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John of Damascus: In Defense of Icons, c. 730
The Iconoclastic controversy lasted from 726, when Emperor Leo III (717-741) began an attack on the use of religious images, until 843 when The Empress Theodora allowed their restoration. The two periods of Iconoclasm were separated by the reign of the iconodule Empress Irene, under whom the Second Council of Nicea 787 was held.

Although politics, and especially the politics of church and state were involved, there were serious theological issues at stake. A number of defenses of Icons were made: based on the existence of Divinely approved images in nature and Scripture; based on the reality of the incarnation; and based on a Platonic metaphysics of ascending images which participated in the prototype.

The first two defenses are here presented in the first reading; the Platonic defense in second. Both were written by the Icons’ most distinguished proponent, St. John of Damascus (c.675-c.749), John was able to write freely since lived under Muslim rule outside the boundaries of the Byzantine emperor. In this century plus discussion of art, we find one of the most searching investigations into the nature of art in “western” culture before the Italian Renaissance.
from On Holy Images (c. 730)
Now, as we are talking of images and worship, let us analyse the exact meaning of each. An image is a likeness of the original with a certain difference, for it is not an exact reproduction of the original. Thus, the Son is the living, substantial, unchangeable Image of the invisible God, bearing in Himself the whole Father, being in all things equal to Him, differing only in being begotten by the Father, who is the Begetter; the Son is begotten. The Father does not proceed from the Son, but the Son from the Father. It is through the Son, though not after Him, that He is what He is, the Father who generates. In God, too, there are representations and images of His future acts,-that is to say, His counsel from all eternity, which is ever unchangeable.

John of Damascus part 18

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The famous statue of the Good Shepherd in the Lateran Museum was made as early as the beginning of the third century, the statues...

John of Damascus part 3

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Either, therefore, take away images altogether and be out of harmony with God ,who made these regulations, or receive them with the language and...

John of Damascus part 19

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We notice, however, in the first centuries a certain reluctance to express the pain and humiliation of the Passion of Christ. Whether to spare...

John of Damascus part 4

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As it was answered to Moses, when he was to finish the tabernacle: “See” (He says), “that thou make all things according to the...

John of Damascus part 20

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Although representations of the Crucifixion do not occur till later, the cross, as the symbol of Christianity, dates from the very beginning. Justin Martyr...

John of Damascus part 5

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From The Fount of WisdomBut since some find fault with us for worshipping and honouring the image of our Saviour and that of our...

John of Damascus part 21

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People prayed with extended arms to represent a cross (Origen, “Hom. in Exod.”, iii, 3, Tertullian, “de Orat.”, 14). So also to make the...

John of Damascus part 6

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Often, doubtless, when we have not the Lord’s passion in mind and see the image of Christ’s crucifixion, His saving passion is brought back...

John of Damascus part 22

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Distinct from the admission of images is the question of the way they are treated. What signs of reverence, if any, did the first...

John of Damascus part 7

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It is extremely unsatisfactory from the standpoint of historical criticism. An exasperating lack of detail, a pronounced legendary tendency, and a turgid style are...

Specifics Kargi cloth

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Divan Yolu

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