Year I: Roots of Iconography (A Units)

This year explores the emergence of iconography out of the visual and religious melting pot around the Mediterranean basin. In the drawing exercises we look at positive and negative space in the icon (Egyptian unit) and the use of space and form, with the freehand painted line (Greek unit). We follow this with the roots of the theological language of the icon in Judaism and old testament / new testament parallels in image cycles. In section four we consider the way the Roman empire used images to develop social cohesion and the ‘Emperor portrait:’ Christianity was able to effectively use the channels already set up in the Empire when it developed its own religious and social language. Finally we study the development of iconography in Graeco-Egyptian culture culminating in writing the icon of the Sinai Christ, and the pilgrimage portraits which accompanied reliquaries, designing our own pilgrimage flask for a saint of our choice.

J. Clawson writes the
Sinai Christ icon

Methodist minister J. Lunn designs Our Lady of the Passion

Year II: Studying Scripture through Icons (B Units)

This year explores the way in which the visual image develops as an exegesis of Scripture. We start by exploring what it means to be made in the ‘image (icon) and likeness of God.’ The iconographer as a faithful scribe of God the Creator, has a duty ‘to pass on carefully an ordered account of the events that have taken place among us, exactly as these have been handed down to us’ Lk 1:2-3. By the composition and method of design the iconographer draws the attention of the Faithful to the Church’s teaching, by making visual connections and parallels. In this years work the budding iconographer is given visual and written exercises, which aim to draw him/her away from self-expression towards an icon which proclaims the glory of truth revealed by Scripture.

Under Development.
Year III: Conciliar Iconography (C Units)

The C1 units, currently being developed with the first third year group begin with the development of sacramental theology in the fourth century, especially in the Rites of Christian Initiation, and continues into the way the Councils of the Church shape its visual language - not only its content, but its method. In doing so we see how the conflict with iconoclasts (image breakers) shaped a visual thology which is a unique witness to Christian values. The final unit looks at western developments including the recent writings of John Paul II. Throughout the year exercises are set which challenge participants to express doctrine through visual form and colour.

The First Council of Nicea

The church interior: Finland

In Preparation
Year IV: The Iconographic Church (D Units)

The D1 units start applying the knowledge gained to siting the icon in the Church building, and some fine comprehensive units on this have already been developed by Sister Esther of Turvey Abbey. The focus is what happens when you go into Church: how is the faith presented and expounded to you by the Church interior. Design exercises will be set, so that participants can usefully advise on or engage in planning the church interior and looking at ways the home prayer area can play a greater part in the life of the Christian family. We will look also at how national communities express the common icongraphic heritage in unique ways, and reflect on how a genuine iconography can bedeveloped in our own country and community, in the twenty first century. As part of this we will explore how a deep spritual life and the spiritual experience of being transformed by ‘Christ our Light’ has been the inspiration behind new iconographic developments, such as the Russian golden age of Rublev and Theophanes and can renew iconography today.