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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 ...
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Conversely, one who reveres or venerates religious images is called (by iconoclasts) an iconolater; in a Byzantine context, such a person is called an iconodule or iconophile. [2] Iconoclasm does not generally encompass the destruction of the images of a specific ruler after their death or overthrow, a practice better known as damnatio memoriae.
Iconodulism (also iconoduly or iconodulia) designates the religious service to icons (kissing and honourable veneration, incense, and candlelight). The term comes from Neoclassical Greek εἰκονόδουλος (eikonodoulos) (from Greek: εἰκόνα – icon (image) + Greek: δοῦλος – servant), meaning "one who serves images (icons)".
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Other scholars believe that the liturgical responses it contains were only used in Hagia Sophia, and that it was therefore a product of the Imperial workshops in Constantinople, soon after the return of the Iconophiles to power in 843. It was kept at Mount Athos until 1847, when a Russian scholar stole it and brought it to Moscow.
Coptic art is the Christian art of the Byzantine-Greco-Roman Egypt and of Coptic Christian Churches.Coptic art is best known for its wall-paintings, textiles, illuminated manuscripts, and metalwork, much of which survives in monasteries and churches.
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]