Icons can be found not only in many churches, and, of course, museums but also in private homes. In fact, there are many Maltese collectors who buy icons for their homes.

In our cultural project as Salesians of Don Bosco, we believe that only beauty can save the world. In his letter to artists, St Pope John Paul II writes: “None can sense more deeply than you artists, ingenious creators of beauty that you are, something of the pathos with which God at the dawn of creation looked upon the work of his hands.

“A glimmer of that feeling has shone so often in your eyes when, like the artists of every age captivated by the hidden power of sounds and words, colours and shapes, you have admired the work of your inspiration, sensing in it some echo of the mystery of creation with which God, the sole creator of all things, has wished in some way to associate you.”

According to the Encyclopaedia Brittanica, the word ‘icon’ comes from the Greek eikon (image). In the eastern Roman Byzantine empire and other regions that shared the Byzantine orthodox faith, holy icons were images of sacred figures and events. When art historians talk about icons today, they often mean portraits of holy figures painted on special wood panels with an encaustic or egg tempera, like the tempera icon of Christ from the 14th century Thessaloniki. But the Byzantines used icons more broadly, as the statement made by Church authorities in AD 797 shows.

Byzantine icons were usually painted but they were also carved in stone and ivory and fashioned from mosaics and enamels; virtually, any medium available to artists.

Christians initially disagreed over whether images were good or bad. These were illuminated and adorned with garlands but these practices were often criticised by the Church authorities.

They were often associated with pagan Greece and Rome, where images of gods and emperors were widely venerated. In fact, by the eighth and ninth  centuries, icons were increasingly popular and arguments about religious images boiled over, in what is called “Iconoclastic controversy” and what became known as the triumph of orthodoxy.

The 787 Council of Nicaea and, subsequently, the AD843 triumph of orthodoxy enshrined the devotional practices associated with icons.

Icons were meant to represent historical figures and Christian teaching in a manner that was recognisable and understanding to viewers.

Only beauty can save the world

Artists also used what art historians call “iconographic attributes” to identify figures. Sometimes, artists invented new images, for example, the unique 20th century ivory crucifixion at the Metropolitan Museum, in New York.

Icons also served as a focus for prayer and devotion, both in church and in private settings. In many instances, the saints were believed to make miracles through their icons.

They were carried in public processions within the city walls in times of distress and were even carried into battle.

In Russia, many of the newly restored icons were transferred from churches and exhibited in museums, which drastically changed the circumstances of their viewing.

Both the restoration of icons and their subsequent interpretation in the 20th century were strongly influenced by modern art. More recently, though, art historians have noted that the Byzantines consistently described the sacred figures, its icons, as accurate and lifelike.

With such exactitude, the art of painting, a reflection of inspiration from above, set up a lifelike imitation.

We believe that art has the power to transform lives and build understandings among cultures and that the brilliant histories of art belong to each one of us, no matter the background. In Malta, we need to make our history and art accessible and engaging to more people in more places.

Icons are considered an essential part of the Church and are given special liturgical veneration. They serve as a medium of instruction for the uneducated faithful.

In classical Byzantine and orthodox tradition, iconography is not a realistic but a symbolic art and its function is to express in line and colour the theological teachings of the Church.

We have just acquired a number of valuable and rare 18th century Russian icons, which are very difficult to find nowadays and are, therefore, an enrichment to the patrimony of these islands. They are originally painted on wood with the old technique tempera all’uovo.

A selection of icons will be on sale at St Patricks Salesian School, Sliema. The icons for sale can be viewed by appointment. Those interested can contact Fr Charles Cini on 7949 2555 or via e-mail at chalescini@gmail.com. This creative and artistic project is being organised to help the Salesian mission with boys in difficulty.

Fr Charles Cini is art curator of the Salesians in Malta.