Christ the Redeemer (1410s, by Andrei Rublev). Christ the Redeemer is an Icon discovered by accident in a dilapidated woodshed near Zvenigorod in 1919 Andrei Rublev (Andrew Rublev Andrey Rublev Andrey Roublyov Russian: Андре́й Рублёв (c

17th century Russian icon of Saint Mary of Egypt, with scenes from her life. Mary of Egypt (ca 344 – ca 421 is revered as the Patron saint of penitents most particularly in the Eastern Orthodox, Oriental Orthodox, and

An icon (from Greek εἰκών, eikōn, "image") is an image, picture, or representation; it is a sign or likeness that stands for an object by signifying or representing it, or by analogy, as in semiotics; by extension, icon is also used, particularly in modern culture, in the general sense of symbol — i. Greek (el ελληνική γλώσσα or simply el ελληνικά — "Hellenic" is an Indo-European language, spoken today by 15-22 million people mainly Semiotics, semiotic studies, or semiology is the study of sign processes (semiosis or signification and communication signs and Symbols both The musical instrument is spelled Cymbal. A symbol is something --- such as an object, Picture, written word a sound a piece e. a name, face, picture, edifice or even a person readily recognized as having some well-known significance or embodying certain qualities: one thing, an image or depiction, that represents something else of greater significance through literal or figurative meaning, usually associated with religious, cultural, political, and economic standing.

Throughout history religious cults or religious cultures^[1] have been inspired or supplemented by concrete images, whether in two dimensions or three. This article discusses cult in the original and typically ancient sense of "religious practice" (cultus The degree to which images are used or permitted, and their functions, whether they are for instruction or inspiration, whether treated as sacred objects of veneration or worship or simply applied as ornament, depends upon the tenets of a given religion in a given place and time. In Christianity, veneration ( Latin veneratio, Greek &delta&omicron&upsilon&lambda&iota&alpha dulia) or veneration of saints

In Eastern Christianity and other icon-painting Christian traditions, the icon is generally a flat panel painting depicting a holy being or object such as Jesus, Mary, saints, angels, or the cross. Jesus of Nazareth (7–2 BC / BCE —26–36 AD / CE) A saint (from the Latin sanctus) is a human being to whom has been attributed (and who has generally demonstrated a high level of Holiness and Sanctity An angel is a Spiritual Supernatural being found in many Religions Although the nature of angels and the tasks given to them vary from tradition to tradition The Christian cross is the best-known Religious symbol of Christianity. Icons may also be cast in metal, carved in stone, embroidered on cloth, done in mosaic or fresco work, printed on paper or metal, etc. Creating free-standing, three-dimensional sculptures of holy figures was resisted by Christians for many centuries, out of the belief that daimones inhabited pagan sculptures, and also to make a clear distinction between Christian art and pagan. The words daemon, dæmon, are Latinized spellings of the Greek δαίμων ( daimôn) used purposely today to distinguish the daemons To this day, in obedience to the commandment not to make "graven images", Orthodox icons may never be more than three-quarter bas relief. A bas-relief (baʁəljɛf in French; French for "low relief" derived from the Italian basso rilievo) or low relief is a Sculpture

Icons in Christianity

One of the few ceramic icons in existence, dated to ca. 900, from Preslav, Bulgaria. Preslav (Преслав was the capital of the First Bulgarian Empire from 893 to 972 and one of the most important cities of medieval Southeastern Europe. The state of Bulgaria (България transliterated bg-Latn ''Balgaria'' The country preserves the traditions (in ethnic name language and alphabet of the First Bulgarian

Christianity originated as a movement within Judaism during a time when there was great concern about idolatry. There is no evidence of the use of painted icons or of similar religious images by Christians in the New Testament or early apocrypha. The biblical apocrypha (from the Greek word ἀπόκρυφος meaning hidden) are books published in an edition of the Bible whose canonicity However, Dr. Steven Bingham writes,^[2] "The first thing to note is that there is a total silence about Christian and non-idolatrous images. It is important to note that the silence is in the New Testament texts, and this silence should not be interpreted as describing all the activities of the Apostles or 1st century Christians. St. John himself said that 'Jesus did many other signs in the presence of the disciples, which are not written in this book. . . ' (Jn 20. 30). We could easily add that the Apostles also did and said many things not recorded in the New Testament. It is obvious, therefore, that we do not have a complete account of the activities and sayings of the Apostles. So, if we want to find out if the first Christians made or ordered any kind of figurative art, the New Testament is of no use whatsoever. The silence is a fact, but the reason given for the silence varies from exegete to exegete depending on his assumptions. " In other words, relying only upon the New Testament as evidence of no painted icons amounts to an argument from silence. The argument from silence (also called argumentum ad silentio in Latin) is generally a conclusion based on silence or lack of contrary evidence In addition, it should also be noted that Christian symbolic art and iconography had already developed extensively before the New Testament Canon was finalized in the fourth century.

Though the word eikon is found in the New Testament (see below), it is never in the context of painted icons though it is used to mean portrait. There were, of course, Christian paintings and art in the early catacomb churches. The Catacombs of Rome are ancient Catacombs or underground Burial places under or near Rome, Italy, of which there are at least forty some discovered Many can still be viewed today, such as those in the catacomb churches of Domitilla and San Callisto in Rome.

In Eastern Orthodoxy and other icon-painting Christian traditions, the icon is generally a flat panel painting depicting a holy being or object such as Jesus, Mary, saints, angels, or the cross. Jesus of Nazareth (7–2 BC / BCE —26–36 AD / CE) A saint (from the Latin sanctus) is a human being to whom has been attributed (and who has generally demonstrated a high level of Holiness and Sanctity An angel is a Spiritual Supernatural being found in many Religions Although the nature of angels and the tasks given to them vary from tradition to tradition The Christian cross is the best-known Religious symbol of Christianity. Icons may also be cast in metal, carved in stone, embroidered on cloth, done in mosaic work, printed on paper or metal, etc.

The earliest written records of Christian images treated like icons in a pagan or Gnostic context are offered by the fourth-century Christian Aelius Lampridius in the Life of Alexander Severus (xxix) that was part of the Augustan History. Paganism (from Latin paganus, meaning "country dweller rustic" is a word used to refer to various religions and religious beliefs from across the world Gnosticism (γνώσις gnōsis, Knowledge) refers to a diverse Syncretistic Religious movement consisting of various Belief systems The Augustan History ( Lat Historia Augusta) is a late Roman collection of biographies in Latin of the Roman Emperors their junior According to Lampridius, the emperor Alexander Severus (222–235), who was not a Christian, had kept a domestic chapel for the veneration of images of deified emperors, of portraits of his ancestors, and of Christ, Apollonius, Orpheus and Abraham. Marcus Aurelius Severus Alexander, commonly called Alexander Severus, (October 1 208 &ndash March 18, 235) was the last Roman emperor Irenaeus, (c. Saint Irenaeus (Greek Ειρηναίος (2nd century AD - c 202 was Bishop of Lugdunum in Gaul, Roman Empire (now Lyons France 130–202) in his Against Heresies (1:25;6) says scornfully of the Gnostic Carpocratians, “They also possess images, some of them painted, and others formed from different kinds of material; while they maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. On the Detection and Overthrow of the So-Called Gnosis ( commonly called Against Heresies (Latin Adversus haereses,) is a five-volume work Carpocrates of Alexandria was the founder of an early Gnostic sect from the first half of the second century They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honouring these images, after the same manner of the Gentiles [pagans]. ” St Irenaeus on the other hand does not speak critical of icons or portraits in a general sense, only of certain gnostic sectarians use of icons. Saint Irenaeus (Greek Ειρηναίος (2nd century AD - c 202 was Bishop of Lugdunum in Gaul, Roman Empire (now Lyons France

Another criticism of image veneration is found in the non-canonical second-century Acts of John (generally considered a gnostic work), in which the Apostle John discovers that one of his followers has had a portrait made of him, and is venerating it: (27) “. The Acts of John is a 2nd-century Christian collection of narratives and traditions well described as a "library of materials", inspired by the Gnosticism (γνώσις gnōsis, Knowledge) refers to a diverse Syncretistic Religious movement consisting of various Belief systems . . he [John] went into the bedchamber, and saw the portrait of an old man crowned with garlands, and lamps and altars set before it. And he called him and said: Lycomedes, what do you mean by this matter of the portrait? Can it be one of thy gods that is painted here? For I see that you are still living in heathen fashion. ” Later in the passage John says, "But this that you have now done is childish and imperfect: you have drawn a dead likeness of the dead. "

Image of the Saviour Not Made by Hand: a traditional Orthodox iconography in the interpretation of Simon Ushakov (1658). Acheiropoieta (Greek) literally "not-handmade" or Icons Not Made by Hand (and variants are a particular kind of Icon, ones that are alleged to have Simon (Pimen Fyodorovich Ushakov (Russian Симон (Пимен Федорович Ушаков 1626–1686 was a leading Russian Graphic artist of the late 17th-century

Main article: Image of Edessa

Aside from the legend that Pilate had made an image of Christ, the fourth-century Eusebius of Caesarea, in his Church History, provides a more substantial reference to a “first” icon of Jesus. The Church History (Latin Historia Ecclesiastica or Historia Ecclesiae) of Eusebius of Caesarea was a fourth-century pioneer work giving a chronological He relates that King Abgar of Edessa sent a letter to Jesus at Jerusalem, asking Jesus to come and heal him of an illness. In this version there is no image. Then, in the later account found in the Syriac Doctrine of Addai, a painted image of Jesus is mentioned in the story; and even later, in the account given by Evagrius, the painted image is transformed into an image that miraculously appeared on a towel when Christ pressed the cloth to his wet face. ^[3] Further legends relate that the cloth remained in Edessa until the tenth century, when it was taken to Constantinople. In 1204 it was lost when Constantinople was sacked by Crusaders, but its iconic type had been well fixed in numerous copies.

Elsewhere in his Church History, Eusebius reports seeing what he took to be portraits of Jesus, Peter and Paul, and also mentions a bronze statue at Banias / Paneas, of which he wrote, "They say that this statue is an image of Jesus" (H. E. 7:18); further, he relates that locals thought the image to be a memorial of the healing of the woman with an issue of blood by Jesus (Luke 8:43-48), because it depicted a standing man wearing a double cloak and with arm outstretched, and a woman kneeling before him with arms reaching out as if in supplication. John Francis Wilson^[4] thinks it possible to have been a pagan bronze statue whose true identity had been forgotten; some have thought it to be Aesculapius, the God of healing, but the description of the standing figure and the woman kneeling in supplication is precisely that found on coins depicting the bearded emperor Hadrian reaching out to a female figure symbolizing a province kneeling before him.

After Christianity was legalized by the emperor Constantine within the Roman Empire in 313, huge numbers of pagans became converts. This created the necessity for the transfer of allegiance and practice from the old gods and heroes to the new religion, and for the gradual adaptation of the old system of image making and veneration to a Christian context, in the process of Christianization. The historical phenomenon of Christianization (or Christianisation &mdash see spelling differences) the conversion of individuals to Christianity Robin Lane Fox states^[5] "By the early fifth century, we know of the ownership of private icons of saints; by c. 480-500, we can be sure that the inside of a saint's shrine would be adorned with images and votive portraits, a practice which had probably begun earlier".

Images from Constantine to Justinian

Christ and Saint Menas. Saint Menas (also Minas Mina Mena Mennas) (285 – ca 309 the Martyr and Wonder-worker is one of the most well-known Egyptian Saints in A 6th-century Coptic icon from Egypt (Musée du Louvre). This article is about the country of Egypt For a topic outline on this subject see List of basic Egypt topics. The Louvre Museum (Musée du Louvre located in Paris is the world's most visited art museum a historic monument and a national museum of France

After adoption of Christianity as the only permissible Roman state religion under Theodosius I, Christian art began to change not only in quality and sophistication, but also in nature. Flavius Theodosius (January 11 347 – January 17 395 also called Theodosius I and Theodosius the Great ( Greek: Θεοδόσιος Α΄ This was in no small part due to Christians being free for the first time to express their faith openly without persecution from the state, in addition to the faith spreading to the non-poor segments of society. Paintings of martyrs and their feats began to appear, and early writers commented on their lifelike effect, one of the elements a few Christian writers criticized in pagan art — the ability to imitate life. The writers mostly criticized pagan works of art for pointing to false gods, thus encouraging idolatry. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be (with some small-scale exceptions) throughout the history of Eastern Christianity. Families of churches Eastern Christians have a shared tradition but they became divided ( Schism) during the early centuries of Christianity in disputes about

Nilus of Sinai, in his Letter to Heliodorus Silentiarius, records a miracle in which St. Plato of Ankyra appeared to a Christian in a dream. The Saint was recognized because the young man had often seen his portrait. This recognition of a religious apparition from likeness to an image was also a characteristic of pagan pious accounts of appearances of gods to humans, and was a regular topos in hagiography. One critical recipient of a vision from Saint Demetrius of Thessaloniki apparently specified that the saint resembled the "more ancient" images of him - presumably the seventh century mosaics still in Hagios Demetrios. Saint Demetrius redirects here For another saint see Demetrius of Alexandria. The Church of Saint Demetrius, or Hagios Demetrios (Άγιος Δημήτριος is the main sanctuary dedicated to Saint Demetrius, the patron saint of Another, an African bishop, had been rescued from Arab slavery by a young soldier called Demetrios, who told him to go to his house in Thessaloniki. Having discovered that most young soldiers in the city seemed to be called Demetrios, he gave up and went to the largest church in the city, to find his rescuer on the wall. ^[6]

The oldest icon of Christ Pantocrator, encaustic on panel, c. Meaning The most common translation of Pantocrator is "Almighty" or "All-powerful For encaustic tiles see Encaustic tile Encaustic painting, also known as hot wax painting, involves using heated Beeswax to 6th century (Saint Catherine's Monastery, Mount Sinai). Saint Catherine's Monastery ( Greek:) on the Sinai Peninsula, at the mouth of an inaccessible gorge at the foot of Mount Sinai in Egypt is one For other places named Mount Sinai see Mount Sinai (disambiguation Mount Sinai (Arabic طور سيناء, Hebrew הר סיני also

During this period the church began to discourage all non-religious human images - the Emperor and donor figures counting as religious. This became largely effective, so that most of the population would only ever see religious images and those of the ruling class. The word icon referred to all and any images, not just religious ones, but there was barely a need for a separate word for these.

Luke's portrait of Mary

It is in a context attributed to the fifth century that the first mention of an image of Mary painted from life appears, though earlier paintings on cave walls bear resemblance to modern icons of Mary. The Catacombs of Rome are ancient Catacombs or underground Burial places under or near Rome, Italy, of which there are at least forty some discovered Theodorus Lector, in his sixth-century History of the Church 1:1^[7] stated that Eudokia (wife of Theodosius II, died 460) sent an image of “the Mother of God” named Icon of the Hodegetria from Jerusalem to Pulcheria, daughter of the Emperor Arcadius: the image was specified to have been “painted by the Apostle Luke. Theodorus Lector (Θεόδωρος Αναγνώστης Theodoros Anagnostes) was a lector or reader at the Hagia Sophia in Constantinople during the Flavius Theodosius ( 10 April, 401 – July 28, 450) called the Calligrapher, known in English as Theodosius II, was Theotokos (Θεοτόκος translit Theotókos) is a title of Mary the mother of Jesus used especially in the Eastern Orthodox, The Hodegetria ( Οδηγήτρια, literally "She who shows the way" Russian Одигитрия is the Iconography depicting the Theotokos Aelia Pulcheria ( January 19, 399 &ndash 453 was the daughter of the Eastern Roman Emperor Arcadius and Aelia Eudoxia. ” In later tradition the number of icons of Mary attributed to Luke would greatly multiply;^[8] the Salus Populi Romani , the Theotokos of Vladimir, the Theotokos Iverskaya of Mount Athos, the Theotokos of Tikhvin, the Theotokos of Smolensk and the Black Madonna of Częstochowa are examples, and another is in the cathedral on St Thomas Mount, which is believed to be one of the seven painted by St. Salus Populi Romani, meaning Protectress (literally "Health" of the Roman People is the title given in the 19th century to the Byzantine Icon The Theotokos of Vladimir,( Greek Θεοτόκος του Βλαντιμίρ also known as Our Lady of Vladimir, the Virgin of Vladimir or Vladimirskaya Mount Athos (Όρος Άθως is a mountain on the Peninsula of the same name in Macedonia, of northern Greece, called in Greek Άγιον The Theotokos of Tikhvin is one of the most celebrated Orthodox Christian Icons It is said to be one of the icons painted by St The Hodegetria ( Οδηγήτρια, literally "She who shows the way" Russian Одигитрия is the Iconography depicting the Theotokos The Black Madonna of Częstochowa ( Czarna Madonna or Matka Boska Częstochowska in Polish, Imago thaumaturga Beatae Virginis Mariae Immaculatae St Thomas Mount is a small hillock located in Chennai, Tamil Nadu, India. Luke the Evangelist and brought to India by St. Thomas. Luke the Evangelist ( Hebrew: לוּקָֻא Greek: Loukás) was an early Christian leader who is said by tradition to be the author of Thomas the Apostle, also called Judas Thomas, Doubting Thomas, or Didymus, was one of the Twelve Apostles of Jesus. ^[9] Ethiopia has at least seven more. NOTE This intro is the result of careful NPOV work Please do not make potentially controversial edits to it without first discussing on the talk page ^[10]

Acheiropoieta: "images not painted by hands"

Main article: Acheiropoieta

The tradition of acheiropoieta (αχειροποίητα, literally "not-made-by-hand") accrued to icons that are alleged to have come into existence miraculously, not by a human painter. Acheiropoieta (Greek) literally "not-handmade" or Icons Not Made by Hand (and variants are a particular kind of Icon, ones that are alleged to have Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject: naturally and especially because of the reluctance to accept mere human productions as embodying anything of the divine, a commonplace of Christian deprecation of man-made "idols". A relic is an object or a personal item of religious significance carefully preserved with an air of Veneration as a tangible memorial In the practice of Religion, a cult image is a man-made object that is venerated for the Deity, spirit or Daemon that it embodies or represents Like icons believed to be painted directly from the live subject, they therefore acted as important references for other images in the tradition. Beside the developed legend of the mandylion or Image of Edessa, was the tale of the Veil of Veronica, whose very name signifies "true icon" or "true image", the fear of a "false image" remaining strong. The Veil of Veronica, or Sudarium (Latin for sweat-cloth often called simply "The Veronica" and known in Italian as the Volto Santo or Holy Face

Theology of icons

Orthodox Christian usually say their prayers in front of an Eastern-facing wall covered with icons, or an icon corner. The Icon Corner (εικονοστάσι is a small worship space prepared in the homes of Eastern Orthodox or Greek-Catholic Christians.

Christianity teaches that the immaterial God took flesh in the form of Jesus Christ, making it possible to depict in human form the Son of God. The Incarnation is the belief in Christianity that Jesus Christ is the God of Israel in the flesh Jesus of Nazareth (7–2 BC / BCE —26–36 AD / CE) It is on this basis that the Old Testament prescriptions against making images were overturned for the early Christians by their belief in the Incarnation. Also, the concept of archetype was redefined by the early church fathers in order to better understand that when a person shows veneration toward an image, the intention is rather to honor the person depicted, not the substance of the icon. An archetype ( pronounced: /ˈɑːkɪtaɪp/ (Brit or /ˈɑrkɪtaɪp/ (Amer The Church Fathers, Early Church Fathers, or Fathers of the Church are the early and influential theologians and writers in the Christian Church As St. Basil the Great says, "The honor shown the image passes over to the archetype. Basil of Caesarea, also called Saint Basil the Great (c 330 – January 1, 379) (Άγιος Βασίλειος ο Μέγας Latin " He also illustrates the concept by saying, "If I point to a statue of Caesar and ask you 'Who is that?', your answer would properly be, 'It is Caesar. Caesar (plural Caesars Latin: Caesar (plural Caesares is a Title of imperial character ' When you say such you do not mean that the stone itself is Caesar, but rather, the name and honor you ascribe to the statue passes over to the original, the archetype, Caesar himself. " So it is with an Icon.

In the Eastern Orthodox tradition, only flat or bas relief images are used. The Greeks, having a long, pagan tradition of statuary, found the sensual quality of three dimensional representations did more to glorify the human aspect of the flesh rather than the divine nature of the spirit and so prohibitions were created against statuary. The Greeks ( Greek: Έλληνες) are a Nation and Ethnic group native to Greece, Cyprus and neighbouring regions The Romans, on the other hand, did not adopt these prohibitions and so there is still statuary among the Roman Catholics to this day. The Roman Empire was the post-Republican phase of the ancient Roman civilization, characterised by an autocratic form of government and large territorial Because the Greeks rejected statuary, the Byzantine style of iconography was developed in which figures were stylized in a manner that emphasized their holiness rather than their humanity. Symbolism allowed the icon to present highly complex material in a very simple way, making it possible to educate even the illiterate in theology. The interiors of Orthodox Churches are often completely covered in icons.

Stylistic developments

St Peter encaustic on panel, c. For encaustic tiles see Encaustic tile Encaustic painting, also known as hot wax painting, involves using heated Beeswax to 6th century (Saint Catherine's Monastery, Mount Sinai). Saint Catherine's Monastery ( Greek:) on the Sinai Peninsula, at the mouth of an inaccessible gorge at the foot of Mount Sinai in Egypt is one

Although there are earlier records of their use, no panel icons earlier than the few from the 6th century preserved at the Greek Orthodox Monastery of St. Catherine at Sinai survive. A panel painting is a Painting on a panel made of wood either a single piece or a number of pieces joined together The Greek Orthodox Church ( Greek: Ἑλληνορθόδοξη Ἐκκλησία Hellēnorthódoxē Ekklēsía) is formed by several autocephalous churches Saint Catherine's Monastery ( Greek:) on the Sinai Peninsula, at the mouth of an inaccessible gorge at the foot of Mount Sinai in Egypt is one ^[11] The surviving evidence for the earliest depictions of Christ, Mary and saints therefore comes from wall-paintings, mosaics and some carvings. Art History Mosaics of the 4th century BC are found in the Macedonian palace-city of Aegae, and they enriched the floors of Hellenistic They are realistic in appearance, in contrast to the later stylization. They are broadly similar in style, though often much superior in quality, to the mummy portraits done in encaustic wax and found at Fayum in Egypt. Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term for a type of realistic painted Portraits on wooden boards As we may judge from such items, the first depictions of Jesus were generic rather than portrait images, generally representing him as a beardless young man. It was some time before the earliest examples of the long-haired, bearded face that was later to become standardized as the image of Jesus appeared. When they did begin to appear there was still variation. Augustine of Hippo (354-430)^[12] said that no one knew the appearance of Jesus or that of Mary, though it should be noted that Augustine was not a resident of the Holy Land and therefore was not familiar with the local populations and their oral traditions. Gradually, paintings of Jesus took on characteristics of portrait images.

At this time the manner of depicting Jesus was not yet uniform, and there was some controversy over which of the two most common icons was to be favored. The first or “Semitic” form showed Jesus with short and “frizzy” hair; the second showed a bearded Jesus with hair parted in the middle, the manner in which the god Zeus was depicted. Theodorus Lector remarked^[13] that of the two, the one with short and frizzy hair was “more authentic. ” To support his assertion, he relates a story (excerpted by John of Damascus) that a pagan commissioned to paint an image of Jesus used the “Zeus” form instead of the “Semitic” form, and that as punishment his hands withered.

Though their development was gradual, we can date the full-blown appearance and general ecclesiastical (as opposed to simply popular or local) acceptance of Christian images as venerated and miracle-working objects to the sixth century, when, as Hans Belting writes,^[14] "we first hear of the church's use of religious images. " "As we reach the second half of the sixth century, we find that images are attracting direct veneration and some of them are credited with the performance of miracles"^[15] Cyril Mango writes,^[16] "In the post-Justinianic period the icon assumes an ever increasing role in popular devotion, and there is a proliferation of miracle stories connected with icons, some of them rather shocking to our eyes". However, the earlier references by Eusebius and Irenaeus indicate veneration of images and reported miracles associated with them as early as the second century. It must also be noted that what might be shocking to our contemporary eyes may not have been viewed as such by the early Christians. Acts 5:15 reports that "people brought the sick into the streets and laid them on beds and mats so that at least Peter's shadow might fall on some of them as he passed by. "

The Iconoclast period

Main article: Byzantine Iconoclasm

Angel the Golden Locks, a 12th-century icon from Novgorod. Iconoclasm, Greek for "image-breaking" is the deliberate destruction within a culture of the culture's own religious Icons and other symbols or monuments Veliky Novgorod (Вели́кий Но́вгород is the foremost historic city of North-Western Russia and the administrative center of Novgorod

There was a continuing opposition to misuse of images within Christianity from very early times. "Whenever images threatened to gain undue influence within the church, theologians have sought to strip them of their power"^[17] Further,"there is no century between the fourth and the eighth in which there is not some evidence of opposition to images even within the Church^[18] Nonetheless, popular favor for icons guaranteed their continued existence, while no systematic apologia for or against icons, or doctrinal authorization or condemnation of icons yet existed.

The use of icons was seriously challenged by Byzantine Imperial authority in the eighth century. Though by this time opposition to images was strongly entrenched in Judaism and Islam, attribution of the impetus toward an iconoclastic movement in Eastern Orthodoxy to Muslims or Jews "seems to have been highly exaggerated, both by contemporaries and by modern scholars"^[19]

Though significant in the history of religious doctrine, the Byzantine controversy over images is not seen as of primary importance in Byzantine history. "Few historians still hold it to have been the greatest issue of the period. . . "^[20]

The Iconoclastic Period began when images were banned by Emperor Leo III the Isaurian sometime between 726 and 730. Leo III the Isaurian ' or the Syrian ' ( Greek: Λέων Γ΄ Leōn III) (c Under his son Constantine V, a council forbidding image veneration was held at Hieria^[21] near Constantinople in 754. Constantine V (718&ndash September 14, 775) was Byzantine emperor from 741 to 775 Greek: Κωνσταντίνος Ε΄ Kōnstantinos Image veneration was later reinstated by the Empress Regent Irene, under whom another council was held reversing the decisions of the previous iconoclast council and taking its title as Seventh Ecumenical Council. Irene Serantapechaina, known as Irene of Athens or Irene the Athenian ( Greek: Ειρήνη η Αθηναία Eirēnē) (c The Second Council of Nicaea was the seventh Ecumenical council of Christianity; it met in 787 AD in Nicaea (site of the First Council The council anathemized all who hold to iconoclasm, i. e. those who held that veneration of images constitutes idolatry. Then the ban was enforced again by Leo V in 815. Leo V the Armenian ( Greek: Λέων Ε΄ Leōn V; Լեիոն Ե Leion Yech) (775 &ndash December 25, 820) was emperor And finally icon veneration was decisively restored by Empress Regent Theodora. Theodora (Greek Θεοδώρα c 815 - after 867 was the wife of the Byzantine emperor Theophilus.

From then on all Byzantine coins had a religious image or symbol on the reverse, usually an image of Christ for larger denominations, with the head of the Emperor on the obverse, reinforcing the bond of the state and the divine order. ^[6]

The "Theotokos of Vladimir" icon (12th century)

Icons in Greek-speaking regions

Today icons are used particularly among Eastern Orthodox, Oriental Orthodox, Coptic and Eastern Catholic Churches. The Theotokos of Vladimir,( Greek Θεοτόκος του Βλαντιμίρ also known as Our Lady of Vladimir, the Virgin of Vladimir or Vladimirskaya The Eastern Orthodox Church is the second largest single Christian Communion in the world Oriental Orthodoxy is the communion of Eastern Christian Churches that recognize only three Ecumenical councils — the First Council of Nicaea, the History of the Coptic Orthodox Church of Alexandria Apostolic foundation Egypt is identified in the Bible as the place of refuge that the This article refers to Eastern Churches in full communion with the Holy See

Of the icon painting tradition that developed in Byzantium, with Constantinople as the chief city, we have only a few icons from the eleventh century and none preceding them, in part because of the Iconoclastic reforms during which many were destroyed, and also because of plundering by Venetians in 1204 during the Fourth Crusade, and finally the taking of the city by the Islamic Turks in 1453. The Fourth Crusade (1202&ndash1204 was originally designed to conquer Muslim Jerusalem by means of an invasion through Egypt.

It was only in the Comnenian period (1081-1185) that the cult of the icon became widespread in the Byzantine world, partly on account of the dearth of richer materials (such as mosaics, ivory, and enamels), but also because an iconostasis a special screen for icons was introduced then in ecclesiastical practice. Art History Mosaics of the 4th century BC are found in the Macedonian palace-city of Aegae, and they enriched the floors of Hellenistic Ivory is formed from Dentine and constitutes the bulk of the Teeth and Tusks of animals such as the Elephant, Hippopotamus, In a discussion of Material science, enamel (or vitreous enamel or porcelain enamel in U In Eastern Christianity an iconostasis (the plural is iconostases) also called the Templon, is a wall of Icons and religious paintings The style of the time was severe, hieratic and distant.

In the late Comnenian period this severity softened, and emotion, formerly avoided, entered icon painting. Major monuments for this change include the murals at Daphni (ca. Dafni is the name of a number of places in Greece (sorted by prefecture Dafni Achaea, part of the municipality of Paion, Achaea 1100) and Nerezi near Skopje (1164). Skopje (Скопје; Shkup or Shkupi is the Capital and largest city in the Republic of Macedonia, with more than a quarter of the population The Theotokos of Vladimir (ca. The Theotokos of Vladimir,( Greek Θεοτόκος του Βλαντιμίρ also known as Our Lady of Vladimir, the Virgin of Vladimir or Vladimirskaya 1115, illustration, right) is probably the most representative example of the new trend towards spirituality and emotion.

The tendency toward emotionalism in icons continued in the Paleologan period, which began in 1261. The Palaiologos or Palaeologus ( Greek: Παλαιολόγος pl Paleologan art reached its pinnacle in mosaics such as those of the Kariye Camii (the former Chora Monastery). The Chora Church ( Turkish Kariye Müzesi, Kariye Camii, or Kariye Kilisesi — the Chora Museum Mosque or Church) is considered to In the last half of the 1300s, Paleologan saints were painted in an exaggerated manner, very slim and in contorted positions, that is, in a style known as the Paleologan Mannerism, of which Ochrid's Annunciation is a superb example.

After 1453, the Byzantine tradition was carried on in regions previously influenced by its religion and culture— in the Balkans and Russia, Georgia in the Caucasus, and, in the Greek-speaking realm, on Crete. Georgia ( საქართველო, Sakartvelo) is a Transcontinental country in the Caucasus region situated at the dividing line between Crete ( Greek: Κρήτη transliteration: Krētē, modern transliteration Kriti) is the largest of the Greek islands and the

Cretan icons

Main article: Cretan School

Crete was under Venetian control from 1204 and became a thriving center of art with eventually a Scuola di San Luca, or organized painter's guild on Western lines. The term Cretan School describes an important school of Icon painting also known as Post-Byzantine art, which flourished while Crete was under Venetian The Guild of Saint Luke was the most common name for a city Guild for painters and other artists in Early modern Europe, especially in the Low Countries Cretan painting was heavily patronized both by Catholics of Venetian territories and by Eastern Orthodox. For ease of transport, Cretan painters specialized in panel paintings, and developed the ability to work in many styles to fit the taste of various patrons. El Greco, who moved to Venice after establishing his reputation in Crete, is the most famous artist of the school, who continued to use many Byzantine conventions in his works. El Greco' ("The Greek " 1541 &ndash April 7 1614 was a painter, sculptor, and architect of the Spanish Renaissance Venice ( Italian: Venezia, Venetian: Venesia or Venexia) is a city in Northern Italy, the capital of the In 1669 the city of Heraklion, on Crete, which at one time boasted at least 120 painters, finally fell to the Turks, and from that time Greek icon painting went into a decline, with a revival attempted in the 20th century by art reformers such as Photios Kontoglou, who emphasized a return to earlier styles. Photis Kontoglou (Φώτης Κόντογλου occasionally signed also as Kontoglous-b

Symbolism in icons

In the icons of Eastern Orthodoxy, and of the Early Medieval West, very little room is made for artistic license. Almost everything within the image has a symbolic aspect. Christ, the saints, and the angels all have halos. Angels (and often John the Baptist) have wings because they are messengers. Saint John the Baptist ( heb. Jochanan ben Sacharja, arab. يحيى Yaḥyā or يوحنا Yūḥanna, aram. Figures have consistent facial appearances, hold attributes personal to them, and use a few conventional poses.

Colour too plays an important role. Gold represents the radiance of Heaven; red, divine life. Blue is the color of human life, white is the uncreated essence of God, only used for resurrection and transfiguration of Christ. Within the body of Christian beliefs the resurrection of Jesus is a core event on which much of Christian doctrine and theology depend The Transfiguration of Jesus is an event reported by the Synoptic Gospels in which Jesus is transfigured upon a mountain (,) If you look at icons of Jesus and Mary: Jesus wears red undergarment with a blue outer garment (God become Human) and Mary wears a blue undergarment with a red overgarment (human become like God), thus the doctrine of deification is conveyed by icons. In Eastern Orthodoxy, Oriental Orthodoxy and Eastern Catholic theology theosis (written also theiosis, theopoiesis, theōsis Letters are symbols too. Most icons incorporate some calligraphic text naming the person or event depicted. Even this is often presented in a stylized manner.

In later Western depictions, much of the symbolism survives, though there is far less consistency. Artistic license allows the painter much more freedom over the depiction. Examples of this style abound. And yet, despite the imagination and brilliance of Michelangelo's Sistine Chapel, it is still quite easy to identify the saint depicted because the traditional attribute and appearance of Peter is still present. Michelangelo di Lodovico Buonarroti Simoni Two biographies were published of him during his lifetime One of them by Giorgio Vasari, proposed that he was the pinnacle of all Sistine Chapel (Cappella Sistina is the best-known Chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. Sistine Chapel (Cappella Sistina is the best-known Chapel in the Apostolic Palace, the official residence of the Pope in Vatican City.

Icons in Russia

Muscovite Mannerism: Harrowing of Hell, by Dionisius and his workshop. The Harrowing of Hell is a doctrine in Christian theology referenced in the Apostles' Creed and the Athanasian Creed (Quicumque vult, which states that Dionysius, also spelled Dionisy or Dionisius the Wise, was acknowledged as a head of the Moscow school of Icon painters at the turn of the 15th

Main article: Russian icons

Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. General history The use and making of Icons entered Kievan Rus' following its conversion to Orthodox Christianity in 988 A Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner. Russia (Россия Rossiya) or the Russian Federation ( Rossiyskaya Federatsiya) is a transcontinental Country extending There is a rich history and elaborate religious symbolism associated with icons. Religious symbolism is the use of Symbols including Archetypes, acts artwork events or natural phenomena, by a religion In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostás) a wall of icons. In Romanesque and Gothic Christian Abbey, Cathedral Basilica and church Architecture, the nave is the Sanctuary has multiple meanings A sanctuary is the consecrated area of a church or temple around its tabernacle or altar In Eastern Christianity an iconostasis (the plural is iconostases) also called the Templon, is a wall of Icons and religious paintings

St. Nicholas, seen here flanked by six select saints, is one of the popular subjects in Russian iconography. Saint Nicholas (Άγιος Νικόλαος, Agios Nikolaos, "victory of the people" is the common name for Nicholas of Myra, a Christian Saint A saint (from the Latin sanctus) is a human being to whom has been attributed (and who has generally demonstrated a high level of Holiness and Sanctity

The use and making of icons entered Kievan Rus' following its conversion to Orthodox Christianity from the Eastern Roman (Byzantine) Empire in 988 A. Kievan Rus′ (Ки́евская Русь romanised: Kievskaya Rus', rusʲ also written as Kyivan Rus′ (Ки́ївська Русь or Kievan D. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians— notably Andrei Rublev and Dionisius— widened the vocabulary of iconic types and styles far beyond anything found elsewhere. Andrei Rublev (Andrew Rublev Andrey Rublev Andrey Roublyov Russian: Андре́й Рублёв (c Dionysius, also spelled Dionisy or Dionisius the Wise, was acknowledged as a head of the Moscow school of Icon painters at the turn of the 15th The personal, improvisatory and creative traditions of Western European religious art are largely lacking in Russia before the seventeenth century, when Simon Ushakov's painting became strongly influenced by religious paintings and engravings from Protestant as well as Catholic Europe. Simon (Pimen Fyodorovich Ushakov (Russian Симон (Пимен Федорович Ушаков 1626–1686 was a leading Russian Graphic artist of the late 17th-century

In the mid-seventeenth century, changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. Nikon ( Russian: Ни́кон, Old Russian Нїконъ) born Nikita Minin ( Никита Минин; May 7, 1605 The traditionalists, the persecuted "Old Ritualists" or "Old Believers", continued the traditional stylization of icons, while the State Church modified its practice. Introductory summary of origins In 1652 Nikon (1605 – 1681 Patriarch of the Russian Orthodox Church from 1652 to 1658 introduced a number of ritual and textual From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. The Stroganov movement and the icons from Nevyansk rank among the last important schools of Russian icon-painting. Stroganov School ( Строгановская школа in Russian) is a conventional name for the last major Russian Icon -painting school Nevyansk (Невьянск is a town in Sverdlovsk Oblast, Russia, located on the Neyva River ( Ob 's basin) on the eastern slope

Icons in Western Christianity

An icon of Our Lady of Czestochowa, one of the national symbols of Poland. The Black Madonna of Częstochowa ( Czarna Madonna or Matka Boska Częstochowska in Polish, Imago thaumaturga Beatae Virginis Mariae Immaculatae A national symbol is a Symbol of any entity considering itself and manifesting itself to the world as a national community – namely sovereign states, but also Poland (Polska officially the Republic of Poland This stylistic variant is also used in depicting the Haitian Voodoo loa Erzulie Dantor. Vodou ( Anglicized: Voodoo) or Vaudoo is a family of New World syncretistic religions primarily based on the faiths of the The Loa (also Lwa or L'wha) are the spirits of the Vodou religion practiced in Haiti, and other parts of the world Ezili Dantor (also spelled Erzulie with Danto or Danthor) is the Petro nation aspect of the Erzulie family of lwa, or spirits

Until the 13th century, icons followed a broadly similar pattern in West and East - although very few survive from this early from either tradition. Western icons, which are not usually so termed, were largely patterned on Byzantine works, and equally conventional in composition and depiction. From this point on the western tradition came slowly to allow the artist far more flexibility, and a more realist approach to the figures. If only because there was a much smaller number of skilled artists, the quantity of icons, in the sense of panel paintings, was much smaller in the West, and in most Western settings a single diptych as an altarpiece, or in a domestic room, probably stood in place of the larger collections typical of Orthodox "icon corners". A diptych (pronounced "dip-tick" dip'tik (or US: 'dɪp The Icon Corner (εικονοστάσι is a small worship space prepared in the homes of Eastern Orthodox or Greek-Catholic Christians.

Only in the 15th century did production of painted icons begin to approach Eastern levels, and in this century the use of icons in the West was enormously increased by the introduction of prints on paper, mostly woodcuts which were produced in vast numbers (although hardly any survive). An old master print is a work of art produced by a Printing process within the Western tradition (European or New World Paper is thin material mainly used for writing upon printing upon or packaging For the origins of the technique and non-artistic use see Woodblock printing; for the related technique invented in the 18th century see Wood engraving They were mostly sold, hand-coloured, by churches, and the smallest sizes (often only an inch high) were affordable even by peasants, who glued or pinned them straight onto a wall. A peasant is an agricultural worker who subsists by working a small plot of ground

With the Reformation, after an initial uncertainty among early Lutherans, who painted a few "icon"-like depictions of leading Reformers, and continued to paint scenes from Scripture, Protestants came down firmly against icon-like portraits, especially larger ones, even of Christ. The Protestant Reformation was a reform movement in Europe that began in 1517 though its roots lie further back in time Many Protestants found these "idolaterous". Narrative Biblical scenes, especially as book illustrations, remained acceptable, and were encouraged. The Catholics maintained, even intensified the traditional use of icons, both printed and on paper, now using the different styles of the Renaissance and Baroque. Popular Catholic imagery to a certain extent has remained attached to a Baroque style of about 1650, especially in Italy and Spain.

Icon traditions in other regions

A key piece of the Paleologan Mannerism - the Annunciation icon from Ohrid in the Republic of Macedonia. In Christianity the Annunciation ( grc Ευαγγελισμός της Θεοτόκου, Evangelismós tēs Theotókou in Greek) is the revelation Ohrid (Охрид) is a city on the eastern shore of Lake Ohrid in the Republic of Macedonia. The Republic of Macedonia (Република

Main article: Romanian icons

In Romania, icons painted as reversed images behind glass and set in frames were common in the nineteenth century and are still made. In the Romanian Orthodox Church, Icons serve much the same purpose as they do in other Eastern Orthodox traditions Romania ( dated: Rumania, Roumania The process know as Reverse painting on glass "In the Transylvanian countryside, the expensive icons on panels imported from Moldavia, Wallachia, and Mt. Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image Athos were gradually replaced by small, locally produced icons on glass, which were much less expensive and thus accessible to the Transylvanian peasants. . . "^[22]

Main article: Coptic art

The Egyptian Coptic Church and the Ethiopian Church also have distinctive, living icon painting traditions. Coptic art is a term used either for the art of Egypt produced in the early Christian era or for the art produced by the Coptic Christians themselves History of the Coptic Orthodox Church of Alexandria Apostolic foundation Egypt is identified in the Bible as the place of refuge that the NOTE This intro is the result of careful NPOV work Please do not make potentially controversial edits to it without first discussing on the talk page Coptic icons have their origin in the Hellenistic art of Egyptian Late Antiquity, as exemplified by the Fayum mummy portraits. Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term for a type of realistic painted Portraits on wooden boards Beginning in the 4th century, churches painted their walls and made icons to reflect an authentic expression of their faith.

The Protestant Reformation

The abundant use and veneration historically accorded images in the Roman Catholic Church was a point of contention for Protestant reformers, who varied in their attitudes toward images. In the consequent religious struggles many statues were removed from churches, and there was also destruction of images referred to as Iconoclasm, notably in England and Scotland during the War of Three Nations and in France during the Wars of Religion. Iconoclasm, Greek for "image-breaking" is the deliberate destruction within a culture of the culture's own religious Icons and other symbols or monuments The English Civil War (1642-1651 was a series of armed conflicts and political machinations between Parliamentarians and Royalists. The French Wars of Religion (1562 to 1598 between French Catholics and Protestants ( Huguenots involved both civil infighting

Though followers of Zwingli and Calvin were more severe in their rejection, Lutherans tended to be moderate: many of their parishes displayed statues and crucifixes. Huldrych (or Ulrich) Zwingli (1 January 1484 &ndash 11 October 1531 was a leader of the Reformation in Switzerland. Lutheranism is a major branch of Western Christianity that identifies with the teachings of the sixteenth-century German reformer Martin Luther A joint Lutheran-Orthodox statement [date] in Helsinki reaffirmed the Ecumenical Council decisions on the nature of Christ and the veneration of images:

"The Seventh Ecumenical Council, the Second Council of Nicaea in 787, which rejected iconoclasm and restored the veneration of icons in the churches, was not part of the tradition received by the Reformation. Lutherans, however, rejected the iconoclasm of the 16th century, and affirmed the distinction between adoration due to the Triune God alone and all other forms of veneration. Through historical research this council has become better known. Nevertheless it does not have the same significance for Lutherans as it does for the Orthodox. Yet, Lutherans and Orthodox are in agreement that the Second Council of Nicaea confirms the christological teaching of the earlier councils and in setting forth the role of images (icons) in the lives of the faithful reaffirms the reality of the incarnation of the eternal Word of God, when it states: "The more frequently, Christ, Mary, the mother of God, and the saints are seen, the more are those who see them drawn to remember and long for those who serve as models, and to pay these icons the tribute of salutation and respectful veneration. Certainly this is not the full adoration in accordance with our faith, which is properly paid only to the divine nature, but it resembles that given to the figure of the honored and life-giving cross, and also to the holy books of the gospels and to other sacred objects" (Definition of the Second Council of Nicaea). "

Icons and images in contemporary Christianity

A modern metal icon of St.  Nicholas by the Bulgarian artist Georgi 'Chapa' Chapkanov. This depiction differs radically from traditional Orthodox iconography (Gilbert House, Stanley, Falkland Islands). "Port Stanley" redirects here For the town in Canada see Port Stanley Ontario.

Today attitudes can vary even from church to church within a given denomination, whether Catholic or Protestant. Protestants generally use religious art for teaching and for inspiration, but such images are not venerated as in Orthodoxy, and many Protestant church sanctuaries contain no imagery at all.

After the Second Vatican Council iconoclasts declared that the use of statues and pictures in churches should be moderate, most statuary was removed and even destroyed from many Catholic Churches. The Second Ecumenical Council of the Vatican, or Vatican II, was the twentieth century Ecumenical Council of the Roman Catholic Church. Eastern Catholics and Orthodoxy, however, continues to give such strong importance to the use and veneration of icons that they are often seen as the chief symbol of Orthodoxy. Catholicism has a long tradition of valuing the arts and was the prime patron of artists even after the Renaissance. The Renaissance (from French Renaissance, meaning "rebirth" Italian: Rinascimento, from re- "again" and nascere Present-day imagery within Roman Catholicism varies in style from traditional to modern, and is affected by trends in the art world in general.

Icons are often illuminated with a candle or jar of oil with a wick. (Beeswax for candles and olive oil for oil lamps are preferred because they burn very cleanly, although other materials are sometimes used. ) The illumination of religious images with lamps or candles is an ancient practice pre-dating Christianity.

Miraculous icons

Our Lady of St. Theodore, a 1703 copy of the 11th-century icon, following the same Byzantine "Tender Mercy" type as the Vladimirkskaya above. Fyodorovskaya Theotokos (Russian Федоровская Богоматерь) also known as Our Lady of St

In the Eastern Orthodox Christian tradition there are reports of particular, Wonderworking icons that exude myrrh (fragrant, healing oil), or perform miracles upon petition by believers. Thaumaturgy (from the Greek words θαῦμα thaûma, stem thaumat-, meaning "miracle" or "marvel" and ἔργον érgon Myrrh is a reddish-brown Resinous material the dried sap of the tree Commiphora myrrha, native to Yemen, Somalia A miracle is an event believed to be caused by interposition of Divine intervention by a Supernatural being in the Universe by which the ordinary operation When such reports are verified by the Orthodox hierarchy, they are understood as miracles performed by God through the prayers of the saint, rather than being magical properties of the painted wood itself. Theologically, all icons are considered to be sacred, and are miraculous by nature, being a means of spiritual communion between the heavenly and earthly realms. However, it is not uncommon for specific icons to be characterised as "miracle-working", meaning that God has chosen to glorify them by working miracles through them. In Catholicism In Orthodox Christianity Glorification is the term used in the Orthodox Christian Church for the official recognition of a person Such icons are often given particular names (especially those of the Virgin Mary), and even taken from city to city where believers gather to venerate them and pray before them. Islands like that of Tinos are renowned for possessing such "miraculous" icons, and are visited every year by thousands of pilgrims. Tinos (Τήνος Italian: Tine) is a Greek island situated in the Aegean Sea. A pilgrim is one who undertakes a Pilgrimage, literally 'far afield'

Eastern Orthodox and Roman Catholic teaching about Icons

Icons are used particularly in Eastern Orthodox, Coptic Orthodox, Oriental Orthodox, and Eastern Catholic churches.

The Eastern Orthodox view of the origin of icons is quite different from that of secular scholars and from some in contemporary Roman Catholic circles: "The Orthodox Church maintains and teaches that the sacred image has existed from the beginning of Christianity", Léonid Ouspensky has written. Léonid Alexandrovich Ouspensky was a famous Russian Iconographer Born in 1902 on his father’s estate in the village of Golaia Snova (now Golosnovka in the north of the ^[23] Accounts that some non-Orthodox writers consider legendary are accepted as history within Eastern Orthodoxy, because they are a part of church tradition. Thus accounts such as that of the miraculous "Image Not Made by Hands," and the weeping and moving "Mother of God of the Sign" of Novgorod are accepted as fact: "Church Tradition tells us, for example, of the existence of an Icon of the Savior during His lifetime (the "Icon-Made-Without-Hands") and of Icons of the Most-Holy Theotokos [Mary] immediately after Him. "^[24] Eastern Orthodoxy further teaches that "a clear understanding of the importance of Icons" was part of the church from its very beginning, and has never changed, although explanations of their importance may have developed over time. This is due to the fact that iconography is rooted in the theology of the Incarnation (Christ being the eikon of God) which didn't change, though its subsequent clarification within the Church occurred over the period of the first seven Ecumenical Councils. Also, icons served as tools of edification for the illiterate faithful during most of the history of Christendom.

Eastern Orthodox find the first instance of an image or icon in the Bible when God made man in His own image (Septuagint Greek eikona), in Genesis 1:26-27. In Exodus, God commanded that the Israelites not make any graven image; but soon afterwards, he commanded that they make graven images of cherubim and other like things, both as statues and woven on tapestries. Later, Solomon included still more such imagery when he built the first temple. Eastern Orthodox believe these qualify as icons, in that they were visible images depicting heavenly beings and, in the case of the cherubim, used to indirectly indicate God's presence above the Ark.

In the Book of Numbers it is written that God told Moses to make a bronze serpent, Nehushtan, and hold it up, so that anyone looking at the snake would be healed of their snakebites. The Nehushtan (or Nehustan, Hebrew: נחושתן or נחש הנחושת) was a sacred object in the form of a Bronze snake In John 3, Jesus refers to the same serpent, saying that he must be lifted up in the same way that the serpent was. John of Damascus also regarded the brazen serpent as an icon. Chrysorrhoas redirects here For the river see Barada. Saint John of Damascus ( Arabic: يوحنا الدمشقي Further, Jesus Christ himself is called the "image of the invisible God" in Colossians 1:15, and is therefore in one sense an icon. As people are also made in God's images, people are also considered to be living icons, and are therefore "censed" along with painted icons during Orthodox prayer services.

A somewhat disinterested treatment of the emotional subject and painstaking attention to the throne and other details of the material world distinguish this superb work by a medieval Sicilian master from works by imperial icon-painters of Constantinople. Sicily ( Italian and Sicilian: Sicilia) is an autonomous region of Italy.

According to John of Damascus, anyone who tries to destroy icons "is the enemy of Christ, the Holy Mother of God and the saints, and is the defender of the Devil and his demons. " This is because the theology behind icons is closely tied to the Incarnational theology of the humanity and divinity of Jesus, so that attacks on icons typically have the effect of undermining or attacking the Incarnation of Jesus himself as elucidated in the Ecumenical Councils.

The Eastern Orthodox teaching regarding veneration of icons is that the praise and veneration shown to the icon passes over to the archetype (Basil of Caesarea,On the Holy Spirit 18:45: "The honor paid to the image passes to the prototype"). In Christianity, veneration ( Latin veneratio, Greek &delta&omicron&upsilon&lambda&iota&alpha dulia) or veneration of saints Thus to kiss an icon of Christ, in the Eastern Orthodox view, is to show love towards Christ Jesus himself, not mere wood and paint making up the physical substance of the icon. Worship of the icon as somehow entirely separate from its prototype is expressly forbidden by the Seventh Ecumenical Council; standard teaching in the Eastern Orthodox and Roman Catholic churches alike conforms to this principle. The Catholic Church accepts the same Councils and the canons therein which codified the teaching of icon veneration.

The Latin Church of the West, which after 1054 was to become separate as the Roman Catholic Church, accepted the decrees of the iconodule Seventh Ecumenical Council regarding images. There is some minor difference, however, in the Catholic attitude to images from that of the Orthodox. Following Gregory the Great, Catholics emphasize the role of images as the Biblia Pauperum, the “Bible of the Poor,” from which those who could not read could nonetheless learn. This view of images as educational is shared by most Protestants.

Catholics also, however, accept in principle the Eastern Orthodox veneration of images, believing that whenever approached, images of the cross, saints, etc. are to be reverenced. Though using both flat wooden panel and stretched canvas paintings, Catholics traditionally have also favored images in the form of three-dimensional statuary, whereas in the East statuary is much less widely employed.

Eikon in the Septuagint

The Greek word eikon means an image or likeness of any kind. Anything that represents something else is an eikon. Nothing is implied about sanctity or its absence, or veneration or its absence by the word itself.

The Septuagint is the Greek translation of the Hebrew Scriptures used by the early Christians, and Eastern Orthodox consider it the only authoritative text of those Scriptures. The Septuagint (ˈsɛptuədʒɪnt or simply " LXX " is the Koine Greek version of the Hebrew Bible, translated in stages between the In it the word eikon is used for everything from man being made in the divine image to the "molten idol" placed by Manasses in the Temple.

1. Genesis 1:26-27;
2. Genesis 5:1-3;
3. Genesis 9:6;
4. Deuteronomy 4:16
5. 1 Samuel (1 Kings) 6:11 (Alexandrian manuscript);
6. 2 Kings 11:18;
7. 2 Chronicles 33:7;
8. Psalm 38:7
9. Psalm 72:20;
10. Isaiah 40, 19-20;
11. Ezekiel 7:20;
12. Ezekiel 8:5 (Alexandrian manuscript);
13. Ezekiel 16:17;

Ezekiel 23:14; Daniel 2:31,32,34,35; Daniel 3:1,2,3,5,7,11,12,14,15,18; Hosea 13:2

Be aware that Septuagint numberings and names and the English Bible numberings and names are not uniformly identical.

Eikon in the New Testament

In the New Testament the term is used for everything from Jesus as the image of the invisible God (Colossians 1:15) to the image of Caesar on a Roman coin (Matthew 22:20) to the image of the Beast in the Apocalypse (Revelation 14:19). Here is a complete listing:

1. Matthew 22:20;
2. Mark 12:16
3. Luke 20:24
4. Romans 1:23
5. Romans 8:29;
6. 1 Corinthians 11:7;
7. 1 Corinthians 15:49
8. 2 Corinthians 3:18;
9. 2 Corinthians 4:4;
10. Colossians 1:15;
11. Colossians 3:10;
12. Hebrews 10:1;
13. Revelation 13:13;
14. Revelation 13:15;
15. Revelation 14:9;
16. Revelation 14:11
17. Revelation 15:2
18. Revelation 16:2
19. Revelation 19:20;
20. Revelation 20:4.

Other religious traditions

Other religious traditions, such as Hinduism, have a very rich iconography called murti, while others, such as Islam, severely limit the use of visual representations (see Islamic art). Hinduism is a religious tradition that originated in the Indian subcontinent. In Hinduism, a murti ( Devanagari: मूर्ति typically refers to an image a deity in which the Divine Spirit is expressed ( murta) For other meanings including people named 'Islam' see Islam (disambiguation. Islamic art encompasses the arts produced from the 7th century onwards by people (not necessarily Muslim) who lived within the territory that was inhabited by culturally

See also

Notes

External links

Orthodox

• Orthodox Iconography by Elias Damianakis
• The Iconic and Symbolic in Orthodox Iconography
• Church of the Nativity - Explanation of Orthodox Christian Icons
• On the difference of Western Religious Art and Orthodox Iconography
• A Discourse in Iconography by St. John of Shanghai and San Francisco
• Church of the Nativity - Explanation of Orthodox Christian Icons
• Serbian Orthodox Iconography
• Icons: Glimpses of Eternity (Greek Orthodox Archdiocese of Australia)
• Holy Icons: Theology in Color (Antiochian Orthodox Archdiocese)

Catholic

• "Veneration of Images" article from The Catholic Encyclopedia
• Anderson Christian Art

Pictures

• Online exhibitions of over 1000 ancient icons
• Icons of Mount Athos
• Russian Icons from 12th to 18th century
• Greek Orthodox Archdiocese of America: Icons
• Gallery of icons, murals and mosaics (mostly Russian) from 11th to 20th century
• Two 19th century Russian icons depicting Saint Nicholas
• Online gallery of Russian icons
• Byzantine Studio of Dumitru Nicusor
• The Orthodox Church's Iconology by Dimitrios Tselengidis, Professor of the Theological School of the Aristotelian University of Thessaloniki
• Online gallery of rare coptic icons