Byzantine Sacred Art: Orthodox Icons and Iconography

Gold on icons represents Heavenly Light, or the Light of Christ. The purity of gold varies anywhere from 12 to 24 Carat. Gold is applied in the background, on haloes and in linear form on top of painted areas, as an embellishment.

Real gold for icon painting comes in transfer gold leaf (with backing), loose gold leaf, gold powder and gold paint. Gold paint can be successfully made by mixing gold leaf with honey. Composite (artificial) gold leaf is also available and much more affordable, but there is really no excuse for using artificial gold on icons, unless one is in process of learning gilding techniques. The same is true for acrylic gold paint instead of powder or real gold paint.

Brilliant colors of pure mineral and earth pigments are unsurpassed in beauty and clarity

Natural mineral and earth pigments are traditionally used to paint icons. The best quality pigments and in richest colors come from Italy and Greece (the ones I use are from Florence, Italy). They are sold by the gram, in very small quantities and are usually highly priced. Some, like Lapis Lazuli, are the actual powdered semi-precious stones and more expensive then gold.

Pigments are the base of all manufactured paints - oil, water colors and others, and the amount of pigment in each tube of paint decides the overall quality of the product: the saturation, light fastness, durability and clarity. However, everything else manufacturers add into each tube is what iconographer, thankfully, can live without. Using natural pigments on icons rather then paint from tube is the difference that separates finest silk from nylon or polyester - beyond comparison. When it comes to icons, where silk would be natural pigments, polyester would definitely represent the worst of all: acrylic paints.

The entire Creation takes part in writing traditional Orthodox icons

Eggs, vinegar, garlic, Cognac, honey... are all used when painting a traditional icon. In this regard painting a traditional icon greatly resembles an experiment in French cuisine. The reason for this, as well as the use of real gesso (rabbit skin-glue mixed with marble dust) versus ready-made versions, painting on wood board, with natural powder pigments instead of paints from the tube, guilding with real gold leaf, etc. the reason for using all natural materials lies in the theology behind icons: that the entire Creation takes part in illuminating the holy image and in writing the Scripture in color.