In the depiction of the face of Jesus, one of the most central and fascinating chapters, especially from an artistic perspective, is that of Russian and Byzantine icons.

This subject presents numerous complexities and challenges. First and foremost, an icon is not an ordinary representation—it is not merely an aesthetic depiction. Instead, it has been venerated throughout the centuries as “the image of presence.”
Just as in the Catholic tradition we adore the Blessed Sacrament, in the Orthodox Church, icons have been revered (1). This belief even led to diplomatic conflicts, culminating in the Iconoclastic period.

An icon is painted by a monk, who must follow strict rules, both in terms of artistic techniques—regulated by a precise and established protocol—and spiritual discipline.
In fact, iconographic monks prayed from morning to night. There is even a specific prayer for the icon painter.

They prayed before painting, while painting, and afterwards to give thanks for what they had created.

A notable technical aspect is that colors were applied from dark to light, rather than the other way around. In Western painting, a similar approach would not emerge until the time of Caravaggio (2).

The result was nothing short of extraordinary. In sacred figures, and in the face of Christ, whether as a child or an adult, there is an atemporal quality—as if they were painted by contemporary artists. One could spend hours, even days, contemplating these enigmatic faces, infused with meaning.

And yet, their significance does not change; rather, it adapts to the observer’s state of mind, continuing to communicate and reflect, like a mirror, the transcendence they embody.

According to tradition, the first icon originates from an image of Christ’s face, which He Himself miraculously imprinted onto a linen cloth: the “Mandylion.”
It is believed that this relic was preserved for centuries in Constantinople before being lost, although it was reproduced in numerous copies.

The icon of the Virgin Mary is instead attributed to a portrait painted by Saint Luke the Evangelist. Ancient icons are said to possess healing power, and in them, one can perceive the “place of presence” of the Incarnate Word.

The Second Council of Nicaea (787 AD) clearly defined the proper attitude towards these sacred images:

“We declare… that the representations of the precious and life-giving Cross must be placed in the holy churches of God, on sacred vessels and vestments, on walls and paintings, in homes and along streets—whether it be the image of our Lord and Savior Jesus Christ, that of the Immaculate Virgin, the Holy Mother of God, the Holy Angels, or all the Saints.

Indeed, by frequently gazing upon these representations, those who contemplate them will remember the original models and turn to them. They will bear witness to them, kissing them with a respectful veneration (proskynesis, adoratio), which is not, however, the true adoration (latréia, latria) that is reserved for God alone.

…Incense and lights will be offered in their honor, following the pious tradition of the ancients. For, as Saint Basil (De Spiritu Sancto) affirms: ‘The honor given to an image rises to the original model.’ Whoever venerates an image, venerates in it the reality it represents.”

(Final Declaration of the Second Council of Nicaea, 787 AD)