Bringing Icons to life

These days, icons are generally assumed to be found on one’s computer screen, there as a symbol to signify a command. When used in conversation, an icon now refers to something that is instantly recognised. The word comes from the Greek ‘eikona,’ meaning image, and painted iconic images have been created by artists since the 3rd century to help aid the faithful in understanding their religion. Icons, in the true sense of the word, are religious visual aide memoirs. 

The painting of Byzantine icons is still very much alive today with artists working to create contemporary icons that are just as beautiful as their ancient counterparts. Many will still follow the strict rules laid down which ensure that icons painted today have the same spiritual characteristics as those painted in the 11th to 15th centuries. Strict rules govern the paintings of icons and frescoes, even down to describing the media the image is to be painted on, also the materials and special tools the artists can use. 

Ina Louise Ioannides has fully embraced the art of icon painting. Now in her late sixties, Dutch-born Ina spent some time in the UK before travelling to Cyprus to begin married life with her Cypriot husband. Her children were born here and whenever there was time away from household and parental duties she would turn to painting as her way of expressing herself. Now a resident of 27 years, this Limassol-based pensioner came to icon painting relatively late in life and, after studying the art form, has only in the past few years been able to work at developing her own style within the confines of the rules of iconography. 

Although she was not raised in a church where icons are prevalent, Ina has always been drawn to this type of imagery in addition to overcoming its technical aspects. “I get filled with such a feeling of joy when I paint icons – it’s all about knowing each of the characters, the saints, what they did etc”. 

Her knowledge and passion for her subject matter shine through each of her pieces, and, as she explained, it’s now something that has almost taken over both her life and her home. 

“I wake up every morning to be greeted by the 40 icons that hang on my walls and every one of them has taken me a great deal of care and time to complete. The art is one that’s highly disciplined with certain no no’s regarding the visual elements, but I don’t care to paint dead icons I want there to be life in them. 

“In fact I put too much life in them and that means the church won’t always grant me the certification that can then allow them to be hung in churches. I only have about seven in various churches, the majority having been made for people who want to have an icon that talks to them”. 

Ina paints using different mediums along with the classic egg tempura with gold paint on a wood panel or board covered with natural gesso, learning the craft by attending specialised classes. But how many icons has she made over the past 13 years? 

“Around 300 I think and all of them have meant something to me. Some small icons take around 50 hours of solid work, larger ones obviously much longer and some have, over the years, caused me huge problems, particularly when things don’t go right and when that happens it’s a bit like slowly dying –until that is you manage to sort the problem out”. 

Ina doesn’t only have herself to think of. How does her husband deal with being surrounded by icons and a wife who would rather spend €40 on a tiny packet of gold leaf than investing in a new sofa? 

“Andreas, my husband, has always been one of my strongest supporters, which allows me to keep doing what I am doing and to be consistently fulfilled by it, which in itself is a great thing for anyone no matter what age they are”. 

It takes time to call yourself an iconographer, so at what point do you realise that your technique is working and you have cracked the personal and public formula of making an icon? “I was told when I started by my tutor that I would have to create at least 100 icons before feeling that it was something you could keep doing with the same passion and professionalism for years to come, and that’s what happened to me and I am now past that barrier into creating even more interesting images”. 

For more information (and icons) contact Ina on 99 942834  

Iconography: The Rules

The art of making Orthodox icons follows a strict set of visual guidelines that has been laid down for centuries; artists wishing to be called true iconographers have to include in their work the following visual characteristics: 

• The eyes portrayed must be large and wide, symbolising the spiritual eye that looks far beyond our material world
• Ears must be large in order to listen to the word of God
• Gentle lips must be illustrated to glorify and praise the Lord
• The eyes and ears on a figure in an icon are made disproportionately large because a spiritual person spends more time listening to God’s word and seeking to do God’s will. The mouth however is always made small as it can also be the source of empty and harmful words. The nose is also out of proportion as it’s seen as being sensual. When an evil character is represented it’s always done in profile as it’s not desirable to make eye contact with such a person
• Figures shown with larger than normal heads represent those who have devoted themselves to contemplation and prayer

Even the colours used in the clothing of Jesus, the Virgin Mary and other saints are fixed by tradition with symbolic meaning attache.