Byzantine Iconoclasm in the context of "Italy in the Middle Ages"

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⭐ Core Definition: Byzantine Iconoclasm

The Byzantine Iconoclasm (Ancient Greek: Εἰκονομαχία, romanizedEikonomachía, lit.'image struggle', 'war on icons') are two periods in the history of the Byzantine Empire when the use of religious images or icons was opposed by religious and imperial authorities within the Ecumenical Patriarchate (at the time still comprising the Roman-Latin and the Eastern-Orthodox traditions) and the temporal imperial hierarchy. The First Iconoclasm, as it is sometimes called, occurred between about 726 and 787, while the Second Iconoclasm occurred between 814 and 842. According to the traditional view, Byzantine Iconoclasm was started by a ban on religious images promulgated by the Byzantine Emperor Leo III the Isaurian, and continued under his successors. It was accompanied by widespread destruction of religious images and persecution of supporters of the veneration of images. The Papacy remained firmly in support of the use of religious images throughout the period, and the whole episode widened the growing divergence between the Byzantine and Carolingian traditions in what was still a unified European Church, as well as facilitating the reduction or removal of Byzantine political control over parts of the Italian Peninsula.

Iconoclasm is the deliberate destruction within a culture of the culture's own religious images and other symbols or monuments, usually for religious or political motives. People who engage in or support iconoclasm are called iconoclasts, Greek for 'breakers of icons' (εἰκονοκλάσται), a term that has come to be applied figuratively to any person who breaks or disdains established dogmata or conventions. Conversely, people who revere or venerate religious images are derisively called "iconolaters" (εἰκονολάτρες). They are normally known as "iconodules" (εἰκονόδουλοι), or "iconophiles" (εἰκονόφιλοι). These terms were, however, not a part of the Byzantine debate over images. They have been brought into common usage by modern historians (from the seventeenth century) and their application to Byzantium increased considerably in the late twentieth century. The Byzantine term for the debate over religious imagery, iconomachy, means "struggle over images" or "image struggle". Some sources also say that the Iconoclasts were against intercession to the saints and denied the usage of relics; however, it is disputed.

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Byzantine Iconoclasm in the context of Papal States

The Papal States (/ˈppəl/ PAY-pəl; Italian: Stato Pontificio; Latin: Dicio Pontificia), officially the State of the Church, were a conglomeration of territories on the Italian peninsula under the direct sovereign rule of the pope from 756 to 1870. They were among the major states of Italy from the 8th century until the unification of Italy, which took place between 1859 and 1870, culminating in their demise.

The state was legally established in the 8th century when Pepin the Short, king of the Franks, gave Pope Stephen II, as a temporal sovereign, lands formerly held by Arian Christian Lombards, adding them to lands and other real estate formerly acquired and held by the bishops of Rome as landlords from the time of Constantine onward. This donation came about as part of a process whereby the popes began to turn away from the Byzantine emperors as their foremost temporal guardians for reasons such as increased imperial taxes, disagreement with respect to iconoclasm, and failure of the emperors, or their exarchs in Italy, to protect Rome and the rest of the peninsula from barbarian invasion and pillage.

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Byzantine Iconoclasm in the context of Emperor Leo III

Leo III the Isaurian (Greek: Λέων ὁ Ἴσαυρος, romanizedLeōn ho Isauros; c. 685 – 18 June 741), also known as the Syrian, was the first Byzantine emperor of the Isaurian dynasty from 717 until his death in 741. He put an end to the Twenty Years' Anarchy, a period of great instability in the Byzantine Empire between 695 and 717, marked by the rapid succession of several emperors to the throne, along with ending the continual defeats and territorial losses the Byzantines had suffered during the 7th century. He also successfully defended the Empire against the invading Umayyads and forbade the veneration of icons.

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Byzantine Iconoclasm in the context of Religious art

Religious art is a visual representation of religious ideologies and their relationship with humans. Sacred art directly relates to religious art in the sense that its purpose is for worship and religious practices. According to one set of definitions, artworks that are inspired by religion but are not considered traditionally sacred remain under the umbrella term of religious art, but not sacred art.

Other terms often used for art of various religions are cult image, usually for the main image in a place of worship, icon in its more general sense (not restricted to Eastern Orthodox images), and "devotional image" usually meaning a smaller image for private prayer or worship. Images can often be divided into "iconic images", just showing one or more figures, and "narrative images" showing moments from an episode or story involving sacred figures.

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Byzantine Iconoclasm in the context of Michael II

Michael II (Greek: Μιχαὴλ, Mikhaḗl; 770 – 2 October 829), called the Amorian (ὁ ἐξ Ἀμορίου, ho ex Amoríou) and the Stammerer (ὁ Τραυλός, ho Travlós or ὁ Ψελλός, ho Psellós), reigned as Byzantine emperor from 25 December 820 to his death on 2 October 829, the first ruler of the Amorian dynasty.

Born in Amorium, Michael was a soldier, rising to high rank along with his colleague Leo V the Armenian (r. 813–820). He helped Leo overthrow and take the place of Emperor Michael I Rhangabe. However, after they fell out Leo sentenced Michael to death. Michael then masterminded a conspiracy which resulted in Leo's assassination at Christmas in 820. Immediately he faced the long revolt of Thomas the Slav, which almost cost him his throne and was not completely quelled until spring 824. The later years of his reign were marked by two major military disasters that had long-term effects: the beginning of the Muslim conquest of Sicily, and the loss of Crete to Andalusian Arab pirates. Domestically, he supported and strengthened the resumption of official iconoclasm, which had begun again under Leo V.

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Byzantine Iconoclasm in the context of Constantine V

Constantine V (Greek: Κωνσταντῖνος, romanizedKōnstantīnos; July 718 – 14 September 775) was Byzantine emperor from 741 to 775. His reign saw a consolidation of Byzantine security from external threats. As an able military leader, Constantine took advantage of civil war in the Muslim world to make limited offensives on the Arab frontier. With this eastern frontier secure, he undertook repeated campaigns against the Bulgars in the Balkans. His military activity, and policy of settling Christian populations from the Arab frontier in Thrace, made Byzantium's hold on its Balkan territories more secure. He was also responsible for important military and administrative innovations and reforms.

Religious strife and controversy was a prominent feature of his reign. His fervent support of iconoclasm and opposition to monasticism led to his vilification by some contemporary commentators and the majority of later Byzantine writers, who denigrated him with the nicknames "Dung-Named" (Ancient Greek: Κοπρώνυμος, romanizedKoprónymos), because he allegedly defaecated during his baptism, similarly "Anointed with Urine" (Ancient Greek: Οὐραλύφιος, romanizedOuralýphios), and "the Equestrian" (Ancient Greek: Καβαλλίνος, romanizedKaballinos), referencing the excrement of horses.

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Byzantine Iconoclasm in the context of Icon of the Triumph of Orthodoxy

The Icon of the Triumph of Orthodoxy (also known as the Icon of the Sunday of Orthodoxy) is a divine celebratory icon created around 1400 to commemorate the first feast of the Triumph of Orthodoxy on the first Sunday of Great Lent. The icon references the overcoming of the Byzantine Empire’s Eastern Orthodox faith from the dominance of the Islamic faith and the Byzantine Iconoclasm in 842. Shown in the icon's composition are important figures such as the Virgin Hodegetria, her child Jesus, and eleven saints and martyrs associated with the Triumph of Orthodoxy. Other elements and saints depicted in the icon’s composition are representative of iconodule ideology and the turmoil endured. It is painted with mediums such as gold leaf and egg wash that are of divine spiritual significance.

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Byzantine Iconoclasm in the context of Triumph of Orthodoxy

The Feast of Orthodoxy (or Sunday of Orthodoxy or Triumph of Orthodoxy) is celebrated on the first Sunday of Great Lent in the Eastern Orthodox Church and other churches using the Byzantine Rite to commemorate, originally, only the final defeat of iconoclasm on the first Sunday of Lent in 843, and later also opposition to all heterodoxy.

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