Iconoclasm
I. Introduction
http://www.students.sbc.edu/clarke04/timeline.html
State
of Images before Iconoclasm: 4th-6th century
The
use of figural religious art has been a subject for debate since the beginning
of Christianity. After the collapse of
the Roman Empire, many Christians wanted to separate themselves from all things
considered pagan, specifically the use of figural imagery in religious
practices such as worship. Many saw the
use of such imagery as idolatrous.
Still the use of figural imagery in the Christian faith became of ever
increasing importance. Imagery was used
to educate the illiterate or semi-literate on the Christian faith and biblical
messages/stories. Images were used like
texts sometimes mimicking words and at other times achieving what simple text
could not. However, the result of the
growing importance of imagery at times resulted in a dependence on imagery and
the development of a “cult of imagery”.
An important change took place across the Christian world in the late
sixth century, when images of Christ and other religious figures began to be
treated as holy objects in their own right, not as mere representations, but an
embodiment of the personality. This was
particularly true in the Byzantine world.
Pilgrims traveled with portable holy images only to be close to holy
relics. The image and relics became so
important that they were often venerated and highly sought after.
Examples
The first example that illustrates the importance of the visual image to the Christian faith is the church now named S. Apollinare Nuovo, in Ravenna, c. 500. This church was built by Theoderic and attached to his palace. It contains the earliest surviving long cycle of Gospel scenes in monumental art. The decorative program consists a conspicuous mosaic decoration at the lowest level, a single continuous frieze of great length stretching from the western wall around the apse on both north and south sides. As you see in the image this is a very long procession scene with 22 female saints emerging from the city of Classe on the northern wall and 26 male saints and a palace on the south wall.
S. Apollinare Nuovo, Ravenna, c. 500 and later
The mosaic program shows noticeable signs of alteration. Originally, the members in the processions were part of the imperial family and the palace was Theoderic’s own with members of his family shown where curtains now appear.
Palatium
mosaic, S.Apollinare Nuovo
Detail, S.
Apollinare Nuovo
Why do you think such an extensive program would be
altered in this way? Does this reveal the importance of visual imagery?
Another example of the use of
imagery before the iconoclastic period is the dome mosaic in the Orthodox
Baptistery, c. 458, in Ravenna. In
comparison to the images of S. Apollinare Nuovo, here is a much more orthodox
image of the Baptism of Christ surrounded by images of the apostles which
required no alteration. The dome is
located directly above the baptismal font and would therefore be viewed by the
individual involved in the ceremony. It
therefore played a vital role in connecting the viewer and the actions in
progress with the earlier significant event.
The image made an impression that the current baptism was a reenactment
of the first.
The Baptism, apostles, and altars, c. 458, Dome mosaic, Orthodox Baptistery, Ravenna
The third example is S. Vitale in
Ravenna, dedicated by Maximian in 547.
“In the arch that leads into the presbytery are medallions with Christ
and the apostles, the presbytery vault is a central medallion of the lamb,
supported by four angels, the whole set within a rich vine-scroll motif.” The central image of this area is the seated
figure of Christ flanked by angels, St. Vitalis and Bishop Ecclesisus. The two images below the central image
contain images of Justinian and his wife Theodora. “The raison d’etre of the church of S. Vitale was the cult
of the relics of St. The third example is S. Vitale in Ravenna, dedicated by
Maximian in 547. In the arch that leads
into the presbytery are medallions with Christ and the apostles, the presbytery
vault is a central medallion of the lamb, supported by four angels, the whole
set within a rich vine-scroll motif.
The two images below the central image contain images of Justinian and
his wife Theodora. The raison d’etre of
the church of S. Vitale was the cult of the relics of St. Vitalis.”-
Lowden
S. Vitale,
Ravenna, Interior looking east, Dedicated by Maximian 547
Icon
or Idol? - How do we differentiate between these terms?
Political
Changes focus Attention on Role of Visual Images
1) Changes in Byzantine Empire in 6th-8th
century
2) Great Plagues of 540s
3) Invasions by Germanic, Slavic, and
Turkic People
4) 711- Justinian II and family executed
5) 7th century- rise of militant new
religions of Islam
A belief of the time held by both Byzantine political and theological leaders was that the problems, stated above, that plagued the following centuries were a message directly from God. Many believed that these problems were actually signs displaying God’s displeasure with the idolatrous use of imagery in the confines of worship.
Based on the above information do you believe the
events of the Iconoclastic period reflect the state’s realization of an actual
threat within the empire or simply a desire to promote solidarity in the face
of the enemy? Did they see the visual
representation of biblical beings in worship as a potential evil threat or
simply an issue that could be used to unify the people of Byzantium?
Regardless of the reasons, the disputes over the use of figural imagery became a serious issue throughout they Byzantine Empire and the iconoclastic actions which resulted made a serious impact.
II. The History of the
Iconoclastic Controversy
Derived from Greek words
eikon (icon or image) and klao
(break or destroy)
Dates: 726-843 CE
The Issue:
At this time, the Byzantine Empire becomes embroiled in theological debate concerning the appropriateness of images in the context of worship, and documentary records from this period. The use of images becomes the focus of a very intense and frequently violent, dispute over its place in Christian society.
The Results:
At times when images were thought to be
inappropriate for use in worship, they were often removed from their position
in the church or community. This was often
not enough to simply remove the offending images and, therefore, many were
destroyed outright.
The Iconoclastic period was largely a reactive period. The Church gained from ever increasing power based on importance society placed on worship and religion at this time. The desire for control over society was important to both the Church and State.
Were the events of the Iconoclastic period an
attempt by the state to neutralize the increasing power and control exerted by
the Church? Or did the Church see an
opportunity in the debate to enhance its growing power?
III. Overview of the Debates
Two opposing viewpoints concerning role of images:
Iconophile/Iconodule Position: Pro Visual Imagery
Iconocaust/Iconoclast Position: Anti Visual Imagery
717-41- Pope Leo III condemns holy images
730- Edict requiring the removal of religious images from all
churches
754- Church Council at Hiereia, palace in Constantinople
Christological Debate
Issues definition of iconoclasm as orthodox Christian Faith
Destruction of images and persecution of Iconophiles
787- Church Council at Nicaea, Empress Irene, Regent
Policy Reversed
The Theotokos and Child, 787-97, Apse Mosaic, St. Sophia, Thessaloniki
814- Emperor Leo V
Removal of images
815- Second Iconoclastic Council at St. Sophia, Constantinople
Condemn Council of 787
843- Iconophile empress Theodora intervened and restored the
Veneration of images
What effect do you think this debate had on the
position of the alternative society of independent monasteries? Was their role or were their beliefs
enhanced or ridiculed based on the rulings of the Church Councils?
IV. Other Examples of Work
The
Crucifixion and Iconoclasts, folio 67r, Chludov Psalter, c.
850-75
Inserted
mosaic of a cross c. 770
The Theotokos
and Child, 8th and 9th
Century, Apse mosaic, Church of the Dormition
Theotokos and Child, Dedicated 867, Apse mosaic, St. Sophia, Istanbul
V. Discussion of Articles
David Freedberg
The Nightwatch by Rembrandt (1642)
Pietà
Detail
Sensation
Exhibit, The Holy Virgin Mary
Charles Barber
Narthex
Mosaic, St. Sophia, Istanbul
Pantokrator,
dome, Daphni
Detail of Pantokrator
Dome
Based on all the information you know about
Iconoclasm throughout history- What do you think iconoclastic acts reveal about
the role of imagery in society? Does
the act of iconoclasm enhance or diminish the importance of visual imagery?
Can you think of any recent events that might effect
or add to our discussion of Iconoclasm?
Bibliography
http://www.students.sbc.edu/clarke04/bibliography.html