Threshold - Fall 2003

Writing Sacred Pictures:
An Interview With Sister Paula, Iconographer

The word “icon” is used daily in our computer-influenced world. A desktop icon, like a religious one, is a simple, standard depiction to represent a larger entity. It is the access point to something far more complex. Although the file may be buried deep in the computer, the icon leads users directly to what they seek.

When Sister Paula Howard talks about “icons,” she isn’t talking about her computer. She only discovered her talent for writing icons at the age of 77 and has developed into an accomplished icon writer. In this interview, she gives a glimpse of her work and herself.

Editor: The most obvious question, of course, is what is an icon?

Sister Paula: “Icon” is the Greek word for “image,” in this case, a sacred image of Christ or a saint or an event from Scripture. It’s a very early form of Christian art. In fact, the earliest ones were attributed to St. Luke, but for certain there are some at Mt. Sinai that date from the sixth century. Early Christian writers, like Eusebius, refer to them.

Why does one refer to “writing” an icon rather than “painting” one?

It’s called writing because these pictures were intended to be the illiterate person’s gospel. They were more a teaching tool than an art form and the person doing them was giving expression to the Word of God. In the early church, it was declared that they should be given the same reverence as a crucifix or a bible.

Of course, there was a natural fear that their use in worship would become more like idolatry. It was important to make clear that reverencing the mystery depicted in the icon was not mistaken for reverencing the icon itself.

To counter the Greek influence in art, they were not made to look too realistic in regard to the human body, but highly symbolic. Their purpose was didactic and inspirational, not purely aesthetic.

What are some other ways in which they differ from other types of art?

Eventually, there came to be a kind of standard for the icons in the church. Only events actually written about in the gospel were to be depicted. For example, there were no classical icons of the actual resurrection of Jesus. The colors used all have significance. The eyes are larger than is natural and the ears and mouths are smaller to represent silent wisdom. For icons of Jesus, there is always some part of the figure that is outside the frame because divinity cannot be wholly contained in the physical world.

The figures are not drawn in three dimensions, but flat. In normal artistic perspective, there should be a vanishing point at the back. With icons, the vanishing point would be in front of the picture, drawing the viewer into the image. The lack of shadows and shadings indicates no light source from the outside. Rather, the shiny gold and the raised highlights on the face and neck imply that the light source is within the person.

What is the actual process for making an icon?

First of all, there is the preparation of the iconographer. When you are writing an icon, there is supposed to be fasting or other spiritual practices. I can’t always fast totally but I give up certain types of food and I try to engage in at least one other ascetic practice.

The icon is made on wood. The colors are primarily earth tones. Bright colors are used only in the robes in order to represent royal majesty. The wood has to be coated with twelve coats of gesso, a plaster-based water paint. Between every three coats, the surface is sanded and, at the end, it is wet sanded. To get the right effect, the surface has to be as smooth as glass.

For the image, early iconographers used egg tempura but sometimes cracked and peeled and, unless mixed just right, it could also smell. A flat tempura is usually used nowadays. Contrary to most art, dark colors go on first. Then lighter shades are gradually added to give texture and put the focus on the light parts. Color has to be added until the surface is totally opaque, with no brush strokes showing. A shaded area of the face can easily have as many as 20 coats of thin paint on it.

Your own personal history with this art form is just as extraordinary. What brought you to this whole new career at age 77?

My third retirement! I did have a drawing course about 50 years ago and I enjoyed it very much, but I went on to teach English and math, and there wasn’t much time for hobbies in those days. Later I went into administration. When I spent over 8 years at Bethlehem University, I saw many icons in that part of the world, but I didn’t know how to appreciate what I was seeing.

When I returned to “retire” I was asked to be interim dean at Donnelly College for a year. I ended up “filling in” for 10 years! After that retirement, I attended an icon writing retreat here at Sophia Center with Sister Mary Charles McGough. I tried more icons on my own and also attended three more workshops with Sister Mary Charles. It just grew from that, and I’ve now completed more than 50 icons.

How has this ministry affected your own life?

I feel like a new person, with a deeper appreciation for the things of the earth. I’ve become more excited about form and color. I am being formed by the traditional prayer which one says when beginning to write. In it, you pray first of all to be able to enter into the mystery well enough to be able to produce something beautiful. Then you pray for everyone who will look at it and reverence its mystery. You pray for forgiveness of your own sins and of theirs.

It has unlocked lots of sacred mysteries. I won’t say that I know them, but I have entered into them more. Such experiences can’t help but enhance your contemplation.

For more information, check out the website about Sister Paula's icons