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Imago Dei: The Byzantine Apologia for Icons
In 726 the Byzantine emperor, Leo III, issued an edict that all religious images in the empire were to be destroyed, a directive that was later endorsed by a synod of the Church in 753 under his son, Constantine V. If the policy of Iconoclasm had succeeded, the entire history of Christian art--and of the Christian church, at least in the East--would have been altered.
Iconoclasm was defeated--by Byzantine politics, by popular revolts, by monastic piety, and, most fundamentally of all, by theology, just as it had been theology that the opponents of images had used to justify their actions. Analyzing an intriguing chapter in the history of ideas, the renowned scholar Jaroslav Pelikan shows how a faith that began by attacking the worship of images ended first in permitting and then in commanding it.
Pelikan charts the theological defense of icons during the Iconoclastic controversies of the eighth and ninth centuries, whose high point came in A.D. 787, when the Second Council of Nicaea restored the cult of images in the church. He demonstrates how the dogmas of the Trinity and the Incarnation eventually provided the basic rationale for images: because the invisible God had become human and therefore personally visible in Jesus Christ, it became permissible to make images of that Image. And because not only the human nature of Christ, but that of his Mother had been transformed by the Incarnation, she, too, could be iconized, together with all the other saints and angels.
The iconographic text of the book is provided by one of the very few surviving icons from the period before Iconoclasm, the Egyptian tapestry Icon of the Virgin now in the Cleveland Museum of Art. Other icons serve to illustrate the theological argument, just as the theological argument serves to explain the icons.
Iconoclasm was defeated--by Byzantine politics, by popular revolts, by monastic piety, and, most fundamentally of all, by theology, just as it had been theology that the opponents of images had used to justify their actions. Analyzing an intriguing chapter in the history of ideas, the renowned scholar Jaroslav Pelikan shows how a faith that began by attacking the worship of images ended first in permitting and then in commanding it.
Pelikan charts the theological defense of icons during the Iconoclastic controversies of the eighth and ninth centuries, whose high point came in A.D. 787, when the Second Council of Nicaea restored the cult of images in the church. He demonstrates how the dogmas of the Trinity and the Incarnation eventually provided the basic rationale for images: because the invisible God had become human and therefore personally visible in Jesus Christ, it became permissible to make images of that Image. And because not only the human nature of Christ, but that of his Mother had been transformed by the Incarnation, she, too, could be iconized, together with all the other saints and angels.
The iconographic text of the book is provided by one of the very few surviving icons from the period before Iconoclasm, the Egyptian tapestry Icon of the Virgin now in the Cleveland Museum of Art. Other icons serve to illustrate the theological argument, just as the theological argument serves to explain the icons.
208 pages, Hardcover
First published January 1, 1990
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About the author
Jaroslav Pelikan
176 books132 followersJaroslav Jan Pelikan was born in Akron, Ohio, to a Slovak father and mother, Jaroslav Jan Pelikan Sr. and Anna Buzekova Pelikan. His father was pastor of Trinity Slovak Lutheran Church in Chicago, Illinois, and his paternal grandfather a bishop of the Synod of Evangelical Lutheran Churches then known as the Slovak Lutheran Church in America.
According to family members, Pelikan's mother taught him how to use a typewriter when he was three years old, as he could not yet hold a pen properly but wanted to write. A polyglot, Pelikan's facility with languages may be traced to his multilingual childhood and early training. That linguistic facility was to serve him in the career he ultimately chose (after contemplating becoming a concert pianist)--as a historian of Christian doctrine. He did not confine his studies to Roman Catholic and Protestant theological history, but also embraced that of the Christian East.
In 1946 when he was 22, he earned both a seminary degree from Concordia Seminary in Saint Louis, Missouri and a Ph.D. at the University of Chicago.
Pelikan wrote more than 30 books, including the five-volume The Christian Tradition: A History of the Development of Doctrine (1971–1989). Some of his later works attained crossover appeal, reaching beyond the scholarly sphere into the general reading public (notably, Mary Through the Centuries, Jesus Through the Centuries and Whose Bible Is It?).
His 1984 book The Vindication of Tradition gave rise to an often quoted one liner. In an interview in U.S. News & World Report (June 26, 1989), he said: "Tradition is the living faith of the dead; traditionalism is the dead faith of the living. Tradition lives in conversation with the past, while remembering where we are and when we are and that it is we who have to decide.
"Traditionalism supposes that nothing should ever be done for the first time, so all that is needed to solve any problem is to arrive at the supposedly unanimous testimony of this homogenized tradition."
According to family members, Pelikan's mother taught him how to use a typewriter when he was three years old, as he could not yet hold a pen properly but wanted to write. A polyglot, Pelikan's facility with languages may be traced to his multilingual childhood and early training. That linguistic facility was to serve him in the career he ultimately chose (after contemplating becoming a concert pianist)--as a historian of Christian doctrine. He did not confine his studies to Roman Catholic and Protestant theological history, but also embraced that of the Christian East.
In 1946 when he was 22, he earned both a seminary degree from Concordia Seminary in Saint Louis, Missouri and a Ph.D. at the University of Chicago.
Pelikan wrote more than 30 books, including the five-volume The Christian Tradition: A History of the Development of Doctrine (1971–1989). Some of his later works attained crossover appeal, reaching beyond the scholarly sphere into the general reading public (notably, Mary Through the Centuries, Jesus Through the Centuries and Whose Bible Is It?).
His 1984 book The Vindication of Tradition gave rise to an often quoted one liner. In an interview in U.S. News & World Report (June 26, 1989), he said: "Tradition is the living faith of the dead; traditionalism is the dead faith of the living. Tradition lives in conversation with the past, while remembering where we are and when we are and that it is we who have to decide.
"Traditionalism supposes that nothing should ever be done for the first time, so all that is needed to solve any problem is to arrive at the supposedly unanimous testimony of this homogenized tradition."
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Displaying 1 - 3 of 3 reviews
August 21, 2023
A guided tour to the inner-logic of the Byzantine iconodulist position, and the Christological questions that led to Nicea II. A great follow up to Pelikan's "Vindication of Tradition," since here he dives into his brief example of Nicea II as a time when the church "changed in order to remain the same." However, it's clear even here that Pelikan portrays the "change" at Nicea II to be less radical than he views it to be in his 1983 Vindication of Tradition, and interestingly avoids the historical arguments for Nicea II, focusing instead on the ingenuity of the theological developments during this time.
This work also features fantastic examples (and reproductions) of early Christian art, many which I had not yet encountered, that show how deeply ingrained specific types of images were in the Christian imagination, and that these likely belie a long pedigree of Christian image-making.
While Pelikan did not enter the Eastern Orthodox Catholic Church until 1998, it is clear the Eastern tradition occupied his capable mind for many years prior. The view which Pelikan expounds here—and which he clearly admires—is not the Lutheran position, and likely helped draw him finally to the East.
This work also features fantastic examples (and reproductions) of early Christian art, many which I had not yet encountered, that show how deeply ingrained specific types of images were in the Christian imagination, and that these likely belie a long pedigree of Christian image-making.
While Pelikan did not enter the Eastern Orthodox Catholic Church until 1998, it is clear the Eastern tradition occupied his capable mind for many years prior. The view which Pelikan expounds here—and which he clearly admires—is not the Lutheran position, and likely helped draw him finally to the East.
February 26, 2025
A wide-ranging look at both the artistic tropes of icons and the political context of Byzantium pre and post Iconoclasm.
October 11, 2024
Fr. Pelikan mades this controversy clear to me; of course, I would pause frequently to digest the material on just about every page, sometimes two or three times. The matter is not simple; he digs deep into the theology supporting the veneration of icons (honoring of the holy subjects depicted). There are lots of black and white pictures of icons which illustrate his points. Through reading this book I have a much better grasp of the subject than before.
Displaying 1 - 3 of 3 reviews