From Publishers Weekly
For most Christians in the West, icons are intriguing but opaque, enigmatic and perhaps a little frightening. In an accessible and loving introduction to the ancient devotional art form, the late Martin, who studied art history at Oxford University, manages to make icons intelligible without denuding their mystery. Part reference work and part inspirational meditation, the book opens by sharing little-known characteristics of icons. Next she offers a helpful chronology, usefully chronicling the various periods of Byzantine art, and limning the history of Russian icons. One very concrete chapter catalogues the materials and techniques of icon-making, explaining the role of egg tempera and gesso in producing the often dark, matte pictures. The most eloquent and capacious chapter is that on prayer. Icons, Martin tells us, are not merely inspiring works of art, but are "made for the distinct purpose of prayer." Indeed, this chapter goes beyond instructions about icons to a moving meditation on prayer itself. The small but densely packed volume is rounded out by an appendix of international icon collections, and a helpful bibliography. Only occasionally does the book turn didactic and over-encyclopedic; chapters five and six, which define basics like "iconostasis" and "diptych," feel plodding. Martin's work, which nicely complements Henri Nouwen's classic reflection on icons, ought to become an indispensable part of any Christian library.Copyright 2002 Reed Business Information, Inc.
From Booklist
Many appreciate and admire icons while failing to understandthem, which isn't surprising because iconography is a complex subjectwith thousands of years of history. Martin aims to increaseunderstanding of what icons convey. She defines icon and describesan icon's purpose; examines the visual language that is iconography(according to her, the earliest surviving icons date from the sixthand seventh centuries) as it developed during successive Byzantineeras and thereafter in the fifteenth and sixteenth centuries, theso-called golden age of Russian icons; and discusses the artists andcraftsmen who created icons and the donors and guild members whoenabled their creation. She also comments on the materials andtechniques used to fashion icons and on the spiritual significance ofindividual types of icons, such as those of the Virgin Mary and ofscenes from the New Testament--the Annunciation, the baptism ofChrist, the raising of Lazarus, the Crucifixion, and others. Inconclusion, Martin offers a short list of important icon collectionsthroughout the world. June Sawyers
Copyright © American Library Association. All rights reserved
Publishers Weekly, July 29, 2002
Religious icons aren's just for Eastern Orthodox Christians anymore. . . a comprehensive resource. . .
Book Description
When Linette Martin, a student at Oxford University, asked her art history tutor if there were any good books on icons for the ordinary reader, he replied that there were books by Orthodox theologians from an theological perspective and books by art history professors from an art history perspective, but nothing for the ordinary reader. Martin, herself an Anglican, set out to fill the gap by writing Sacred Doorways: A Beginner's Guide to Icons. Martin explains that she was initially captivated by the beauty and mystery of icons, but did not understand their "language." Her goal for Sacred Doorways was to write their alphabet, thereby helping others to understand this ancient Byzantine art form. Icons, Martin explains, are meant to convey Christian truths in a visual form, as a complement to the written Bible. Sacred Doorways is an ideal book for the Orthodox to pass along to their non-Orthodox friends. For Catholics and Protestants, it will serve as a non-technical, yet comprehensive introduction to help to increase understanding and appreciation of Orthodox spirituality. For the general reader, Sacred Doorways provides an essential guidebook to one of the most ancient religious art forms in the world.
Sacred Doorways: A Beginner's Guide to Icons FROM THE PUBLISHER
When Linette Martin, a student at Oxford University, asked her art history tutor if there were any good books on icons for the ordinary reader, he replied that there were books by Orthodox theologians from an theological perspective and books by art history professors from an art history perspective, but nothing for the ordinary reader. Martin, herself an Anglican, set out to fill the gap by writing Sacred Doorways: A Beginner's Guide to Icons.
Martin explains that she was initially captivated by the beauty and mystery of icons, but did not understand their "language." Her goal for Sacred Doorways was to write their alphabet, thereby helping others to understand this ancient Byzantine art form. Icons, Martin explains, are meant to convey Christian truths in a visual form, as a complement to the written Bible.
Sacred Doorways is an ideal book for the Orthodox to pass along to their non-Orthodox friends. For Catholics and Protestants, it will serve as a non-technical, yet comprehensive introduction to help to increase understanding and appreciation of Orthodox spirituality. For the general reader, Sacred Doorways provides an essential guidebook to one of the most ancient religious art forms in the world.
FROM THE CRITICS
Publishers Weekly
For most Christians in the West, icons are intriguing but opaque, enigmatic and perhaps a little frightening. In an accessible and loving introduction to the ancient devotional art form, the late Martin, who studied art history at Oxford University, manages to make icons intelligible without denuding their mystery. Part reference work and part inspirational meditation, the book opens by sharing little-known characteristics of icons. Next she offers a helpful chronology, usefully chronicling the various periods of Byzantine art, and limning the history of Russian icons. One very concrete chapter catalogues the materials and techniques of icon-making, explaining the role of egg tempera and gesso in producing the often dark, matte pictures. The most eloquent and capacious chapter is that on prayer. Icons, Martin tells us, are not merely inspiring works of art, but are "made for the distinct purpose of prayer." Indeed, this chapter goes beyond instructions about icons to a moving meditation on prayer itself. The small but densely packed volume is rounded out by an appendix of international icon collections, and a helpful bibliography. Only occasionally does the book turn didactic and over-encyclopedic; chapters five and six, which define basics like "iconostasis" and "diptych," feel plodding. Martin's work, which nicely complements Henri Nouwen's classic reflection on icons, ought to become an indispensable part of any Christian library. (Nov.) Copyright 2002 Cahners Business Information.
Art & Photography
Book Info
