 
on an ass. The disciples follow warily as Christ beckons to
them. The crowd of adults awaits a new Macabbee, while
the children truly recognize the Christ. The palms signify
the victory of Christ: in the hands of people over the Romans,
in fact over sin and death. 

 
 

Tver, Russia, 15th century
 

Theophanis the Cretan 1567, at Mount Athos Monastery
 

Kostroma School, Russia, 17th century

 
 

Kastoria, Greece, c. 1400
Crucifixion of Christ: Good Friday
See Matt 34-50; Mark 22-39; Luke 33-47; John 17-34
Oddly this is not considered one of the Great Feasts.
The celebration seems to date from the period of the
discovery (Invention) of the Cross by St. Helena in
the fourth century. The image evolved over time. 
The Cross stands as the axis of the world, the Tree of 
Life. Golgotha was the site of Adam's burial, as the skull
reminds, and this tree (Cross) echoes the tree from which
Adam and Eve ate. Early on the tone of the Corpus was 
regal, clothed in a colobium and living despite the flow of 
blood. This is a visual statement of St. John Chrysostom's 
vision. By the 11th century versions add weight to the dead Body 
and a sway to which John and Mary often respond. A second Mary
and the centurion Longinus often appear, as do the good and 
bad thieves. Gestures and facial expressions will reflect the
era of the artwork. Generally the text relates"Behold your 
son; behold your mother." Christ's victory comes in death, His
glory in his kenosis.

 
 

St. Catherine's, Sinai, 10th century
 
 

St. Catherine's, Sinai, 8th century
 
 

16th century, Russian icon

 
 

16th century, Russian carved & enameled wood crucifix
 
 

12th century, now in Munich
 
 

Constantinople, later 12th century, at St. Catherine's, Sinai

 
 

Half of a bilateral icon, Venetian artist?, later 13th century, now at Sinai
 
 

Theophanis the Cretan, 1567, Mount Athos, Greece
 
 

c. 1500, Greek, Dionysius
TO INDEX TO SYLLABUS
TO NEXT PAGE