![]() Those of Thomas that are extant show him as a very young man none show him in or after his later years in India. Working in the Byzantine tradition, Iconographers are obliged to seek prototype images within the Canons of the Eastern Orthodox Church. Historical references purport to show that Thomas was in India for a total of some 17 years. so at the time of Thomas’ ministry with Jesus, it may be concluded that Thomas must have been an adult, perhaps similar in age to Jesus. Thomas was with Jesus, whose life and ministry ended, perhaps, in about 30 C.E. There is no reliable historical fact concerning Thomas’ date of birth he was undoubtedly Jewish and his martyrdom is recorded as having occurred in 72 C.E. Included within the scrollwork are logos representing Trinity Episcopal Cathedral, Oregon and The Church of South India, Kerala. The four brackets surrounding the circle of the icon are filled with scrollwork derived from carved marble decoration found in the Taj Mahal in India. Placing the circle in the square also produces the third very important architectural “icon” the bracket, often found in church buildings supporting roofs and vaulted ceilings. These are two of the most powerful symbols in architecture. The icon is configured as a 14″ diameter circle within a 16″ x 16″ square. Thomas was known as an architect and Church builder, as well as an Apostle. He is shown as a man in the prime of his life energetic and a great builder of Churches throughout the region. ![]() This icon shows St.Thomas as he might have looked after spending several years in India. ![]() This icon was created as a gift to the people of the Madhya/Kerala Diocese of the Church of South India (CSI) as a means to let them know of the concerns and prayers of the Diocese of Oregon for them as they recover from the devastation of the December 2004 tsunami. (After the prototype of Christ Istanbul, 13th Century C.E.) (In Roman/Latin calligraphy, “J” was always shown as “I”.) The inscription is attributed to Pontius Pilate’s edict. Again, in accordance with Orthodox traditions, there is no banner with the letters INRI above the Cross this is a later, Western Christian adaptation representing abbreviated Latin for “Jesus of Nazareth, Rex (King) of Jews”. Essentially a “Good Friday” image, nevertheless Christian belief in the Resurrection to come underlies “The Lamentation” itself. the name of Jesus Christ, in abbreviated Greek form (IC – XC), is shown on the arms of the Cross. In accordance with stipulations of the Second Council of Nicaea in 787 C.E. Stylized mountains at each side tell us that the icon’s action takes place outdoors. The Theotokos’ garments, by tradition, are in the style typical of a Byzantine Empress’ court dress. ![]() Beside the basket is a large two-handled vessel of ointment used to embalm the Sacred Body.Ĭolors used for virtually all garments of the women, are values of the same color used for the stone slab on which Christ’s Body rests. In the foreground is a basket of tools he used and the nails he took from Christ’s hands and feet. On the right, Nicodemus peers through rungs of the ladder that he used to lift Christ down from the Cross. John the Evangelist mourns, while Joseph of Arimathea, who provided Christ’s burial cave, holds a winding cloth and shroud to wrap the Sacred Body. Behind the Theotokos, Mary Magdalene throws up her hands and arms (in anguish or a futile attempt to hold away the horror and fear of the moment?) The other women are professional mourners or “Wailing Women” who tear their clothes and undo their hair in grief. To the far-left (from a viewer’s position) Mary, the “Theotokos” (The One who bore God) is seated she cradles the head of the dead Christ. This icon-scene contains 10 figures in addition to the Body of Christ. This re-creation is 44 inches wide by 37 inches high. The image chosen was “The Lamentation” by Emmanuel Lambardos, the Younger, (Crete, about 1640 C.E.) Lambardos’ original, measuring 52.5 cm x 41.5 cm (about 20.5 inches wide by 16.5 inches high) now hangs in The Byzantine Museum, Athens, Greece. In accordance with traditional Byzantine Orthodoxy’s rubrics of iconography, to which Trinity’s Iconography Institute has chosen to adhere, an authorized prototype icon was sought from among several on which to base this re-creation. (after the prototype in Crete done about 1640 C.E.) LAMENTATION – Emmanuel Lambardos the Younger ![]()
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