He Laid His Hand On Him

The Life and Ministry of St John the Baptist through Iconography

john30.jpg

St. John the Baptist has always been very special to me, ever since I converted to Christ and started regularly visiting my spiritual father, a spiritual child and tonsure of St. Paisios, at the Monastery of St. John the Forerunner (Prodromos).

baptist9

 John the Baptist uniquely bore record of both the Dove and the Lamb, la Colombe et l’Agneau. He was the angel-messenger of both the Holy Spirit and the Word, on earth, but also in Hades. He “saw” the Lamb walking in the middle of people in the Person of Jesus. And he testified with an absolute certainty that he “saw” the Holy Spirit descending on Him in bodily form like a dove. (Lev Gillet, La Colombe et L’Agneau, The Dove and the Lamb)

29 The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world. (John 1:29)

32 And John bare record, saying, I saw the Spirit descending from heaven like a dove, and it abode upon him. (John 1:32)

baptist10

The Holy Prophet, Forerunner, and Baptist  John is  a towering figure who bridges the Old and New Testaments and who reveals, more precisely than his forebears, the object, the aim, the goal, the purpose of the preceding two-thousand history of the Hebrew people: namely, the advent of the Messiah, the God-man, the Savior, Jesus Christ. That was so since, as Saint Nicholas Velimirović of Ochrid and Zica writes, Saint John “especially differs from all of the other prophets in that he had the privilege of being able, with his hand, to show the world Him about Whom he prophesied.” [Prologue, Vol 1, p. 34.  The Prologue of Ohrid: Lives of Saints, Hymns, Reflections and Homilies for Every Day of the Year]

ic-ma015-icon-john-baptist

“Moonless” 
From your desert, my Saint John

where once your voice was heard

remember us and pity us

who are wasting away in a wilderness

full of human population.

By Alexandros Papadiamantis

 

OLYMPUS DIGITAL CAMERA

 

The Bridegroom and the Friend of the Bridegroom

“He that has the bride is the bridegroom: but the friend of the bridegroom, who stands and hears him, rejoices greatly because of the bridegroom’s voice: this my joy therefore is fulfilled.” (John 3:29)

Being born exactly half a year before Christ, John the Forerunner by the exact time of his birth depicted his mission of preparing the way for the Lord. He was born at the time of the year (June 24) when the day begins to grow shorter after the summer solstice, whereas the Nativity of Christ occurs (December 25) when the day begins to grow longer after the winter solstice. These facts are an embodiment of the words spoken later, by the Forerunner, after the beginning of Christ’s preaching:

“He must increase, but I must decrease” (John 3:30). “The herald of the Sun, the Forerunner” was John the Baptist, who was like the morning star that announces the rising of the Sun of Righteousness in the East. (Saint John of Shanghai and San Francisco at http://passaicrussianchurch.com/books/english/ sermons_john_maximovich.htm#_Toc100019529)

john0john1john2john3john5john6john4john7john8john9john10john12john11

 

Life of John the Baptist, Baptistery of St. John (Battistero di San Giovanni), Florence

St John the Baptist "Angel of the Desert" (17th Century, Russian)

Amazing details above! … Why is this Saint, almost uniquely, shown in many icons with wings? … As well as “the Baptist”, John is also known as “glorious prophet and forerunner of Christ”. Therefore, the presence of the wings is to symbolize John’s status as a divine messenger (in Greek “Evangelos”, from where the word “Angel” is derived). It’s worth noting that the wings of the archangels (Gabriel, Michael etc.) in icons are largely symbolic too, as they are not specifically described as having wings in the Scriptures.

But if that were all, then why aren’t the prophets of the Old Testament, or the Apostles, shown with the angelic wings of divine messenger? The answer, in the words of Jesus Christ Himself, is because “among those born of women there is no one greater than John;” moreover, he is “the culmination and the crown of the prophets”, as the hymn from the feast of John’s nativity proclaims. Therefore, St John is a special example among the Saints of an earthly “angel” and a heavenly man. As such, he is also described as the “Angel of the Desert” in the inscriptions of icons.

The life John led in the desert was angelic for two reasons. On the one hand he proclaimed the coming of the Messiah, Jesus Christ, becoming a herald of God like the angels. On the other, he lived a life of chastity, abstinence, and prayer, not being mindful of material needs, but with his attention fixed firmly to heaven. This is the life of the angels, and why the monastic way of life is sometimes called “angelic”, as well as why St John is the patron of monastics, hermits, and ascetics. For both reasons, it is appropriate to show St John with the spiritual wings of a dove.

She that once was barren now brings forth Christ’s Forerunner, John, the culmination and the crown of all the Prophets. For when he, in River Jordan, laid his hand on Him Whom the Prophets preached aforetime, he was revealed as God the Word’s fore-chosen Prophet, His mighty preacher, and His Forerunner in grace.
(Kontakion from the Feast of the Nativity of John the Baptist)

Icon of John the Baptist (16th Century, now in Yaroslavl)

This is another vita icon, which shows not only John the Forerunner and Baptist, but many of the other feasts and traditions associated with him.

An explanation of the scenes often found in these icons is given below.

The scenes used in the 16th century Yaroslavl icon … are taken from a number of well-established sources: the Protoevangelium of James, the Gospels (notably St Luke’s), and other histories of the Church that record what happened to St John the Baptist’s remains after his beheading. Starting at the top left, and going from left to right across the icon, the scenes shown are:

  1. The angel Gabriel appears to St Zachariah in the Temple, announcing the future conception of a son: to be called John (Luke 1:11-17).
  2. Zachariah is struck dumb for doubting the angel’s words, the people outside the Temple realizing he has had a vision of God (Luke 1:18-22)
  3. The Conception of John the Baptist (Luke 1:23-25)
  4.  The visitation of Elizabeth’s cousin Mary, the Mother of God (Luke 1:39-42)
  5. The Nativity of John the Baptist
  6. The murder of St Zachariah in the Temple by Herod’s soldiers, for not revealing where John the Baptist was hidden (Protoevangelium of James Ch.23; alluded to in Luke 11:51)
  7. St. Elizabeth hides the young John from the Herodian soldiers in the cleft of a mountain (Protoevangelium of James Ch 22, paralleled by Mary and Joseph’s flight into Egypt with Christ; Matthew 2:13-23)
  8. St. John, as a youth, is led into the desert by an angel, fulfilling the promises given to Zachariah, and Zachariah’s own prophecy (Luke 1:67-80)
  9. After years of ascetic life, “the word of God comes to John… in the wilderness. (Luke 3:2)
  10. John baptizes Jesus Christ in the River Jordan
  11. John baptizes the multitudes who flock to him (Matthew 3:1-6)
  12. John denounces the Pharisees and Sadducees (Matthew 3:7-10)
  13. John is imprisoned for his criticism of Herod Antipas (not the same Herod who ordered the murder of Zachariah)
  14. The Feast of Herod, where Salomne is presented with the head of John the Baptist after beguiling Herod with her dancing.
  15. The Beheading of John the Baptist (the last three scenes are all recorded in Matthew 14:1-12 and Mark 6:14-29)
  16. John’s disciples take his body away for burial (usually shown without the head – Matthew 14:12)
  17. St John the Baptist appears in a dream to monks, telling them where to find his head.
  18. The First Finding of the Head of John the Baptist
  19. The appearance of St John to a monk in his sleep.
  20. The Second Finding of the Head of St John the Baptist

Other scenes that might be present include: Zachariah, mute, writing out the name of John; the denunciation of Herod by John; the preaching of John in Hades (the forerunner of Christ in life and death); In the centre stands John the Forerunner himself: the “angel”, or messenger, of the desert, holding a platter with his head. Other icons may show St John holding a platter with the infant Christ on it, also known as the melismos, or the Lamb of God.

baptist5

The memory of the just is celebrated with hymns of praise, but the Lord’s testimony is sufficient for you, O Forerunner;
For you have proved to be truly even more venerable than the Prophets, since you were granted to baptize in the running waters Him Whom they proclaimed.
Wherefore, having contested for the truth, you rejoiced to announce the good tidings even to those in Hades:
That God has appeared in the flesh, taking away the sin of the world and granting us great mercy.

baptist2

Links:

The Protoevangelium of James

The Beheading of John the Forerunner and Baptist

The Nativity of John the Forerunner and Baptist

The Baptism of Christ (by St John)

The First and Second Finding of the Head of John the Forerunner

The Third Finding of the Head of John the Baptist

 

Icon of John the Baptist in the Greek Style

This Icon also encompasses all of the Church teaching about St. John the Forerunner: his announcement of the coming of the Messiah, Who was Jesus; his  preaching in the wilderness; his baptizing of Jesus Christ, and finally his beheading on the orders of Herod for censuring the King.

… John is depicted … in the desert, wearing animal skins, with unkempt beard and long hair … The axe laying at the foot of a tree is an obvious reference to John’s own prophetic warning recorded in Scripture:

And even now the axe is laid to the root of the trees. therefore every tree which does not bear good fruit is cut down and thrown into the fire.

To the bottom right of the picture, is John’s head on a platter, just as it was presented to Herod’s step-daughter, according to the Gospel of Matthew. It is because of this that John also holds a cross – the cross of martyrdom – and is turned to Christ in supplication, holding a scroll bearing the words:

Seest Thou what suffer those who censure, O Word of God, the faults of the unclean. Not being able to bear censure, Lo Herod cut off my head, O Saviour.

Over St. John’s camel-skin clothing is invariably a green robe, which symbolizes “earthliness”, and in this case it is because John grew up outside, in the wilderness. Later saints who also took up the Christian struggle in the wilderness can also be depicted in green for the same reason, and are sometimes known as “Green Martyrs”. That is to say they are martyrs (literally meaning witness) to the Faith, not by the shedding of blood, but by their ascetic struggle. Of course, St John is a both a green martyr and a martyr who shed his blood, hence the presence of the green robe and the cross.

John the Baptist preaching in hell

 

 

 

 

 

 

 

 

John was the forerunner of Christ on earth, but also in Hades. Before Jesus’ crucifixion, death, burial, and descent into Hades, John too descended there to preach the Gospel of Repentance and coming of the Messiah to the imprisoned souls: The glorious beheading of the Forerunner, became thus an act of divine dispensation, for he preached to those in hell the coming of the Savior. Let Herodias lament, for she entreated lawless murder, loving not the law of God, nor eternal life, but that which is false and temporal.

He Laid His Hand On Him!

Source: iconreader.wordpress.com

Advertisements

A Greek Dostoevsky (I)

papadiamandis41

.. and Charles Dickens

One of the greatest figures in modern Greek literature, Alexandros Papadiamandis was born on the Greek island of Skiathos on March 4, 1851, “the second Sunday of Lent and the feast day of Gregory Palamas, while they were singing the triadiká in church” (as we are informed by his fellow countryman Papa-George Rigas, distinguished scholar of folk traditions and specialist of the liturgical typicon).

[For those in a hurry, you may skip the short biography, and go straight to his short story link at the bottom of the page]

papadiamandis21

While this first intimation of God’s favor appeared during Papadiamandis’s birth, the second took place during his Baptism:

“He was baptized on the Monday of Bright Week and named Alexandros. Something unusual happened while the priest, Papa-Nicholas, performed the Baptism; as he poured the oil in the baptismal font, the oil immediately made the form of the cross on the water. Papa-Nicholas interpreted this strange phenomenon, saying, “This child will be great.”

papadiamandis22

His father was the pious priest Adamantios Emmanuel. Papadiamandis writes that he was “a beneficent guide in all ecclesiastical questions and a sublime adornment of ecclesiastical celebrations” in the church of the Three Hierarchs and in the country chapels of Skiathos.

papadiamandis40

From an early age, Alexandros followed his father around the island helping him, sometimes in the altar and sometimes at the lectern as chanter. With his exceptional sensitivity, Alexandros treasured his experiences of sharing this liturgical service with his father. His heart was filled with and his nous was instructed by images from the priestly life and the Church’s services. He was so influenced by them that most of the scenes he chose to paint as a child were taken from the life of the Church. Reflecting on this time, he writes in his autobiographical memoir, “When I was young I would paint Saints, or I would write [hymnographical] verse.”

From his childhood years, Alexandros had the opportunity to live the tradition of the Kollyvádes fathers (those Greek Orthodox Athonite elders involved in the eighteenth century movement that inspired spiritual renewal and a return to more traditional liturgical and spiritual practices). This tradition had been preserved on Skiathos through the presence of a monastery built by the Kollyvádes, the Monastery of the Annunciation. Although the monastery was in decline during Papadiamandis’s later years, the diligently preserved kollyvadian tradition remained alive in the inhabitants of the island. He would later write, “In this small monastery [of the Panagia of Kounistras in Skiathos] at the end of the eighteenth and beginning of the nineteenth century, six of my relatives were priest-monks.” Papadiamandis gives an account of the monastery’s spiritual life and foundation on Skiathos:

Papa-Gregory…the ascetic, descended from the heights of Athos(7) together with his elder, Papa-Niphon, and thirty other monks. They sailed to the island of Gregory’s birth [Skiathos], and there, in the gorge of Angallianous, they built a beautiful, awe-inspiring monastery—patriarchal, Stavropegic, and coenobitic—with an exquisite, very fine church, built with great care. It was so beautiful that during those years, at the beginning of the nineteenth century, it was famous and enjoyed great respect among the monasteries of Athos. These ascetics…were the so- called Kollyvádes, who were under persecution on the Holy Mountain, as they insisted on precisionx (regarding frequent communion), and on many other things.

papadiamandis12

The renowned Elder Dionysios was a distinguished spiritual father and learned priest-monk who lived on Skiathos, whose roots were in the kollyvadian tradition. Papadiamandis knew him personally and did not hide his admiration for him. He was “the inspired spiritual father in the small monastery of the Prophet Elijah.” Papadiamandis had such monks and monasteries in mind when he wrote, “the rule of prayer should be complete, following all the old typicons, with the vigils and pre-dawn Matins, with all the appointed verses and readings from the Psalter.”

papadiamandis14

Papadiamandis was initiated into this kollyvadian—the genuine Orthodox—tradition, in his own home by his father, Papa-Adamantios, and by the broader world of the Church in Skiathos. In an unsigned obituary for his father, he wrote that

Papa-Adamantios, like all of the older priests of the island, was taught how to celebrate the Mysteries(12) by those venerable Kollyvádes (http://orthodoxwiki.org/Kollyvades_Movement), who, at the end of the last century, established the Monastery of the Annunciation…which became a seedbed of humble priests for our island, priests who were lovers of the divine services. Simple and virtuous, they enjoyed the love and respect of the inhabitants, having no affectations or hypocrisy, and displaying no vanity as they lived their lives as priests.

kollyvades1

Seeds of spiritual struggle that had been planted in Papadiamandis during his childhood and adolescence at home and in the wider environment of Skiathos were brought to fruition when he went on a pilgrimage to the Holy Mountain for a few months at the age of twenty-one. In one of his stories, we read about some of the events of his visit, mainly at the Skete of Xenophontos, and we perceive how the charm of the Holy Mountain was an inspiration for him. While there, he met many ascetics and hesychasts and became familiar with the liturgical life of the monks. He was enthralled by the vigils of the monastics and recorded in his heart not only the strict typicon and the Byzantine melodies but also the spirit that governed it all. In this way, Athos and its traditions affected the path his life took and enriched it with unforgettable memories.

papadiamandis8

Given his rich spiritual upbringing, experiences, and heritage, it is only natural that Papadiamandis would choose to spend his life within this rich Orthodox tradition, preserving the Orthodox liturgical ethos through his writings and life. The critics of his age believed that there was little value in a detailed description of “how a village priest went to celebrate the liturgy in a country chapel for a little community of peasants or shepherds, who and how many took part in the festival, and what their customs were like.” Papadiamandis, however, did not regard the celebrations as mere holidays, but himself lived the events and the life of the Church as the center and foundation of all events and all life.

planas4

Papadiamandis moved within this ecclesiastical environment and within the wider Greek tradition. He lived both aspects of this tradition, Ancient and Byzantine, in a diachronic unity, which spanned the ages. He had utter integrity, both as a person and as a Greek, within whose Hellenism was Byzantium and in whose love for Byzantium might be discerned Hellenism. In his texts, Ancient Greece resembles a flower that, wilting from its desire for the truth, then bears great fruit in the warmth of the Sun of Righteousness [Christ]. When history is viewed as a progression toward the discovery of the fullness of the truth of Orthodoxy, tradition truly lives, and history is kept from being fragmented. Other important figures in modern Greek literature such as Photios Kontoglou and, even more so, Nikos Gabriel Pentzikis would act from this perspective later on, with both their pens and their brushes. Together with our author, they are regarded as solid links in this tradition.

God favored Papadiamandis with many gifts, and he struggled to use them in a way that would bear the most God-pleasing fruit. The reverent and liturgical ethos expressed through Papadiamandis’s writings and life bear witness to the successful cultivation of his gifts.

planas2

Papa-Nicholaos Planas

“It was in 1887 that he found what could be described as his spiritual bolt-hole in the turbulent and often harsh world of the metropolis: the small church of the Prophet Elisha, set in the courtyard of a private house in the old part of the city, under the rock of the Acropolis. There Papa-Nicholaos Planas, a simple priest born in the same year as Papadiamandis, a man of prayer and of great spiritual gifts, would regularly hold vigil services, gathering people from all walks of life into the crucible of the little church. Papa-Nicholaos was canonized in 1992.

planas5

planas1

Papadiamandis never married. He was a shy and retiring man, as the few extant photographs of him testify, a man seemingly not of this world despite his acute observations of it. He also had to provide for his unmarried sisters at home. But despite his introspective nature he had a small circle of close friends, including Pavlos Nirvanas and Yannis Vlachoyannis, well-known Athenian men of letters who on various occasions undertook the role of literary agents and helped him during hard times.” (http://deniseharveypublisher.gr/people/alexandros-papadiamandis)

planas7planas8planas9

Papadiamantis’ longest works were the serialized novels “The Gypsy Girl,” “The Emigrant,” and “Merchants of Nations.” These were adventures set around the Mediterranean, with rich plots involving captivity, war, pirates, the plague, etc. However, the author is best remembered for his scores of short stories. Written in his own version of the then official language of Greece, “katharevousa” (a “purist” written language heavily influenced by ancient Greek), Papadiamantis’ stories are little gems. They provide lucid and lyrical portraits of country life in Skiathos, or urban life in the poorer neighborhoods of Athens, with frequent flashes of deep psychological insight.

Papadiamantis’ deep Christian faith, complete with the mystical feeling associated with the Orthodox Christian liturgy, suffuses many stories. Most of his work is tinged with melancholy, and resonates with empathy with people’s suffering, regardless of whether they are saints or sinners, innocent or conflicted.

His work is seminal in Modern Greek literature. … It is a body of work, however, that is virtually impossible to translate, as the magic of his language is founded on the Greek diglossia: elaborately crafted, high Katharevousa for the narrative, interspersed with authentic local dialect for the dialogue, and with all dialectical elements used in the narrative formulated in strict Katharevousa, and therefore in forms that had never actually existed.

planas10

planas6

Papadiamandis desire to glorify God is shown even more in the way he ended his life and in his attitude toward death. In a prayer he offered at the end of a poem entitled, “To the Little Panagia in the Turret,” he beseeches her, “comfort me, as well, my Panagia, before / I depart and will be no more.” In a letter written by Papa-George Rigas, we learn about the last moments of Papadiamandis’s life on earth:

His repose took place as follows: He became ill on the 29th of November 1910. On the third day of his illness, he fainted. When he revived, he asked, “What happened to me?” “It’s nothing, a small fainting spell,” his three brothers who were at his side told him. “I haven’t fainted,” Alexandros said, “in so many years; doesn’t it seem that it’s a prelude to my repose? Get the priest immediately and don’t delay.”… Soon after, having been called [by his brothers], the priest and the doctor arrived at the same time. Papadiamandis was, above all things…a pious Christian. So, as soon as he saw the doctor, he asked him, “What are you doing here?” “I came to see you,” the doctor told him. “Keep quiet,” the sick man told him. “I will first follow the ecclesiastical path [and call upon the help of God], and then you can come later.”…

He had control of his faculties until the end and wanted to write a story. Until the end, his mind was dedicated to God. On his own, a few hours before his repose, he called for the priest to come so he could partake of Holy Communion. “Perhaps later on I won’t be able to swallow!” he explained. It was the eve of his repose and, as irony would have it, it was the day they told him that he would receive the medal of the Cross of the Savior. On the eve of his repose, the second of January, he said, “Light a candle [and] bring me an [ecclesiastical] book.” The candle was lit. The book was about to be brought. However, Papadiamandis wearily said, “Don’t worry about the book; tonight I will sing whatever I remember by heart.” And he began to chant in a trembling voice, “Thy Hand Touching” [a troparion from the Hours of the eve of Theophany].

papadiamandis3

Papadiamandis sang this final hymn and, as day broke between the second and third of January of his sixtieth year, he wearily fell asleep. After passing through the furnace of pain and trials and tasting many of the bitter dregs of life while faithfully living the liturgical life of the Church, he now stretched out his strong wings to fly to the upper chapel of the angels, toward which he had oriented his whole life. It snowed on the following day and, like Uncle Yiannios in the story, “Love in the Snow,” Papadiamandis lay down his worn-out body, presenting himself, his life, and his work before the Judge, the Ancient of Days, the Thrice-Holy. This was, finally, the only judgment with which he was concerned as he passed through life. Though his life and struggle in this world have ended, his work will continue to give witness to his devotion to the liturgical tradition of the Orthodox Church for generations to come.

*

A Short Biography of Alexandros Papadiamandis, From the First Chapter of A. Keselopoulos, Greece’s Dostoevsky: The Theological Vision of Alexandros Papadiamandis (2011)

*

Unfortunately not many of his stories are online, but I found one titled “The Gleaner: A Christian Story” from 1889 at http://deniseharveypublisher.gr/assets/0000/0372/PAPADIAMANTHS_-_The_Gleaner.pdf