Category Archives: John Damascene

Dec 4 – St John Damascene (of Damascus) (675-749 AD), Icons = The Eyes of God

Mortal, you are living in the midst of a rebellious
house, who have eyes to see but do not see, who have
ears to hear but do not hear.
—Ezek. 12:2

Jesus said to [the disciples] . . . “Do you have eyes, and
fail to see? Do you have ears, and fail to hear?”
—Mk 8:17–18

“Both Jesus and Ezekiel recognized the parallel between having ears to hear and eyes to see, but in the Protestant tradition of my childhood, the emphasis was always on having ears to hear (the words of the Bible) to the loss of eyes to see. My earliest spiritual formation focused on the hearing part and omitted what became apparent later as effective avenues for engaging the seeing part. Symbolic images within worship began to inform my spirituality only when I chose the Episcopal Church as a teenager. I do not know if an increasing awareness of symbolism was due to natural maturation or to the richness of symbolic images so available in Episcopal liturgy. However, I vividly remember saying at age seventeen that my reason for converting was, in part, because my previous church was just “so plain.” As with many other seekers, I had a hunger for something more tangible. There was the longing to see God and live…

…icons provide a vehicle for our participation in God’s redemptive work. Icons are no less than the “dynamic manifestations of man’s spiritual power to redeem creation through beauty and art.”

If this were a book about icons simply as religious art, it would not be worth writing, let alone publishing. If Orthodox Christianity did not claim icons are essential for seeing the holy, I would not be motivated to try to inform non-Orthodox Christians about icons. God embodied, in the human and historical reality of Jesus of Nazareth—who is, for all Christians, also the Christ—the mystery and doctrine on which salvation depends. But finding Jesus incarnate in today’s world is the struggle of faith for many, me included. The words and images I encounter every day need to be countered, challenged, and balanced against words and images whose purposes are edifying, redemptive, and healing. ”
-Green, Mary E., (2014), Introduction, Eyes to See: The Redemptive Purpose of Icons, Morehouse Publishing, New York

Icons, to the believer, and properly understood, are incarnational, just like Christmas.  Acheiropoieta, are icons not made by human hands.

In cinema involving Russian characters, you will see the Russian, typically, but it could be Greek, someone of Eastern Orthodox sentiment, cover any icon with a cloth just before performing some heinous act such as suicide. There is a reason for this.

Jesus Christ is the first eikon (alternative spelling, Greek for image) of God. Icons are a symbolic and allegorical composition of: “Behold, the eyes of the Lord are on those who fear Him, on those who hope in His mercy.” (Ps 32:18). Christian tradition dating from the 8th century identifies Luke the Evangelist as the first icon painter. There is a Christian legend that Pilate made an image of Christ.

In the icons of Eastern Orthodoxy, and of the Early Medieval West, very little room is made for artistic license. Almost everything within the image has a symbolic aspect. Christ, the saints, and the angels all have halos. Angels (and often John the Baptist) have wings because they are messengers. Figures have consistent facial appearances, hold attributes personal to them, and use a few conventional poses.

Color plays an important role as well. Gold represents the radiance of Heaven; red, divine life. Blue is the color of human life, white is the Uncreated Light of God, only used for resurrection and transfiguration of Christ. If you look at icons of Jesus and Mary: Jesus wears red undergarment with a blue outer garment (God become Human) and Mary wears a blue undergarment with a red overgarment (human was granted gifts by God), thus the doctrine of deification is conveyed by icons. Letters are symbols too. Most icons incorporate some calligraphic text naming the person or event depicted. Even this is often presented in a stylized manner.

In the Eastern Orthodoxy, there are reports of particular, Wonderworking icons that exude myrrh (fragrant, healing oil), or perform miracles upon petition by believers. When such reports are verified by the Orthodox hierarchy, they are understood as miracles performed by God through the prayers of the saint, rather than being magical properties of the painted wood itself. Theologically, all icons are considered to be sacred, and are miraculous by nature, being a means of spiritual communion between the heavenly and earthly realms. However, it is not uncommon for specific icons to be characterized as “miracle-working”, meaning that God has chosen to glorify them by working miracles through them. Such icons are often given particular names (especially those of the Virgin Mary), and even taken from city to city where believers gather to venerate them and pray before them.

In the Book of Numbers it is written that God told Moses to make a bronze serpent, Nehushtan, and hold it up, so that anyone looking at the snake would be healed of their snakebites. In John 3, Jesus refers to the same serpent, saying that He must be lifted up in the same way that the serpent was. John of Damascus also regarded the brazen serpent as an icon. Further, Jesus Christ himself is called the “image of the invisible God” in Colossians 1:15, and is therefore in one sense an icon. As people are also made in God’s images, people are also considered to be living icons, and are therefore “censed” along with painted icons during Orthodox prayer services.

According to John of Damascus, anyone who tries to destroy icons “is the enemy of Christ, the Holy Mother of God and the saints, and is the defender of the Devil and his demons.” This is because the theology behind icons is closely tied to the Incarnational theology of the humanity and divinity of Jesus, so that attacks on icons typically have the effect of undermining or attacking the Incarnation of Jesus himself as elucidated in the Ecumenical Councils.

Thus to kiss an icon of Christ, in the Eastern Orthodox view, is to show love towards Christ Jesus Himself, not mere wood and paint making up the physical substance of the icon. Worship of the icon as somehow entirely separate from its prototype is expressly forbidden by the Seventh Ecumenical Council. Catholics traditionally have also favored images in the form of three-dimensional statuary, whereas in the East, statuary is much less widely employed.

Icons are often illuminated with a candle or jar of oil with a wick. (Beeswax for candles and olive oil for oil lamps are preferred because they burn very cleanly, although other materials are sometimes used.) The illumination of religious images with lamps or candles is an ancient practice pre-dating Christianity.

Windows to Heaven

Icons look different to us because they are meant to be heaven looking at us, not us at heaven, hence the Eastern Orthodox covering the icon before some unholy act, which the character does not want Heaven to see.

The eyes of an icon are meant to look into the viewer — with what has been called inverse perspective. Most Western artwork has a vanishing perspective point that draws the viewer into the painting. With an icon, the icon seems to move toward the viewer, bringing Heaven close. If you pray with an icon properly, it will seem as if heaven were drawing into you. As Franciscan Fr. Michael Scanlon wrote, “For Eastern Christians, the icon is a representation of the living God, and by coming into its presence it becomes a personal encounter with the sacred, through the grace of the Holy Spirit.”

An icon, which we would most likely refer to as a painting, the correct verb for creation is “writing an icon”. An iconographer must be prepared for this work and receive permission from the bishop or abbot to begin an icon. He or she must spiritually prepare to write an icon with prayer and fasting. As the great modern Byzantine iconographer Photios Kontoglou wrote, “The art of the icon painter is above all a sacred activity…Its style is entirely different from that of all the schools of secular painting. It does not have its aim to reproduce a saint or an incident from the Gospels, but to express them mystically, to impart to them a spiritual character…to represent the saint as he is in the heavenly kingdom, as he is in eternity.”


-by Br Cornelius Avaritt, OP

“Icons are a gift of the Church. They are beautiful images that represent Christ and the mysteries of his life. The Catechism of the Catholic Church says the following regarding icons:

The sacred image, the liturgical icon, principally represents Christ. It cannot represent the invisible and incomprehensible God, but the incarnation of the son of God has ushered in a new “economy” of images. Christian iconography expresses in images the same Gospel message that Scripture communicates by words. Image and word illuminate each other. All the signs in the liturgical celebrations are related to Christ: as are sacred images of the holy Mother of God and of the saints as well. They truly signify Christ, who is glorified in them. (CCC 1159-1161)

Praying with icons allows us to behold the face of Christ, and to catch a glimpse of his love for the world while meditating on his humanity. The representation of Christ’s humanity through an image allows us to understand more fully the gospel message and to grow in knowledge of him. Just as the sacred words of Scripture signify the events of Christ’s life, so do the images reveal a glimpse of God’s plan of salvation for the world through depictions of the life of Christ. Because the Son of God was made incarnate, he became depictable. Icons depict his humanity, and we can pray with icons to deepen our love for Christ.

Today, the Church celebrates the feast of St. John of Damascus, a monk and Doctor of the Church, who was a strong proponent for the use of icons. He says the following in favor of the practice of venerating icons:

“We use all our senses to produce worthy images of Him, and we sanctify the noblest of the senses, which is that of sight. For just as words edify the ear, so also the image stimulates the eye. What the book is to the literate, the image is to the illiterate. Just as the words speak to the ear, so the image speaks to the sight; it brings us understanding.” (On the Divine Images,1, 17)

Icons captivate the eye, but they are not merely pieces of art that hang on walls. They bring “understanding.” The image “written” on an icon is meant to draw us into the mystery of Christ’s humanity, to engage our senses in prayer, to help us catch a glimpse of Christ’s face and through that prayer come to know him more. One feature of sacred images that helps bring such understanding is their rich symbolism depicted in the choice of colors of the scene. Gold often represents Christ. White represents purity and divinity. Red represents the humanity of Christ, while green represents earth and temporality. Purple is used to represent nobility. The different colors engage the eye, as to draw one into a meditation of the mystery that is depicted. Because of this, our prayer is made more fruitful and we come to recognize more fully the love Christ has for us.

Advent is a great time to grow in knowledge and understanding of our Lord. The use of icons for prayer during Advent is one way to grow in this knowledge and understanding. Icons helps us to catch a glimpse of salvation, and aid our belief in Jesus Christ. So, during this Advent season, as you are awaiting the arrival of our Lord, consider spending time in prayer with an icon, meditate on the mystery depicted in the scene, and may you come to know Christ’s love for you.”

Love,
Matthew

Aug 15 – Sermon on the Assumption by St John Damascene (675-749 AD), Doctor of the Church & the Assumption


-Assumption of the Virgin, oil on canvas, Height: 237 cm (93.3 in); Width: 169 cm (66.5 in), by Juan Martín Cabezalero, 1660, Prado National Museum, Spain. Please click on the image for greater detail.

-by St John Damascene

“Thy blessed soul is naturally parted from thy blissful and undefiled body, and the body is delivered to the grave, yet it does not endure in death, nor is it the prey of corruption. The body of her, whose virginity remained unspotted in childbirth, was preserved in its incorruption and was taken to a better, diviner place, where death is not, but eternal life. …Therefore I will not call thy sacred transformation death, but rest or going home, and it is more truly a going home … thou dwellest in a happier state.

Angels with archangels bear thee up. Impure spirits trembled at thy departure. The air raises a hymn of praise at thy passage, and the atmosphere is purified. Heaven rejoices thy soul with joy. The heavenly powers greet thee with sacred canticles and with joyous praise saying:

‘Who is this most pure creature ascending, shining as the dawn, beautiful as the moon, conspicuous as the sun? [cf Revelation 12, Song of Songs 6:10] How sweet and beautiful thou art, the lily of the field, the rose among thorns [cf Song of Songs 1:16, 2:1,2]; therefore the young maidens loved thee [cf Song of Songs 1:3]. We are drawn after the odor of thy ointments [cf Song of Songs 1:3-4]. The King introduced thee into His chamber [cf Song of Songs 2:4]. There Powers protect thee, Principalities praise thee, Thrones proclaim thee, Cherubim are hushed in joy, and Seraphim magnify the true Mother by nature and by grace of their very Lord. Thou wert not taken into heaven as Elias [Elijah] was, nor didst thou penetrate to the third heaven with Paul, but thou didst reach the royal throne itself of thy Son, seeing it with thine own eyes, standing by it in joy and unspeakable familiarity. O gladness of angels and of all heavenly powers, sweetness of patriarchs and of the just, perpetual exultation of prophets, rejoicing the world…refreshment of the weary, comfort of the sorrowful…health of the sick, harbour of the storm-tossed, lasting strength of mourners, and perpetual succour of all who invoke thee…’

We, too, approach thee today, O Queen; and again, I say, O Queen, O Virgin Mother of God, staying our souls with our trust in thee, as with a strong anchor. Lifting up mind, soul, and body, and all ourselves to thee, rejoicing in psalms and hymns and spiritual canticles, we reach through thee One who is beyond our reach on account of His Majesty. If, as the divine Word made flesh taught us, honor shown to servants is honor shown to our…Lord, how can honor shown to thee, His Mother, be slighted? How is it not most desirable?…those who think of Thee should recall the memory of Thy most precious gift as the cause of our lasting joy. How it fills us with gladness! How the mind that dwells on this holy treasury of Thy grace enriches itself.

Watch over us, O Queen, the dwelling-place of our Lord. Lead and govern all our ways as thou wilt…Lead us into the calm harbor of the divine will. Make us worthy of future happiness through the sweet and face-to-face vision of the Word made flesh through thee. With Him, glory, praise, power, and majesty be to the Father and to the holy and life-giving Spirit, now and forever. Amen.”

Love,
Matthew

Dec 4 – St John Damascene (675-749 AD), Doctor of the Church, Doctor of Christian Art, Doctor of the Assumption

What Aquinas is for the Latin or Western Church, John of Damascus is for the Eastern Church.  Saint John of Damascus was born about the year 680 at Damascus, Syria into a Christian family. His father, Sergius Mansur, was a treasurer at the court of the Caliph. John had also a foster brother, the orphaned child Cosmas (October 14), whom Sergius had taken into his own home. When the children were growing up, Sergius saw that they received a good education. At the Damascus slave market he ransomed the learned monk Cosmas of Calabria from captivity and entrusted to him the teaching of his children. The boys displayed uncommon ability and readily mastered their courses of the secular and spiritual sciences. After the death of his father, John occupied ministerial posts at court and became the city prefect.

In Constantinople at that time, the heresy of Iconoclasm had arisen and quickly spread, supported by the emperor Leo III the Isaurian (717-741). Rising up in defense of the veneration of icons [Iconodoulia], Saint John wrote three treatises entitled, “Against Those who Revile the Holy Icons.” The wise and God-inspired writings of Saint John enraged the emperor. But since the author was not a Byzantine subject, the emperor was unable to lock him up in prison, or to execute him. The emperor then resorted to slander. A forged letter to the emperor was produced, supposedly from John, in which the Damascus official was supposed to have offered his help to Leo in conquering the Syrian capital.

This letter and another hypocritically flattering note were sent to the Saracen Caliph by Leo the Isaurian. The Caliph immediately ordered that Saint John be removed from his post, that his right hand be cut off, and that he be led through the city in chains.

That same evening, they returned the severed hand to Saint John. The saint pressed it to his wrist and prayed to the Most Holy Theotokos to heal him so that he could defend the  Faith and write once again in praise of the Most Pure Virgin and Her Son. After a time, he fell asleep before the icon of the Mother of God. He heard Her voice telling him that he had been healed, and commanding him to toil unceasingly with his restored hand. Upon awakening, he found that his hand had been attached to his arm once more. Only a small red mark around his wrist remained as a sign of the miracle.

Later, in thanksgiving for being healed, Saint John had a silver model of his hand attached to the icon, which became known as “Of the Three Hands.” Some unlearned painters have given the Mother of God three hands instead of depicting the silver model of Saint John’s hand. The Icon “Of the Three Hands” is commemorated on June 28 and July 12.

When he learned of the miracle, which demonstrated John’s innocence, the Caliph asked his forgiveness and wanted to restore him to his former office, but the saint refused. He gave away his riches to the poor, and went to Jerusalem with his stepbrother and fellow-student, Cosmas. There he entered the monastery of Saint Sava the Sanctified as a simple novice.

It was not easy for him to find a spiritual guide, because all the monks were daunted by his great learning and by his former rank. Only one very experienced Elder, who had the skill to foster the spirit of obedience and humility in a student, would consent to do this. The Elder forbade John to do anything at all according to his own will. He also instructed him to offer to God all his labors and supplications as a perfect sacrifice, and to shed tears which would wash away the sins of his former life.

Once, he sent the novice to Damascus to sell baskets made at the monastery, and commanded him to sell them at a certain inflated price, far above their actual value. He undertook the long journey under the searing sun, dressed in rags. No one in the city recognized the former official of Damascus, for his appearance had been changed by prolonged fasting and ascetic labors. However, Saint John was recognized by his former house steward, who bought all the baskets at the asking price, showing compassion on him for his apparent poverty.

One of the monks happened to die, and his brother begged Saint John to compose something consoling for the burial service. Saint John refused for a long time, but out of pity he yielded to the petition of the grief-stricken monk, and wrote his renowned funeral troparia (“What earthly delight,” “All human vanity,” and others). For this disobedience the Elder banished him from his cell. John fell at his feet and asked to be forgiven, but the Elder remained unyielding. All the monks began to plead for him to allow John to return, but he refused. Then one of the monks asked the Elder to impose a penance on John, and to forgive him if he fulfilled it. The Elder said, “If John wishes to be forgiven, let him wash out all the chamber pots in the lavra, and clean the monastery latrines with his bare hands.”

John rejoiced and eagerly ran to accomplish his shameful task. After a certain while, the Elder was commanded in a vision by the All-Pure and Most Holy Theotokos to allow Saint John to write again. When the Patriarch of Jerusalem heard of Saint John, he ordained him priest and made him a preacher at his cathedral. But St John soon returned to the Lavra of Saint Sava, where he spent the rest of his life writing spiritual books and church hymns. He left the monastery only to denounce the iconoclasts at the Constantinople Council of 754. They subjected him to imprisonment and torture, but he endured everything, and through the mercy of God he remained alive. He died in about the year 780, more than 100 years old.

Saint John of Damascus was a theologian and a zealous defender of the Faith. His most important book is the Fount of Knowledge. The third section of this work, “On the Orthodox Faith,” is a summary of Christian doctrine and a refutation of heresy. Since he was known as a hymnographer, we pray to Saint John for help in the study of church singing.

“Even though your most holy and blessed soul was separated from your most happy and immaculate body, according to the usual course of nature, and even though it was carried to a proper burial place, nevertheless it did not remain under the dominion of death, nor was it destroyed by corruption. Indeed, just as her virginity remained intact when she gave birth, so her body, even after death, was preserved from decay and transferred to a better and more divine dwelling place. There it is no longer subject to death but abides for all ages.” -St John Damascene, First Homily on the Dormition (of Mary)

“Of old, God the incorporeal and uncircumscribed was never depicted. Now, however, when God is seen clothed in flesh, and conversing with men, (Bar. 3.38) I make an image of the God whom I see. I do not worship matter, I [16] worship the God of matter, who became matter for my sake, and deigned to inhabit matter, who worked out my salvation through matter. I will not cease from honouring that matter which works my salvation.”
– St. John of Damascus, Three Treatises on the Divine Images: Apologia Against Those Who Decry Holy Images

Troparion — Tone 8

Champion of Orthodoxy, teacher of purity and of true worship, / the enlightener of the universe and the adornment of hierarchs: / all-wise father John, your teachings have gleamed with light upon all things. / Intercede before Christ God to save our souls.

Kontakion — Tone 4

Let us sing praises to John, worthy of great honor, / the composer of hymns, the star and teacher of the Church, the defender of her doctrines: / through the might of the Lord’s Cross he overcame heretical error / and as a fervent intercessor before God / he entreats that forgiveness of sins may be granted to all.

Prayer Of St. John Damascene

“Having confidence in you, O Mother of God, I shall be saved. Being under you protection, I shall fear nothing. With your help I shall give battle to my enemies and put them to flight for devotion to you is an arm of Salvation. Amen.”

Love,
Matthew