Icons and the Mystical Origins of Christianity

Rating:
Summary: Lucid Presentation of Icons & Christianity
Review: Things are not always what they look like! Icons are certainly 'something else'.

Mr. Temple's book, now in its revised edition, starts with an introduction to the origins of Christianity. The subject of this section, which covers nearly half of the contents, is not the history of things that might have happened or not happened. His subject is based on the writings, philosophies and ideas from ancient Egypt, Pythagoras, the Hellenic period all the way to Neo-Platonism and the beginnigs of Hesychasm, the practice of silence and the Prayer of the Heart in the 4th century. As a short introduction to the origins of Christianity it is the best I have so far come across.

The second part of the book centers on the interpretation of icons. This section starts from the Egyptian Fayum portraits, which were paintings discovered in the graves in Egypt, and goes through examples of the interpretation ending up with the Iconostasis, which is separating the nave of the Orthodox churches from the sanctuary and on which many icons are displayed.

The red thread through the book is its emphasis on the inner, esoteric, teaching in and around Christianity, which Mr. Temple refers to as the Perennial Philosophy. Gods are not places nor individuals, but states of being realizable within ourselves.

In a similar way icons are not picturing historic events. They are presentations of the inner state of the icon painter, who has, with the help of self-knowledge, been able to come in contact with the higher reality and the subject of his painting and through this relationship has been in a position to express it in the icon.

This kind of contact within ourselves is also necessary for the full appreciation of the icons. To experience an icon we need to approach it not just with our eyes. When that takes place the icon may take on the communication.

Rating:
Summary: Christian Mysticism and the Icon.
Review: _Icons and the Mystical Origins of Christianity_ is an excellent introduction to the subject of Christian mysticism, the roots of early Christianity, and the expression of the sacred in the art of the icon. The first half of the book is devoted to a detailed background survey of the mystical roots of Christianity, and the second half of the book is devoted to the analysis and application of these ideas to the icons themselves. Fully rooted in the perennial philosophy, Richard Temple, the author, attempts to outline the mystical developments as they arose in Egypt, Greece, and in the earliest beginnings of Christianity. The author includes a detailed account of the philosophies of the ancient Egyptians, Pythagoras, the cult of Orpheus, the Platonists, and Philo of Alexandria. Involved in this survey are the esoteric ideas of Plato and the NeoPlatonists (particularly Plotinus, Philo of Alexandria from the Jewish perspective, and Origen from the Christian perspective). The early church father, Origen would come later to propose a fourfold interpretation of the sacred biblical texts, which some would regard as heretical (although it would be revived in modern times). Temple also considers the early heretical movement of Gnosticism, which claimed to offer esoteric knowledge of God and often involved elaborate mystical cosmogonies. The early church fathers would come to write against Gnosticism in the most severe manner due to the potential dangers lurking in this belief system. Temple includes a discussion of certain practices in the Eastern churches including the Hesychasm and the text used in the Eastern Church, _The Philokalia_, a presentation of the wisdom and practical mystical advice of the monks from Mount Athos throughout the centuries. Temple also includes discussions of the early Platonist, Plotinus, and his role in the philosophical underpinnings of mystical thought as well as the Christian Platonist, Dionysius the Areopagite, who developed a negative theology in his writings. The second section of this book turns to the discussion of the sacred art in icons proper. Here, the author examines icons through the Fayum portraits and the Sinai Christ and Mother of God. These earliest scenes paved the way for the future artworks which were to come to represent the icons. In particular, the Alexandrian, Cosmas Indicopleustes, explained the origin of the Divine Ray and the Platonic hierarchies as they applied to the Great Chain of Being in the development of the icons. The author examines the role of the Orpheus cult and alludes to Jesus Christ's descent into hell before his resurrection to explain the divine mysteries of certain icons. The author also examines icons revealing Saint George and the dragon, and he shows how these particular icons represent spiritual mastery over lower urges (expressed through the figures of the dragon and the white stead). A distinction is drawn between the inner and the outer levels of man. Thus, various biblical events involve both an exoteric and an esoteric interpretation (e.g. those within the ark of Noah represent the esoteric circle while those outside the ark represent the exoteric aspect). The role of the topographical background to the icon and the divine light emanating from the heavens is explained by the author, including a discussion of the Christ Pantocrater. The author concludes with a discussion of Mary, the Theotokos (the "God-bearer", the Mother of God) and the iconostasis - the screen that separates the nave from the sanctuary in Eastern churches which involves several tiers of icons. Displayed on the iconostasis are the various biblical scenes from the lives of Jesus and Mary (the life of Jesus being contained within the life of Mary) which illustrate various aspects of the divine unfolding. This illustrates the ancient principle of unity in multiplicity. The author concludes the book with a discussion of the need for a return to perennial philosophy as an explanation for the icons. In general, icons have played a far greater role in the Eastern churches than in those of the West. Furthermore, the author contends that mysticism has played a more important role in the East than in the West. While icons have been variously condemned and then allowed to proliferate, their role in the earliest developments of Christianity and Christian mysticism is apparent. This book offers not only a useful introduction to icons, but also an introduction to the perennial philosophy that underlies their interpretation. For those seekers after truth who choose to disregard the materialistic drift of modern times, a return to the most ancient forms of Christianity and Christian practice and a revival of its true mystical nature is of the most life-fulfilling importance.