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Theology of the Icon

This two-volume set includes:

Volume One

Leonid Ouspensky
revised translation by Anthony Gythiel
with selections translated by Elizabeth Meyendorff

“Why does the Church attribute such a great importance to the icon? The icon is not just a simple image, nor a decoration, nor even an illustration of Holy Scripture. It is something greater. It is an object of worship and an integral part of the liturgy. The Church sees in its holy image not simply one of the aspects of Orthodox teaching, but the expression of Orthodoxy in its totality, the expression of Orthodoxy as such. The icon is one of the manifestations of the holy Tradition of the Church, similar to the written and oral traditions. ...[T]he ‘icon,’ according to the teaching of the Church, corresponds entirely to the ‘word’ of Scripture.”


1 The Symbolism of the Church
2 Origins of the Christian Image
3 The First Icons of Christ and the Virgin
4 The Art of the First Centuries
5 Sacred Art in the Constantinian Epoch
6 The Quinisext Council: Its Teachings on the Sacred Image
7 The Pre-Iconoclastic Period
8 The Iconoclastic Period: A Synopsis
9 The Teaching of the Iconoclasts and the Orthodox Response
10 The Meaning and Content of the Icon

Volume Two

Leonid Ouspensky
translation by Anthony Gythiel

“It is significant that the struggle for the image occurred at the juncture of two periods in Church history, each of which formulated a different aspect of the dogma of the Incarnation. Between these two periods stands the dogma of the veneration of icons, like a boundary stone looking in both directions at once, yet uniting the teachings of each. The entire period of the Ecumenical Councils was essentially christological; it articulated Orthodox teaching concerning the Person of Christ, simultaneously God and man. [...]The period that followed, extending from the ninth to approximately the sixteenth century, was pneumatological. The central question, around which both heresies and the Church’s teaching revolved, then became that of the Holy Spirit and His activity in man, that is, the effect of the Incarnation.”
—“11: The Post-Iconoclastic Period”


11 The Post-Iconoclastic Period
12 Hesychasm and Humanism: The Paleologan Renaissance
13 Hesychasm and the Flowering of Russian Art
14 The Muscovite Councils of the 16th Century: Their Role in Sacred Art
15 The Art of the 17th Century: An Art Divided, The Tradition Abandoned
16 The Great Council of Moscow and the Image of God the Father
17 Art in the Russian Church During the Synodal Period
18 The Icon in the Modern World
   List of Plates

Item Number: BKV796S
Publication Data: Crestwood, NY: St Vladimir’s Seminary Press, 1992
Format: softcover
Number of Pages: 528
Dimensions (l × w × h): 22.8 cm × 15.2 cm × 1.2 cm / 22.8 cm × 15.2 cm × 2.1 cm
Additional Information: black-and-white and full-color illustrations
ISBN: 978‒0‒88141‒124‒9

$37.90 (USD)


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