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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 ...
Throughout his short patriarchate, Methodius I tried to pursue a moderate line of accommodation with members of the clergy who were formerly iconoclasts. Methodius I was well-educated, engaged in both copying and writing of manuscripts. His individual works included polemica, hagiographical and liturgical works, sermons and poetry. [6]
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 (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.
It is a unique monument of Byzantine art at the time of the Iconoclasm, one of only three illuminated Byzantine Psalters to survive from the 9th century. According to one tradition, the miniatures are supposed to have been created clandestinely, and many of them are directed against Iconoclasts.
In 829, Theophilos became the sole emperor and began an intensification of iconoclasm with an edict in 832 forbidding the veneration of icons. [ 1 ] [ 3 ] After the death of Theophilos in January of 842, the empire was inherited by the infant Michael III and managed by his mother Theodora until 856.
Such icons were seen as powerful arguments against iconoclasm.In a document apparently produced in the circle of the Patriarch of Constantinople, which purports to be the record of a (fictitious) Church council of 836, a list of acheiropoieta and icons miraculously protected is given as evidence for divine approval of icons.
The emblem mostly associated with the Byzantine Empire is the double-headed eagle. It is not of Byzantine invention, but a traditional Anatolian motif dating to Hittite times, and the Byzantines themselves only used it in the last centuries of the Empire. [11] [12] The date of its adoption by the Byzantines has been hotly debated by scholars. [9]