what is iconoclasm in art


His detailed record of his trail of destruction through Suffolk and Cambridgeshire survives:[25], Protestant Christianity was not uniformly hostile to the use of religious images. Stricter definitions of "iconoclasm" exclude both types of action, reserving the term for religious or more widely cultural destruction. At Debal, the Nairun and Aror temples were demolished and converted into mosques. If ever there were an uprising, it was instantly and savagely repressed: houses were burned, the countryside was laid waste, men were slaughtered and women were taken as slaves. Revolutions and changes of regime, whether through uprising of the local population, foreign invasion or a combination of both, are often accompanied by the public destruction of statues and monuments identified with the previous regime. Multi-Step Al finds a new supplier. They had an important liturgical role; masses were held in front of an icon that represented the respective feast. Martin Luther, initially hostile, came round to the view that Christians should be free to use religious images as long as they did not worship them in place of God. Iconodules further argued that decisions such as whether icons ought to be venerated were properly made by the church assembled in council, not imposed on the church by an emperor. “I am not of the opinion” said [Luther], “that through the Gospel all the arts should be banished and driven away, as some zealots want to make us believe; but I wish to see them all, especially music, in the service of Him Who gave and created them.” Again he says: “I have myself heard those who oppose pictures, read from my German Bible. In the Byzantine Empire, iconoclasm began with Emperor Leo III.
The temple was bulldozed by the Pakistan Army on March 27, 1971.The Dhakeshwari Temple was severely damaged during the Indo-Pakistani War of 1971, and over half of the temple's buildings were destroyed. Apart from the purely religious conflict, it created political and economic divisions in Byzantine society; it was generally supported by the Eastern, poorer, non-Greek peoples of the Empire[5] who had to constantly deal with Arabic raids. His campaigns across the gangetic plains are often cited for their iconoclastic plundering and destruction of temples such as those at Mathura and he looked upon their destruction as an act of "jihad". Identify the 19th-20th century art movement that embraced the machine and industrial elements and stemmed from art movement such as cubism. Icon use for religious purposes was viewed as an innovation in the Church, a Satanic misleading of Christians to return to pagan practice. By the beginning of the 8th century it has taken unimaginable proportions, leading to open inner struggles, known as iconoclasm. Scattered expressions of opposition to the use of images have been reported: in 305–306 AD, the Synod of Elvira appeared to endorse iconoclasm; Canon 36 states, "Pictures are not to be placed in churches, so that they do not become objects of worship and adoration." Icons were, as a material medium between the believers and God, used in several ways. This old dispute between Greek and Oriental elements of Byzantine culture can additionaly be confirmed by the names of the empresses who have reestablished the cult of paintings; these were empress Irene of Greece and empress Theodora of Paphlagonia.7, The most prominent of iconoclasm supporters were intelectuals, while the further worshipping of paintings was mostly advocated by the common folk, headed by monks. The chief theological opponents of iconoclasm were the monks Mansur (John of Damascus), who, living in Muslim territory as advisor to the Caliph of Damascus, was far enough away from the Byzantine emperor to evade retribution, and Theodore the Studite, abbot of the Stoudios monastery in Constantinople. Iconophiles considered paintings which were made on top of the icons, equally dreadful as crucifixion of Christ. But when I hear these things and meditate upon them, I find it impossible not to picture them in my heart. ... we decree with full precision and care that, like the figure of the honoured and life-giving cross, the revered and holy images, whether painted or made of mosaic or of other suitable material, are to be exposed in the holy churches of God, on sacred instruments and vestments, on walls and panels, in houses and by public ways; these are the images of our Lord, God and saviour, Jesus Christ, and of our Lady without blemish, the holy God-bearer, and of the revered angels and of any of the saintly holy men. [39], The Kesava Deo temple in Mathura, marked the place that Hindus believe was the birth place of Shri Krishna. Certainly this is not the full adoration in accordance with our faith, which is properly paid only to the divine nature, but it resembles that given to the figure of the honoured and life-giving cross, and also to the holy books of the gospels and to other sacred cult objects.

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