Wisdom of Solomon 6–9
Loving Wisdom
Works of art by Anthemios of Tralles, Isidore of Miletus, I, Unknown 18th-century painter of the Kyiv School of Icon Painting (Sophia Icon Painting Workshop?) and Unknown Russian artist, Zaonezhsky peninsula school
Wisdom, Wisdom Everywhere
Commentary by Andrew Davison
The figure of Wisdom appears only infrequently in the Bible, but where she does, she makes for some of the most intriguing passages in all of Scripture. She is far more often depicted in the Christian East than the West, and so Orthodox tradition will be our focus.
In this icon, Wisdom is a royal figure (Wisdom 8:3; 9:4, see also 9:10). Seated on a throne at the centre of this icon, she wears a crown and holds a sceptre. Only by Wisdom can kings rule well (Wisdom 6:9).
Wisdom’s throne has four legs but three additional supports, making seven ‘pillars’ in all (a reference to Proverbs 9:1). Her feet rest on a rock, representing Christ (1 Corinthians 10:4), and it is in relation to Christ that the complexity of this icon is both best seen and best resolved.
He appears above Wisdom, in a circle of glory, but also to the side, in Mary’s womb. As a further twist, the central figure of Wisdom may also be understood as Christ, who is often flanked by the interceding figures of Mary and John the Baptist, as here. Sometimes, the seated figure even has a cruciform halo, within which is written the Greek ho ōn (‘being itself’), the name revealed to Moses (Exodus 3 LXX) and used only of God.
Read from top to bottom, we first see God’s heavenly realm, from which the Son descends in the Incarnation. Approaching the icon in terms of descent, the central figure would be God’s uncreated Wisdom, present among us in Christ.
Read the icon from bottom to top, however, and the enthroned figure might be created wisdom—all in creation that bears a likeness to God in goodness and order (Wisdom 7:26). Then the motion would be one of ascent, with created wisdom aspiring towards God through the mediating work of Christ, the intermediary figure above her.
Christ’s presence in Mary also reminds us of the Church. Christian tradition has described both Mary and the Church as the ‘temple’ where God dwells (Wisdom 9:8), and the ‘house’ that Wisdom has built for herself (Proverbs 9:1).
Towards the top is a throne or altar. On the throne or altar sits the Book of the Gospels (or, possibly, the Book of Life from Revelation 20:12; 21:27). Above that, the vault of heaven suggests Wisdom filling the cosmos from end to end (Wisdom 8:1).
References
Althaus, Klaus-Rainer. 2005. Ikonen - Ikonen-Museum Frankfurt (Tübingen: Legat-Verlag)
Evdokimov, Paul. 1990. The Art of the Icon: A Theology of Beauty, trans. by Steven Bingham (Redondo Beach: Oakwood Publications)
Gerhard, H. P. 1971. The World of Icons, trans. By Irene R. Gibbons (London: J. Murray)
Tradigo, Alfredo. 2006. Icons and Saints of the Eastern Orthodox Church, trans. by Stephan Sartarelli (Los Angeles: J. Paul Getty Museum)
The House of Wisdom
Commentary by Andrew Davison
At its dedication in 537, the church of Hagia Sophia (Holy Wisdom) in present day Istanbul was among the most splendid architectural achievements on earth—as, indeed, it still is—having then, for instance, the largest interior volume in the world. The dome represents the heavens, and was the first to be supported on a set of partial domes (and arches). As you enter, this gives the sense of one dome appearing after another.
Remarkable mosaics depict Christ blessing, and the Virgin and Child. Equally notable is the marble flooring, set out as a series of circles, known as the Omphalos. This again represents the cosmos, created by divine Wisdom (Proverbs 8:27–31). The suggestion that Byzantine emperors were crowned on this spot is now contested, but the idea seems to have inspired the equivalent pavement in Westminster Abbey, where coronations do still take place (most recently in 2023).
Constantinople was captured by the Ottoman Empire in 1453, and the church converted to a mosque. In 1934, the President of the newly secular Republic, Mustafa Atatürk, redesignated it as a museum. Since 2020, it has again been used as a mosque. Few places on earth demonstrate so fully the extent to which buildings can be invested with powerful and divergent meanings: historical, religious, and cultural.
Why dedicate a church in honour of God’s Wisdom? First, to acknowledge—at the centre of the Eastern Empire—that good rule is only possible with wisdom (Proverbs 8:15–16).
The broad extent of the Empire would also have been in view: God’s wisdom is architect of the cosmos (symbolized by the dome), reaching from end to end (Wisdom 8:1).
Devotion to the Incarnation offers a third angle. Mary is the one in whom Wisdom had built his house (Proverbs 9:1; John 1:14), containing God within her womb, whom even the heavens could not contain (as an Orthodox prayer has it):
More spacious than the heavens, you have contained our God in your womb, whom nothing can contain; passing comprehension, you have borne him: intercede to him on our behalf. (Canticle 9, Matins of the Entry of the Mother of God into the Temple)
References
Croke, Brian. 2022. Flashpoint Hagia Sophia (Abingdon: Routledge)
Dark, Kenneth Rainsbury and Jan Kostenec. 2019. Hagia Sophia in Context: An Archaeological Re-Examination of the Cathedral of Byzantine Constantinople (Oxford: Oxbow Books)
Schibille, Nadine. 2014. Hagia Sophia and the Byzantine Aesthetic Experience (Farnham: Ashgate)
Sevenfold Gifts
Commentary by Andrew Davison
Icons depicting divine Wisdom are often complex, and never more so than here.
We might start with the architectural form that structures this icon: the Temple (Wisdom 9:8), which bears the inscription ‘Wisdom has built her house, she has hewn her seven pillars’ (Proverbs 9:1). Above it, God the Father breathes out the Holy Spirit, reflecting the teaching of the Orthodox Churches that the Spirit proceeds from the Father and not, as the Western tradition has it, from the Father and the Son together. This has been a point of deep ecclesiastical division.
The rest of the icon is full of the number seven. At the top are the seven archangels. Motifs on the pillars represent themes from the book of Revelation, each linked to a gift of the Spirit (Isaiah 11:2–3): the book with seven seals (Revelation 5:5) for wisdom; the candlestick with seven branches (Revelation 1:12) for understanding; the seven eyes (Revelation 5:6) for counsel; the seven trumpets (Revelation 8:2) for strength; the hand with seven stars (Revelation 1:6) for knowledge; the seven golden vessels (Revelation 15:7) for godliness; and the seven thunders (Revelation 10:3) for fear of the Lord.
Mary’s hands are raised in prayer, and she bears Christ within her breast. She has been closely associated with Wisdom (Proverbs 8:22–35 was a reading at the Mass of the Immaculate Conception in the Tridentine Rite.) Nonetheless Christ, in her womb, is divine Wisdom itself.
Below are seven figures from the Old Testament or Hebrew Bible: Moses (with the Law), Aaron (with a flowering rod), David (with the Ark of the Covenant), and four prophets: Isaiah, Jeremiah, Ezekiel, and Daniel. Each prophesies or prefigures the Virgin and Child in some way. The seven steps reflect Ezekiel’s vision of the new Temple (Ezekiel 40:6, 22, 26).
This icon meditates on Wisdom without painting her directly. Like Edward Elgar’s ‘Enigma Variations’, which is held together by a tune that is not itself played, this icon is a fantasia on themes to do with Wisdom, not a depiction of her as a discrete, personified figure.
We might think of Christ’s saying that ‘wisdom is vindicated by all her children’ (Luke 7:35): Wisdom is not necessarily seen in an unmediated way. Rather, she is appreciated in her acts and effects.
References
Althaus, Klaus-Rainer. 2005. Ikonen - Ikonen-Museum Frankfurt (Tübingen: Legat-Verlag)
Evdokimov, Paul. 1990. The Art of the Icon: A Theology of Beauty, trans. by Steven Bingham (Redondo Beach: Oakwood Publications)
Gerhard, H. P. 1971. The World of Icons, trans. By Irene R. Gibbons (London: J. Murray)
Tradigo, Alfredo. 2006. Icons and Saints of the Eastern Orthodox Church, trans. by Stephan Sartarelli (Los Angeles: J. Paul Getty Museum)
Unknown author. 2014. ‘They Come in Sevens: The Kyiv Sophia Icon’, available at https://russianicons.wordpress.com/2014/08/13/they-come-in-sevens-the-kiev-sophia-icon/ [accessed 1 October 2024]
Unknown Russian artist, Zaonezhsky peninsula school :
Icon of Saint Sophia or the Heavenly Wisdom of God, from Chapel of the Archangel Michael, Lelikozero, Medvezhyegorsk District, 1674 , Tempera and levkas on canvas on pine
Anthemios of Tralles and Isidore of Miletus, I :
Hagia Sophia (Ayasofya Camii), Completed 537, with later additions , Architecture
Unknown 18th-century painter of the Kyiv School of Icon Painting (Sophia Icon Painting Workshop?) :
Saint Sophia the Wisdom of God, 1740s , Oil on wood (pine)
A Summons to Sophiology
Comparative commentary by Andrew Davison
These two icons, and the building juxtaposed with them in this exhibition, are unusual because they neither depict nor ‘jump off from’ a biblical story or historical narrative, as so much Christian art does. Rather, they are meditations on a theological theme: the Wisdom of God. They work with biblical images and concepts, rather than stories. Indeed, our two icons by no means exhaust the range of symbolic ways in which Wisdom is depicted in Orthodoxy. Others include trees (referring to paradise), the preparation of a table (Proverbs 9:1), and the figure of Solomon with a scroll.
How Wisdom relates to God, and vice versa, is a central theological question lying behind these icons and this monumental architecture. Note that Wisdom has wings in the first icon, like an angel. Biblical writing about Wisdom is ambiguous: she is presented as a creature (as angels are), but with the suggestion that she is God’s own Wisdom, and therefore divine. Angelic appearances in the Old Testament have a similarly ambiguous character, sometimes seeming to be appearances of God or theophanies. (These include the angels that visit Abraham and Sarah in Genesis 18, Jacob wrestling with the angel in Genesis 32, and Moses before the burning bush in Exodus 3.)
Christians have therefore asked trinitarian questions about Wisdom: if she is divine, is she one of the three Persons of the Trinity, or equivalent to the divine nature, which the Persons share? The answer has often been to associate Wisdom with the Son (not least on account of 1 Corinthians 1:24), as Augustine did (De Trinitate, VII.3.5), although a minority of writers associated her with the Spirit (Irenaeus of Lyons, Against Heresies, 4.20.1; John of Damascus, On the Orthodox Faith, 1.8).
In the West, divine Wisdom has usually been depicted as a royal woman, but this biblical tradition also lies behind images of God as an architect or geometer, carefully laying out the order of the universe. In one much reproduced manuscript illumination, a cruciform halo identifies this wise creator as the Son.
Such an association between Christ and Wisdom found popular expression in medieval Western art (especially in sculpture) with the idea of Mary as the ‘Seat of Wisdom’. This is as homely as it is theological, since Mary is Wisdom’s seat (even throne, as we can see in the icons featured in this exhibition) because her infant son sits upon her lap. One example of this depiction was the central image of the Virgin and Child at England’s most significant Marian shrine: Walsingham in Norfolk. It was destroyed at the Reformation, but was recreated in 1922 (where it can still be seen), thanks to a surviving wax seal that shows the Walsingham ‘Seat of Wisdom’ image.
Paul Evdokimov wrote frankly about the ambiguities surrounding many images of divine Wisdom: ‘There are no absolutely convincing explanations about the meaning of this enigmatic figure’ (Evdokimov 1990:146). A theologian would need a poker face to suggest that the theology surrounding the figure of wisdom is not multifaceted, surprising, even a little weird. Wisdom is like that in theology, however, and art, because she is like that in the Bible (multifaceted, surprising, even a little weird).
The associations that swirl around Wisdom, and are clearly on display in our two icons, go to show just how pervasive the theme of Wisdom can be among Christian doctrines, if you go looking for it. This brings us to a stark contrast. For many Christians, especially in the West, the idea of divine Wisdom, or wisdom in creation, hardly crosses their minds as a significant theological theme, nor is it much depicted in art.
However, for those whose handiwork we see in this exhibition, and in the tradition from which they come, Wisdom is everywhere in Christian theology: in the doctrines of God, creation, providence, ecclesiology, sacramental theology, and redemption. For anyone interested in or intrigued by the idea of approaching theology through ideas of wisdom—often called Sophiology—icons such as these, and commentaries upon them, offer an ideal way in.
References
Bulgakov, Sergei. 1993. Sophia, the Wisdom of God: An Outline of Sophiology (Hudson: Lindisfarne Press)
Evdokimov, Paul. 1990. The Art of the Icon: A Theology of Beauty, trans. by Steven Bingham (Redondo Beach: Oakwood Publications)
Ouspensky, Leonid. 1992. Theology of the Icon, 2 vols (Crestwood, NY: St Vladimir Seminary Press)
Plested, Markus. 2022. Wisdom in Christian Tradition: The Patristic Roots of Modern Russian Sophiology (Oxford: Oxford University Press)
Solovyov, Vladimir. 2009. Divine Sophia: The Wisdom Writings of Vladimir Solovyov, ed. by Judith Deutsch Kornblatt (London: Cornell University Press)
Commentaries by Andrew Davison