Product Details

• Amazon Sales Rank: #2021801 in Books
• Published on: 2001-12
• Original language: English
• Number of items: 1
• Binding: Paperback
• 192 pages

Customer Reviews

Christian Mysticism and the Icon.
_Icons and the Mystical Origins of Christianity_ is an excellent introduction to the subject of Christian mysticism, the roots of early Christianity, and the expression of the sacred in the art of the icon. The first half of the book is devoted to a detailed background survey of the mystical roots of Christianity, and the second half of the book is devoted to the analysis and application of these ideas to the icons themselves. Fully rooted in the perennial philosophy, Richard Temple, the author, attempts to outline the mystical developments as they arose in Egypt, Greece, and in the earliest beginnings of Christianity. The author includes a detailed account of the philosophies of the ancient Egyptians, Pythagoras, the cult of Orpheus, the Platonists, and Philo of Alexandria. Involved in this survey are the esoteric ideas of Plato and the NeoPlatonists (particularly Plotinus, Philo of Alexandria from the Jewish perspective, and Origen from the Christian perspective). The early church father, Origen would come later to propose a fourfold interpretation of the sacred biblical texts, which some would regard as heretical (although it would be revived in modern times). Temple also considers the early heretical movement of Gnosticism, which claimed to offer esoteric knowledge of God and often involved elaborate mystical cosmogonies. The early church fathers would come to write against Gnosticism in the most severe manner due to the potential dangers lurking in this belief system. Temple includes a discussion of certain practices in the Eastern churches including the Hesychasm and the text used in the Eastern Church, _The Philokalia_, a presentation of the wisdom and practical mystical advice of the monks from Mount Athos throughout the centuries. Temple also includes discussions of the early Platonist, Plotinus, and his role in the philosophical underpinnings of mystical thought as well as the Christian Platonist, Dionysius the Areopagite, who developed a negative theology in his writings. The second section of this book turns to the discussion of the sacred art in icons proper. Here, the author examines icons through the Fayum portraits and the Sinai Christ and Mother of God. These earliest scenes paved the way for the future artworks which were to come to represent the icons. In particular, the Alexandrian, Cosmas Indicopleustes, explained the origin of the Divine Ray and the Platonic hierarchies as they applied to the Great Chain of Being in the development of the icons. The author examines the role of the Orpheus cult and alludes to Jesus Christ's descent into hell before his resurrection to explain the divine mysteries of certain icons. The author also examines icons revealing Saint George and the dragon, and he shows how these particular icons represent spiritual mastery over lower urges (expressed through the figures of the dragon and the white stead). A distinction is drawn between the inner and the outer levels of man. Thus, various biblical events involve both an exoteric and an esoteric interpretation (e.g. those within the ark of Noah represent the esoteric circle while those outside the ark represent the exoteric aspect). The role of the topographical background to the icon and the divine light emanating from the heavens is explained by the author, including a discussion of the Christ Pantocrater. The author concludes with a discussion of Mary, the Theotokos (the "God-bearer", the Mother of God) and the iconostasis - the screen that separates the nave from the sanctuary in Eastern churches which involves several tiers of icons. Displayed on the iconostasis are the various biblical scenes from the lives of Jesus and Mary (the life of Jesus being contained within the life of Mary) which illustrate various aspects of the divine unfolding. This illustrates the ancient principle of unity in multiplicity. The author concludes the book with a discussion of the need for a return to perennial philosophy as an explanation for the icons. In general, icons have played a far greater role in the Eastern churches than in those of the West. Furthermore, the author contends that mysticism has played a more important role in the East than in the West. While icons have been variously condemned and then allowed to proliferate, their role in the earliest developments of Christianity and Christian mysticism is apparent. This book offers not only a useful introduction to icons, but also an introduction to the perennial philosophy that underlies their interpretation. For those seekers after truth who choose to disregard the materialistic drift of modern times, a return to the most ancient forms of Christianity and Christian practice and a revival of its true mystical nature is of the most life-fulfilling importance.

Neoplatonic Interpretation of Christian Iconography.
_Icons and the Mystical Origins of Christianity_ by Richard Temple is a short work that explains the ethereal qualities of iconography in terms of "Traditionalist" or "Perennialist" philosophy. Temple traces various schools of mystical, esoteric thought that both preceded and was contemporary with the early Church. Among these were the Zoroastrians, Platonists, Pythagoreans, Essenes, Therapeutae, Gnostics and Neoplatonists. Temple maintains that all of these groups held to a common belief in a Perennial Philosophy that was known to the earliest humans and was carried down generation to generation, largely orally from master to student, among various races, cultures and civilizations in a variety of forms. The central belief is that of a transcendent, objective reality along with a sort of self-realization by coming into contact with one's inner God. Although Temple's book reflects a gnostic perspective, he contends that the Fathers of the Church (especially Clement of Alexandria and Origen), the Desert Fathers and the Hesychasts of Eastern Christianity in their turn carried on this gnostic tradition. Several Fathers, such as St. Augustine, commented that Christianity was in fact the restored primordial religion of Adam before the fall. An important issue Temple touches on is the methods of interpreting scripture and how this relates to sacred Christian art. Clement of Alexandria and Origen stressed the imperative of interpreting the Scriptures in an allegorical manner because although the Bible may be literally true, taking certain parts literally when allegorical interpretation would have been more appropriate can become a cause of unnecessary confusion and spiritual delusion. In the same mode, Temple notes that it is the allegorical and spiritual realities that icons depict that take precedence over their literal, historical meaning. For instance, icons depict various stages of consciousness, from the lower, physical and material realm to suprarational angelic intelligence all the way up to the Divine Essence. My main contention with this book is that is seems to deny the historical reality of Christ at the expense of a gnostic and allegorical interpretation of the scenes icons present. Temple's God appears to be an immanence of human intelligence (albeit existing independent of time and space in the normal sense), rather than an actual transcendent God who in fact exists totally independent of human existence and experience. However, it is important to understand that icons and sacred texts do contain a "hidden" meaning beyond what is readily apparent for those who seek deeper insights into the nature of the cosmos.

A Phenomenal Book
I think the other reviewers have definitely given great reviews of this book by Dick Temple. There is not much more I can add than to say this is one of the most special books I have ever read. It is a must read by anyone interested in Icons and in exploring their own spiritual journey to God. This book may change your life! The book is very readible and easy to follow for the lay-person like myself who is neither a philosopher or theologian.