History of Icons
Posts in The Copybook tagged ‘History of Icons’
It is one of the world’s most recognisable works of art, and a symbol of God’s blessing on all Christian Rus’.
The Theotokos of Vladimir is an icon of Mary embracing her child Jesus, which came to Kiev from Constantinople in the 1130s. Not only has it become one of the world’s most recognisable works of sacred art, but on several occasions it has been credited with delivering the Christians of Rus’ from seemingly inevitable disaster.
In 1274, the Pope and the Patriarch of Constantinople signed a historic reunion, but there were some formidable dissenters.
In 1261, the Roman Emperor Michael Palaeologos won his battered empire back from the Crusaders, but Charles, Count of Anjou, was eager to reconquer the East and bring its ‘schismatic’ Christians under the Pope. Michael instructed the Greek Church to give in and save his crown, but twenty-six monks of Mount Athos were more concerned with their consciences.
An obscure officer in the Roman Army gains a dizzying promotion after performing a simple act of kindness.
In the fifth century, about the time when St Patrick was preaching in Ireland, far away in the Roman Empire’s glorious capital of Constantinople an obscure Roman soldier performed a kindness for a blind man which brought the most rapid promotion one could ever imagine.
The young Roman Emperor Theophilus backed away from marriage to the formidable Cassiani, but he could not forget her.
Cassiani was a nun of noble birth in the Roman Empire’s capital city, Constantinople, during the 9th century. Her gift for poetry and hymn-writing was widely admired, and the Eastern service-books are littered with her works. The most famous is a Hymn for Wednesday in Holy Week, and thereby hangs quite a tale.
By the early eighth century, sacred art was thriving in newly-Christian England, but in the East seeds of doubt and confusion had been sown.
Although we associate icons with Eastern Christianity, many churches in Britain prior to the Reformation, and especially in the Anglo-Saxon era before the Conquest of 1066, were wall-to-wall, floor-to-roof, a patchwork of frescoes of saints, Biblical scenes, flowers and animals. Indeed, it was in the East that doubts about sacred art first arose.
A tenth-century Greek monk is joined by a total stranger for Mattins.
In the days of St Dunstan (r. 959-988), Archbishop of Canterbury to King Ethelred the Unready, over in Greece an otherwise comfortably obscure fellow monk – we still do not know his name – was entertaining a guest of even greater royalty.