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The tendency toward emotionalism in icons continued in the Paleologan period , which began in Palaiologan art reached its pinnacle in mosaics such as those of Chora Church. In the last half of the 14th century, Palaiologan saints were painted in an exaggerated manner, very slim and in contorted positions, that is, in a style known as the Palaiologan Mannerism, of which Ochrid's Annunciation is a superb example.

After , the Byzantine tradition was carried on in regions previously influenced by its religion and culture — in the Balkans, Russia, and other Slavic countries, Georgia and Armenia in the Caucasus, and among Eastern Orthodox minorities in the Islamic world. In the Greek-speaking world Crete , ruled by Venice until the midth century, was an important centre of painted icons, as home of the Cretan School , exporting many to Europe. Crete was under Venetian control from and became a thriving center of art with eventually a Scuola di San Luca , or organized painter's guild, the Guild of Saint Luke , on Western lines.

Cretan painting was heavily patronized both by Catholics of Venetian territories and by Eastern Orthodox. For ease of transport, Cretan painters specialized in panel paintings, and developed the ability to work in many styles to fit the taste of various patrons. El Greco , who moved to Venice after establishing his reputation in Crete, is the most famous artist of the school, who continued to use many Byzantine conventions in his works.

In the city of Heraklion, on Crete, which at one time boasted at least painters, finally fell to the Turks, and from that time Greek icon painting went into a decline, with a revival attempted in the 20th century by art reformers such as Photis Kontoglou , who emphasized a return to earlier styles. Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. Many religious homes in Russia have icons hanging on the wall in the krasny ugol — the "red" corner see Icon corner.

There is a rich history and elaborate religious symbolism associated with icons.

In Russian churches, the nave is typically separated from the sanctuary by an iconostasis , a wall of icons. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians—notably Andrei Rublev and Dionisius —widened the vocabulary of iconic types and styles far beyond anything found elsewhere. The personal, improvisatory and creative traditions of Western European religious art are largely lacking in Russia before the 17th century, when Simon Ushakov 's painting became strongly influenced by religious paintings and engravings from Protestant as well as Catholic Europe.

In the midth century, changes in liturgy and practice instituted by Patriarch Nikon of Moscow resulted in a split in the Russian Orthodox Church.

The traditionalists, the persecuted "Old Ritualists" or " Old Believers ", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time.

The Stroganov School and the icons from Nevyansk rank among the last important schools of Russian icon-painting. In Romania , icons painted as reversed images behind glass and set in frames were common in the 19th century and are still made. The process is known as reverse glass painting.

Athos were gradually replaced by small, locally produced icons on glass, which were much less expensive and thus accessible to the Transylvanian peasants[.

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The Coptic Orthodox Church of Alexandria and Oriental Orthodoxy also have distinctive, living icon painting traditions. Coptic icons have their origin in the Hellenistic art of Egyptian Late Antiquity, as exemplified by the Fayum mummy portraits. Beginning in the 4th century, churches painted their walls and made icons to reflect an authentic expression of their faith. Although the word "icon" is not used in Western Christianity , there are religious works of art which were largely patterned on Byzantine works, and equally conventional in composition and depiction.

Until the 13th century, "icon"-like portraits followed East pattern — although very few survive from this early period. From the 13th century, the western tradition came slowly to allow the artist far more flexibility, and a more realist approach to the figures. If only because there was a much smaller number of skilled artists, the quantity of works of art, in the sense of panel paintings, was much smaller in the West, and in most Western settings a single diptych as an altarpiece, or in a domestic room, probably stood in place of the larger collections typical of Orthodox " icon corners ".

Only in the 15th century did production of painted works of art begin to approach Eastern levels, supplemented by mass-produced imports from the Cretan School. In this century, the use of "icon"-like portraits in the West was enormously increased by the introduction of old master prints on paper , mostly woodcuts which were produced in vast numbers although hardly any survive.

They were mostly sold, hand-coloured, by churches, and the smallest sizes often only an inch high were affordable even by peasants , who glued or pinned them straight onto a wall. With the Reformation , after an initial uncertainty among early Lutherans, who painted a few "icon"-like depictions of leading Reformers, and continued to paint scenes from Scripture, Protestants came down firmly against icon-like portraits, especially larger ones, even of Christ.

Many Protestants found these "idolatrous".

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There is some minor difference, however, in the Catholic attitude to images from that of the Orthodox. Following Gregory the Great, Catholics emphasize the role of images as the Biblia Pauperum , the "Bible of the Poor," from which those who could not read could nonetheless learn. Catholics also, however, share the same viewpoint with the Orthodox when it comes to image veneration, believing that whenever approached, sacred images are to be reverenced.

Though using both flat wooden panel and stretched canvas paintings, Catholics traditionally have also favored images in the form of three-dimensional statuary, whereas in the East, statuary is much less widely employed. A recent joint Lutheran—Orthodox statement made in the 7th Plenary of the Lutheran—Orthodox Joint Commission, on July in Helsinki, reaffirmed the ecumenical council decisions on the nature of Christ and the veneration of images:.

As Lutherans and Orthodox we affirm that the teachings of the ecumenical councils are authoritative for our churches. Orthodox and Lutherans, however, have different histories. Lutherans have received the Nicaeno-Constantinopolitan Creed with the addition of the filioque. The Seventh Ecumenical Council, the Second Council of Nicaea in , which rejected iconoclasm and restored the veneration of icons in the churches, was not part of the tradition received by the Reformation. Lutherans, however, rejected the iconoclasm of the 16th century, and affirmed the distinction between adoration due to the Triune God alone and all other forms of veneration CA Through historical research this council has become better known.

Nevertheless it does not have the same significance for Lutherans as it does for the Orthodox.

Yet, Lutherans and Orthodox are in agreement that the Second Council of Nicaea confirms the christological teaching of the earlier councils and in setting forth the role of images icons in the lives of the faithful reaffirms the reality of the incarnation of the eternal Word of God, when it states: Certainly this is not the full adoration in accordance with our faith, which is properly paid only to the divine nature, but it resembles that given to the figure of the honored and life-giving cross, and also to the holy books of the gospels and to other sacred objects" Definition of the Second Council of Nicaea.

From Wikipedia, the free encyclopedia. This article is about religious images. For other uses, see Icon disambiguation. Mosaic of Christ Pantocrator , Hagia Sophia. Paschal cycle 12 Great Feasts Other feasts: Feast of Orthodoxy Intercession of the Theotokos. Russian icons and List of oldest Russian icons. Storia delle immagini sacre attribuite a san Luca Pisa: Letter 51 Jerome ". Banias, the Lost City of Pan I. Tauris , London, Gwynn, From Iconoclasm to Arianism: Knopf , New York, Seabury Press, Ignatius Press , Hosten in his book Antiquities notes the following "The picture at the mount is one of the oldest, and, therefore, one of the most venerable Christian paintings to be had in India.

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Vladimir's Seminary Press, Tikhon's Seminary Press, Icons and Their Veneration, Sobornost, 6 , pp. See also Evdokimov, L' Orthodoxie Neuchatel , p. Cambridge University Press, , pp.

Veneration of the image venerates its original: It does not occur in the Gospels. Praetorian prefects Magister officiorum Comes sacrarum largitionum Comes rerum privatarum Quaestor sacri palatii. All icons are done by a single designer, so your user interface will look consistent. Vector icons are not merged and have preserved shapes. Goodbye monster fonts of icons.

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