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Byzantine Iconoclasm, Chludov Psalter, 9th century. [10]Christian worship by the sixth century had developed a clear belief in the intercession of saints. This belief was also influenced by a concept of hierarchy of sanctity, with the Trinity at its pinnacle, followed by the Virgin Mary, referred to in Greek as the Theotokos ("birth-giver of God") or Meter Theou ("Mother of God"), the saints ...
The Oxford Dictionary of Byzantium. Oxford University Press. ISBN 0195046528. Humphreys, Mike (2021). A Companion to Byzantine Iconoclasm. Brill's Companions to the Christian Tradition. Vol. 99. Brill Publishers. ISBN 9789004462007. Mango, Cyril (1975). Liquidation of Iconoclasm and Patriarch Photios. Routledge. Talbot, Alice-Mary (1998).
Iconoclasm (from Greek: εἰκών, eikṓn, 'figure, icon' + κλάω, kláō, 'to break') [i] is the social belief in the importance of the destruction of icons and other images or monuments, most frequently for religious or political reasons.
The council and its Christological arguments were later refuted as heretical by Nicaea II, [20] and also by the Council of Constantinople (843) which reasserted the significance of icons in the Church. During the second period of Byzantine iconoclasm, Emperor Leo V the Armenian overtured Nicaea II and reinstated Hieria. However, rather than ...
Theodotos presided over the council, which reinstated iconoclasm, repudiating the Second Council of Nicaea and reaffirming the decisions of the Council of Hieria of 754. Although the meeting had been convened at the behest of the iconoclast Emperor, much of the Iconoclast effort was driven by other clerics, including the later patriarchs Antony ...
The usage of gold leaf in Byzantine artwork is indicative that the work is meant to be divine and spiritual. [14] The icon was created by incorporating egg tempera on gold leaf over a wooden panel. [4] The wood panel then is covered with gesso and linen. [4] [5] The icon has a height of 37.8 cm, a width of 31.4 cm and a depth of 5.3 cm. [4]
Iconoclasm was previously known in the Byzantine period and aniconicism was a feature of the Judaic world, thus placing the Islamic objection to figurative representations within a larger context. As ornament, however, figures were largely devoid of any larger significance and perhaps therefore posed less challenge. [ 10 ]
Religious images or icons were made in Byzantine art in many different media: mosaics, paintings, small statues and illuminated manuscripts. [1] Monasteries produced many of the illuminated manuscripts devoted to religious works using the illustrations to highlight specific parts of text, a saints' martyrdom for example, while others were used ...