Icons and the Mystical Origins of Christianity

Description

Reader review: _Icons and the Mystical Origins of Christianity_ is an excellent introduction to the subject of Christian mysticism, the roots of early Christianity, and the expression of the sacred in the art of the icon. The first half of the book is devoted to a detailed background survey of the mystical roots of Christianity, and the second half of the book is devoted to the analysis and application of these ideas to the icons themselves. Fully rooted in the perennial philosophy, Richard Temple, the author, attempts to outline the mystical developments as they arose in Egypt, Greece, and in the earliest beginnings of Christianity. The author includes a detailed account of the philosophies of the ancient Egyptians, Pythagoras, the cult of Orpheus, the Platonists, and Philo of Alexandria. Involved in this survey are the esoteric ideas of Plato and the NeoPlatonists (particularly Plotinus, Philo of Alexandria from the Jewish perspective, and Origen from the Christian perspective). The early church father, Origen would come later to propose a fourfold interpretation of the sacred biblical texts, which some would regard as heretical (although it would be revived in modern times). Temple also considers the early heretical movement of Gnosticism, which claimed to offer esoteric knowledge of God and often involved elaborate mystical cosmogonies. The early church fathers would come to write against Gnosticism in the most severe manner due to the potential dangers lurking in this belief system. Temple includes a discussion of certain practices in the Eastern churches including the Hesychasm and the text used in the Eastern Church, _The Philokalia_, a presentation of the wisdom and practical mystical advice of the monks from Mount Athos throughout the centuries. Temple also includes discussions of the early Platonist, Plotinus, and his role in the philosophical underpinnings of mystical thought as well as the Christian Platonist, Dionysius the Areopagite, who developed a negative theology in his writings. The second section of this book turns to the discussion of the sacred art in icons proper. Here, the author examines icons through the Fayum portraits and the Sinai Christ and Mother of God. These earliest scenes paved the way for the future artworks which were to come to represent the icons. In particular, the Alexandrian, Cosmas Indicopleustes, explained the origin of the Divine Ray and the Platonic hierarchies as they applied to the Great Chain of Being in the development of the icons. The author examines the role of the Orpheus cult and alludes to Jesus Christ's descent into hell before his resurrection to explain the divine mysteries of certain icons. The author also examines icons revealing Saint George and the dragon, and he shows how these particular icons represent spiritual mastery over lower urges (expressed through the figures of the dragon and the white stead). A distinction is drawn between the inner and the outer levels of man. Thus, various biblical events involve both an exoteric and an esoteric interpretation (e.g. those within the ark of Noah represent the esoteric circle while those outside the ark represent the exoteric aspect). The role of the topographical background to the icon and the divine light emanating from the heavens is explained by the author, including a discussion of the Christ Pantocrater. The author concludes with a discussion of Mary, the Theotokos (the "God-bearer", the Mother of God) and the iconostasis - the screen that separates the nave from the sanctuary in Eastern churches which involves several tiers of icons. Displayed on the iconostasis are the various biblical scenes from the lives of Jesus and Mary (the life of Jesus being contained within the life of Mary) which illustrate various aspects of the divine unfolding. This illustrates the ancient principle of unity in multiplicity. The author concludes the book with a discussion of the need for a return to perennial philosophy as an explanation for the icons. In general, icons have played a far greater role in the Eastern churches than in those of the West. Furthermore, the author contends that mysticism has played a more important role in the East than in the West. While icons have been variously condemned and then allowed to proliferate, their role in the earliest developments of Christianity and Christian mysticism is apparent. This book offers not only a useful introduction to icons, but also an introduction to the perennial philosophy that underlies their interpretation. For those seekers after truth who choose to disregard the materialistic drift of modern times, a return to the most ancient forms of Christianity and Christian practice and a revival of its true mystical nature is of the most life-fulfilling importance. Foreword by Jacob Needleman ... vii Preface ... ix PART I -- The Mystical Background to Christianity 1. Spiritual Allegories 3 2. Esotericism and the Perennial Philosophy 9 3. Hellenistic Philosophy 16 4. The Gnostic Vision 36 5. Hesychasm and the Philokalia 53 6. Plotinus and Neo-Platonic Philosophy 70 7. Dionysius the Areopagite 78 PART II -- Interpretation of Icons 8. Fayum Portraits 85 9. The Sinai Christ 92 10. The Sinai Mother of God: an Image of Celestial Light and Spiritual War 98 11. Cosmas Indicopleustes and the Diagram of the Universe 104 12. Orpheus-Christ and the Mystical Body of the Church 108 13. St George and the Dragon 119 14. The Topographical Background: the Divine Ray and the Descent of Light 129 15. Two Worlds: Inner and Outer 138 16. Light 148 17. The Mother of God 159 18. The Iconostasis: Unity and Multiplicity 168 19. Conclusion: Return to the Perennial Philosophy 180 Notes 185 Index 193