“The second Council of Nicaea is the seventh and last Ecumenical Council recognized by the Orthodox Church. This does not mean that there may not be ecumenical Councils in the future although, in holding the seventh place, the Council of Nicaea has taken to itself the symbol of perfection and completion represented by this number in Holy Scripture (e.g. Gen. 2:1-3). It closes the era of the great dogmatic disputes which enabled the Church to describe, in definitions excluding all ambiguity, the bounds of the holy Orthodox Faith. From that time, every heresy that appears can be related to one or other of the errors that the Church, assembled in universal Councils, has anathematized from the first until the seventh Council of Nicaea.” Synaxarion
We chant the Service to the 350 holy Fathers of the Seventh Ecumenical Council, which gathered in Nicaea in 787 under the holy Patriarch Tarasius and during the reign of theEmpress Irene and her son, Constantine Porphyrogenitus, to refute the Iconoclast heresy, which had received imperial support beginning with the Edict issued in 726 by Emperor Leothe Isaurian. Many of the holy Fathers who condemned Iconoclasm at this holy Council later died as Confessors and Martyrs for the holy Icons during the second assult of Iconoclasm inthe ninth century, especially during the reigns of Leo the Armenian and Theophilus
Troparion, Tone 8
Most glorified art Thou, O Christ our God, Who hast established our Fathers as luminous stars upon the earth, and through them didst guide us all to the true Faith. O Most Merciful One, glory be to Thee.
Kontakion, Tone 2
The Son who shone forth from the Father, was born of woman in two natures. Having beheld Him, we do not deny the image of His form. Devoutly depicting it we honor it in faith.Therefore the Church, maintaining the true faith, venerates the icon of Christ’s incarnation.
The Holy Icons
Disputes concerning the Person of Christ did not cease with the Council of 681, but were extended in a different form into the eighth and ninth centuries. The struggle centered on the Holy Icons, the pictures of Christ, the Mother of God, and the Saints, which were kept and venerated both in churches and in private homes.
The Iconoclasts or icon-smashers, suspicious of any religious art which represented human beings or God, demanded the destruction of icons; the opposite party, the Iconodules or venerators of icons, vigorously defended the place of icons in the life of the Church. The struggle was not merely a conflict between two conceptions of Christian art. Deeper issues were involved: the character of Christ’s human nature, the Christian attitude towards matter, the true meaning of Christian redemption.
The Iconoclasts may have been influenced from the outside by Jewish and Moslem ideas, and it is significant that three years before the first outbreak of Iconoclasm in the Byzantine Empire, the Mohammedan Caliph Yezid ordered the removal of all icons within his dominions. But Iconoclasm was not simply imported from outside; within Christianity itself there had always existed a “puritan” outlook, which condemned icons because it saw in all images a latent idolatry.
When the Isaurian Emperors attacked icons, they found plenty of support inside the Church. Typical of this puritan outlook is the action of Saint Epiphanius of Salamis (315?-403), who, on finding in a Palestinian village church a curtain woven with the figure of Christ, tore it down with indignation. This attitude was always strong in Asia Minor, and some hold that the Iconoclast movement was an Asiatic protest against Greek tradition. But there are difficulties in such a view; the controversy was really a split withinthe Greek tradition.
The Iconoclast controversy, which lasted some 120 years, falls into two phases. The first period opened in 726 when Leo 3 began his attack on icons, and ended in 780 when the Empress Irene suspended the persecution. The Iconodule position was upheld by the seventh and last Ecumenical Council (787), which met (as the first had done) at Nicaea. Icons, the Council proclaimed, are to be kept in churches and honored with the same relative veneration as is shown to other material symbols, such as “the precious and life-giving Cross” and the Book of the Gospels.
A new attack on icons, started by Leo V the Armenian in 815, continued until 843 when the icons were again reinstated, this time permanently, by another Empress, Theodora. The final victory of the Holy Images in 843 is known as “the Triumph of Orthodoxy,” and is commemorated in a special service celebrated on “Orthodoxy Sunday,” the first Sunday in Lent. During this service the true faith — Orthodoxy — is proclaimed, its defenders are honored, and anathemas pronounced on all who attack the Holy Icons or the Seven General Councils:
To those who reject the Councils of the Holy Fathers, and their traditions which are agreeable to divine revelation, and which the Orthodox Catholic Church piously maintains, anathema! anathema! anathema!
The chief champion of the icons in the first period was Saint John of Damascus (675-749), in the second Saint Theodore of Studium (759-826). John was able to work the more freely because he dwelt in Moslem territory, out of reach of the Byzantine government. It was not the last time that Islam acted unintentionally as the protector of Orthodoxy.
One of the distinctive features of Orthodoxy is the place which it assigns to icons. An Orthodox church today is filled with them: dividing the sanctuary from the body of the building there is a solid screen, the iconostasis, entirely covered with icons, while other icons are placed in special shrines around the church; and perhaps the walls are covered with icons in fresco or mosaic. An Orthodox prostrates himself before these icons, he kisses them and burns candles in front of them; they are censed by the priest and carried in procession. What do these gestures and actions mean? What do icons signify, and why did John of Damascus and others regard them as important?
We shall consider first the charge of idolatry, which the Iconoclasts brought against the Iconodules; then the positive value of icons as a means of instruction; and finally their doctrinal importance.
The question of idolatry. When an Orthodox kisses an icon or prostrates himself before it, he is not guilty of idolatry. The icon is not an idol but a symbol; the veneration shown to images is directed, not towards stone, wood, and paint, but towards the person depicted. This had been pointed out some time before the Iconoclast controversy by Leontius of Neapolis (died about 650):
We do not make obeisance to the nature of wood, but we revere and do obeisance to Him who was crucified on the Cross…. When the two beams of the Cross are joined together I adore the figure because of Christ who on the Cross was crucified, but if the beams are separated, I throw them away and burn them (Migne, Patrologia Graeca[P.G.], xciv, 1384d)..
Because icons are only symbols, Orthodox do not worship them, but reverence or veneratethem. John of Damascus carefully distinguished between the relative honor or veneration shown to material symbols, and the worship due to God alone.
Icons as part of the Church’s teaching. Icons, said Leontius, are “opened books to remind us of God” (P.G. xciv, 1276a); they are one of the means which the Church employs in order to teach the faith. He who lacks learning or leisure to study works of theology has only to enter a church to see unfolded before him on the walls all the mysteries of the Christian religion. If a pagan asks you to show him your faith, said the Iconodules, take him into church and place him before the icons (Ad Constantinum Cabalinum, P.G. xcv, 325c. Icons are a part of Holy Tradition [see p. 214]).
The doctrinal significance of icons. Here we come to the real heart of the Iconoclast dispute. Granted that icons are not idolatrous; granted that they are useful for instruction; but are they not only permissible but necessary? Is it essential to have icons? The Iconodules held that it is, because icons safeguard a full and proper doctrine of the Incarnation. Iconoclasts and Iconodules agreed that God cannot be represented in His eternal nature: “No man hath seen God at any time” (John 1:18). But, the Iconodules continued, the Incarnation has made a representational religious art possible: God can be depicted because He became man and took flesh. Material images, argued John of Damascus, can be made of Him who took a material body:
Of old God the incorporeal and uncircumscribed was not depicted at all. But now that God has appeared in the flesh and lived among men, I make an image of the God who can be seen. I do not worship matter but I worship the Creator of matter, who for my sake became material and deigned to dwell in matter, who through matter effected my salvation. I will not cease from worshipping the matter through which my salvation has been effected (On Icons, i, 16, P. G. xciv 1245a).
The Iconoclasts, by repudiating all representations of God, failed to take full account of the Incarnation. They fell, as so many puritans have done, into a kind of dualism. Regarding matter as a defilement, they wanted a religion freed from all contact with what is material; for they thought that what is spiritual must be non-material. But this is to betray the Incarnation, by allowing no place to Christ’s humanity, to His body; it is to forget that man’s body as well as his soul must be saved and transfigured. The Iconoclast controversy is thus closely linked to the earlier disputes about Christ’s person. It was not merely a controversy about religious art, but about the Incarnation and the salvation of man.
God took a material body, thereby proving that matter can be redeemed: “The Word made flesh has deified the flesh,” said John of Damascus (On Icons, i, 21 [P.G. xciv, 1253b]). God has “deified” matter, making it “spirit-bearing”; and if flesh became a vehicle of the Spirit, then so — though in a different way — can wood and paint. The Orthodox doctrine of icons is bound up with the Orthodox belief that the whole of God’s creation, material as well as spiritual, is to be redeemed and glorified. In the words of Nicholas Zernov (1898-1980) — what he says of Russians is true of all Orthodox:
Icons were for the Russians not merely paintings. They were dynamic manifestations of man’s spiritual power to redeem creation through beauty and art. The colors and lines of the [icons] were not meant to imitate nature; the artists aimed at demonstrating that men, animals, and plants, and the whole cosmos, could be rescued from their present state of degradation and restored to their proper “Image.” The [icons] were pledges of the coming victory of a redeemed creation over the fallen one…. The artistic perfection of an icon was not only a reflection of the celestial glory — it was a concrete example of matter restored to its original harmony and beauty, and serving as a vehicle of the Spirit. The icons were part of the transfigured cosmos (The Russians and Their Church, pp. 107-108).
As John of Damascus put it:
The icon is a song of triumph, and a revelation, and an enduring monument to the victory of the saints and the disgrace of the demons (On Icons, 2, 2 [P.G. xciv, 1296b]).
The conclusion of the Iconoclast dispute, the meeting of the seventh Ecumenical Council, the Triumph of Orthodoxy in 843 — these mark the end of the second period in Orthodox history, the period of the Seven Councils.
These Seven Councils are of immense importance to Orthodoxy. For members of the Orthodox Church, their interest is not merely historical but contemporary; they are the concern not only of scholars and clergy, but of all the faithful. “Even illiterate peasants,” said Dean Stanley, “to whom, in the corresponding class of life in Spain or Italy, the names of Constance and Trent would probably be quite unknown, are well aware that their Church reposes on the basis of the Seven Councils, and retain a hope that they may yet live to see an eighth General Council, in which the evils of the time will be set straight” (Lectures on the History of the Eastern Church [Everyman Edition], p. 99).
Orthodox often call themselves “the Church of the Seven Councils.” By this they do not mean that the Orthodox Church has ceased to think creatively since 787. But they see in the period of the Councils the great age of theology; and, next to the Bible, it is the Seven Councils which the Orthodox Church takes as its standard and guide in seeking solutions to the new problems which arise in every generation.
SOURCE: The Orthodox Church, by Bishop Kallistos Ware.