Iconoclasm: The Destruction Of Ideas

Early Christian and Byzantine art started after Jesusí death in the first century ranging and ending to the fourth century AD. The art produced during this period was secretive because Christianity was not a formal religion but as a cult; the Romans and rest of Europe persecuted Christians so the artist disguised their work with symbols and hints of Christian aspects. Christianity was the first cult to not involve rituals of sacrifice of animals and refused to worship an Emperor causing the Roman Empire to make Christianity illegal. Byzantine art excelled in the Justinian period in the east during 520-540 AD. The art was produced in Ravenna, Byzantine, Venice, Sicily, Greece, and Russia. The

Christian art and iconography began, about two hundred years after the birth of Christ. Western Christian art and religious iconography was based on the classical art styles and imagery by the Ancient Romans. Medieval art iconography began to relate more to text of the Bible. Religious Christian art was created in the form of illuminated manuscripts, mosaics, and fresco paintings adorned churches. The colors of art were generally muted except those used in manuscripts and stained glass windows. Figures varied in sizes in relation their importance. Unlike artists in the Byzantine period who avoided making sculptures at all costs, Romanesque artists made sculptures which were often large, made of stone, and

From the third to the fourth century, the Roman Empire witnessed a widespread attempt to stop the spread of Christianity. Initially, leaders of the church were predominately targeted, but later anyone admitting to Christianity became a target. The persecutions hit a climax during Diocletian’s reign. These persecutions actually helped the spread of Christianity by glorifying Christians and beginning a tradition of martyrdom that shaped the Church, and the strength that Christians displayed shows that the persecutions could not have possible stopped the spread of Christianity.

Throughout history The Church and a number of Christians including myself have found themselves defending their use of icons against the views of individuals who felt that the icons were a form of idolatry. These individuals also know as Iconoclasts have a staunch position against the use of icons. Their position is based on interpretation of the Old Testament law stated in Exodus 20:4 “You must not make for yourself an idol of any kind or an image of anything in the heavens or on the earth or in the sea”. Is this truly contrary to the Old Testament law or is it simply preserving through time the incarnation of Christ, the Gospels and the history of the Christian church? I will give you a brief history, and then offer my personal opinion to the subject.

For example images of Saints and the lives they lived give us something to aspire towards almost acting as a manual of how we can live a fulfilled life in participation with God.Saint John also argues that the commandment given to Moses that worship of idols and graven images is forbidden ( Exodus 20:3-4) is not applicable anymore as we are living in a new era ushered in by Christ who supports images and to show this he gives ( Matthew 22:17) as evidence.

Culture was another similarity that the byzantine and Islam's had. Islam is a well-known iconoclastic religion meaning it bands icons and images of religious figures just like Muhammad. The Byzantine empire went through an iconoclast period, motivated by Islamic Iconoclast culture. Emperor Leo III ordered the destruction of religious icons, some that were amazing pieces of Byzantine art. Both Byzantine and Islamic Empires traded on the silk road, which brought cultural diffusion from other areas and was a

“Beginning with the reign of Constantine I and the establishment of the Byzantine Empire, the Eastern Christian church became a tool of the Emperors. Byzantine Emperors and Empresses played a dominant role in the Eastern church and used the Christian religion to strengthen the Empire internally, to spread Byzantine cultural and political influence, and at times, to fortify their own power”

John of Damascus argues in favor of Icons. He begins with a definition of images and worship. He argues that an image is a representation of “invisible and intangible things, on which they throw a faint light” (John of Damascus, 1). This definition is attractive, especially when applied to religious figures because it provides worshippers with a better understanding of God and His decrees. John argues that God permits images, such as the ark, the staff, and the tabernacle (2). John affirms, “I do not worship matter, I worship the God of matter, who became matter for my sake, and deigned to inhabit matter…” (2). According to John, God reduced himself to matter for worshippers to create visual representations of God. These images represent the

The three treatises by Damascus, are aimed “against those who rejected the use of icons.” Damascus argues that “the theological fact of the incarnation of Christ provides a solid formation for the use of icons in devotion.” Damascus explains many different physical items, such as icons, in worship and adoration. An example of one of the physical items he used as icons is, “Was not the triply blessed wood of the cross matter.”

In contrast to the persecution experienced by early Christian followers, Christianity today does not experience the level of outward persecution. Christianity is practiced in an atmosphere nearly void of violence. It was not until the reign of Constantine when Christians were authorized to practice their chosen faith. The “Ediet of Milan”(313 A.D.), gave official recognition to the Christian faith, thus ending persecution within the Roman Empire. Before Constantine’s rule, there were many rulers eager to drive out the Christians. The Emperor Trajan (98-117 A.D.) established the first official policy relating to Christians and how they should be dealt with. Diocletion and the Apologists were the last of the persecutors in this era before Constantine. This marked the end of open persecution

life” (Visual Arts Cork). The Roman Catholics were criticized for having false images of the bible in their artworks and worshipping idols as if they were holy. This decreased the amount of paintings of idol figures from the Protestants Luther stated that anything that one imagines of God apart from Christ is only useless thinking and vain idolatry. “You are not to have no other Gods” (Exodus 20:3).

We excommunicate and anathematize [pronounce as a thing devoted to evil] every heresy that contradicts this holy, orthodox, catholic faith, and condemn all heretics, no matter what they may call themselves ... Those who are accused of heresy, must

“I’d rather you shoot at tin cans in the backyard, but I know you’ll go after birds. Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird”(90). Atticus Finch, a guide mentor of the novel, explains this to his children after they are gifted with air rifles for Christmas. Notably, the title of this American classic, To Kill A Mockingbird, by Harper Lee, is taken from a seemingly insignificant excerpt. However, if read carefully, the reader begins to understand that this is just one other example out of a plethora of symbolism. Set in a Depression-era Southern town, Lee features various themes, though the novel focuses on various forms of prejudice. It brings forth the idea that prejudice, in

The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the “Emperor Mystique,” an inclination to link images of Christ in this period to imperial iconography. In the first chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to oversimplify Jesus’ iconographic identity. The author structures his chapter one argument into three points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition point. Then, he considers the Emperor Mystique’s prevalence in Late Antiquity. Finally, he moves on to the art historians chiefly responsible for the theory—Ernst Kantorowicz, Andreas

Let's take a look at a little history in medieval art. There was a movement towards the end of the first millennium called Iconoclasm. This factor hated images and icons which were believed to be endowed with mysterious powers that could work miracles by intervention from the saints. This Iconoclastic Controversy defined and declined the creation of