Iconography is a Visual Language

A reference book, A to Z Visual Language. The symbolism and meanings in religious art are designed for a particular audience that seeks another world. Art and Iconography in traditional Byzantine styles are not political but experiential.

Sacred art invites the soul to see and question a shift in your understanding. After reading through the book, Iconography is a Visual Language, the next time you are in a museum, you will be comfortable questioning your thoughts and conclusions as you view sacred art. You will have a new freedom to imagine who made that image and why. This alphabet of sacred art imagery will help stimulate the viewer into bewilderment and awe.

Visual language is ancient, and the various meanings and symbols are designed for a particular audience who seek another world. Iconography images are not political; they are experiential. Some are archetypal, and some are historical, but all are curious as they have been born out of the hearts of people who pray and converse with spirit. To live without active questioning would make sacred art flat and predictable.

We need inspiration, imagination, and creativity to provoke the mind and heart into areas yet to be punctuated with surprise. Miller's book is a great resource and a beginning for merging the past and the present, as interpretations are limitless. 127 pages with color photos is an alphabet of imagery that helps stimulate the viewer into bewilderment and awe.

The tradition of Byzantine-style iconography has honored martyrs, saints, and mystics, both named and unnamed, who have carried forward humanities divine story of peace, love, goodness, light, and unity. The individual attributes of each saintly portrait are many and are crucial to interpreting the overall message. For the past 2,000 years, the basic visual form has remained consistent. Yet there is an exhilaratingly wide area left open for interpretation and design. The entire art form is an expression of God’s creativity etched into color and hopefully will continue to grow and change for another millennium. The A to Z alphabet has been written both to honor the past and give rise to the future, to help fledgling iconographers and those who find gazing at icons to be curious and hypnotic.

The visuals in this A to Z symbolism, are alphabet of sacred art; symbolism and meaning in religious art, religious art symbols that Mary Jane Miller has used in her work for thirty years. The Language of iconography or the language of icons is inspiring. Byzantine style iconography is a visual language whose ancient and various meanings are designed for a particular audience who seek another world. This alphabet book suggests we browse its A to Z Symbolism and Meaning. Images are not political they are experiential. Some symbols are archetypal and some have historical meaning but all are curious as they have been born out of the hearts of people who pray and converse with spirit. To live without active questioning would make sacred art flat and predictable. We need inspiration, imagination, and creativity to provoke the mind and heart into areas yet to be punctuated with surprise. Miller's book is a great resource and a beginning for merging the past and the present, as interpretations are limitless. After looking through the book, the next time you are in a museum you will be comfortable questioning your thoughts and conclusions as you view sacred art. You will have a new freedom to imagine who made that image and why.
Sacred art invites the soul to see and question a shift in your understanding. After looking through the book, Iconography is a Visual Language, the next time you are in a museum you will be comfortable questioning your thoughts and conclusions as you view sacred art. You will have a new freedom to imagine who made that image and why. This alphabet of sacred art imagery will help stimulate the viewer into bewilderment and awe.

Visual language is ancient and the various meanings and symbols are designed for a particular audience who seek another world. Iconography images are not political they are experiential. Some are archetypal and some are historical but all are curious as they have been born out of the hearts of people who pray and converse with spirit. To live without active questioning would make sacred art flat and predictable. We need inspiration, imagination, and creativity to provoke the mind and heart into areas yet to be punctuated with surprise. Miller's book is a great resource and a beginning for merging the past and the present, as interpretations are limitless.
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