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The Mandylion, The Holy Face,
"The Image Not Made by Hands"
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2005
photograph by Richard Anderson

Icons of this type, showing the face of Jesus (without neck or body) on a white
cloth, are much beloved among Eastern Orthodox believers.

There is a legend that King Abgar of Edessa sent a message to Jesus, asking
him to come and heal the king of a severe illness.  Instead, Jesus pressed his
face to a cloth, imprinting the image of his face - which is why this is considered
the most true and accurate icon of Christ.  When Abgar received the cloth, he
was cured.
Christ Pantocrator (Ruler of All, Sustainer of All),
"Eternal Light"
Egg tempera and gold leaf on sculpted board, 12.5 x 13 inches, 2003
photograph by Richard Anderson

Christ as Pantocrator, or Ruler of All, is typically painted overhead on the
central dome of an Orthodox church building.  Such an icon must "read"
from every direction on the floor below.

This icon is based on such a painting, an 18th-century fresco in the outer
narthex of the Holy Monastery of Karakalloy, Mount Athos, Greece.

Jesus Christ is presented as a classical philosopher, holding a golden
gospel book symbolic of his teaching.  The starry sky background shows
his cosmic status - and the eight-pointed star surrounding him implies
that he is the brightest star of all.

Christ is surrounded by four archangels and by four 6-winged seraphs.  
The words in the margin come from a medieval hymn.
Christ as Man of Sorrows
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2001
photograph by Richard Anderson

Here is Jesus in the crown of thorns and purple robe, as he would have
appeared before Pilate.  In Orthodox imagery, Christ never loses his physical
beauty.  Images of his passion are presented with only token bleeding and
without the graphically explicit physical suffering often seen in Western versions.

Icons of Christ’s passion take us to our own places of fear, grief, pain, and
horror.  Here our beloved Lord, in severe grief and pain and trouble, stands with
us and for us.

Jesus appears chilled and embarrassed.  Pilate’s soldiers made him look really
silly in that skimpy purple robe.  The knot seems to symbolize his heart.  To
emphasize the drama and tension, I painted the inner background red.
The Christ (the Anointed One), the Savior, Our Lord, the Son of God,
the Teacher, the Master

Jesus is typically depicted as teacher and philosopher.  Like other teachers,
he holds a book or scroll.  His gaze is intent, inquiring, both open and inward.
His heavenly blue outer garment and earthy red inner garment symbolize
his dual nature.  The yellow silk ribbon on his shoulder, a mark of high
status in the Roman Empire, denotes the esteem in which we hold him.

His unique halo is marked by a cross and lettering, roughly translatable
as “I am who I am.”
Christ the Teacher, "Come Unto Me" a.k.a. "My Face"
egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2004
photograph by Richard Anderson

Jesus is often pictured as with an open book showing one of his sayings; here
"Come unto me, all you who labor and are heavy laden, and I will refresh you."

This icon was painted in a workshop led by a visiting Russian teacher, Father
Andrei Davydov.  It uses some pigments which were new to me at the time; and
it is more stylized than my usual work.

One Sunday morning, this icon was on a stand beside the church door, when a
stranger entered and stared at it intently.  Before I could stop him, he grabbed
3 ball point pens and wrote in large letters on the back of the icon:  MY FACE.  
Then he left, and we have not seen him again.
Christ the Teacher,
"The Kingdom of God is Within You"
egg tempera and gold leaf on shaped sculpted board,
6 x 6.6 inches, 2006
photograph by Richard Anderson

This small personal icon was painted for my
bedroom.
Back to Gallery
Head of Christ
egg tempera and gold leaf on sculpted board
9.5 x 12.5 inches, 1999
photograph by David Elliott
Betsy Porter
Art and Iconography
ICONS OF JESUS and SCENES FROM HIS LIFE
The Transfiguration of Our Lord Jesus Christ
egg tempera and gold leaf on sculpted board
12 x 16 inches, 2003
photograph by Richard Anderson

During a tense period leading up to Jesus’ crucifixion, he asked three
disciples to climb with him up Mount Tabor.  There the disciples had an
overwhelming vision of Jesus illuminated by divine light, and discussing
his coming death with the prophets Elijah and Moses.

Every iconographer seeks to capture the brilliant and mysterious
“uncreated light” of the Transfiguration as the interior source of light for
the icon.

In order to evoke the intense light, the background is gilded.  Jesus is
clothed in glistening white, rather than his usual red and blue.  The three
disciples James, John, and Peter are depicted without halos.
The Presentation of our Lord Jesus Christ
in the Temple of Jerusalem
Egg tempera and gold leaf on sculpted board, 11 x 14 inches, 2002
Photograph by Richard Anderson

The Temple of Jerusalem was the pride of the Jewish people, the moral and
spiritual center of their nation, and the repository of their culture and scholarship.  
The Temple remains central to the symbolism of Orthodox Christianity and
appears in many icons.  Every Orthodox church building is modeled on the Temple.

It was customary that a firstborn son should be taken to the temple 40 days after
his birth and dedicated to God.  The parents would also bring two pigeons to be
sacrificed.  Here (Luke 2:22-38) we see Joseph and Mary bringing the young
Jesus to the Temple, where they are surprised by the old scholar Simeon, who has
been guided to them by the Holy Spirit.

Amazingly, Mary lets Simeon hold her precious baby.  In this version, Jesus is
depicted as older than his 40 days, in intense discussion with Simeon.  (I love the
way the halos of Mary, Jesus, and Simeon are shown in a cluster.)  The elderly
widow Anna, who lives in the Temple, also recognizes this special child and praises
God.
Christ the Teacher, "Fear Not, Little Flock"
egg tempera and gold leaf on shaped sculpted board, 11 x 12.5 inches, 2006
photograph by Richard Anderson

I liked the small icon so much that I painted this larger one, a size suitable for display in church.

In this icon, Jesus looks quite youthful - he seems to be just starting out on his ministry, and people are listening to
what he has to say.  Christ’s expression is full of hope for his mission and for his followers.
Christ Pantocrator
(Ruler of All, Sustainer of All)
egg tempera and gold leaf on sculpted board
11 x 14 inches, 1999
photograph by Richard Anderson
Left; The Mandylion or The Holy Face
egg tempera and gold leaf on panel, 5 x 6 inches, 2008

This beloved icon type has many variations.  Here it is
painted as a small personal icon, on a postcard-sized
panel.  
To see how this icon was painted, go to the Step
by Step page.

Right;
The Mandylion or The Holy Face
egg tempera and gold leaf on shaped panel, 8 x 9 inches, 2010;
photograph by Richard Anderson

A cosmic view of Jesus as the human face of God, with
double halo, brighter than the sun, moon, and stars.
Christ the Teacher;
"The Kingdom of Heaven is Like a Mustard Seed"
Egg tempera and gold leaf on panel, 7 x 9 inches, 2007
Photograph by Richard Anderson

How big is Heaven?  A favorite spiritual says, “Heaven is so high you can’t get
over it, so low you can’t get under it, so wide you can’t get around it, so you
must come in at the door.”

But Jesus speaks of the intensity, potential, and concentrated value of Heaven.
He compares it to a gold coin, to a precious pearl, to yeast, and to this tiny but
living seed which can grow into “the largest of all shrubs, so that the birds of the
air nest in its branches.”
The Crucifixion and Death of Our Lord Jesus Christ
Egg tempera and gold leaf on arched sculpted board, 11 x 14 inches, 2009
Photograph by Richard Anderson

"Do not weep for me, but weep for yourselves, and for your children."

On a trash heap outside the walls of his beloved Jerusalem, Jesus is crucified.  
His mother Mary and his friend John, although horrified and grieving, gesture
in acknowledgment of Jesus' extraordinary personality and accomplishments.

By tradition, the skull in the cave at Jesus' feet was that of Adam - who waits
expectantly in hope of the resurrection.  
Above; Christ Crucified
Egg tempera and gold leaf on panel, 9 x 7 inches, 2010

This more intimate and devotional version of the Crucifixion
is based on a detail of a 14th century fresco at Decani
Serbian Orthodox Monastery in Kosovo.
Christ in Glory (also known as
Christ Enthroned or Christ in Majesty)
with Symbols of the Four Evangelists
egg tempera, gold leaf, shell gold on sculpted board, 13 x 17 inches, 2011
photograph by Richard Anderson
Painted under instruction by Dmitri Andrejev

"Lo! I am with you always, even unto the end of the age."

In Orthodox churches, an icon similar to this appears at the center
of the iconostasis or icon screen, surrounded by images of saints
and prophets in prayer.

It depicts Jesus as divine presence and as the priest of a future
age.  He is seated on a spiritual throne at the center of a
blue-green oval symbolizing heaven, and interlocking red
rectangles symbolizing earth, all enlivened by the faces of  
mysterious little angels and the movement of their closely spaced
wings.  The images in the corners represent the four gospel
writers:  Matthew (angel), Mark (lion), Luke (ox), and John
(eagle).  The winged circles at Christ's feet are another type of
angel known as "thrones."  This imagery alludes to visions in the
books of Daniel, Ezekiel, Isaiah, and Revelation.
                                    Class Photo of Santa Barbara Icon Workshop, June 2012

We are holding our icons-in-progress of Jesus, either a large Crucifixion icon, or Christ Emmanuel.  In the back
row are instructors Dmitri Andrejev (with gray beard) and Vladislav Andrejev.

Below, Vladislav and Dmitri are shown with their unfinished icons of The Holy Trinity and the Crucifixion.
The Raising of Lazarus
Egg tempera and gold leaf on panel, 16 x 13 inches, 2012
Photograph by Richard Anderson

What a situation!  Jesus' good friend Lazarus has been dead
for 3 days; his body has been wrapped in a traditional manner
and buried.  Jesus' increasing troubles with the authorities
have reached a threatening level, and his disciples Thomas
and Peter are becoming very worried.  Lazarus' grieving sisters
Martha and Mary are upset that Jesus did not come earlier.

When Jesus arrives at the cemetery, he weeps but then, with a
gracious gesture, calls the astonished Lazarus back to life.

This icon is full of complex emotional interactions; only Jesus
seems calm and sure of what to do.
Left; Processional Cross with Crucifixion
      "King of Glory"
Egg tempera and gold leaf on shaped sculpted board, 15 x 22.5 inches, 2012
Available at $800
Photograph by Richard Anderson
Painted under instruction by Vladislav and Dmitri Andrejev

This large cross-shaped icon is intended to be carried in procession
on Good Friday.  Unlike most portable icons, it cannot be displayed on
a stand, but can be hung on a wall the rest of the year.

This cross was the advanced project at the June 2012 Prosopon
workshop in Santa Barbara, California.