hand-painted icons and altarpieces
Helen McIldowie-Jenkins
Nativity
...a Saviour has been born to you
Luke 2:11
Private commission, first in a series of eight festive icons. Design based on a 16th century Russian icon of the Nativity, notable for its rich colours and pink mountain.
Tempera on panel with burnished water gilded haloes.
Baptism
You are my Son, the Beloved; my favour rests on you
Mark 1:11
Private commission, second in a series of eight festive icons. Design based on iconographic elements from two 15th and 16th century Russian icons in order to include the Old Testament personifications of the River Jordan and the Red Sea that prefigure The Baptism, 'The Sea looked and fled, Jordan turned back'
Tempera on panel with burnished water gilded haloes.
Annunciation
‘…for nothing is impossible to God.’
Luke 1: 37
Private commission, third in a series of eight festive icons. Design based on an early 15th c. Russian icon from Moscow, probably by a Greek icon painter. The Archangel Gabriel’s announcement occurs simultaneously with the Virgin’s accord and the moment of the miraculous conception. The stylized architectural background represents metaphors for the event, the building behind the Virgin is, like her, a ‘doorway’, a ‘temple’ and ‘sanctuary’. The sacred red awning references that of the Tent of the Dwelling in Exodus, above the Holy of Holies and the four protruding shafts under the canopy refer to the four poles used to carry the Ark of the Covenant.
Tempera on panel with burnished, water-gilded haloes.
Anastasis
He has delivered us from the dominion of darkness...
Colossians 1:13
Private commission, fourth in a series of eight festive icons. Design based on a 15th c. Russian icon in which Christ breaks the doors of Hell to release Adam and Eve from sin and death and thus redeem mankind.
Tempera on panel with burnished water gilded haloes.
Ascension
This Jesus, who was taken up from you into heaven, will come back in the same way as you have seen him go to heaven.
Acts 1:11
Private commission, fifth in a series of eight festive icons. Design based on a 16th c. Russian icon from Novgorod. This icon marks the end of Christ's earthly ministry, the 'two men in white robes' [angels] foretell the Second Coming .The Mother of God is depicted in the ancient gesture of prayer (orant), she symbolises the church (as 'mother') and intercedes for humanity.
Tempera on panel with burnished water gilded haloes.
Pentecost
I shall pour out my Spirit on all humanity...
Acts 2:17
Private commission, sixth in a series of eight festive icons. Design based on a 15th c. Russian icon from Novgorod. The Descent of the Holy Spirit upon the Apostles is shown in the rays emanating from the sphere of heaven above. The figure below the Apostles represents Cosmos, the rest of the world that is in darkness who will be enlightened by the Word contained in the twelve scrolls he holds.
Tempera on panel with burnished water gilded haloes.
Transfiguration
And a voice came out of the cloud, saying: This is my beloved Son; hear him.
Luke 9:35
Private commission, seventh in a series of eight festive icons. Design based on an early 15th c. Russian icon from Moscow painted by the master, Theophanes. The icon depicts the moment Christ is revealed in his divine glory to the terrified disciples, Peter, James and John upon Mt. Tabor. The Prophets Moses and Elijah also witness this confirmation of Christ as the son of God and therefore the doctrine of the Trinity. The blinding, Uncreated light is of particular importance to emphasize formally and is represented flashing from the shining cloud around Christ and his radiant white robes and also from the enlightened apostles.
Tempera on panel with burnished water gilded haloes.
Dormition
She who is higher than the heavens and more glorious than the cherubim... commends her most pure soul into the hands of her Son
The Festal Menaion Sticheron at Small Vespers
Private commission, last in the series of eight festive icons. Design based on a 15th c. Russian icon. According to Apocryphal tradition, the Mother of God 'fell asleep' (koimesis) and was assumed into heaven. Her soul is represented as the child Christ holds. The Apostles gather around her but a Jew, Jephonias tries to overturn the bier and has his hands cut off by an avenging angel (they were 'restored' upon his conversion.)
Tempera on panel with burnished water gilded haloes.
Annunciation
Private commission. Copy of the late 13th - early 14th c Greek Icon from Ohrid, Macedonia. This image is to be found on the reverse of a double-sided icon of the Virgin Psychosostria (Saver of Souls) and was most likely painted in Constantinople during the early Palaeologan period of Byzantine art.
The icon depicts the simultaneous events of the Annunciation; the dramatic appearance of the Archangel Gabriel rushing forward with his message, the fear and consent of the Virgin Theotokos and the moment of the miraculous conception.
In common with Annunciation iconography, the stylized architectural background represents metaphors for the Virgin, the building behind her is a ‘doorway’, a ‘temple’ and ‘sanctuary’. The sacred red awning references that of the Tent of the Dwelling in Exodus, above the Holy of Holies and the two protruding shafts refer to the poles used to carry the Ark of the Covenant.
The red wool the Virgin was spinning may be seen as symbolizing the blood-link she will have with Christ.
Oak rebated panel (braced and lined), water-gilding and tempera.
