Abstract
Using ‘experience’ as his primary theological approach, Andreas Andreopoulos sets out to present his readers with an introductory exposition of the Orthodox faith by means of Orthodox liturgy, iconography, and literature.
In Part One, ‘The Theology of Experience’, Andreopoulos begins by highlighting the problem of rationalism within Christianity, suggesting that theology ought to be understood primarily through shared Christian experience rather than through philosophical inquiry. For Andreopoulos, the person at the heart of this Christian experience is the Logos, identified as Christ. Simultaneously, the act at the heart of this Christian experience is the Divine Liturgy. Taking his readers through an exhilarating examination of the Divine Liturgy, Andreopoulos links its various elements with scripture, temple sacrifice, Greek tragedy, and even agriculture in order to draw some profound theological conclusions.
In Part Two, ‘An Icon Exhibition’, Andreopoulos guides the reader through a series of theologically rich icons such as the Crucifixion, the Descent into Hades, and the Life-Giving Fountain, among others. In doing so, he provides a visual catechesis for the non-Orthodox reader, covering everything from Christology, to the sacraments, to Mariology. However, his primary objective is to express that ‘traditional iconography is less about what we see, and more about who sees us’ (p. 60). Indeed, he aims to show that ‘every icon is a reflection of the gaze of God’ (p. 129).
In the bulk of the third and final part, ‘Holding the Gaze’, Andreopoulos utilizes the literary work of Dostoyevsky and Papadiamantis to demonstrate how a theology of experience (as opposed to a systematic theology) might contribute to modern theological thought. In the course of his conclusion, he makes what is perhaps his boldest claim, writing that while the Orthodox Church cannot compete with Protestant social work or Roman Catholic philosophical training, ‘the Orthodox tradition can bring something unique to spiritual life in the West: the experience of the presence of Christ in his Church’ (p. 137). These kinds of remarks, with their unspoken but overly negative implications for the state of non-Orthodox churches, may occasionally alienate the book’s intended western audience. Indeed, Andreopoulos’ distaste for certain aspects of western theology, methodology, and ecclesiology will no doubt hinder many readers. However, with this single qualification, Andreopoulos definitively succeeds in providing a unique exposition of the Orthodox faith by means of shared Orthodox experience. This book is well worth reading for anyone interested in the Orthodox Church, Orthodox Studies, or iconography in particular.