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Open Door (Paraclete Pocket Faith)

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Praying with icons has a long (and not always untroubled) history in Christian practice; even the Western Protestant tradition that has come to eschew iconographic elements in worship to varying degrees still recognises the history and artistic value of images in some contexts. Author Frederica Mathewes-Green is writing primarily to this group in her text, with careful explanations and good descriptions that show the spiritual value of icons in a worshipful and prayerful setting.

Mathewes-Green writes, 'Unelss you're a member of an Orthodox church, you probably haven't encountered icons in their natural setting.' In this text, she constructs an imaginary church for the reader to visit, with various icons in their typical Orthodox positions. The first part, Iconostasis, looks at the icons that would been on the screen at the altar area. Pictures of the icons are included as colour plates at the centre of the book - these include The Christ of Sinai, The Virgin of Vladimir, The Resurrection, and St. John the Baptist. The second part of the book looks at other icons that might be present in a church, including images of saints, images from scriptural stories of both Old and New Testaments, and other gospel/traditional images of Christ. These are included as black-and-white images in the centre of the book.

Mathewes-Green describes the images both in terms of artistry as well as spiritual connection. Some icons are stylised to a high degree, and others are more realistic. By realistic, however, icons are not meant to be portrayals of people in natural settings - icons are meant to connect the one pondering and meditating upon them with the object of worship, that is, with God, in ways that reach the soul beyond what mere words could achieve. Icons often have a 'penetrating effect', with a play at elements of perspective, colour, materials, size and other aspects that draw the eye in particular directions, and place the viewer in otherworldly positions.

Icons are meant to be more than interesting pictures. As Mathewes-Green concedes, some icons aren't even 'good art' in many technical senses. 'Icons have their fullest impact on those who are saturated in prayer and Scripture, and who participate in the full life of the Church, with all her mysteries, hymns and worship.'

Mathewes-Green describes liturgies and services as well as times of private prayer and devotion during her trips to the imaginary Orthodox church. Her book ends with one of my favourite images, the Old Testament Trinity done by Rublev in 1411. (Archbishop Rowan Williams writes about this in one of his books on icons, too.) The icon is known to me more frequently by the name The Hospitality of Abraham, and this feature is made more prominent by the fact that in some versions of this icon, the figures of Abraham and Sarah are not present, even in the background.

Mathewes-Green invites the reader on a dozen imaginative trips to gaze upon the 'windows into heaven', to meditate upon their stories and be enriched. There is a glossary of terms that might be unfamiliar, particularly to those whose background is not from a liturgical tradition, but such terminology is kept to a minimum throughout the text. Mathewes-Green concludes with some suggestions for further readings, and some website resources for finding out more about icons, including where to purchase them.

This is a wonderful, spirit-filled book.

Frederica Mathewes-Green's little book is a quick and easy read that is reflective and revealing. She does a magnificent job in describing the layout of Orthodox Church buildings, the use and place of icons, and "feasts and icons" (a section I found particularily helpful). This book is intended, I think, for non-orthodox and Orthodox Christians alike who want an introductory type book, either as material to learn more about the place icons and sancuaries have in Orthodox worship or for just a nice quick refreshing read.

Frederica Mathewes-Green, in this gem of a book, avoids the typical problem of much Orthodox literature written by converts: it's too often for potential converts and therefore in its tone and approach is unsuitable for those who have long been Orthodox. I would recommend this book as a useful and even inspirational text, on the nightstand, for reflection during Advent or another of the periods set aside by the Church for contemplation. FMG has a way of taking timeless truths and crystallizing them, often in a unique way. I especially liked her description of the Sinai icon of our Lord--I had never thought about it before in the way she describes.

The only jarring note occurs in her description of the Lamentations service on Holy Friday. She says the faithful are "acting out" the events of Christ's death and burial, processing around the Church "as if it were a funeral procession." As Frederica must surely know, we are not "acting out" anything, but really participating, through faith, in the events of our Lord's Passion, so it really IS a funeral procession. A minor mistake (because we know what she meant to say) that does not overshadow the book's great strengths.

Perhaps the most unnerving thing for Western Christians in approaching the Eastern Orthodox tradition is their use of icons. Even for Catholics and Anglicans who are familiar with religious images, the Orthodox practice (and even the icons themselves) can strike one as completely alien and even frightening. Frederica Mathewes-Green, a Western convert to Orthodoxy, understands these reservations and confronts the iconoclastic impulse head on in The Open Door by allowing the reader to gain an understanding of this ancient practice through the eyes of faith.

Dividing her exposition into two sections, Mathewes-Green writes first on the major icons of the iconostasis (the wood before the altar) and then on other icons of feasts and saints that appear elsewhere in the church. The first section is fittingly the larger and she gives a wonderful description of the history and theological perspective behind four of the most famous icons used in Orthodoxy. Rather that giving a dry technical survey, she approaches each icon from a perspective of prayerful reflection and belief steeped in her Church's ancient tradition.

In explaining the meaning behind each icon, Mathewes-Green introduces us to the language of iconography so the reader may appreciate how each icon illustrates the Gospel of Jesus Christ and speaks through the lens of faith things that only the devout could apprehend. From the very first chapter on the Christ of the Sinai to the last on the Old Testament Trinity, we are invited to share a wondrous devotional life with so great a cloud of witnesses.

In the renewal of Christianity through the recovery of the faith and practice of the ancient Church, the use of religious images is often overlooked. Frederica Mathewes-Green demonstrates the shortsightedness of such an approach. For those curious either of ancient Christian practice or Eastern Christianity in general or just those looking for a rewarding devotion, The Open Door is essential reading.

In this book, Ms. Mathews-Green talks about her reticence about embracing the idea of having icons in church. For me, that was a bit of a shock to read that. However, I have to consider that she was coming from a Protestant background and I grew up in the Roman Catholic Church where having statuary and pictures to remind us of holy things isn't unusual. I've always loved the icons of the Orthodox Church, but knew very little about them. I found this book to be helpful in explaining the rhyme and reason for them. This book explains in very simple terms how the icons are 'written' from start to finish, and what the various things in the icons symbolize and how they can help a person in their prayer life. The book is short so it makes for a good 'intro' to the subject and will whet your appetite to learn more about iconography.

Although I would have enjoyed more (color) pictures of actual icons, I loved the easy-to-understand explanations of some of the basic iconography used in the Orthodox church. The book was simple without being simplistic and respectful, even meditative in parts. It has and will help me to appreciate even more some of the artwork I see as I visit different churches.

In The Open Door the reader will find an introduction to the role and use of icons within the Orthodox tradition of Christianity through an explanation of the icons within the liturgical calendar of the church. Along with this, Mathewes-Green explains the basics of the Orthodox theology represented in the four major icons discussed in the first section of the book. This explanation is given in terminology that is generally accessible to a reader that is not familiar with the often archaic and difficult terminology found in the Eastern tradition of the Christian faith. Additionally, at the end of each chapter is found a short set of passages taken from Orthodox liturgy that relate to and provide additional insight into the topics discussed in the chapter.

What I found tremendously refreshing about this book was that unlike many writings from the Orthodox tradition that stress the necessity of following a monastic path to have a spiritual life, The Open Door shows that a person can find sacredness, holiness and spirituality within a life that is more a part of this world. The only drawback to this book is that the second half of the book seems a bit rushed. While the connection of each specific icon with the liturgical calendar is still made, the discussion of the theological connections is limited in many cases. This is certainly a minor quibble and in no way detracts from the main purpose of the book.

I would recommend this book to anyone interested in learning more about icons, Eastern Orthodoxy and a faith lived according to a liturgical calendar.

As I am wont to do, I came upon this book by way of a trek through books about Middle Eastern Chrisianity. This concise little book (169 pages) gives a detailed tour of Icons and their meanings. Ms. Mathewes-Green also includes illustrations of the most frequently seen icons which truly helps the reader.

The author takes the reader on a tour of several holidays in the Orthodox church and explains the rituals and the importance of the Icons to these holidays.

I highly recommend this book to anyone who has become interested in Icons. This would include members of other denominations. I recently read that a link has been established between early Orthodox Icons and the illuminations found in early British and Celtic religious books. We never really know where our reading will lead us.

Enjoy

Excellent book. It really gives you clarification on veneration of icons. Frederica's books are always a great read!

I really enjoyed this book. Very informative for someone getting interested in icons and their purpose. It was also helpful to me to have a fuller understanding of the Orthodox religion of which I knew nothing.