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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 24

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The icon seems to have been in some sort the channel through which the saint was approached; it has an almost sacramental virtue in...

John of Damascus part 23

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Long afterwards the Frankish bishops in the eighth century were still unable to understand forms that in the East were natural and obvious, but...

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 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 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 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 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 17

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The old pagan sarcophagi had been carved with figures of gods, garlands of flowers, and symbolic ornament; pagan cemeteries, rooms, and temples had been...

John of Damascus part 16

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At Palmyra is a Jewish funeral chamber painted throughout with winged female figures holding up round portraits, above is a picture, quite in the...

John of Damascus part 15

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So also in “De bello Jud.”, 1. l, c. xxxiii (xxi), 2, he says: “It is unlawful to have in thetemple images or pictures...

Galata Tower

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