Aniconism in the context of "The Trinity in art"

Cultural genocide or culturicide is a concept first described by Polish lawyer Raphael Lemkin in 1944, in the same book that coined the term genocide. The destruction of culture was a central component in Lemkin's formulation of genocide. The precise definition of cultural genocide remains contested, and the United Nations does not include it in the definition of genocide used in the 1948 Genocide Convention. The Armenian genocide Museum defines culturicide as "acts and measures undertaken to destroy nations' or ethnic groups' culture through spiritual, national, and cultural destruction", which appears to be essentially the same as ethnocide. Some ethnologists, such as Robert Jaulin, use the term ethnocide as a substitute for cultural genocide, although this usage has been criticized as risking the confusion between ethnicity and culture. Cultural genocide and ethnocide have in the past been used in distinct contexts. Cultural genocide without ethnocide is conceivable when a distinct ethnic identity is kept, but distinct cultural elements are eliminated.

Culturicide involves the eradication and destruction of cultural artifacts, such as books, artworks, and structures. The issue is addressed in multiple international treaties, including the Geneva Conventions and the Rome Statute, which define war crimes associated with the destruction of culture. Cultural genocide may also involve forced assimilation, as well as the suppression of a language or cultural activities that do not conform to the destroyer's notion of what is appropriate. Among many other potential reasons, cultural genocide may be committed for religious motives (e.g., iconoclasm which is based on aniconism); as part of a campaign of ethnic cleansing in an attempt to remove the evidence of a people from a specific locale or history; as part of an effort to implement a Year zero, in which the past and its associated culture is deleted and history is "reset". The drafters of the 1948 Genocide Convention initially considered using the term, but later dropped it from inclusion. The term "cultural genocide" has been considered in various draft United Nations declarations, but it is not used by the UN Genocide Convention.

Aniconism is the absence of material representations of the natural and supernatural world in various cultures. Most denominations of Christianity have not generally practiced aniconism, or the avoidance or prohibition of these types of images, even dating back to early Christian art and architecture. Those in the faith have generally had an active tradition of making artwork and Christian media; depicting God, Jesus, The Holy Spirit, religious figures including saints and prophets, and other aspects of theology like The Trinity and Manus Dei.

There have however been periods of aniconism in Christian history, notably during the controversy of the Byzantine iconoclasm of the eighth century, and following the Protestant Reformation of the 16th century, when Calvinism in particular rejected all images in churches, and this practice continues today in some Reformed (Calvinist) churches, as well as some forms of fundamentalist Christianity. The Catholic Church has always defended the use of sacred images in churches, shrines, and homes, encouraging their veneration but condemning anyone who would worship them as if they were gods themselves.

Aniconism in Judaism refers to the idea that Judaism forbids the creation of "graven images," commonly understood to mean the prohibition of idolatry and idol worship. While Judaism is a logocentric religion, Jews were not under a blanket ban on visual art, despite common assumptions to the contrary, and throughout Jewish history and the history of Jewish art, created architectural designs and decorations of synagogues, decorative funerary monuments, illuminated manuscripts, embroidery and other decorative or artistic religious items.

In a refutation of the belief in an aniconic Judaism, and more generally in the underestimation of Jewish visual arts, modern secular historians believe that the phenomenon is a modern construction, and that "Jewish aniconism crystallized simultaneously with the construction of modern Jewish identities". According to current scholarship, the notion of a total prohibition of figural representation in the Biblical and Hellenistic-Roman periods is untenable.

In some forms of Islamic art, aniconism (the avoidance of images of sentient beings) stems in part from the prohibition of idolatry and in part from the belief that the creation of living forms is God's prerogative.

The Quran itself does not prohibit visual representation of any living being. The hadith collection of Sahih Bukhari explicitly prohibits the making of images of living beings, challenging painters who "breathe life" into their images and threatening them with punishment on the Day of Judgment. Muslims have interpreted these prohibitions in different ways in different times and places. Religious Islamic art has been typically characterized by the absence of figures and extensive use of calligraphic, geometric and abstract floral patterns.

A lingam (IAST: liṅga, lit. "sign, symbol or mark"), sometimes referred to as linga or Shiva linga, is an abstract or aniconic representation of the Hindu god Shiva in Shaivism. The word lingam is found in the Upanishads and epic literature, where it means a "mark, sign, emblem, characteristic", the "evidence, proof, symptom" of Shiva and Shiva's power.

The lingam of the Shaivism tradition is a short cylindrical pillar-like symbol of Shiva, made of stone, metal, gem, wood, clay or precious stones. It is often represented within a disc-shaped platform, the yoni – its feminine counterpart, consisting of a flat element, horizontal compared to the vertical lingam, and designed to allow liquid offerings to drain away for collection.