Iconography as a source for studying our history

A Picture is worth a Thousand Words

Whoever said that ‘a picture is worth a thousand words' could not have described the purpose of religious icons any better. Religious icons (the word icon means, graphic representation) communicate much information of interest to the observer of history of religion. The following list provides an overview of the things we can usually learn by studying icons and iconography.

•  Some icons are transported across cultures and adopted without adaptation. Such icons communicate information about the culture or denomination of its origin, and about the culture or denomination that incorporated them without adaptation.

•  Icons are often developed within a particular cultural context. Such icons communicate information about its particular culture and about theological details particular to that culture.

•  People from other religions sometimes disfigure icons, shrines, and temples. A study of which icons are particularly targeted and which particular elements of these icons are targeted for disfiguring tells us things about both sides in the struggle.

•  Often, within the same religious denomination one may find different icons portraying the same aspect of the Divine. Some communities therefore identify more with a particular icon and prefer it above another. The study of the differences and the underlying reasons behind it is often enlightening.

•  Some icons date from very early times. The most ancient of icons in our Tradition date back to the Mohenjo-djara and Harappa era of the Indus civilisation about 2000BCE. A study of the materials, technique, colours, and artistic styles used in old and ancient icons teach us much about technological ability, art appreciation, and aesthetics prevalent in the culture. Nevertheless, the primary importance for studying icons over the ages helps us to understand the development of human spirituality.

•  Religious icons often convey theological statements. The discerning observer understands that icons do not stand alone but speak volumes of theological education from within a cultural context. Icons are, therefore, symbols of ideology, faith, and theology. Icons are not worshipped, because they are not gods, icons are symbols of Divinity and act as mandalas (mental guides) to help us connect to the Divine. Icons are thus devotional devices used to assist the (wandering and undisciplined) mind to approach the Divine. Icons therefore not worshipped but they are usually venerated (held in high esteem) because they are considered holy. The word holy comes from the Greek word hagios , meaning ‘dedicated to God'. Most religious icons are dedicated to divine purposes only. As temples, churches and scripture are dedicated to God and therefore considered holy, so too are most icons considered holy. We cannot learn history of religion without learning theology.

Ancient Icons (examples)

This clay seal from the ancient Indus Valley civilisation of Mohenjo-daro , more than two thousand years ago, depicts a saviour figure or divinity in yogic meditating posture. The item is from the Islamabad Museum .

Following are some interesting points to note:

•  Note the low throne stool, still in use today.

•  Note the crown made of Water Buffalo horns (the cow of the time). The symbolism of the cow as an ideal is still inherent in Hinduism and is never far from Church of the East.

•  The script visible in the picture is ancient Dravidian. Note the fish symbol in the script. The fish symbol probably also denoted sky. Later Tradition in The Way made extensive use of the fish symbol. For example, two fishes together was the forerunner of the Yin and Yang symbol; the early cult of Dagon (1000 BCE) used the fish to symbolise God; the fish tail headdress adopted by the Roman Catholics is a remnant of the past; there are many stories of miracles Yesu our Lord performed that involved fish.

•  The seal depicts a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress.

•  Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress.

•  Seven bangles are depicted on the left arm and eight on the right, with the hands resting on the knees.

•  The heels are pressed together under the groin and the feet project beyond the edge of the throne.

•  The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals.

•  While many seals were fired steatite this seal may not have been fired, but the stone is very hard.

It is probable that the particular icon pictured here is not 1900 years old but it is an icon in the ‘true type'. True type icons are different from other types because the artist may not deviate from the original s/he is copying. Tradition has it that The Magadhalene advised a master sculptor in the town of Gilgit who worked on the first Historical Yesu icons. When the icon was completed and placed in its shrine The Magadhalene did obeisance to it and blessed it. Seven exact copies were made of the original under the master's guidance to serve as copyists models—models to be used by future sculptors. The idea was that no artists may deviate from the original form. In our Tradition, we think of these icons to be 1900 years old.

This particular icon was moved to Canada along with other relics to safeguard it against the plundering hands of religious strife in Kashmir . It is carved from wood and shows many layers of restoration paint and laquer.

Some points to note:

•  The skin colour is gold paint. Gold is hardly used elsewhere on the icon, a feature that sets it apart from other styles. Some Chinese sources describe the Lord as having an ‘orange' colour skin – is this icon a depiction of that?

•  The proportion of the figure is interestingly different to other icons depicting the Lord. Some considerations seeking to explain this may be: a) the artist could be Chinese, b) the intended audience could be Chinese, c) the historical figure of Yesu the Lord that is modeled here is an older person than the Yesu known from His first visit to the area, or from the Palestinian or Persian ministries. Traditions in the Church hold that Yesu our Lord advised and ministered to King Kanishka—but that would make the Lord at least 100 years-old at the time. Nevertheless, there is also very strong Tradition that places the historical Yesu our Lord in royal courts early in the year 128 CE.

•  Note the style of the pattern around the collar of the undergarment. It is a style one finds to a lesser extent in early Gandhara, Mathura and even in Persian art of the period but scholars know the style to be more typical of Hellenistic (Greek era) decoration that was only later incorporated into Gandaharan art.

•  The very heavy overcoat suggest that the Lord is in an area where severe winters call for additional clothing—something oddly in contrast to Christian Tradition that has Yesu instruct his followers to roam about and not to take a second garment along. This is definitely not an instruction the Compassionate One would give to followers who live in the Himalaya , Pamir or Kush Mountains —where temperatures can drop to -50 degrees on a bad day.

•  The active spiritual centres (chakras) depicted in the palms of the hands of our Lord communicates a great deal of theology the serious student should study.

•  Note the colour of the eyes. If early Eastern icons of the Lord are an indication of what He actually looked like we deduce that as a mature person He had bright blue eyes, ‘orange' skin tone, black beard and long black hair, a prominent nose and strong chin. In old age the Lord is said to have had a full head of long hair distinctively bright white in colour. As a young man He is most often depicted clean shaven, with long black hair sometimes collected in a fashion, a strong, lean body – although many icons add a short black beard when the Lord is depicted as an adult.

•  We noticed that the body shape and other subtle aspects of the Oesho icon make the figure of the historical Yesu seem Chinese, but the texture of the hair and the colour of the eyes are definitely not standard for a person of Chinese or Indian origin. The hair is very black. Restorers found ancient layers of pitch black paint on the hair and as with the rest of the icon, matched the colours in restoration.

This 6 th century bust of an icon destroyed by Islamic persecutors in Afghanistan is interesting to students of church history because its features differ from the more known style popular in North India .

Two of the most striking differences are 1) her nose and mouth is not as fine as the usual form, and 2) on top of the head is a protrusion which in Buddhism is used to depict a Buddha—although some bodhisattvas are also depicted with the mound on top of the head.

Some points to note:

•  While most icons of Avalokitesvara and Magadhalene picture them with our particular cross as a necklace, this icon has two of them. The smaller one around the throat looks like a ‘choker' also seen on other icons. The bigger cross hangs from a large ornate chain around the neck. This size of this cross is rather unusual.

•  Whether in her historical form or in her celestial form as Tara , Mari Magadhalene is always depicted with prominent beautiful breasts. This particular artistic form does not deviate from the usual but the sculpture has a smaller than usual chest circumference.

•  The Magadhalene's hair is usually very long, wavy and often shown with a curl in it.

•  Icons of Tara are usually nude but icons of the historical Magadhalene are usually not. This 6 th century icon shows the two traditions flowing into one as the figure seems both nude and clothed. From this time onward, we tend to see more Tara icons than historical Magadhalene icons. If this were a 20 th century icon, it would create the impression that she is dressed in an exceptional body suit. It is noteworthy that nipples were often obscured or not sculpted. It is evident that the culture of the time where the church spread was very comfortable with nudity but somehow it seems as if the nude nipple robbed the art of its modesty. This sense of modesty is also evident in art of the period that showed genitals, where some of the detail would not be sculpted or painted.

Early depictions of the celestial Magadhalene, Tara, surfaced in the first century in the Kushan kingdom. From here the cult of Avalokitesvara and Tara spread north east throughout China and south east to India and Indonesia under the wing of the new Great Vehicle (Mahayana) Buddhism that allowed and fostered the movement.

We learn from history that Tara is the product of the Lord's compassion. Folklore explains it in this simple and efficacious way. When the Lord in His form Avalokitesvara was weeping one day for the sorrows and pains of the world, God took one of Avalokitesvara's tears, and anointed The Magadhalene with it and she transformed into her celestial form, Tara, the consort of the Lord. We know the history of how the Lord transformed the life and future of the child prostitute from Magadha , and we can attest to it that His compassion transformed the child into the Compassionate Mother, being the title of Tara .

This golden icon of Tara recovered from a 5 th century shipwreck show the close resemblance to the previous icon of the historical Magadhalene. It becomes increasingly clear that, initially, images of the historical Magadhalene were simply infused with doctrinal symbols to elevate the saint to the status of bodhisattva.

Some points to note:

•  Note the icons of Avalokitesvara in her headdress. Tara is usually depicted along with a picture or icon of the Lord.

•  The chest of Tara is not necessarily broader but the breasts are more perfect (in the fashion of the time) than that of Magadhalene. This icon has clear symmetrical nipples (not shown in the small picture above). Tara 's nipples are often obscured by draping the elaborate necklace or sash over her breast but in this icon style the broad necklace is specifically not over, but between the breasts.

•  The so-called third eye chakra, the sign of enlightenment on this icon is made in an unusual way.

•  The mouth and nose in the icon leans more toward that of the historical Magadhalene icons than later Taras display. Chinese influences in later (7 th cent. onward) Tara tend to narrow the nose and thin the mouth.

•  The modified double dorje of the necklace is contemporary – a design which would later lead to the Wayist cross that became common paintings and other icons.

The contemporary Tara pictured below shows some of the changes that occurred during the past 1 500 years.

The only significant change is the undertone of Chinese influence on the style, perhaps the reason why she looks a bit younger than 1500 years ago. The cross on the tight necklace, chakras in the hands and feet, active brow chakra, nude pose, and sensuality flowing forth—all the signs of the Tara is there.

To the left is a contemporary Cambodian icon of Tara . Note how some cultures are ready to discard the aforementioned ‘essential elements' of the Tara icons. The cross is not there any more and the face changed to better suit the incorporating culture.

This picture of The Magadhalene is a famous western work of art. Here she is pictured as full busted and beautiful in the artist's 18 th century European context—illustrating our (human) ability to adopt concepts across cultures and acculturate it to eventually own it for ourselves. This historical Magadhalene, in her western context, is depicted as a fair-skinned European with red hair. In this picture, she is reading from a very large book, holding to the Tradition that the Lord educated her to read and write in more than one language. Febvre's Magadhalene, right, retains the most sensual nature associated with The Magadhalene's ministry of Sacred Sensuality. However, while the West embraced The Magadhalene as a person associated with the Lord, Christianity never tolerated her ministry, seniority, importance as head of the African Church and her cult. Needless to say, Christianity never (canonised her) accepted her as a Saint. The Christian had serious issues to resolve regarding the place of women in their society and harboured almost pathological fears of nudity and sensuality. In answer to the Sacred Sensuality Tradition of the Lord, championed by The Magadhalene, Christianity instituted practices for monks and clergy. The practice of Sacred Sensuality was outlawed and we see Paul reacting to it when he tells women to keep their hair tied. By the 4 th century Christianity finally stamped out Sacred Sensuality by going against Scripture declaring polygamy illegal, clergy are not to be married and must abstain from sex and sensuality.

Grasping at a text in the Christian book of Timothy where Paul tells spiritual heads of congregations (bishops) they should not have more than one wife (for understandable reasons of economics and personal resources), Christianity outlawed polygamy for all devotees and marriage for all clergy. Church of the East tradition has always practised polygamy and Sacred Sensuality as sacraments.

The crucifixion of the Lord by the Jews marked the beginning of the worldwide ministry of the celestial Lord. From that moment on the Lord appeared anywhere in the world in any bodily form, be it His Yesu body (historical) or that of an animal, a man, woman, child, or angel. The celestial Lord has no gender because the Lord is a spirit, incarnating at will, in whatever gender or form is best suited for the purpose – therefore, however and wherever the Lord needs to appear for our sakes. This aspect of the Lord is discussed in the 1 st century Scripture, the Lotus Sutra. Christians refer to the Celestial Lord as Christ. The devotional aspect of our Tradition pays a lot of attention to the Lord's Avalokitesvara ministry to all humankind.

Avalokitesvara's icons depict the androgynous ideal the Lord teaches us to imitate. Avalokitesvara therefore transcends the conditions and limitations bestowed on humans because of playing to gender stereotypes and roles. We have both spiritual forces resident in us, yin (female) and (yang), and the ‘two should become one'. The spiritual ideal is that we not be dominantly male or female, we should break free from culturally conditioned patterns of thinking regarding gender roles and stereotypes that condition and limit our androgynous spirit to develop holistically. The icon above is typical of icons of Avalokitesvara in Church of the East. By the 6 th century the style seen above had been incorporated in different cultures and the most prominent change that took place is that the double dorje-style cross was often not placed around Avalokitesvara's neck. Later icons from Tibetan, Nepalese and Chinese cultures would stretch the ear lobes of Avalokitesvara because it was considered beautiful, and a sign of prosperity.

This 7 th century Nepalese icon of Avalokitesvara has no cross around the neck.

Another aspect of Avalokitesvara is that some schools would incorporate an image of Amitabha Buddha in Avalokitesvara's crown, signifying that he embodies not only God's Compassion but also God's Wisdom. Church of the East uses both styles of icon, with and without the Wisdom aspect of God incorporated in the crown of Avalokitesvara.

The icon to the left is a contemporary example from the Far East . Avalokitesvara icons are often nude. The nudity of the icon speaks of the Lord's teaching regarding sensuality, humility, simplicity, and compassion. The Lord's nudity also speaks to us about the cultural ideacyncrasies, which we are warned against so much. We are always naked in front of God. We cannot cover ourselves from God's. God is present with us when we are alone in our beds, or making love to our partners, when we are in prayer, meditation, at work, and even when we think we in a private moment. There is no way to hide from God's view. Clothing can be one of those aspects of human life we use to deepen the error of the illusion, thinking we can ‘define' ourselves by the clothes we wear.

Other forms of Avalokitesvara depict the Lord as having a thousand arms with which to help all devotees at once. Many icons, especially in the Hindu tradition, depict the Lord with four or more arms and place significant items in each hand. Students of the theology forwarded by icons should take careful note of the different mudras (hand gestures) and other items added to the icon. Many icons add a lasso, or rope, which the Lord uses to reach out and lasso individuals from within large crowds or from dangerous situations, saving them from evil, danger or going astray. The Saikarali is often placed in one hand, although from the 7 th century on we often see the Saikarali replaced by Buddhist prayer beads. The Lotus is central to Avalokitesvara and Tara. Any discussion of the immense significance of the lotus is beyond the scope of this work. Viz. the mantra of the Lord – Behold the Jewel in the Lotus – Om Mani Padme Hum.

However, we remind the reader that the intimate association of the Lord and His Tara with the most significant of theological symbols of the East, the lotus flower--with its roots in the dark mud, its stem searching upward through the murky waters for the Light, to break open and bloom so splendidly--is significant of a special honour and theology associated with the work and teaching of the Saviour Yesu our Lord – an honour not bestowed on other deities of the Buddhist or Hindu traditions.

The icon to the left is a contemporary expression common in the United States and Canada (teaching mudra).

Below is a contemporary Chinese expression of Avalokitesvara holding the Pearl (from the Song of the Pearl ). Note the prominent place of the cross in the necklace compared to icon styles slowly moving from the almost 2000 year-old standard that do not display the Wayist cross.

The Chinese translation for the Sanskrit name Avalokitesvara (The Lord who hears The Cries of the World) is Guanyin (or Kwanyin). Therefore, The Saviour is known among Chinese speaking people as Guanyin. An interesting aspect of Chinese expressions of Guanyin since Medieval China is that its iconic expressions are more feminine than the androgynous Avalokitesvara of the rest of the world. This is probably due to a Chinese Queen of the time who politicised and popularised the image during her peaceful reign. Contemporary expressions of Guanyin often have the characteristics of a graceful and perhaps older woman.

The cult of Guanyin is the most popular expression of Chinese Buddhism and icons are readily available in every so-called China Town around the world.

Because Guanyin / Avalokitesvara saves devotees from all kinds of peril, different icons depicting the Lord as Saviour in different circumstances were developed over the years. These many different ‘faces' of the Lord apparently serve to remind devotees of the Lord's many facets.

It is nothing less than astounding to witness the miracle of ministry of the Lord, which started with Yesu the young man from the West who, some years later, were worshipped in his form of a goddess in the Far East .

The Avalokitesvara movement, and icons, were incorporated into Taoism (Daoism). Daoism is the ancient Chinese philosophy, which the Lord used to reform Chinese religion. Lord Yesu made extensive use of the Tao Teh Ching throughout His career and used it to reform Chinese primitive religions. Taoism honour The Saviour in their temples—that is perhaps strange because Tao Teh Ching is dead-set against any form of idolatry and iconic representation, even any attempt to describe or name God – but, in Wayism and Daoism the Lord is a Symbol pointing to, or leading to God.

• Polyandry A type of polygamous mating system in which one female monopolizes the reproductive efforts of several males.
• Polygamy Any mating system, including polyandry and polygymy, in which one member of a sex monopolizes the reproductive efforts of several members of the other sex.
• Polygyny A type of polygamous mating system in which one male monopolizes the reproductive efforts of several females.

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