Cult of Image of Supernatural Origin - Essay Example

Byzantine Culture: Cult of Image of Supernatural Origin Many people know that essence of every religionis first of all a belief in a supreme power, which are able for the performance of unearthly miracles, which exercise is completely impossible for ordinary person. As a result the original form of religious belief can be described as magic. Both religion and magic have one thing in common - the belief that human`s destiny depends largely on the secret, unknown and supernatural forces. Main religion`s issue on which one relies is the faith in the unknown, simply put, in miracles, religious beliefs and positions that are taken as indisputable truth, indestructible under influence of any circumstances, so-called postulates – definitions, which are taken into account without a logical explanation. Nowadays, people worship God and his Image on the icons. It is believed that the icon is the conductor of the Holy Spirit to Earth. People usually explain icon`s miracles with their supernatural origin. It was believed their appearance and mistique was sanctioned by heaven1. In Byzantium two main branches of mysticism were distributed as well as in relation with iconography. One of them was represented in a contemplative way, being philosophically speculative and characterized by reflection -the desire to reach the deity by systematic abstract logical thinking activity. For this type of mystics it seemed particularly important to create a classification of the states and actions, to chart the bad thoughts, to dismember the steps, which make one closer to the deity. In the other direction of mystics, which kept on morality and practice, logical thought was obscured with tactile-specific representation on the subject of the approximation of the human with the God: the mystic is trying to develop himself to a stage when he would be able to see the divine`s light, to hear the God`s voice. However, in fact in both cases, the act of salvation is not so much a result of the actions of the clergy, but as an individual feat, accessible to everyone and the holy image mosaics decorating the church`s walls were the beginning of the Byzantine visual art. What was it said for? Thanks to miracles associated with icons - "through the interaction of social concepts - such as envy, limited goof and the source of illness"2, people began to treat them with trembling. Vestiges of antiquity - demons, angels and divinities - significantly influenced the perception of the world of further generations3. It should be noted, that before the era of iconoclasm, Byzantium was known “for its relics, not its icons” and more miracles were attributed to the saints and relics. The icons got supernatural features because of the “holy oil sanctified is divine presence”4. The Greek word “eikon” in the sense for both Christians and non-Christians seemed referring to a sacred image, visual or rhetorical5. They were thought to express the divine`s essences. Supernatural origin meant the image had fallen from heaven6. Icon`s scripture was not available to everyone, which gave to this process a sacred meaning in the eyes of the common people. Let`s pay attention to iconographic Byzantine manner, in order to represent better the "divine`s" meaning that they were meant to carry in the cult: figures are frozen in eternal immobility, specific background gradually disappears, it is replaced with the eternal golden glow. The figures are turned to the spectator. They are majestic and monumental. The colors are also symbolic: purple - the color of the divine and the imperial dignity; red - the color of the flame of fire, a punishment as well as cleaning and blood. White is often opposed to red as a symbol of divine light. Sanctity of images of people and angels is highlighted with shining around their heads. The proportions of the human body are extended, reaching for the sky. Such icons are depicting God Mother, St.John the Baptist, the Archangels and the Apostles and the other characters of the Scriptures. The icon theory claimed the images were copies of real people, not an invention of the imaginary7. However, later it was noted the presence of a special aura that does not allow disrespect and evil thoughts, punishing heretics. In particular, it was noted that these icons are impossible to be stolen. Constantinople was proud of these icons, believing they mean the city and people are under the protection of God. All this lead to the fact that image cult, that carried Byzantium during the 6th and 7th centuries, “blurred the distinction between image and prototypes”8 and icons got “magic” power as well as the mosaic church art for which gemstones were mostly symbols of spiritual qualities. This explains the abundance of gems on the salaries of the holy miracle-working icons and the Gospels and other highly esteemed relics. The essence of the icon perceived promise of life, victory over death, not separation. It inherited a kind of purpose of ritual death masks, the problem of erecting a phenomenon of the spirit to the highest degree. The cult of saints promised help and support910. The canonical legislation of religious imaginary was made in 692, and a half of century later in 754 the situation changed in direction of iconoclasm11. This art was claimed “accursed” and should not represent the humanization of supernatural12. In the history of the Byzantine period of iconoclasm (starting from Emperor Constantine), which lasted more than a century, could be called an epoch not only of religious value but also political and cultural life of the Empire13. The problem of the relationship to the sacred images was at the center of controversy, which rose to almost all religions and cultures. The veneration of icons was likened to idolatry and thus opposite to Exodus 20:4 “Do not make an idol for yourself”14. Assuming a valid entry in the Eucharist in a tangible realm of the supernatural, iconoclasts rejected the idea that the icon is the image of the deity, a way by which the believer is able to touch the supernatural. One of the main stumbling block of the cult`s threats was the divine origin of Christ15. An outspoken advocating of icons was made by John of Damascus, explaining the veneration of icons with the honor not for image, but for Prototype. The crisis of iconoclasm broke the borders between worship the Word of God in the image of the Holy Face in everyday life. Contemporaries wrote about Byzantine icon of the Virgin and Christ in the following manner that they were only for the illiterate, and they are a fact of the glorification of virtue, the salvation of souls and avoiding evil. However, the imperial power decided to fire and sword to destroy the veneration of icons and their admirers began mass persecution. Period of iconoclasm was marked by historians as a cultural decline of the Byzantine Empire. I would like to conclude by noting two images of miraculous icons. The “Holy Face” - the image of the Savior, miraculously imprinted on a piece of fabric (board, towel), which was called “Holy Mandylion” in Byzantium. The first mentions of its existence are dated by the end of the 6th century. In the middle of the 10th century “The Story of the Holy Image” was created, which sets out two legends about the origin of the Image of the Savior. After the capture of Constantinople by the Crusaders in 1204 the fate of the image becomes unknown. In the 12th century The Image of the Savior becomes of independent significance. Image of the Virgin Mary has also taken its place of honor, miraculously manifested on a pillar in the temple in the town of Lydda. The last mention of the miraculous icon of the Mother of God refers to the 11th century. Apparently, the original of the icon disappeared or were destroyed during the conquest of the Byzantine Empire by Muslims. One of the clearest examples of active and regular religious activities affecting the general population was procession with the icon of the Virgin Mary, commited each week for several centuries in the center of Byzantine capital on the square near the monastery Odigon, which the miraculous image belonged to. The icon was glorified with its healing powers and the ability to publicly display of its supernatural properties during the procession, organized in accordance with a long-time tradition. Sources pointed out the unusually heavy weight of the image, which was not small itself and at the same time Image was heavily decorated. A few people "seven or eight”, carried it out of the temple, and one could move it easily. It is significant that this happening was not called miracle, but only a marvelous sight, although it was noted that the transferring of the icon is carried not without the God` wish. In general, the cult of icons happened due the willingness of ordinary people to believe in miracles, in one God who is really ready to take an active part in the life of worldly world. References Belting, Hans. Likeness and Presence: A History of the Image Before the Era of Art. University of Chicago Press, 1996. Brubaker Leslie, John Haldon. Byzantium in the Iconoclast Era, C. 680-850: A History.Cambridge University Press. 2011. Cormack, Robin, Byzantine Art, Oxford: Oxford University Press, 2000. Exodus 20:4. Holy Bible, New International Version by Biblica, Inc. 2011. Maguire, Henry (ed.). Byzantine Magic. Dumbarton Oaks, 1995. Maguire, Henry, "Extract" from Maguire, Henry, The icons of their bodies : saints and their images in Byzantium pp.5-17, Brotherton Main level 4 Art B-0.82 MAG: Princeton University Press, 1996. Maguire, Henry. Nectar and Illusion: Nature in Byzantine Art and Literature. Oxford University Press, 2012. Talbot, Alice-Mary M. Byzantine Defenders of Images: Eight Saints Lives in English Translation. Dumbarton Oaks, 1998. Tatakēs, Vasileios N. Byzantine Philosophy. Hackett Publishing, 2003. Trzcionka, Silke. Magic and the Supernatural in Fourth Century Syria.Routledge. 2006. Woodfin, Warren T. The Embodied Icon: Liturgical Vestments and Sacramental Power in Byzantium. Oxford University Press, 2012. Read More