Icons have their origin in the funerary portraits of the Egyptians. These portraits were literally likenesses of the deceased. However, the images used in religious icons are symbolic in nature. Icons traditionally depict the people and events from the Bible.
Iconography was developed in the 4th Century A.D. in the great city of Byzantium, the Eastern part of the Roman Empire. This was possible thanks to the Christian Emperor Constantine (274[?]-337) who recognized Christianity as a legitimate religion throughout the Roman Empire through the Edict of Milan (313 A.D.) The Church was then free to create new ways to communicate the word of the Gospels to its great numbers of new converts most of whom couldn't read. As a result, the Christian message was no longer confined to the understanding of a few, as was the case with the Christian art of the catacombs. It took about two hundred years, during the time of Justinian (483{?}-565), for the Church to develop the symbolic language of the image to it's definitive form. The result was the creation of a symbolic language that expressed the Christian faith by way of images--a visual theology.
In the 7th century, the Roman Empire lost Syria, the Holy Land, Egypt, and North Africa. For a time, the economies of the region were the only thing overrun leaving intact many of the Byzantine institutions. However, iconography was soon threatened by the Iconoclastic controversy which began in 721 A.D. In very simple terms, the Iconoclasts claimed that the use of images in the Christian religion was a return to paganism and idolatry. They also were worried that by representing the Savior in human form, His human and Divine nature were being separated.
In response to these issues, the supporters of images affirmed that the veneration of icons was not directed at the physical icon but at the prototype of which the image was a symbol. With regards to the representation of Christ, St. John of Damascus the defender of Images, argued that it was right to represent Christ in human form because He became incarnate, He "became visible in the flesh." (On the Divine Images, p. 16--see Books/References )
It was during the iconoclastic controversy that the Church, through its Ecumenical Councils, developed a clear theological foundation for iconography. This foundation is reflected in the writings of St. John of Damascus and St. Theodore the Studite. The result was the development of canons, or rules, of representation and the definition of symbols used in iconography, as well as, the role that sacred art was to play in the Church.
During this time of turmoil (between 8th & 9th centuries,) the use of icons was prohibited. Many monks and faithful lost their lives defending the Holy images and many icons were destroyed. It wasn't until 842 AD that the veneration of images was finally re-established. This event is known as the triumph of Orthodoxy.
Several political, social and economic factors influenced the decisions of religious and political leaders either for or against images. Furthermore, as these Ecumenical Councils were taking place a widening gap began to emerge between the Eastern and Western Churches with regards to the canons of iconography and other theological issues. Both the East and the West agreed on the veneration of holy images; however, the mystical element so important to the Eastern Church was not present in the Western Church.
Since then, icons have been an integral part of the liturgy of the Eastern Churches; they enhance its meaning and are used as instruments of prayer, veneration and contemplation which is also part of the Eastern mystical tradition. While the Western Churches view them moreover as a symbol of faith.
For information about the Orthodox Church go to Transfiguration Greek Orthodox Church or St. Elias Antiochian Orthodox Church..

Although Iconography in it's truest sense does not focus on the artist there have been exceptional iconographers who have been recognized for their inspired and insightful representations of the mysteries of Faith.
First and foremost is St. Luke the Evangelist who became the first iconographer when he depicted the first image of the Theotokos or Mother of God. He is considered to be the Patron Saint of iconographers. After St. Luke, two of the most talented and admired iconographers are Theophanes the Greek and Andrei Rublev, who has been set forth by the Orthodox Church as the example for all iconographers to follow.

The icons produced by Icon Arts are written in the ancient 15th cty. icon-writing technique of egg-tempera on solid wood panels and follow the liturgical process of icon writing as described by Eastern Church Tradition.
Today, there are many different kinds of icons being produced with oil and acrylic paints on different kinds of backing such as masonite or composition boards.
Considering the icon is a Holy Image, it is our belief that the icon should not contain anything synthetic or artificial. Only pure and natural materials are chosen for the writing of the icons. The materials include: solid wood board, linen fabric, natural gesso and glues, clay, 24KT. gold leaf, natural ground and raw pigments, eggs and water.
Prayer and contemplation begin and end each step of the icon writing process. Everything involved in the writing of a liturgical icon has spiritual meaning tied to Scripture and reveals different levels of manifestation of God's Presence within the iconographer.

1. Choosing of the wood: Bass, poplar or birch are good choices for an icon board. The board's vertical dimension is symbolic of the Tree of Life and its horizontal dimension (width) represents the Tree of Knowledge; together they are a reminder of Paradise. The grain of the wood must run vertically in order to receive the Spirit from Heaven.
   
   
2. The indentation of the board or 'covcheg' is symbolic of the Arc of the Covenant. The inner surface represents Paradise which is separated by the border from the outside world or cosmos.
   
   
3. Sealing of the wood and application of linen: The wood is sealed and the linen cloth is applied. This prevents the painted surface from cracking in the event that the wood as it gets old cracks. The linen cloth is symbolic of the shroud of Jesus.
   
   
4. Application of 10 or more coats of gesso or 'levkas': The gesso represents the rest or state of non-action before Creation; a state of pure potential. Gesso is made from marble dust, chalk, and rabbit skin glue.
   
   
5. Transferring the drawing and etching the image into the gesso: The drawing is transferred onto the gesso and then etched with a pointed tool. This etching is symbolic of the deepening of white into white, the verge of creation before it receives the breath of Life as a wind from God sweeping over the waters (Genesis 1:2.)
   
   
6. Application and burnishing of clay: Following the etching, a red clay or 'Bole' is applied on the areas to be gilded and on the borders of the board. This clay is then sanded and burnished. The clay on the halo symbolizes our body or physical nature as expressed in Genesis (2:7.) It is symbolic of our bodies as vessels for the Spirit. The clay on the borders and sides of the board represents the Old Testament.
   
   
7. Application of the gold: The best gold leaf should be used and it is adhered to the clay through the breath of the iconographer. The gold is symbolic of our spiritual nature and the breath symbolizes the Spirit breathed into Adam (Genesis 2:7,) the breath of Life. This is, so to speak, the firing of the clay vessel. 
   
   
8. Red line around the gilded halo: This bright red line symbolizes the transfigured physical nature of the clay after being 'fired' by the gold. The clay emerges in a purer state and it is fit to receive the Spirit; as a clay pot is fit to hold water after it has been fired in a kiln.

This part of the process is the development of light on a base of dark colors. Thus, color (matter) is transfigured into spirit through light.

1. Preparation of egg-tempera medium: The binding medium is an emulsion of egg-yolk, pure water and vinegar. The natural ground pigments are then mixed with it to make our paint. The application of color and highlights in multiple layers is the most complex aspect of the process:
2. First layer of colors, or 'roskrish': This layer of gritty, earthy colors is dark and dense. This layer symbolizes the chaos of creation without consciousness of God.
   
3. Redrawing the lines etched on the gesso: This step differentiates the shapes of colors establishing boundaries between them. It is symbolic of the law of nature.
   
4. The first layer of highlights defines the shapes of objects and symbolize the physical world. These lights are then covered with a thin veil or float of color.
   
5. The second layer of highlights represents the inner life of man, his/her own self consciousness. These lights are again covered with another veil of purer and finer color.
   
6. The third layer of highlights symbolize the realm of bodiless beings, of the Heavenly Hierarchy. A layer of brighter and purer colors than before is applied over them.
   
7. All the lines are redrawn, details are painted and a green line around the edge of the board is painted next to the clay border. This line symbolizes the New Testament by alluding to the olive trees in the Garden of Gethsemani. It is the symbol of the new covenant.

1. Application of bright wisps of light or ' ozhivki.' This step is symbolic of God's Life-Giving Light. These appear on a few parts of the clothes, on the faces and other body parts like hands, feet, etc.
   
   
2. White line around halo and next to the irises: These white highlights on the eyes and on the halo symbolize enlightenment and also the white gesso of our next board to start our journey of ascent once more.
   
   
3. Sealing of the icon, or anointing with linseed oil, "olipha," and the blessing given to the icon by the priest during the liturgy: This blessing establishes a connection between the image of the person depicted and its prototype. It establishes a connection between the icon and its prototype; thus, transforming the icon into a perfect instrument for prayer and contemplation. This is the time when one can truly say that the icon has become a window to Heaven.