Ateneo De Manila University

College of Social Sciences

Department of Communication

AN ANALYSIS OF PERCEIVED VISUAL CONNECTIONS

BETWEEN EASTERN ORTHODOX ICONS
AND FILIPINO CATHOLIC CULTURE

A Final Paper

In partial fulfillment of the requirements in

Visual Communication
COM 232.1A

Submitted by
E. Miguel F. Ramirez
MA Communication | 097346

Submitted to
Ms. Isabel Kenny

March 2012

INTRODUCTION
To See is to Believe
Because you have seen Me, have you believed? Blessed are they who
did not see, and yet believed. (John 20:29)
He is the image [Greek: eikon] of the invisible God, the firstborn of all
creation. (Colossians 1:15)

My fascination for icons is a vicarious one. It

started with a Catholic Priest who happens to be a
friend and counselor. He is a devotee of Our Lady of
Guadalupe (Fig. 1), which, according to legend is an
image not of human hands. From this fascination, he
has in his office dozens of icons1 of the Blessed Mother,
Jesus, and other holy men and women. He has also put
up a local workshop, where he teaches migrant youth
how to reproduce, embellish and produce wonderful
icons, which he then puts on sale or gives away. Every
time we meet, he shares a little bit of this fascination to
me by taking me step-by-step into the beauty of these
Figure 1: Our Lady of Guadalupe, not painted by human
hands

heavenly works of art.

Consequently, my interest in religion has

reinforced this dormant fascination. I consider as my life-mission the education to the Catholic
faith. I love talking to youth, illiterates, converts, or burned-out Christians, if only to educate
them more and more about the beauty of spirituality and the Catholic faith we profess. And by
using images and vivid symbolism, it is really not difficult to attract them all the more to meeting
Jesus as their God.
This paper aims precisely that: to explore the rich images of the Church, and use them to
propagate the faith to those who are hard of words. However, the problem lies in the image itself.

Following Eastern Orthodox iconography

The images we are about to explore are the religious images of the Eastern Orthodox Church. And
as history would dictate, this is a church that shares a lot of commonality with the Roman
Catholic Church (Western), but has departed from it many centuries ago. Fortunately though,
notwithstanding their schismatic relations, the images continue to retain a lot of Theological
wealth, but disagree in many ways with the artistic nature and style of the West. How will these
images, therefore, appeal to the Filipino culture, if in the first place, we Filipinos are children of
the West? When the Spaniards came to conquer us in the 16th century, they have brainwashed us
through 333 years of western religiosity. Through them, we have been accustomed to see images
of Jesus, Mary, and the Saints, depicted in realistic and highly westernized styles. At first glance,
there may be nothing wrong here, but can we likewise use Eastern religious icons to deepen this
existing religiosity? If so, then what are the similar values, graphical representations, and cultural
systems present in these Eastern icons, which we can use to perform this assimilation?
In the end, we shall hope to find common starting points by which we can enculturate
these rich images from the standpoint of the Filipino Catholic. We shall use these similar values
and symbols present in these foreign icons, to gain more acceptance, thus more understanding.
We hope that as Filipinos see these images packed with meaning, they will likewise believe (in the
deeper sense of the word), in the faith professed by this blessed country.

Definition of Terms
To lay the foundations for the subject, let me define some of the terms that will be used in
this paper. These are taken from various sources, as well as common understanding.
The Eastern Orthodox Church. This religious group, as opposed to the Roman
Catholic Church (Western Church), is comprised of the Christians (believers of Jesus Christ) in
the East of Europe, in Egypt and in Asia. They accept the Councils of Ephesus and Chalcedon,
which declares the dual nature of Jesus as both fully human and fully divine (among other
doctrines which were raised), but who, as a result of the schism of Caerularius (11th c.), are not in
communion with the Catholic Church (Fortescue, 1911). This schism was a result of Theological
differences, which could have probably been settled if not for the two different concepts of Church
authority. Orthodox Christians believed that no one bishop can have the final say in Church

matters, hence, an Ecumenical Council will have to be formed. The Roman Church, on the other
hand, holds on to the tradition of Peter, as the sole and only successor of Christ, and therefore
believes in the infallibility of the Pope, ex cathedra.2
The Orthodox Church is nevertheless a great resource of rich liturgical traditions, handed
down from the earliest centuries of Christianity. The sacredness and the beauty of the Orthodox
Divine Liturgy draws on the richness of art, in order to engage and draw mans bodily senses into
the divine.3
The Roman Catholic Church. These are the Churches in communion with the Bishop
of Rome, the Pope. Today, it is mainly different from the Eastern Orthodox Church through Papal
Authority and doctrines such as Purgatory and Original Sin. Efforts have been made by modern
leaders of both Churches to restore unity despite diversity.4
Eastern Orthodox Icons. This paper may interchangeably use the terms Icons,
Orthodox Icons, Theological Icons, Eastern Art, Orthodox Art, Byzantine Art, Sacred
Art or Theological Art to refer to this entity. As a whole this refers to the vast treasury of twodimensional art, which represents sacred images using the Eastern tradition. Since a host of Icons
are found throughout time, we shall concentrate on images from the Medieval and Renaissance
Era (Europe), between the 13th to the 16th centuries in the region of Constantinople, hence,
Byzantium.
Filipino Religious Art/Icons. Collectively, these are the paintings, sculptures and
themes, created by Filipinos, which portray Catholic figures used in public and private worship.
We shall use Filipino art, and Filipino Icons interchangeably to pertain to the same thing.
Western Religious Art. Collectively, it is a tradition of painting which uses Naturalism
and Humanism as a style. It aims to portray nature as closely as possible. According to Leon
Battista Alberti (1435), one of the painters of this style: No one will deny that things which are
not visible do not concern the painter, for he strives to represent only things which are seen. He

http://orthodoxinfo.com/general/orthodoxy.aspx (Retrieved March, 2012).

ibid.

ibid.

even repeats: Painting aims to represent things seen. And The painter is not concerned with
things that are not visible.5

Framework of the paper

There exists so much richness in Eastern Icons, that it is impossible for us Catholics not
to realize the beauty and relevance of this in our faith. Conversely, there also exists a lot of
literature, which aims to discuss this richness, but it is unfortunate though that this does not
reach the vast majority of Filipino Catholics. Yes, we Filipinos have a very religious culture, but it
merely rotates around shallow, nominal and folkloric beliefs. There is a vast space for enriching
this belief through sound Theological iconology, which Eastern Art may provide.
The first part of the paper is a discussion on the richness and relevance of Eastern
Orthodox Iconography. The paper shall qualify these religious images as canons in our faith.
Here we shall see the history of the icon, principles of icon making, and the different styles that it
adheres to. We shall also establish the Theological soundness, and timelessness of these images,
which make it valid representations of Roman Catholic images.
The second part is an exposition of one (1) prominent Orthodox icon, namely: The
Hospitality of Abraham by Andrei Rublev (1411), and an analysis of its denotative and
connotative meanings. Symbolism will also be employed here, and cultural values and themes will
be explored.
The final part is a discussion of the cultural values of the Filipino Catholic. Here, there
will be five points, which will be considered as points of articulation between our culture and the
visual icon. Essentially, we aim at justifying the cultural relevance of the age-old icon and
assimilate it with the Filipino Catholic faith.

http://www.sras.org/comparison_of_russian_orthodox_and_roman_catholic_sacred_art (Retrieved March, 2012).

EASTERN ORTHODOX ICONS

What is an Icon?
Icon comes from the Greek word eikon, which simply means image. More specifically,
the term icon is used to describe holy images (Ross, 2003). There is a manifested interest from
both the faithful and the faithless when it comes to icons. For the faithful, there is a unifying
element of spirit and art. Through the different symbols, colors, images and patterns, they open
up windows to the sublime and the sacred. For the faithless, there is an inevitable sense of
antiquity and it appeals a lot to the exotic collectors (Quenot, 1991). This kind of art, because of its
medieval beauty and sometimes disturbing images, not only appears in churches, but in galleries,
museums and specialty boutiques. This gives Eastern Orthodox iconography popular renown
through a vast array of audiences (Zelensky and Gilbert, 2005).
Icons are puzzling and mysterious. As some people would point out, it is even disquieting
at times. For us, non Orthodox Christians, it is useful to explain the icon through what it is not.
We shall be consulting Zelensky and Gilbert (2005) for the following descriptions.

An Icon is not intended to be a work of art illustrating an incident from Christs

life or a theme of Christian theology (although some people use it as such).

An Icon is not simply a material reflection of a spiritual reality.

An Icon is not an accessory or accoutrement to the act of worship.

An Icon is not an idol.

An Icon is so much more than a souvenir or a religious oddity.

On the other hand, when asked what an icon represents, an Eastern Orthodox Christian
will explain that:

An Icon is an instrument through which the knowledge of God, in his mysterious

human incarnation, becomes accessible to humankind.

An Icon is the physical witness to the sanctification of matter.

An Icon is a means by which both iconographer and worshipper can participate

in the realm of eternity.

Icons have various functions as well. In sum, they are not just portraits or pictures of
people, which is designed to amuse, delight or entertain, but they are understood to be a copy of a

divine prototype, which directs the viewer to the holy people and the stories they represent. It is
interesting that vis a vis Western art, which embodies naturalistic portrayals of real figures,
Eastern icons are meant to represent and symbolize the sacred: religious beliefs, heavenly events
and spiritual concepts (Ross, 2003).

The Origin and Development of the Icon

The early centuries of the Church were very unstable. In particular, early Christians
before the time of Constantine had to resort to vague symbols to represent Christ, for fear of their
lives and the Church. However, when Constantine, ruler of the Roman Empire made Christianity
the official religion of the world in 313 A.D., Christian art flourished, including the creation and
propagation of the earlier icons of Christ. During the fifth and sixth century, there was a
migration period (sometimes referred to as the Dark Ages), and this saw the decline and
eventual fall of the western half of the Roman Empire, centered on the city of Rome, in Italy. The
other side, the Byzantine East, more or less retained the early Christian traditions. This can give
us a glimpse of why this kind of artistic tradition is characteristic of the Eastern Church (Ross,
2003).
According to legend, the first icon was not a work of human hands. During the passion of
Christ on earth, a woman named Veronica is said to have wiped the face of Jesus. On this piece of
cloth, it is said that Jesus rewarded her by imprinting his holy face, for the world to see (Tradigo,
2004). Interestingly enough the name Veronica comes from two Latin words: vera and icona,
which means true image. It is likewise believed that the image on the holy Shroud is Jesus
imprint of himself, until it was recently put up for debate in the recent decades. It is not difficult
to consider the visual origins, or lack thereof of these icons. In the end, these are matters of faith
and not of history, spirit and not of physicality. Tradition tells us that the origin of icons is divine
and revealed, just as the Gospel text is likewise the not the work of human hands (Ross, 2003).

The Principles of Iconography

To better understand the genre of Byzantine Art, we shall now explore the different
rudiments of icon production. This section of the paper is divided into seven (7) main parts,

namely: Lines and geometric composition; Architecture; Colors; Light; Perspective; Size; and the
Face.
1.

Lines and geometric composition.

Symmetry in icons is essential. Almost all icons exhibit

vertical lines running down the center. Other icons, especially that
of the Virgin Mary and Jesus (Fig. 2) is triangular in shape,
highlighting balance.
The Iconostasis (Fig. 3), which is the wall of icons
separating the sanctuary and the nave in Eastern Orthodox

churches, are likewise divided in equal parts. Each vertical and

horizontal layer depicts an episode in Christs life, and it likewise

Figure 2. Our Lady of Perpetual

Help, triangular shape indicating
balance

houses important saints in the local church. Finally, the image of Christ Pantocrator (Fig. 4),
which lies in the center of this iconostasis is composed of further symbolic lines and shapes,
which all connote symmetry, uprightness and stability (Temple, 1990). Quenot (1991) adds:
One can notice that an invisible cross is generally present in the
geometric structure, especially among festal icons. Figures are also
disposed in a symmetrical manner, so that there is always a central point
of convergence, which is either Christ or the Virgin. (p. 105)

Figure 3. Iconostasis:
Figure
The
4. Christ
sanctuary
Pantocrator:
of holy images
contains
in geometrical
an Eastern
shapes
Orthodox
indicating
Church
balance, unity and symmetry.

The lines and shapes in icons all corroborate with the idea of peace and divine harmony.
If these icons were seen not by a devout religious, it would still manage to convey a well-defined
structure due to its almost perfect balance.

2. Architecture.
While icons contain images of people, it is interesting to note that behind these images is
a creative pictorial of structures, whether natural or man-made. What is remarkable though, is
that correct proportions are completely ignored, and the laws of gravity do not always apply.
However, even if these structures, mountains and vegetation are of lesser importance than the
subject, it never exists on its own, nor constitutes an independent element of themselves. An
example of this is the icon of the Hospitality of Abraham, which we will discuss in the latter parts.

3. Colors.
The seven colors of the rainbow permit our eyes to see over 700 different shades of color.
Since this is a natural occurrence of light, and of our sense of sight, iconographers have
established color as one of the most essential elements of the icon. Quenot (1991) has this to say
about the icons use of color:
Much more than a decorative element, color plays a capital role in
Byzantine iconography. Like language, the icon has its own way of
expressing the transcendent world. [] This of course limits the artist
who is no longer free to paint according to his personal whims. (p. 107)
On the other hand, color is sometimes exaggerated, like horses and rocks painted in red
ochre and pink. This is merely to emphasize the refusal of realism, thus opening the pathway to
spiritualization. We are only to come to the conclusion that these colors are mystical colors
(Quenot, 1991). If we were to exhaust all the colors and their meanings in this short paper, we
shall not finish. Nay, we shall need another paper! However, it is important to at least have a
general overview of the basic colors, and their representations in Orthodox iconography.
GOLD is the refraction of pure light. Symbolizing eternal life, perfection, and God
himself. As seen in many icons, this serves as the background, separating the image from the

eternal space behind it. Gold becomes symbolic of an endless space, where everything is
transformed and spiritualized.
YELLOW is represented very close to gold, and more intense than red. Pure
yellows signify truth, but dull or pale yellows signify pride, adultery, betrayal. Such is the fate of
the infernal brimstone, a synonym for sulfur, which is also yellow.
WHITE sums up all colors. It properly symbolizes light and illumination. It also
symbolizes purity, joy and happiness.
BLUE unquestionably is the deepest, the most immaterial of all colors, since it
provides the colors of water, air and crystal thus our gaze disappears into its depths. It therefore
is also the coolest. It can signify humilty, celestiality, and divinity. Mary is portrayed in blue to
signify her detachment from the world, and the soaring of her soul towards God.
RED reveals dynamism and exuberance. It is the color of blood, life, and
humanity in general. It also symbolizes youth, beauty, love and also war. When combined with
blue, these two colors create a theological reality between humanity and divinity.
GREEN is a color of life and of springtime. It is also a symbol of perfect balance,
resulting from the mixture of blue and yellow. It is frequently a color of prophets, who are
naturally heralds of the Holy Spirit, the Paraclete, which means advocate or helper again,
mediator or balancer.
BROWN is a color of the earth. It suggests decomposition, but also fertility (i.e.
soil). This may symbolize humility or preparedness of the icon to receive the will of God.
BLACK is the absence of color, but is also the embodiment of all colors. As it
symbolizes emptiness and death, it also connotes transition, leading us into new life.

4. Light.
The use of techniques such as chiaroscuro or shadowing is not applied in icon making.
First, this is to affirm the absence of naturalism, and second, it is to portray the inner light
which the image in the icon is supposed to possess. Temple (1990) says that the quality in good
early icons which have the widest and most general appeal is that of luminosity. Images are said
to have this inner light, which emanates from the folds of their garments, and the gaze in their

10

faces. This is very evident in icons such as the Our Lady of the Sweet Kiss or Our Lady of
Compassion (Fig. 5) where there is no major source of light, hence, each fold of the garment and
each element of the painting is illuminated. Moreover, Quenot (1991) adds:
While the beauty of the human body takes precedence in both Hellenic
and Renaissance art, bodies often disappear in the icon beneath
garments resembling roman togas. These cloaks no longer drape
physical bodies, but bodies and souls which are transfigured so that
they glimmer with translucent light and colors. (p. 91)
Thus it further clarifies the essence of light emanating within these sacred images.

Figure 5. Our Lady of the Sweet Kiss (adapted): example

of light emanating from within.

5.

Perspective.

Icons exist in a two-dimensional space. The reason for this is that much imitation of
reality escapes the value of the divine. This is what statues do not provide. Since they exist in a
three-dimensional space, the faithful go to them as dead ends or a simplistic end to itself. It
does not suggest a transcendence, nor a departure from the physical world to the divine
(Williams, 2004). With this two dimensional reality, icons can therefore play with perspective.
And in a sense, it is generally reversed. Quenot (1991) has this to say:
The vanishing point of reversed perspective is not situated behind the
picture, but rather in front of it. It cannot be found within the picture
because it converges in front of the icon, toward the viewer. This means
that the focus point actually moves out away from the icon toward the
beholder, and the icon figures come forth to meet him. [] This also
reminds us that it is God who takes the initiative to come forth and
encounter humanity. (p.106)

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6. Size.
Taking its cue from Chinese and other ancient Asian paintings, the size of images
completely abandon mathematical proportions. His or her importance and significance usually
determine the size of a person in an icon. Again, the essential absence of naturalism is
maintained.

7.

The Face

A prominent characteristic of a Theological icon is the

presence of a face. Funny, you may think that this should be of
top priority. But put into practical terms, we can thus say that
only a picture that has a face looking at us and a human face
transfigured by divine grace has the right to be a holy icon
(Monk Gregory, Notes of an Icon Painter, as mentioned in
Quenot, 1991). Therefore, western art which depicts Jesus and
Mary (Fig. 6) in a mutually immersed painting of themselves
Figure 6. Madonna of the Yarnwinder,
Leonardo da Vinci, (1501): Example of
western art; religious image.

can only be called a religious image, and not a holy icon, nor
Theological art. Furthermore, Monk Gregory says The eagle

which holds the Gospel Book cannot be the icon or image of John the Evangelist, but only his
symbol.

Interestingly, differences in the painting of the faces horizontal plane are likewise
symbolic. Faces, which are in frontal view, are those of personas who have attained their full
spirituality. However, those whose faces appear in
profile havent. An example of this is Jesus and Judas
faces in The Kiss of Judas (Fig. 7). Here, the artist does
not draw attention to Judas, and likewise tells the viewer
that Jesus is about to undergo his passion, leading to his
resurrection.

Figure 7. The Kiss of Judas (detail), Giotto (1304):

two images in profile.

12

Each sense organ in an icon has already been touched by the grace of God. Therefore each
element possesses significant qualities. The eyes are both animated and large, as if proclaiming to
the viewer what is written in Psalm 25:15, My eyes gaze continually at the Lord. As well as in
Luke 2:30, because my eyes have seen thy salvation. The rest of the face likewise exhibits
fascinating qualities. Quenot (1991) says:
The forehead is often rather convex and quite high, expressing both the
power of the Spirit and of wisdom The nose is thin and elongated,
giving a nobility to the face. It no longer detects the scents of this world,
but only the sweet odor of Christ and the life-giving breath of the Spirit
gushing from a throat and neck which are disproportionately large. The
mouth, being an extremely sensual organ is always drawn finely and
geometrically, eliminating its sensuality. The lips remain closed,
because true contemplation demands silence. (p. 97)
We can also see the ears as generally small, deformed, or covered up with thick hair or a
veil. This signifies that they are no longer attuned to the noise of the world, but to Gods interior
call. All in all, these details contribute to the absence of naturalism, which is a non-conformity to
nature as we see it. This reminds us that the transfigured bodies already perceive more, and see
not the physical world, but the spiritual.

The Icon and its Theological transcendence

Much has been spoken about the rudiments of Iconography in the Eastern Orthodox
tradition. But as Roman Catholics, can we be assured of the transcendence of these images when
it comes to theological truths or Christian values?
It is quite assuring to hear Zelensky and Gilbert (2005), when they said:
The orthodox believe that as windows into the eternal realm, icons exist
beyond time and space, thus they are not defined as belonging to one or
another epoch or as expressing the national peculiarities of one or
another people.
Therefore it is safe to say that as non-members of the Eastern Orthodox Rite, we may use
these icons, as long as they function in a manner it was originally intended. Since the use of icons
was allowed after the Iconoclastic Controversy in the eighth century, these images have been
highly venerated by different peoples.

13

As we have established early on, icons are written with the intention of neglecting
realism. We then take this as another justification for the physical and chronological
transcendence of icons. Because of their bluntness, we are drawn not into the drama of the
biblical event that is being depicted; but we are led into universal virtues which are espoused in it.
Virtues such as purity, patience, longsuffering, forgiveness, compassion and love are highlighted,
as opposed to the accuracy and validity of the images portrayed.
Icons are likewise universal in the sense of its symbolism. According to Ouspensky, as
quoted in Forest (1997), Spiritual reality cannot be represented in any other way except through
symbols. To indicate that baptism is the entry into new life, the baptized, even a fully-grown man,
is represented as a small child. This simply states that within cultures, symbols have a shortcircuiting effect which draws us straight into the message being conveyed.
Finally, icons are universal because they are proofs of the divine. What one sees in the
icon is not an external representation of a person, but a glorious presence as depicted from the
inside. The icon has perfected the way of removing physical truths, and in effect highlighting the
inner glory of God. Thomas Merton, as quoted in Forest (1997), says: [When] I say that my
Christ is the Christ of the icons, I mean that he is reached not through any scientific study but
through direct faith and the mediation of the liturgy, art, worship, prayer, theology of light, etc
This furthermore asserts that Icons go beyond religion, time and place, and may be adapted into
personal and communal lives of the faithful.

14

CASE STUDY: THE HOSPITALITY OF ABRAHAM

The Lord appeared to Abraham near the great trees of Mamre while he was sitting at the
entrance to his tent in the heat of the day. Abraham looked up and saw three men standing
nearby. When he saw them, he hurried from the entrance of his tent to meet them and bowed
low to the ground. He said, If I have found favor in your eyes, my lord, do not pass your
servant by. (Genesis 18:1-3)

Figure 8. The Hospitality of Abraham or the Icon of the Holy Trinity by Andrei
Rublev (1411). Original icon

Choosing icons for study is very different if you were to choose them for prayer.
Nonetheless, if I were given a choice, I would choose this icon both for study and prayer. Painted
by Andrei Rublev, who is considered a Saint in the Eastern Orthodox Rite, The Hospitality of
Abraham has also been known as the icon of the Holy Trinity. His idea for this icon did not come
out instantly. Another Orthodox Saint, Sergius of Radoneszh, founded a monastery of the Holy
Trinity near Moscow towards the end of the 14th c. This monastery gained high renown, and was

15

flocked by many of the faithful, and those who wished to join Sergius in his quest for monastic
holiness. When Sergius died in 1391, the monk-painter Rublev translated Sergius vision into the
extraordinary masterpiece of theological balance and artistic spiritual beauty, the Icon of the
Trinity (ca. 1411) (Fig. 8)
The beauty of this icon was hailed by the Moscow Church Council of the Hundred
Chapters in 1551. The Russian Orthodox Church declared Rublevs icon the sole, insuperable
model that every painter must follow when representing the mystery of the Trinity (Tradigo,
2006).
But the brilliance of the icon slowly dimmed. As the decades passed, the smoke produced
by the thousands of candles blackened the image. The image was repainted twice, but each time in
darker colors, and with additional details. Finally, it was decided that the whole of the image was
covered in an oklad an embossed metallic sheet, and was restricted to a boring relief. It was
only in 1904 that there was a commission that attempted to scientifically restore the icon to its
best state. The oklad was removed, and thus began the slow and painstaking removal of the
overpainting that shadowed Rublevs masterpiece. Forest (1997) further describes:
The icons principal colors were pure gold or hues of old. Azure blue was
used in the garments of the three figures with many touches in their
robes of a wash of lapis lazuli. A thin line of vermillion was used for the
hardly visible staff each figure holds. There is a small area of deep
green in the tree and a wash of delicate mossy green in the figure to the
right. The colors for the clothing of the central figure are the most
substantial: deep red, dark blue, and a band of gold.

16

Analysis for The Hospitality of Abraham

For the purposes of clearer visual analysis, we have used a prototype of the icon (Fig. 9),
which has been chosen as the best version of the original. More so, we shall break down the image
into its basic components, to further facilitate the analysis. We shall be using the ObservationInterpretation (Denotation-Connotation) method to highlight the icons richness.

Figure 9. The Hospitality of Abraham or the Icon of the Holy Trinity. Adaptation

OBSERVATION
1.

The human figures

The image immediately showcases three humans sitting around a table. It is very difficult
to decipher if they are male or female, but we see that because of their flowing garbs, they seem
like royalty. If we zero in on each of the three persons, we see that each of them have robes of
different colors (more on color later). Both images on either side are seen with sandals, as

17

suggested by the black soles. All of them equally possess the following characteristics: (1) they are
identically sitting around the table; (2) they are holding a thin red scepter of the same length and
thickness; (3) they have folded wings like that of angels; (4) they all have a blue ribbon tied
around their heads, and (4) each figure possesses a halo of the same color and size around their
heads. The person on the leftmost of the painting has his eyes fixed on the person at the center,
who is similarly looking back at him. The third person is looking down, probably on the chalice at
the table. All three of them are in a bowing posture, and all eyes want to say something.
2. The background and surrounding images
Surrounding the three persons are different images. On the upper right corner of the icon,
we see a building, with pillars and open doors (Fig. 10). At the center is a tree lush with foliage
and wood (Fig. 11). And on the upper right corner is a pyramid-like figure in gold, a natural
depiction of a mountain (Fig. 12). In between the building and the tree is a script in red, which
serves as the Russian label for the icon. At the center of the icon is a table, where the hands of the
three persons converge. At the center of the table is a golden chalice with something reddishbrown inside. Moreover, we notice a square hole in front of the table. An aesthetic design, or a
purposeful void, we cant tell.

Figure 11. The Hospitality of

Abraham Detail B
Figure 10. The Hospitality of
Abraham Detail A

Figure 12. The Hospitality of

Abraham Detail C

18

3. Color
The predominant color is gold. From the frame to the immediate background, the images
swim in the color of pure light. Certain distinctions have to be made with regard to the colors of
the garments wore by the human figures. From left to right, the first person is wearing a blue
inner garment, covered in a light beige/white or even golden robe. The second person is wearing a
red inner cloak, with a golden sash on his shoulder, and a blue cloak partly covering the red
vestment. The third person is wearing a long blue vestment, covered in a green outer cloak.
Finally, it is encased in a gold frame, and the heavens are likewise of the same color. The floor is
green, suggestive of vegetation.
4. Line
As the viewer looks at the image, he is at once drawn into three vertical columns each
created by the three images. Likewise, there is a single horizontal line created by the table. It is
also interesting to note that from the chalice on the table, we can also draw three symmetrical
lines moving upward and outward. This forms an invisible three-pronged V, whose vertex is the
chalice in the center.

Figure 13 The Hospitality of Abraham Lines and Shapes

19

5.

Shape

In this picture, there is an encompassing circle, which passes through all the persons in
the image. Their bowed heads and arched bodies form an invisible circular shape, which enhances
the seating arrangement of the three. Aside from the circle, there also exists a natural triangle,
which is formed by their three heads.
6. Direction
The natural point of entry in this icon is the person at the center, the one wearing the red
cloak the warmest of the colors present. From this, the viewer is directed towards the leftmost
person, whom he is looking at. Then, as a final movement, the viewer is directed to the rightmost
person, which then passes it on to the person at the center, making the direction a full circle.
There is a general counterclockwise movement, which starts at the center, but does not have an
ending point. It is sufficing to say that the counterclockwise direction is never-ending.
7.

Dimension

The three images are larger-than-life compared to the other elements of the icon. There is
no bigger image, no smaller one. Their cloaks are all exaggerated, and their body parts, as
discussed previously, are deformed in some grotesque yet appealing way.
8. Balance
The image is symmetrical in nature. There is balance both horizontally and vertically.
The weight of the image is at the center, with either sides supporting its heaviness.
9. Overall Effect
The icon depicts a serene and silent communion between three figures. It creates a
natural emotion of balance, harmony and peace. The bowed heads all create the impression of
subservience and shared authority, and the color (predominantly gold), is very dignified in effect.
The picture, together with its details and symbols is a piece that one can stare at for hours.

INTERPRETATION
Each image in the icon has a meaning. These meanings are highly dependent on culture
and identity of the people that surround it. In the Eastern Orthodox tradition, symbolic meaning

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is created through the canons we have discussed earlier, and through prayer. Let us now go over
the mentioned points, and analyze their symbolic meaning. While doing this, let us also attempt
to create other meanings, which we can derive from the artwork.
1.

The human figures

Traditionally, from the Genesis account of Abraham showing his hospitality to three men
whom he later realized were angels, we can confirm that these were no ordinary beings. The
account likewise stated that these angels acted in unison the whole time. From here, we can see
that they are visual representations of the Holy Trinity: God the Father, God the Son and God the
Holy Spirit each of distinct stature but acting as one. The equality of the posture, headdress and
the scepter all connote equality among the three, but all with distinct personalities. But who is
who?
The person on the extreme left represents God the Father. As the colors would signify, he
is pure spirit, thus the outer garment of gold. Within his large cloak is blue, signifying divinity. He
is looking at the person at the center, who we learn represents Jesus Christ. This is so since the
cloak of this person at the center is a perfect half between red and blue: signifying his humanity
and divinity respectively. The gold sash on his shoulder is similar to the color of the golden
heavens, not only signifying his two-fold nature of true God and true Man, but also his
participation in the kingdom of heaven. Jesus is looking in silence at the Father, seemingly
awaiting his divine will. The person on the extreme right represents the Holy Spirit. His blue
inner garment again signifies his divinity, and the green outer cloak symbolizes life and gushing
forth. He is looking at the chalice6, because this is the greatest work of the Spirit: transforming
the ordinary into the Body and Blood of Christ; likewise, to continue the work begun by Jesus, as
the Paraclete or Helper between God and man. This is his eternal role, that is why he is also
shown as bowing to the will of the Father.
2. The background and surrounding images
At the back of each picture is an image, which can support the three distinct personas of
the Trinity. The leftmost temple is an allusion to the Gospels where Jesus says: My father has

Others theorize that the person on the right is the representation of Jesus, rather than the one at the center, because of
his docile pose and his gaze on the chalice. (Tradigo, 2006).
6

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prepared a house with a lot of rooms This temple-like structure is not only a physical building,
but an assurance that only God the Father can accept us to heaven. It also symbolizes the Temple,
where God is truly worshipped. The middle structure is a tree, representing the trees of Mamre
(as in the Scripture). This symbolizes life and death, a possible allusion to the Tree of Knowledge
and to the Cross. The Tree of Knowledge brought man death but Jesus made things new by
resurrecting to life from the cross. Both images (the former pertaining to Adam, the latter
pertaining to Jesus passion) are deeply and symbolically connected to God the Son, as he is also
called the New Adam. The upper right image is that of a mountain, telling us that it is the Spirit
that leads us into the heights of sanctity. Likewise, it is in the mountain that we encounter the
Spirit of God, thus bearing the virtues of silence and contemplation.
The Chalice represents Christs offering of himself to mankind the central mystery of
the Trinity. This offering is characterized by complete love between the Son to the Father, which is
embodied by the Spirit. It is very symbolic too, that they are contemplating this truth throughout
the course of a meal around a table. The painting has transformed this mundane experience of
nourishment into a divine fellowship.
3. Color
We have discussed the richness and the symbolism of color in #1. This underlines the fact
that color indeed is the most basic component not only of a painting, but also in iconography.
4. Line
The whole image connotes stability. As the three vertical columns arise, the horizontal
line created by the table holds them together. There is no feeling of imbalance, thus a real solid
presence when one looks at it. Interestingly as well, it forms a cross right at the center. The threepronged V emanating from the chalice simply underscores the stability of the image, an aid in
contemplation.
5.

Shape

It is interesting to see a circle in this image of the Trinity. Circles represent unity,
tranquility and endlessness. There exists an embracing effect between the viewer and the Trinity.
The triangle, on the other hand is signifies their three-in-one persona; just like how the triangle

22

has three points, but one shape. But instead of displaying discord, the triangle provides more
stability and balance.
6. Direction
As we have noticed earlier, the icon gives the viewer a counter-clockwise movement along
the icon. Moreover, this eye direction seems to have no end, as the viewer is continually wrapped
in the community created by the three. This symbolizes the eternal dimension of God: one who
has no beginning and no end. It also connotes that each person is a perfect but distinct reflection
of each other: a mystery we can never comprehend.
7.

Dimension

As each person is depicted in equal sizes, it is not difficult to view the Trinity as likewise a
communication among equals. Their grotesque yet appealing body proportions highlights the fact
that these are not earthly figures, but divine representations.
8. Balance
Again, the image aims to give the viewer the sense of stability. Since this icon is used in
contemplating the grandeur of God, extreme balance is needed: A God who judges fairly; loves;
forgives; blesses and saves equally.
9. Overall Effect
All in all, the image creates the perfect symbol of unity, equality, communion and
divinity. As the picture is painted with reverse perspective we feel that God is the one coming to
us. Indeed, that is the symbol for the square hole in front of the table. It is a space, which only we,
the viewer can fill. There is an overall effect that draws the viewer into the painting, as if inviting
us to join them in their communion, in their conversation. We are the fourth person around the
table. How beautiful it is to join them!

Similar Virtues between the Icon and Filipino Catholic Values

It is an understatement to say that we have not yet exhausted all the symbolism and
beauty of this icon. Indeed, if we were to have a discussion on this piece alone, time and words
would not suffice. This is true because it is through contemplation that the true essence and
reality of the Being this icon represents emerges. Nevertheless, for the purposes of this paper, we

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shall attempt to note some beautiful virtues presented by this icon and relate it to essential
Filipino virtues. Through this simple assimilation of the given icon, we hope to find a template by
which we can do the same with other beautiful and theologically sound Byzantine art. To do this,
we are going to consult The Catechism for Filipino Catholics (1997), which has presented five (5)
major characteristics of the Filipino Catholic. These characteristics are collective values-systems,
which we Filipinos use to view the things in and around our lives.
We Filipinos are Family-oriented. We view our self-identity from the families we come
from. This highlights the fact that no matter where one goes, a Filipino always comes back to
his/her family. Ama, ina, anak are culturally and emotionally significant to us. This supplies our
sense of belonging, stability and security. The icon of the Holy Trinity presents a family: God, who
we call Father (although he is neither male nor female this fact is also supported by the icon,
since it shows androgynous features of the faces), and Jesus who we call Son of God and Son of
Man. By the three-fold image of the icon, we are reminded that family exists in groups of three.
When we are around the family, we draw security. Interestingly enough, family may also be in the
sense of barkada or clique, which the image likewise offers. As we draw strength from our
earthly family and barkada, let us also draw strength from the image of the Trinity, who is our
encompassing family on earth and in the life to come.
Filipinos are likewise Meal-oriented. This is enhanced by the fact that undoubtedly, we
thrive on eating together! We are known to be gracious hosts and grateful guests. Especially in the
rural areas or the provinces, where Filipino values are still very prevalent, it is disrespectful to
refuse a host when they offer you food to eat or a place to stay in. The icon presents to us a
familiar scene: a group of people sitting around a table, with one cup at the center. Denotatively,
we see a salu-salo where each one enjoys the company of each other in perfect conversation.
There is no argument, no rift, no coldness. Connotatively, we find that genuine meals are enjoyed
in each others company, unified by the same source of nourishment: the singular chalice! When
we sit together as a family in the table, we should leave behind all our biases, our selfishness, our
pride, and join each other in communion with the one source of nourishment: Jesus himself. And
as signified by the subservient bow of the Son, we may likewise do the Fathers will as Jesus did.

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Being Kundiman-oriented is how we Filipinos view suffering. The Kundiman is a sad

Filipino song about wounded love, wherein the rejected lover is willing to sacrifice anything just
to get his unrequited love back. As a nation, we are very accepting of suffering, and are very
forgetful of past faults. We are likewise patient about others suffering. As a personal commentary,
we have made waves around the world when we ousted two presidents through People Power. But
history continues to repeat itself because we have so easily forgiven these faults, just as if nothing
happened and everything is back to normal.
As a longsuffering people, we find solace in the icon of the Trinity, because of the
acceptance of Jesus to the will of the Father. Clearly, we see that the hands of Jesus are not yet
wounded (since this is an event of the Old Testament), but we also see the cup of sacrifice he is
about to partake in. This connotes an emotional fact among Filipinos, that the entire family
likewise endures the suffering endured by one. There is no such thing as suffering alone, hence, a
communal suffering, which makes it much more bearable to the Filipino.
Filipinos are likewise Bayani-oriented when it comes to life-commitment. We Filipinos
are natural hero-followers. We instinctively associate ourselves with the good, and we tend to
defend the weak and the oppressed. This icon represents a hero in itself: God, who is all-powerful,
all equal, all perfect, coming down to save us from our misery. As one looks at the icon, we are
drawn into conversation with them; and looking at their perfectly balanced appearance, we find
solace in telling them our woes, our struggles, even our triumphs, hoping to draw more power to
continue life in all its entirety.
Finally, we are naturally Spirit-oriented. This is how we describe our world, which is
surrounded by media, technology and materialism. We continue to view the world as a temporal
stage of purification: that all will pass and that we are to rest in the glory of eternity. With this, we
are a nation who continues to believe that our true essence is not of this world, but of the heavens.
To say that the icon of the Trinity has a supernatural connotation is an understatement. It is not
only supernatural, but divine. Denotatively, we have various signifiers of its divinity: the golden
ceiling, the halos, the folded wings and this is not new to the Filipino. God, who is pure spirit
and who is the highest Being, chooses to show himself to man through the various symbols of the
divine life. He chooses to humble himself so that we mortals may have a glimpse of his

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supernatural light, and therefore have a hope of the eternity we await. This icon truly presents
that our search for the spiritual is not futile, hence a crowning glory for those who persevere.

CONCLUSION
Eastern Orthodox Icons are indeed rich in symbols, theology, and truth. It has gone
through a long history of production and destruction, but has still survived the ages. It is an image
of the Divine meant to lead the faithful into prayer, and the faithless into awe. It is a natural fruit
of Gods revelation to Man the incarnation of Jesus himself.
We have exposed in this short paper, the intricacies of the Icon: how it is made, the
symbols it has amalgamated and the supernatural effects it has given to man. We have seen how
these icons are theologically sound, and how they have the capacity to transcend beyond time,
space and religion.
Using this knowledge, we have exposed one of the most beautiful icons of the Holy
Trinity, The Hospitality of Abraham, painted by Andrei Rublev. This icon is the epitome of
iconography, which subtly yet divinely reveals Gods image to man. We then enumerated our
observations and interpretations: the highlight of which is that God, in his entire splendor, is
calling us into a relationship with him.
Because of this calling, we attempted to enculturate this icon into our situation as
Filipino Catholics. We used the Catechism for Filipino Catholics, which is a rich resource of
Filipino culture and beliefs. Here we saw five of our collective cultural characteristics, namely: We
are Family-oriented; Meal-oriented; Kundiman-oriented; Bayani-oriented and Spirit-oriented.
We then looked for visual similarities, and we found out that these icons (despite their distance
and unconventionality) are closely connected with who we are as a nation.
In sum let us answer the questions posed at the beginning: (1) Can we use Eastern
religious icons to deepen our existing religiosity? Yes. Eastern Orthodox Iconography is a valuable
tool for exploring the spiritual realm. It is a valid means for visual analysis, visual education and
education to the Faith, regardless of its style and antiquity. Moreover, Filipinos can use this style
in order to veer away from superstitious beliefs like burning, wiping, soaking, etc.

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(2) If so, then what are the similar values, graphical representations, and cultural systems
present in these Eastern icons, which we can use to perform this assimilation? We can use the
diverse visual tools in order to compare and contrast these icons. As we have further proved,
using the Catechism for Filipino Catholics is a vital source in creating connections in order to
make these images culturally relevant to our audience.
Finally, here now are my recommendations for those who wish to draw something out of
this paper:
1.

We have only explored and compared one (1) famous icon in this paper. Future
researchers may consider using other icons (e.g. Our Mother of Perpetual Help; or
Rublevs The Crucifixion) and employ the same process.

2. Catechism teachers can use the icons for educating about the Catholic Faith. Since it
is my vision to enhance believing by seeing, I highly recommend that each youth
worker be equipped with the visual tools so as to enhance the faith-learning process.
3. Catholic homes may opt to display the icon of the Holy Trinity in their homes, now
that we have scratched the surface as regards its beauty and timelessness.
4. Artists may use these rudiments of Eastern Orthodox iconography in order to create
their own representations of Filipino Saints.

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