Abstract
Much scholarship in the dialogue between evangelical and Orthodox believers focuses on doctrinal compatibility. This article contributes to that literature by giving an example of a spiritual practice (icon veneration) that creates additional space for ecumenical dialogue and unity. Some US-evangelicals in the 21st century have incorporated the use of icons into their personal faith practices. Icon veneration is ripe with ecumenical potential for evangelical–Orthodox relations because of its prominence in Orthodox communions while at the same time appealing to a growing number of evangelicals. This article considers three sites of evangelical icon use in turn: the Evangelical Baptist Church of Georgia (EBCG), Icons of Black Saints, and an evangelical ministry called “Heart of the Artist”. Each site adopts a slightly unique understanding of icons that may appeal to evangelical believers. Although Orthodox and evangelical believers may understand theologies of icon veneration differently, the emergence of icon veneration among evangelicals remains a spiritual synchronicity, and ought to be recognized as such. Evangelicals continue to receive the gift of icon veneration from their Orthodox siblings in ways in line with the EBCG, Black Orthodox icons, and Heart of the Artist, so icon veneration has potential to further resource ecumenical dialogue.
Highlights
Often the history of different communions within the Christian church focuses on divisions rather than common practices, theological alignment, and harmony in worship
In order to evidence this thesis, the article covers three contemporary and constructive appropriations of the gift of icons: the Evangelical Baptist Church of the Republic of Georgia (EBCG),2 African American Orthodox believers and the contemporary writing of icons of Black saints, and evangelical worship endorsed by leaders like Rory Noland and his ministry Heart of the Artist
Icon veneration is ripe for ecumenical dialogue
Summary
Often the history of different communions within the Christian church focuses on divisions rather than common practices, theological alignment, and harmony in worship. In order to evidence this thesis, the article covers three contemporary and constructive appropriations of the gift of icons: the Evangelical Baptist Church of the Republic of Georgia (EBCG), African American Orthodox believers and the contemporary writing of icons of Black saints, and evangelical worship endorsed by leaders like Rory Noland and his ministry Heart of the Artist In each of these examples, evangelicals receive the gift of icon veneration, and by modifying the tradition to their own context, participate in synchronistic unity with the Orthodox Church. Important to Farrell’s conception of ecumenism is mutual exchange between traditions; this article focuses on what evangelicals might receive from Orthodox believers’ veneration and use of icons. While not all evangelicals support icon veneration, those who do remain squarely within the evangelical tradition.
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