Experiencing Icons Through the Senses
The Art of Devotion is now on display in the Bulmash Exhibition Hall in Chalmers Library!
Experiencing Icons Through the Senses
Personal icons served as a bridge between their owners and the divine, connected by sensory interactions of spiritual significance. These icons, in particular, had practical applications in everyday life, eliciting smell, taste, touch, sight, and hearing. They activate the owners’ senses, making religious figures like Jesus and the Virgin Mary present in every moment. The Double-Sided Stone Icon and the Illuminated Sensul Manuscript allowed for physical proximity to the heavens — one being worn around the neck and caressed by the wearer, and the other unfolded at the pace of the narrative it contains. The Icon of the Ascension was designed around auditory experiences, transporting the viewer into a scene of blaring trumpets and exuberant angels. Taste is highlighted by the Bread Stamp, carved with holy images that were transferred onto food to be consumed. These objects afforded a certain closeness, enabling the owner to traverse the boundary between the heavenly and earthly realms, fostering a more intimate, and uniquely sensuous, relationship with divinity.
Despite its small size, the composition of this delicately carved wooden roundel is a sensory overload. The stillness of Jesus Christ in the center stands in stark contrast to a scene crowded with trumpets blaring, scripture being recited, and onlookers cheering and singing, hardly able to tear their gaze from the heavens. These auditory actions completely immerse the viewer in a narrative where the grief of Christ’s death is transformed into a moment of complete wonder.
This double-sided icon depicts the Virgin Mary embracing Christ on the front, and Saint Nicholas on the back. Originally, it would have been mounted in a metal frame and worn as a pendant that rested on the owner’s chest. Carved into smooth dark steatite that invites touch, the images were caressed in the hand and between the fingers. Nicholas appears in lower relief, exhibiting evidence of constant rubbing and wear. This side would have been pressed against the wearer’s chest, whereas the side with the Virgin Mary and Christ faced outward.
This sensul, or accordion-folded book, is filled with hand-painted icons. It is compact, allowing the owner to carry it around with them and to pray with it in times of need. The pages can be folded, unfolded, and refolded in any number of combinations, providing the owner with physical contact with the depicted stories. The sensul is still infused with a strong fragrance from the original owner that still today engages the senses beyond sight and touch.
This wooden stamp is divided into sections that center on the enthroned Jesus and Mary who are surrounded by bishop saints and an inscription that reads “Jesus Christ Conquers.” The images are carved in reverse so that when stamped onto dough they would provide the correct impression. When the dough is baked, these images and inscriptions are left imprinted on the bread, making the loaf itself into an icon for consumption.
Icons have traditionally been understood as a visual medium, conjuring images of paint on wooden panels. Here we see an example of an ephemeral icon — stamped into dough and then eaten. What benefits could an “edible icon” have?
The information on this page was provided by Stephanie Chang, Cat Madden, Lucy Gibbs, and Sara Carmichael.