The Glenstal Book of Icons: Praying With the Glenstal Icons.
Hardcover: 160 pages
Publisher: Liturgical Press (December 2002)
Language: English
Product Dimensions: 7.6 x 4.7 x 0.6 inches
The Glenstal Abbey in County Limerick, Ireland, is a wonderful place to behold. They are a Benedictine monastery, operating a school, a ministry of hospitality, and providing an expression of Benedictine spirituality in the modern world. The pattern of their liturgical and prayer life is a modified form of the ancient Benedictine structure; this book takes a particular aspect of this - praying with the icons that are in the Abbey's Byzantine Chapel.
Protestants particularly have lost the tradition of the use of art work as representative objects for worship. However, the debate over the appropriateness of icons and other imagery is almost as old as Christianity itself. There was a time when icons of Christ were banned because Jesus, being of divine nature, wasn't suitable for depiction. That Jesus could be depicted without violation of the 'no graven images' commandment took a long time to be decided, and finally was deemed permissible because of Jesus' human nature. Rare the depiction of God or God the Father as anything more than a cloud, a hand, or some other vague symbol meant to characterise, more than anything else, the mystery involved rather than an actual physical likeness. Michaelangelo's depictions on the Sistine Chapel ceiling are remarkable not simply from their aesthetic quality, but also in that the image of God is very direct and distinctly human in form. Williams devotes many pages of the introduction to looking at precisely the issue of the theology behind the depiction of Jesus.
However, icons are a special form of art. They are not simple paintings, however elegant, but take the form, from their origination to their veneration, as a form of prayer in and of themselves in very real ways. Christian art was a long time in developing (indeed, the earliest Christians were sometimes thought to be atheists since they had no visible evidence of gods around).
This book gives a brief introduction to the role of icons in liturgy and theology, relating it to both ancient and postmodern ideas. Prayer need not be elaborate or done with exacting precision, despite the appearance of many kinds of liturgies to the contrary. 'The work of prayer is very simple,' the text tells us, in making us mindful of the presence of God. The icons help remind the pray-er of this presence; while some prayers are often said with the eyes closed, it can also help for the mind to meditate upon the images as the prayers are said, aloud or internally as silent prayers.
Icons presented here include images of Christ in various times (baptism, crucifixion, ascension, etc.), the Mother of God, various saints (Basil, Nicholas, Athanasius, etc.), and the Trinity - unusual in a way, as both the Eastern and Western Trinity representations do not show the actual person of the Trinity, as iconography (particularly Eastern iconography) doesn't generally permit depiction of Father or the Holy Spirit in a 'personal' form.
Each of the icons is presented with description about what is represented in the actual artwork, what the symbols are often understood as being, and some historical interpretations attached to each. Each is also accompanied with prayers that can be said with and in front of each.
The book itself is in a small format, about as wide as an average hand, which means it fits into the palm perfectly, as if it were made for being carried and used on a regular basis. The printing and paper stocks used are superb - as much as I am generally loathe to describe books in such terms, the basic construction of this book is worthy of note, as it adds 'flesh' to the prayers being given out of this text. It is a joy to read from the sensory perspective as well as the spiritual perspective.
This book is the same size and shape as another volume from Glenstal Abbey, their book of prayer in the Benedictine form. Together these make a wonderful resource for spiritual retreats and self-study.
The Glenstal Abbey taps into an ancient history, but is itself a relatively new establishment, having been founded in 1927 as the first Benedictine monastery in Ireland since the Reformation (King Henry VIII dissolved monasteries as part of his Reformations in the British Isles). This book is a great reflection of part of their community. |
