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Feast of Orthodoxy

The Feast of Orthodoxy, also known as the Sunday of Orthodoxy or the Triumph of Orthodoxy, is an annual celebration in the Eastern Orthodox Church observed on the first Sunday of Great Lent, commemorating the restoration of the veneration of holy icons in 843 AD following the resolution of the Iconoclastic Controversy.^[1]^[2] This feast marks the definitive victory of Orthodox doctrine over iconoclasm, a heretical movement that began in the 8th century under Byzantine Emperor Leo III, who issued edicts against the use and veneration of religious images, viewing them as idolatrous.^[1]^[3] The controversy, spanning over a century and involving periods of intense persecution often called the "Century of Blood," was affirmed against by the Seventh Ecumenical Council at Nicaea in 787 AD, though iconoclasm persisted until its final defeat in 843; the Council affirmed that icons should be venerated—but not worshipped—as representations of Christ, the Theotokos (Mother of God), and the saints, reflecting the reality of the Incarnation where God became visible in human form.^[1]^[2]^[3] The restoration in 843 was achieved through the efforts of Empress Theodora, her son Emperor Michael III, and Patriarch Methodios, who organized a procession from the Church of the Virgin at Blachernai to Hagia Sophia in Constantinople, publicly reinstating icons in the churches after their suppression under Emperor Theophilos.^[1]^[2] This event, celebrated annually since then, underscores the Orthodox Church's commitment to the tangible expression of faith through sacred art, with icons serving as "windows to heaven" that honor the prototypes they depict rather than the material itself, as articulated by theologians like St. John of Damascus and St. Theodore the Studite.^[3] In contemporary observance, the feast features the Divine Liturgy of St. Basil the Great, a procession with icons, and the reading of the Synodikon of Orthodoxy, a liturgical text that proclaims the Church's faith, anathematizes heresies including iconoclasm, and commemorates saints and defenders of Orthodoxy.^[1]^[3] Pan-Orthodox Vespers services are often held, gathering faithful from various jurisdictions to reaffirm unity, while scriptural readings from Hebrews 11 and John 1 emphasize faith and the calling of disciples.^[1] Originally, the day also honored Old Testament figures like Moses, Aaron, and Samuel, linking the triumph to the broader biblical witness.^[2]

Historical Background

Iconoclastic Controversy

The Iconoclastic Controversy refers to a series of religious and political disputes in the Byzantine Empire over the veneration of religious icons, viewed by opponents as idolatrous violations of the Second Commandment (Exodus 20:4).^[4] The theological roots of iconoclasm stemmed from concerns that honoring images equated to worshiping created objects rather than God, a position reinforced by interactions with Islamic theology, which strictly prohibited visual representations of the divine to avoid idolatry.^[4] Emperor Leo III (r. 717–741), an Isaurian of Syrian origin, initiated the movement in 726 by ordering the removal of an icon of Christ from the Chalke Gate in Constantinople, interpreting recent natural disasters and military setbacks against Arab forces as divine judgment on such practices.^[5] This act was influenced by critiques from Muslim neighbors, who saw Byzantine icon veneration as polytheistic, prompting Leo to seek religious reform amid territorial losses.^[5] The first phase of the controversy (726–787) escalated under Leo III's 730 edict, which formally prohibited the production and veneration of icons, leading to widespread destruction of images in churches and public spaces, as well as persecution of iconophiles (defenders of icons).^[6] Iconoclast emperors like Leo III and his son Constantine V (r. 741–775) enforced these policies through imperial decrees, viewing icon veneration as a threat to monotheism and imperial authority; Constantine V intensified the campaign, associating icons with heresy and promoting the Eucharist as the sole legitimate representation of Christ.^[7] In 754, Constantine V convened the Iconoclastic Council at Hieria near Constantinople, attended by 338 bishops, which declared icon veneration idolatrous and anathematized its proponents, further entrenching church-state tensions as emperors assumed control over doctrinal decisions.^[4] Key iconophile defenders included Patriarch Germanus I of Constantinople (r. 715–730), who resigned in protest against the 730 edict and was deposed for refusing to endorse iconoclasm, and St. John of Damascus, a monk in Umayyad Palestine who authored three influential treatises (On the Divine Images, ca. 726–730) arguing that icons honored the Incarnation without idolatry, as they depicted Christ's human form.^[6] These efforts highlighted the rift between imperial power and ecclesiastical tradition, with persecutions including exile, mutilation, and a "decade of blood" (762–775) under Constantine V targeting monks and clergy.^[4] The second phase (815–843) revived iconoclasm under Emperor Leo V the Armenian (r. 813–820), who, facing Bulgarian military defeats, attributed them to lingering icon veneration and issued a ban in 815, convening a synod at Hagia Sophia to reaffirm the 754 council's decrees.^[5] This resurgence was continued by Leo's successors, Emperor Michael II (r. 820–829) and his son Theophilos (r. 829–842), who maintained prohibitions and persecuted iconophiles, including monastic communities that resisted through theological writings and underground icon production.^[7] Monastic opposition, led by figures like Theodore the Studite, underscored the controversy's impact on church-state relations, as emperors sought to centralize religious authority while alienating the monastic establishment, which preserved iconophile traditions.^[5] Patriarch Tarasius of Constantinople (r. 784–806), an earlier iconophile who had helped convene the Second Council of Nicaea in 787 to affirm icons, exemplified the enduring clerical resistance that weakened iconoclasm over time.^[4] The prolonged conflict strained Byzantine society, dividing theologians, artists, and the populace until its resolution in 843.

Restoration and Establishment

Following the death of Emperor Theophilos in 842, his widow Empress Theodora assumed the role of regent for her young son, Michael III, and promptly moved to end the iconoclastic policies that had persisted during her husband's reign.^[8]^[5] Theodora, who had reportedly maintained iconophile sympathies despite the official ban, lifted the prohibition on icons, initiating a swift restoration process that marked the conclusion of the second phase of the Iconoclastic Controversy.^[9]^[1] In early 843, under Theodora's patronage, a local synod was convened in Constantinople with the newly installed Patriarch Methodios I presiding, after the deposition of the iconoclastic Patriarch John the Grammarian.^[8]^[1] This assembly formally restored the veneration of icons, reaffirmed the decisions of the Seventh Ecumenical Council of 787, and issued anathemas against iconoclasm and its proponents, solidifying the orthodox position on religious imagery.^[1]^[5] The synod's decrees emphasized that icons were to be venerated as representations of the divine, not worshipped as idols, thereby resolving the doctrinal strife that had divided the Byzantine Church for over a century.^[8] The triumph was publicly celebrated on March 11, 843—the first Sunday of Great Lent—with a grand procession from the Church of the Virgin at Blachernai to the Hagia Sophia in Constantinople, where icons were solemnly reinstated during a Divine Liturgy.^[1]^[9] This event, led by Patriarch Methodios, Empress Theodora, and Emperor Michael III, symbolized the definitive victory of iconophile orthodoxy and prompted a synodal decree establishing the Sunday of Orthodoxy as an annual feast commemorating the restoration and the defeat of heresy.^[8]^[5] In the immediate aftermath, the Church undertook the reconciliation of former iconoclast clergy who recanted their views, allowing many to retain positions after penance, while icons of Christ, the Virgin Mary, and the saints were rapidly repopulated in churches and public spaces.^[8]^[1] This rebuilding of iconographic traditions helped reinvigorate Byzantine religious and artistic life, with Empress Theodora later venerated as a saint in the Orthodox Church for her pivotal role in preserving doctrinal purity.^[5]^[9]

Liturgical Observance

Date and Calendar Placement

The Feast of Orthodoxy, also known as the Sunday of Orthodoxy, is annually observed on the first Sunday of Great Lent in the Eastern Orthodox Church.^[10]^[11] This placement occurs within the movable Lenten cycle, which is calculated according to the Julian calendar used by most Orthodox jurisdictions for determining Pascha (Easter), typically falling in late February or early March on the Gregorian calendar.^[12] For instance, in 2025, the feast was celebrated on March 9, while in 2026, it will be on March 1.^[12]^[13] This date positions the feast one week after Cheesefare Sunday (the Sunday of Forgiveness), which concludes the pre-Lenten period and initiates the strict fasting of Great Lent on the following Monday, known as Clean Monday.^[11] It marks the beginning of the core Lenten themes of repentance, humility, and spiritual purification, serving as a triumphant entry into the 40-day fast leading toward Pascha.^[14] The observance originated in 843 as the first such Sunday commemorating the restoration of icon veneration.^[15] As part of the broader Triodion period—which spans from the Sunday of the Publican and Pharisee (three weeks prior to Great Lent) through Holy Week—the Feast of Orthodoxy facilitates a liturgical transition from the preparatory Sundays of reflection to the intensified asceticism of the fast.^[11] This timing emphasizes spiritual renewal in the weeks following the Carnival season (such as Maslenitsa in Slavic traditions), redirecting focus from festivity to doctrinal fidelity and communal prayer.^[14]

Vespers Service and Procession

The Great Vespers service for the Feast of Orthodoxy, celebrated on the Saturday evening preceding the first Sunday of Great Lent, follows the standard structure of Orthodox evening prayer but incorporates specific elements from the Lenten Triodion to commemorate the restoration of icons.^[1] The service begins with Psalm 103 (the "Little Entrance") and the singing of stichera on "Lord, I have cried" that blend Resurrection themes from the Octoechos with festal hymns praising the triumph over iconoclasm, such as those invoking the prophets' foretelling of Christ's Incarnation and the veneration of holy images.^[16] After the entrance with the hymn "O Gladsome Light" and readings from the Psalter, the service progresses to the Litiya, a procession where the clergy bear icons, the Gospel book, and the Cross from the sanctuary to the church's solea, accompanied by litanies for the living and departed.^[17] During the Litiya, special stichera are chanted in Tone Two, emphasizing the unity of the Church and the defense of Orthodox doctrine through icons, followed by the apolytikion (troparion) of the feast: "Thy pure image do we venerate, O good One, asking forgiveness of our sins, O Christ our God. For by it Thou didst come and save our souls."^[18]^[19] This icon-bearing procession symbolizes the faithful's active participation in the victory of Orthodoxy, with icons of Christ, the Theotokos, and prominent saints like Methodius and Theodore the Studite elevated on poles and carried by clergy and laity holding lit candles to represent the light of true faith dispelling heresy.^[1] The procession often extends to a circumambulation around the church exterior, particularly in good weather, evoking the historic 843 Byzantine procession led by Empress Theodora from the Church of the Blachernae to Hagia Sophia, where participants chanted victory hymns over a distance of several miles.^[8] Upon returning, the priest blesses the assembly with holy water, asperging the icons and faithful as a sign of purification and renewal.^[17] In monasteries and larger parishes, the Vespers and procession foster communal devotion, with the laity joining the chanting of the festal troparion "We venerate Thy most pure image, O Good One, and ask forgiveness of our transgressions, Christ God; for through it Thou hast come and saved our souls" during the icon-bearing, underscoring the incarnational theology affirmed by the Seventh Ecumenical Council.^[1] This evening rite, rooted in Byzantine imperial processions that publicly proclaimed the end of iconoclasm, sets the tone for the following day's Divine Liturgy, where the Synodikon is proclaimed to anathematize heresies and affirm Orthodox truths.^[20] Outdoors processions, when feasible, enhance the symbolic reenactment of the 843 triumph, drawing participants from diverse Orthodox jurisdictions in a display of ecclesial unity.^[1]

Divine Liturgy and Synodikon

The Divine Liturgy for the Feast of Orthodoxy is celebrated on the morning of the first Sunday of Great Lent according to the rite of St. Basil the Great.^[1] This liturgy incorporates icon-themed scriptural readings that underscore themes of divine vision and faithful witness, central to the veneration of holy images. The Epistle reading from Hebrews 11:24-26, 32-12:2 highlights the faith of Moses, who chose affliction with God's people over worldly honor, and recounts the endurance of prophets and righteous figures who "saw" God's promises from afar, evoking the theophanic glimpses reflected in iconography.^[21] The Gospel from John 1:43-51 describes Jesus calling Philip and Nathanael, promising the latter to see "greater things" such as heaven opened and angels ascending on the Son of Man, symbolizing the fuller revelation made visible through icons.^[21] Icons carried in procession from the preceding Vespers service are often placed prominently in the church, enhancing the liturgical focus on their restoration.^[22] The recitation of the Synodikon of Orthodoxy forms the liturgical climax, typically occurring after the conclusion of the Divine Liturgy, following the procession with icons.^[1] Composed following the 843 Synod of Constantinople, the Synodikon is a declarative text affirming the Orthodox faith, beginning with praise of God, the Nicene Creed, and endorsements of the ecumenical councils and patristic traditions.^[23] It proceeds to invoke "Eternal Memory" for key iconophile defenders, such as Empress Theodora, who orchestrated the icons' restoration, and Patriarch Methodios, who led the synod, with the congregation responding "Eternal Memory" three times for each.^[23] Anathemas are then proclaimed against heresies and heretics, including iconoclasts who rejected sacred images and Nestorians who separated Christ's divine and human natures, eliciting the response "Anathema" three times from the faithful.^[22]^[23] The Synodikon is intoned or read aloud by the priest or deacon from the ambo, allowing the assembly to participate actively in its proclamation, which typically lasts 20-30 minutes when rendered in full.^[22] In some traditions, portions may be abbreviated to focus on icon-related elements, while the complete form emphasizes doctrinal boundaries against error.^[22] The text concludes with prayers for the preservation of the Orthodox faith among the living, invoking blessings on hierarchs, clergy, and laity who uphold the veneration of icons and the Church's teachings.^[23] This verbal procession of memory and condemnation reinforces the feast's theme of Orthodoxy's triumph, uniting the community in confession of the true faith.^[24]

Liturgical Texts

The Canon of Orthodoxy

The Canon of Orthodoxy, attributed to Theophanes (8th–9th century), was composed to celebrate the restoration of the veneration of icons following the Iconoclastic Controversy. It comprises nine odes in Tone Four, drawing on biblical imagery to extol icons as witnesses to the Incarnation and to denounce heresy.^[25]^[16] The Canon follows the standard Byzantine structure, with each ode centered on an irmos, such as the first: "Israel passed through the Red Sea on foot, as though it were dry land; and through the raging waters the chosen people walked, having Moses as their guide. The same we sing to Christ, who led us over the waters of baptism." Troparia in each ode praise the defenders of Orthodoxy and the role of icons in the faith.^[25] In the liturgy, the Canon is sung at Matins on the eve of the feast, with six troparia per ode, integrating elements from the Octoechos. It reinforces the themes of light over darkness, evoking the 843 triumph under Empress Theodora.^[25]^[16] The Canon's themes align with the feast's kontakion, which celebrates the Theotokos's role in the Incarnation, enabling icon veneration.^[1]

Hymns, Tropes, and Readings

The liturgical celebration of the Feast of Orthodoxy features several key hymns that emphasize the restoration of icon veneration and the triumph of Orthodox doctrine. The troparion, chanted in Tone 2, proclaims: "We venerate Thy most pure image, O Good One, and ask forgiveness of our transgressions, O Christ God. For choosing of Thy own will to be born of the Ever-Virgin, Thou hast been pleased to be depicted in images for our benefit. Through her, grant us forgiveness of sins." This hymn, drawn from the Lenten Triodion, underscores the incarnational basis for icons and is sung at the conclusion of Vespers and Matins, as well as during the Divine Liturgy. Complementing it is the kontakion in Tone 8: "The uncircumscribable Word of the Father became circumscribed in Thy womb, O Theotokos; He restored the blurred icon to its ancient state, and joined it to the divine Spirit. He also granted to the creation a new covenant of salvation. Wherefore, we praise the ancient plan of the Father." This text highlights the Theotokos's role in the Incarnation, enabling the depiction of the divine, and is intoned during Matins following the canons.^[1]^[16] Tropes, or poetic intercalations, enrich the psalmody of the services, particularly during Matins, where stichera are inserted between verses of Psalms 148–150 (the Polyeleos) and other psalms. These tropes weave references to icons and the defeat of iconoclasm into the biblical text; for instance, at "O God, save Thy people and bless Thine inheritance" (Psalm 27:9), expansions invoke the holy icons as channels of divine grace and intercession, transforming the psalm into a celebration of Orthodoxy's victory. Similar intercalations appear in the stichera at Lord, I Have Cried (Psalms 140–141) during Vespers, such as "Advancing from ungodliness to the true faith and illuminated by the light of divine knowledge, we keep the feast of Orthodoxy," which parallels the procession of icons later in the service. These elements, integral to the Byzantine rite, were standardized in the Lenten Triodion following the 843 Synod of Constantinople, ensuring their consistent use across Orthodox traditions.^[26]^[16] Scriptural readings for the feast draw from both Old and New Testaments to prefigure and affirm the veneration of icons as a revelation of God's presence. At Great Vespers on the preceding Saturday, three Old Testament paremiya (readings) are appointed, the first being Joshua 5:13–15, recounting the appearance of the Archangel Michael—sword drawn in reverence—to Joshua near Jericho, symbolizing the sacred encounter with the divine that icons make accessible to the faithful. Subsequent readings include Judges 6:2, 7, 11–24 (Gideon's theophany) and selections from 3 Kingdoms (1 Kings) 8, emphasizing God's dwelling among His people. During the Divine Liturgy, the Epistle from Hebrews 11:24–26, 32–40 (extended to 12:1–2 in some rubrics) extols the faith of Israel's ancestors, portraying them as exemplars who "endured as seeing Him who is invisible," linking to the visible witness of icons. The Gospel reading is John 1:43–51, where Christ calls Philip and Nathanael, revealing Himself as the ladder between heaven and earth (echoing Jacob's vision), thus affirming icons as bridges to the incarnate Logos. These texts, fixed in the Triodion post-843, portray the prophets as foreshadowing the iconographic tradition.^[27]^[1]^[16]

Theological Significance

Veneration of Icons

The veneration of icons in Eastern Orthodoxy distinguishes between latria, the worship due solely to God as the Creator, and dulia or proskynesis, the relative honor extended to saints and their depictions, ensuring that icons are not treated as idols but as conduits of reverence to the divine prototype they represent.^[28] This practice views icons as "windows to heaven," facilitating a spiritual encounter with the holy figures portrayed without implying divinity in the material image itself.^[29] The theological foundation for icon veneration rests on Christology, particularly the Incarnation, where the eternal Word assumed human flesh in the hypostatic union, rendering visible and depictable what was previously invisible. As affirmed by the Second Council of Nicaea in 787, icons of Christ are valid because they honor the reality of his dual nature—fully divine and fully human—without separating or confusing the two; the council decreed that "the honor which is paid to the image passes on to that which the image represents, and he who reveres the image reveres in it the subject represented."^[28] However, the Trinity cannot be fully depicted in icons, as the Father remains uncircumscribable, and attempts to portray the Godhead risk idolatry by reducing the divine essence to human form.^[28] Orthodox icons encompass several types, including Christological depictions such as the Pantocrator (Christ as Ruler of All), which symbolizes his sovereignty and judgment; Marian icons portraying the Theotokos (Mother of God), often shown with the Christ Child to emphasize her role in the Incarnation; and hagiographic icons of saints, illustrating their lives and martyrdoms to inspire emulation. These are typically crafted using egg tempera on wooden panels, a technique that employs natural pigments mixed with egg yolk for vibrant, durable colors, allowing the image to transcend mere artistry and serve as a theological statement.^[30] During the Feast of Orthodoxy, veneration practices include kissing the icons on the hands or feet to express affection and respect for the prototype, censing them with incense to signify prayers rising to heaven, and lighting candles before them to illuminate the sacred image and symbolize the light of Christ. These acts foster communion with the heavenly realm, affirming the restoration of icon use in 843 as a triumph of orthodox doctrine.^[31]^[28]

Doctrinal Implications

The Feast of Orthodoxy affirms the concept of orthos doxa, or "right belief," in the Eastern Orthodox tradition, originating from the Greek roots emphasizing correct doctrine as essential to the Christian faith. This celebration extends beyond the restoration of icons to encompass a comprehensive rejection of all heresies that distort the apostolic teaching, including Arianism, which subordinated the Son to the Father, and Monophysitism, which denied Christ's full humanity. The Synodikon recited during the feast's services explicitly anathematizes these errors, underscoring Orthodoxy's commitment to the dogmatic definitions of the seven ecumenical councils as the safeguard of true faith.^[32]^[22] Ecclesiologically, the feast reinforces the authority of the Church as the pillar of truth, manifested through the decisions of councils such as the Second Council of Nicaea (787) and the Synod of 843, which together affirm the unity of doctrine, icon veneration, and the sacraments as integral to ecclesial life. By commemorating the triumph over iconoclasm, it highlights the Church's role in preserving the incarnational reality against imperial or heretical impositions, fostering a visible communion that binds believers in shared orthodoxy. This ecclesial emphasis promotes the Church's ongoing conciliar structure, where hierarchical and synodal governance ensures fidelity to tradition amid potential divisions.^[33]^[34] Soteriologically, the feast ties icon veneration to the doctrine of theosis, or deification, portraying icons as conduits for believers to participate in Christ's victory over sin through the Incarnation, which sanctifies human nature and matter itself. By rejecting heresies that undermine Christ's dual nature, such as those echoing Manichaean dualism, the celebration affirms that salvation involves the transformation of the whole person—body and soul—into divine likeness, with icons serving as tangible aids in this process. In modern ecumenical contexts, this doctrine informs dialogues with Protestants, who often critique images as idolatrous, by clarifying icons' role in affirming the Incarnation without worship, as explored in Reformed-Orthodox exchanges.^[34]^[35]^[36] The feast's ongoing significance lies in its annual reminder of doctrinal fidelity against contemporary challenges like secularism, which parallels historical heresies by diminishing the sacredness of the material world. Since its establishment in 843, the observance has undergone no major liturgical changes, maintaining its core texts and rites to perpetuate Orthodox identity. In the 20th century, amid broader revivals of patristic theology and hesychasm, the feast gained renewed emphasis as a bulwark for authentic faith in an era of ideological threats, reinforcing its timeless call to vigilance.^[33]^[32]

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[PDF] theosis-english.pdf - Orthodox Christian Information Center
In our Orthodox Churches we can picture not only the incarnate God, Christ, and. His immaculate Mother the Lady Theotokos, but we also show the saints around ...
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Clearing the Way for Reformed-Orthodox Dialogue on Icons
Jul 23, 2013 · In the recent dialogue between Protestants and Orthodox over icons both sides have appealed to evidence from early Christianity. One of the ...Missing: Triumph ecumenical