Ari Brown
Professor Shapiro
4/19/12
Art 108
Iconoclasms Effects in the Byzantine Empire
During the sixth century of the Byzantine Empire, religious figures became highly
popular in the Byzantine artwork in forms of mosaics, icons, statues, and so on. However,
despite their rising popularity, there was still opposition from many others who believed that
depicting the divine in images was a sin (Brooks). The rift in opinions; plus a series of
unfortunate events in the Byzantine Empire, caused Emperor Leo III to ban the creating of all
sacred images and the destruction of all preexisting artwork displaying religious figures, which
was also known as iconoclasm (Kleiner 139). The period of iconoclasm had a great effect on the
artwork of the Early Byzantine Empire and Middle Byzantine Empire.
Before Emperor Leo III’s imperial ban on divine images, icons played a major role in the
religious lifestyle of the Early Byzantine Empire. Icons were generally small pieces of artwork
that represented divine figures such as the Virgin Mary or a narrative scene such as the
crucifixion of Jesus. These icons could be used as pendants for necklaces or mounted on a pole
to act as a flag (Piper). Frescoes and mosaic images used to decorate a church’s interior in the
Late Byzantine are also considered to be icons (Brooks). Because of the destruction of icon
images during the iconoclasm period in the Byzantine Empire, few examples of icon images
exist today. One of the few examples left of icon images is the Theotokos (Virgin) and Child
between Saints Theodore and George, from the Monastery of Saint Catherine in Sinai, Egypt,
between the sixth and early seventh century. Centered in the image, we see the enthroned
Theotokos holding the child Christ in her lap. On her right stands Saint Theodore and on her left
side stands Saint George. Behind the center figures are two archangels with their eyes staring in
awe at the hand of God, which descends from heaven emitting a beam of light towards the head
of the Holy Virgin (Watson). The figures in the foreground are kept in a frontal perspective; as
the background details are kept minimal to keep the focus on the figures. The artist used a
traditional encaustic on wood technique similar to the panel paintings found in Egypt during the
time of the Roman Empire (Kleiner).
As the popularity of icon images raised during the sixth century, so did the internal
conflicts over the creation of art featuring divine figures. Many Christians argued that the Old
Testament stated, “Thou shalt not make unto thee any graven image or any likeness of anything
that is heaven above…” This meant that creating images of divine figures are forbidden
according to the Old Testament (Piper). The tension between the two opposing opinions only
increased when icon worship began to get confused with idol worship during the eighth century.
While these internal conflicts were taking place, a new power force; the Arab, had emerged
unexpectedly against the Byzantine Empire. The Arabian forces managed to take over almost
two-thirds of the Byzantine Empire (Kleiner). The stress from these severe events caused
Emperor Leo III to believe this was punishment for allowing people to worship icons, persuading
him to finally enact the ban of all art displaying images of divine figures in 726 ca. The major
consequences of the iconoclasm period were the destruction of early Byzantine icon art and the
lack of new art creations for nearly an entire century (Piper).
The period of iconoclasm lasted up until the ninth century, when emperors and people
alike started showing distaste against iconoclasm and the destruction of icon images. Shortly
after, artwork was starting to reintroduce itself into the Byzantine Empire and projects to restore
and copy old icon images began. Changes seen in the reintroduction of art in the Middle
Byzantine period include the evolution of distinct portrait types for figures, the use of detailed
backgrounds, and the revival of naturalism seen in classical art (Piper). A fine example of these
changes can be seen in the wall painting Lamentation in Nerezi, Macedonia. In the painting you
can see the artist used his background, not only to create scenery, but also to make contrast with
the human figures. The artist displays the Virgin Mary and Jesus’ disciples with dramatic
expressions of grief and melancholy, as Christ lays dead on the in his mother’s arms. The
combinations of these two factors make the dramatic and emotionally appeal more realistic to the
viewers (Kleiner 142). Another example of changes made in Middle Byzantine art can be seen in
the tempera on wood icon called Virgin and Child. Compared to an earlier icon such as the
Theotokos (Virgin) and Child between Saints Theodore and George; you can see that the artist
depicted Mary with emotion to give her a more compassionate aura in the wood painting. The
painter accomplishes this emotional appeal by showing her cheek pressed against her son’s as
she contemplates the future sacrifice of her son (Kleiner 144).
To conclude, religious figures were popular subjects in the Byzantine Empire’s artwork.
Many of these artworks were known as icons, which were generally small, portable paintings of
religious figures used to assist in helping an individual focus their prayer towards the divine
figures. Due to their rising popularity, pre-existing tensions against the use of icons grew as well,
and after a series of devastating events; persuaded Emperor Leo III to pass an imperial ban on
the use of divine figures in artwork. This imperial ban know as iconoclasm, lead to a period of
destruction for many icon images and the seemingly lack of any new art for nearly a century.
This lasted until the Middle Byzantine period, when more people started to show a powerful
reaction against the imperial ban. After the period of iconoclasm ended, art was reintroduced and
reworked with new changes such as the evolution of distinct portrait types for figures, the use of
detailed backgrounds, and the revival of naturalism seen in classical art. These changes lasted
until the end of the Byzantine Empire in 1453 ca.
Works Cited
Brooks, Sarah. "Icons and Iconoclasm in Byzantium." August 2009. In Heilbrunn Timeline of Art History.
19 April 2012 <http://www.metmuseum.org/toah/hd/icon/hd_icon.htm>.
Kleiner, Fred S. Gardener's Art Through The Ages. Boston: Clark Baxter, 2009.
Piper, David. Piper, David. The Illustrated History of Art. Bounty Books, 2000.
Watson, John. The Icons of St. Catherine's Monastery In Egypt's Sinai. 19 April 2012
<http://www.touregypt.net/featurestories/catherines2-2.htm>.