DOI Page / Citation link:
https://doi.org/10.11588/diglit.55687#0293
Ikona i jej teologia „na emigracji". Enklawa intelektualno-artystyczna Clnstitut de Theologie Orthodoxe...
289
Jerzy Uścinowicz
Icon and its theology on the emigration. The intellectual and artistic
enclave of the Uinstitut de Theologie Orthodoxe Saint-Serge in Paris
Morę or less frequently over the last hundred years or so, icon traverses the world from East to West. The
icon itself became a common property of the whole Christian church.
Such journey of the icon in so many directions would not be possible without its rediscovery in the
East. Signs of its return as a cult object and presentational art phenomenon can be seen as early on the
brink of the 19th and 20thcenturies, when an icon ceased to be - as it was formerly named - a “black board”.
It could be seen now, owing to the work of conservators, freed from the layers covering it throughout the
years. There was no “curtain” covering it any morę. There was no blackness. There were, instead, all the
colours of the world. We could yet again “contemplate it in colours” (Evgeny Trubetskoy).
Because of the “rediscovery” of the icon and its consecutive journey through its native Eastern Or-
thodox world, both the Christian East and West became artistically prepared to receive it. Theological
preparations were in motion as well, mainly due to - written mostly in western Europę - fundamental
treaties of Evgeny Trubetskoy, rev. Sergei Bulgakov, rev. Pavel Florensky, VIadimir Lossky, Michel Quenot,
Alexander Schmemann, John Meyendorff or the later treaties of Leonid Ouspensky and Paul Evdokimov
and others from the L’institut de Theologie Orthodoxe Saint-Serge in Paris. They unveiled the “secret life”
of the icon, not only as a unique and sublime art form, an element of culture and the history of Church,
but also a phenomenal philosophical and theological beacon. The icon has proven its “ability to speak”.
Just as text in its semiotic transmitting principle, so did the icon, through real symbols of the supernatural
reality of the world of God, hand us a testament of this world and the struggle for Salvation anew. This
testament has proven itself to be predominant over the many other ways of expressing spiritual aspirations
of man. Soon everyone found it out. It was not only through the newly discovered colours, although they
might have been responsible for this unveiling. The inverted perspective, the geometrical abstraction,
symbolism, multitude of layers and space-time perception - are only some.
Just as discoveries madę by conservators allowed us to see the icon free from layers and repaintings
covering the Archetype, so did the rediscovery of the icon, not only for the orthodox world, but also the
Christian and protestant and the whole oikumene, begin on Polish grounds by hand of often mentioned
in my studies Jerzy Nowosielski. Nowosielski however is done with his icons. He does not write them
anymore. He left hundreds or maybe even thousands of them in churches. He left behind not only his
artwork, ingenious both in their iconographical-theological and architectural value like the dimensional
creations in the church in Wesoła, Tychy, Warszawa-Jelonki or orthodox churches in Gródek, Michałowo,
Wrocław, Górowo Iławeckie and Biały Bór, but also hundreds of sketches and unfinished projects. With
their great potential, they are the live tradition of Polish sacral art. This tradition and the heritage of the
L’institut De Theologie Orthodoxe Saint-Serge in Paris and its precursors of the contemporary iconog-
raphy is in some manner continued by the orthodox school of icon writing - Iconographical Study at
Archangel Michaels parish in Bielsk Podlaski.
The icon through ages of its history on earth has journeyed a long way, both through time and through
space. It still does. It can be observed at present not only in western Europę, where it is welcomed “anew”
as a form of sacral communication and partly as a cult symbol and theological phenomenon. It can be ob-
served also, though in a slightly different form, in the Christian east, where the icon experienced and still
experiences certain issues. For not morę than a hundred years ago, the idea of the icon was faint at most. It
was even forgotten, which can be supported by examples of many. Up to this day lasts a true dispute over
the icon within the orthodox church, between the supporters of its classical and pseudo realistic form, the
true icon and its 19th century naturalistic image. A dispute so important, for the icon is one of the visible
signs ofthe Churchs existence. It is an object ofcult. It is a testimony ofIncarnation and the mystery play of
presence. It does not contain. It “ushers” us on the road to the heavenly Archetype. It is the path to salvation.
289
Jerzy Uścinowicz
Icon and its theology on the emigration. The intellectual and artistic
enclave of the Uinstitut de Theologie Orthodoxe Saint-Serge in Paris
Morę or less frequently over the last hundred years or so, icon traverses the world from East to West. The
icon itself became a common property of the whole Christian church.
Such journey of the icon in so many directions would not be possible without its rediscovery in the
East. Signs of its return as a cult object and presentational art phenomenon can be seen as early on the
brink of the 19th and 20thcenturies, when an icon ceased to be - as it was formerly named - a “black board”.
It could be seen now, owing to the work of conservators, freed from the layers covering it throughout the
years. There was no “curtain” covering it any morę. There was no blackness. There were, instead, all the
colours of the world. We could yet again “contemplate it in colours” (Evgeny Trubetskoy).
Because of the “rediscovery” of the icon and its consecutive journey through its native Eastern Or-
thodox world, both the Christian East and West became artistically prepared to receive it. Theological
preparations were in motion as well, mainly due to - written mostly in western Europę - fundamental
treaties of Evgeny Trubetskoy, rev. Sergei Bulgakov, rev. Pavel Florensky, VIadimir Lossky, Michel Quenot,
Alexander Schmemann, John Meyendorff or the later treaties of Leonid Ouspensky and Paul Evdokimov
and others from the L’institut de Theologie Orthodoxe Saint-Serge in Paris. They unveiled the “secret life”
of the icon, not only as a unique and sublime art form, an element of culture and the history of Church,
but also a phenomenal philosophical and theological beacon. The icon has proven its “ability to speak”.
Just as text in its semiotic transmitting principle, so did the icon, through real symbols of the supernatural
reality of the world of God, hand us a testament of this world and the struggle for Salvation anew. This
testament has proven itself to be predominant over the many other ways of expressing spiritual aspirations
of man. Soon everyone found it out. It was not only through the newly discovered colours, although they
might have been responsible for this unveiling. The inverted perspective, the geometrical abstraction,
symbolism, multitude of layers and space-time perception - are only some.
Just as discoveries madę by conservators allowed us to see the icon free from layers and repaintings
covering the Archetype, so did the rediscovery of the icon, not only for the orthodox world, but also the
Christian and protestant and the whole oikumene, begin on Polish grounds by hand of often mentioned
in my studies Jerzy Nowosielski. Nowosielski however is done with his icons. He does not write them
anymore. He left hundreds or maybe even thousands of them in churches. He left behind not only his
artwork, ingenious both in their iconographical-theological and architectural value like the dimensional
creations in the church in Wesoła, Tychy, Warszawa-Jelonki or orthodox churches in Gródek, Michałowo,
Wrocław, Górowo Iławeckie and Biały Bór, but also hundreds of sketches and unfinished projects. With
their great potential, they are the live tradition of Polish sacral art. This tradition and the heritage of the
L’institut De Theologie Orthodoxe Saint-Serge in Paris and its precursors of the contemporary iconog-
raphy is in some manner continued by the orthodox school of icon writing - Iconographical Study at
Archangel Michaels parish in Bielsk Podlaski.
The icon through ages of its history on earth has journeyed a long way, both through time and through
space. It still does. It can be observed at present not only in western Europę, where it is welcomed “anew”
as a form of sacral communication and partly as a cult symbol and theological phenomenon. It can be ob-
served also, though in a slightly different form, in the Christian east, where the icon experienced and still
experiences certain issues. For not morę than a hundred years ago, the idea of the icon was faint at most. It
was even forgotten, which can be supported by examples of many. Up to this day lasts a true dispute over
the icon within the orthodox church, between the supporters of its classical and pseudo realistic form, the
true icon and its 19th century naturalistic image. A dispute so important, for the icon is one of the visible
signs ofthe Churchs existence. It is an object ofcult. It is a testimony ofIncarnation and the mystery play of
presence. It does not contain. It “ushers” us on the road to the heavenly Archetype. It is the path to salvation.