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Iconostasis

An iconostasis (from Greek: εικονοστάσιον, meaning "image-stand") is a screen or partition adorned with icons that separates the nave, where the congregation worships, from the sanctuary, or altar area, in Eastern Orthodox and Eastern Catholic churches.^[1]^[2] It serves as both a physical and symbolic barrier, marking the boundary between the earthly realm of the faithful and the heavenly realm of the divine, while simultaneously facilitating a visual and spiritual connection through its sacred imagery.^[1] This structure embodies the Orthodox understanding of the Incarnation, where heaven and earth are united in Christ, and it plays a central role in the liturgy by allowing the mysteries of the Eucharist to be veiled yet proclaimed to the worshippers.^[1] The iconostasis originated in early Christian architecture as a low chancel barrier or templon, often a colonnade with curtains or simple icons placed before the altar to denote the sacred space reserved for clergy.^[3] By the Byzantine period, it evolved into a more defined screen with icons affixed between columns, and by the 14th century, it had developed into a taller, more enclosed structure that often reached the ceiling, fully separating the sanctuary from view.^[1] In Russian Orthodox tradition, particularly from the 15th to 17th centuries, the iconostasis became highly elaborate, expanding into multi-tiered compositions that narrate the history of salvation, from Old Testament prophets to the life of Christ, the Virgin Mary, and saints.^[1] Typically, the iconostasis features a hierarchical arrangement of icons across several rows, with the central royal doors at the base depicting the Annunciation or the four Evangelists, flanked by icons of the Virgin Theotokos and Christ Pantocrator.^[4] Above these, a deisis row often includes Christ enthroned between the Theotokos and John the Baptist in supplication, while upper tiers portray the Twelve Great Feasts, apostles, prophets, and local patron saints, culminating in a cross or the Trinity.^[4] Side deacon's doors bear images of archangels or deacon saints, emphasizing the iconostasis's function as a "window to heaven" that invites the faithful into communion with the divine assembly.^[3] Though variations exist across Orthodox traditions—ranging from modest screens in monastic settings to opulent carved wooden or gilded structures in cathedrals—the iconostasis remains a defining element of Eastern Christian worship and aesthetics.^[1]

Definition and Origins

Etymology

The term iconostasis derives from the Byzantine Greek word εἰκονοστάσιον (eikonostasion), a compound of εἰκών (eikón), meaning "image" or "icon," and στάσις (stásis), meaning "standing," "position," or "fixture," literally translating to "icon stand" or "place of icons."^[5]^[6] This etymology reflects its initial connotation as a support or stand for displaying venerated icons, rather than the full screen structure it later denoted.^[7] The term appears in Byzantine Greek texts starting from the 14th century, such as in the imperial Book of Ceremonies, where it specifically refers to a temporary stand for icons during liturgical vigils, like the Nativity Vigil on December 24.^[7] By the 15th century, ecclesiastical writers like Bishop Symeon of Thessaloniki discussed the sanctuary screen in mystical terms but preferred the earlier term templon (from Latin templum, meaning "temple" or shrine-like enclosure) instead of eikonostasion, indicating the word's evolving application.^[7] Usage of eikonostasion for the permanent icon screen became more standardized from the 15th century onward in Byzantine liturgical and architectural descriptions, distinguishing it from simpler barriers like the kigklis or dryphakta.^[6]^[7] In Slavic Orthodox traditions, the term was transliterated as иконостас (ikonostas), first documented in Russian annals in 1528, referring to a structure built by Metropolitan Macarius of Novgorod.^[6] This adoption occurred amid the spread of Byzantine liturgical practices to Russia and other Slavic regions following the Christianization in the 10th century, with the word integrating into local languages to describe the developing multi-tiered screen by the 16th century.^[7]^[6]

Core Definition and Purpose

The iconostasis is a screen or partition composed of icons that divides the nave, where the congregation gathers, from the sanctuary, or altar area, in Eastern Christian churches, particularly those of the Orthodox tradition.^[3] Deriving etymologically from the Greek words for "icon" and "stand," it functions as a structured display for sacred images while serving as a physical divider.^[8] Its fundamental purpose lies in creating a visual and symbolic barrier that preserves the mystery of the divine during liturgical services, concealing the sanctuary's sacred actions from the laity while permitting mediated glimpses of the heavenly realm through the icons affixed to the screen.^[3] This separation underscores the distinction between the earthly congregation and the holy space reserved for clergy, fostering a sense of reverence and spiritual progression.^[9] Historically, the iconostasis draws a brief symbolic parallel to the veil in the Jerusalem Temple, which divided the earthly realm from the divine presence in the Holy of Holies, thereby representing the ongoing boundary between the material world and the sacred.^[9] Through this design, it integrates the icons as portals that both obscure and reveal the eternal, aligning the church's interior with theological notions of transcendence and immanence.^[3]

Architectural Design

Placement and Layout

In Eastern Orthodox church architecture, the iconostasis is typically positioned to span the width of the chancel arch, effectively dividing the nave—where the congregation gathers—from the apse or sanctuary, the area reserved for the altar and clerical functions.^[1] This placement creates a visual and symbolic boundary within the church interior, with the structure often extending from floor to ceiling to form a complete partition.^[4] By reaching the ceiling, it integrates seamlessly with the overall architectural envelope, emphasizing the division while allowing controlled access through designated portals.^[10] The core structural elements of the iconostasis include a central set of Royal Doors, also known as the Beautiful Gates, which provide the primary entrance to the sanctuary and are reserved for the highest liturgical processions.^[1] Flanking these on the north and south sides are the Deacon Doors, smaller portals used by deacons and other assisting clergy for movement during services.^[11] The remainder of the screen forms a solid enclosure, pierced only by these three openings, thereby maintaining the separation of sacred spaces while facilitating the liturgical flow.^[4] Variations in layout occur, particularly in monastic churches where simpler, partial screens may be employed to foster a more contemplative environment with less obstruction.^[4] Similarly, modern basilicas sometimes feature adapted designs, as seen in Bucharest's People's Salvation Cathedral, which incorporates an expansive yet integrated iconostasis spanning 23.8 meters in length and 17.1 meters in height, blending traditional enclosure with contemporary scale.^[12] These exceptions reflect evolving architectural needs while preserving the iconostasis's role in demarcating liturgical areas.^[1]

Materials and Construction

The earliest forms of the templon, precursors to the iconostasis dating from the 5th to 8th centuries, were typically constructed using durable materials such as marble, stone, or metal to form low barriers separating the nave from the sanctuary.^[13] These structures often featured rectangular panels supported by fixed posts or colonnettes, with marble being particularly common in Byzantine examples due to its availability from quarries like Proconnesos.^[14] For instance, the church at the Monastery of Stoudios in Constantinople, founded in 463 AD, incorporated stone or brick elements in its chancel barrier, reflecting the robust masonry techniques of early Christian architecture.^[15] By the later Byzantine period and into Slavic traditions, construction shifted toward wooden frameworks, which allowed for intricate carving and multi-tiered designs. These screens consisted of a skeletal structure of beams and posts, typically assembled from softwoods like pine for the main body, onto which icon panels were affixed using mortise-and-tenon joints or dowels.^[16] The wood was often coated in polychrome paints, gilding, or gold leaf to enhance visual impact, with linden wood favored for its fine grain and ease of carving in detailed ornamental elements.^[17] This approach enabled the evolution of taller, enclosed screens by the 15th century, where icons filled the spaces between structural supports. In the 20th and 21st centuries, modern adaptations have incorporated sustainable materials such as responsibly sourced hardwoods, Baltic birch plywood, or composite panels to balance tradition with practicality and environmental concerns.^[18] Post-1990s restorations in Russia, for example, frequently employ linden wood to replicate historical authenticity while ensuring durability.^[19] In U.S. Eastern Catholic churches, iconostases are often built to lower heights—sometimes limited to two tiers rather than the traditional four or five—to improve visibility of the sanctuary for congregations accustomed to more open liturgical spaces.^[20]

Iconographic Elements

Arrangement of Icon Tiers

The iconostasis is typically organized into a hierarchical series of tiers, with the most elaborate examples featuring five rows of icons arranged symmetrically around the central Royal Doors, scaling in size from larger figures at the base to smaller ones higher up to emphasize perspective and elevation.^[1] The bottom tier, known as the Sovereign or Local Row, includes the Royal Doors at the center depicting the Annunciation or the Four Evangelists, flanked on the left by an icon of the Virgin Mary (Theotokos) and on the right by Christ Pantocrator; to the left of the Theotokos is the church's patron saint, while to the right of Christ are icons such as St. John the Baptist or other local saints, with the Deacons' Doors on either side bearing archangels like Michael and Gabriel.^[21] Above the Royal Doors, an icon of the Last Supper (Mystical Supper) is often placed, completing this foundational tier that grounds the structure in the earthly realm.^[22] The second tier, called the Deisis Row, centers on a large icon of Christ Enthroned, with the Virgin Mary to the left and St. John the Baptist to the right in postures of intercession, extending outward to include archangels, apostles such as Peter and Paul, and occasionally bishop saints or martyrs, all facing toward Christ to form a supplicatory assembly.^[23] This row maintains symmetrical balance, with icons decreasing in height progressively upward. The third tier, the Feast Row, displays icons of the Twelve Great Feasts of the Church year, such as the Nativity, Baptism, Transfiguration, and Crucifixion, arranged in chronological or thematic order from left to right, commemorating key events in Christ's life and the Theotokos.^[1] Higher tiers continue the ascent: the fourth, the Prophets Row, features Old Testament figures like Moses, Isaiah, and David, often with the Virgin and Child at the center, symbolizing precursors to the Incarnation. The topmost tier, the Apostles or Patriarchs Row, portrays the Twelve Apostles or Church Fathers, crowned by a crucifix or cross evoking the Crucifixion with the Virgin Mary and St. John below it.^[21] This five-tier configuration represents a standard in Russian Orthodox tradition, where icons are mounted on a wooden or stone screen up to several meters high, with precise alignment ensuring visual harmony from the nave.^[24] Variations exist based on regional and denominational practices; simpler Greek Orthodox iconostases often limit to three tiers, combining the Deisis and Feasts into fewer rows while retaining the essential despotic icons of Christ, the Theotokos, and St. John the Baptist in the main tier.^[25] In contrast, elaborate Russian examples may extend to seven tiers, incorporating additional rows for forefathers or local hierarchies, though the core symmetrical layout around the doors remains consistent.^[1]

Symbolism of Icon Placement

The placement of icons on the iconostasis follows a deliberate iconographic program that conveys theological truths through visual hierarchy and symbolism. At the center of the sovereign tier, the icon of Christ Pantocrator typically occupies the right position, depicting Christ as the Ruler of All with a stern gaze, raised hand in blessing, and Gospel book in his left, symbolizing his divine authority, judgment, and role as the fulfillment of salvation.^[26] Flanking this central figure on the left is the icon of the Theotokos, often shown holding the infant Christ, representing her intercessory role as the beginning of humanity's redemption and a mediator between the divine and human realms.^[27] These paired central icons emphasize the incarnational mystery, with Christ's omnipotence balanced by the Virgin's protective advocacy.^[1] The progression of tiers upward symbolizes an ascent akin to a ladder toward the divine, mirroring the celestial order described in scriptural visions of heaven. The lower tiers feature icons of earthly saints and local patrons, grounding the faithful in the visible church's witness, while upper tiers depict feasts, apostles, and angelic hierarchies, evoking the layered heavenly realm and the saints' intercession bridging earth and paradise.^[28] This vertical arrangement draws from the standard tier structure to layer symbolic meaning, progressing from the historical incarnation at the base to the eternal liturgy above.^[1] Symbolic elements in color, pose, and scale further reinforce these themes of transcendence and order. Gold backgrounds dominate the icons, signifying eternity, divine light, and the timeless glory of the heavenly kingdom, creating a luminous void that transcends earthly space.^[29] Poses are frontal and direct, inviting contemplation and underscoring the icons' role as windows to the divine presence, with gestures like Christ's blessing evoking Trinitarian doctrine. Hierarchical sizing amplifies spiritual importance, as seen in the larger proportions of the central Christ figure compared to surrounding saints, prioritizing theological rank over naturalistic scale to affirm the divine economy.^[30]

Liturgical Role

Access Rubrics

In Eastern Orthodox liturgy, the Royal Doors of the iconostasis are primarily reserved for the use of ordained clergy during key moments of the Divine Liturgy, such as the preparation and offering of the Eucharist. Priests enter through the Royal Doors to perform the Eucharistic sacrifice at the altar, symbolizing their role as mediators in the sacred rite.^[31] Deacons, while assisting in processions and readings, typically use the side doors, known as Deacon's Doors or Angel Doors, for their entries and exits to maintain the solemnity of the central portal. Bishops, when presiding over hierarchical liturgies, process through the Royal Doors accompanied by the cross and other symbols of authority, with the doors opened specifically for their passage as per the rubrics for such services.^[32] Lay members of the congregation are strictly prohibited from entering the altar area behind the iconostasis except in the context of receiving Holy Communion, where the chalice is brought forward by the priest to the threshold of the Royal Doors.^[33] The faithful approach the doors in an orderly manner, receiving the Eucharist directly from the chalice without crossing the boundary, thereby preserving the separation between the nave and the sanctuary. In the Romanian Orthodox tradition, a unique variation allows limited access for the laity, including women, to enter the altar on the day of the church's consecration to venerate the Holy Table, a practice rooted in local custom following the completion of the temple's dedication.^[34] Interactions with the iconostasis portals incorporate symbolic gestures that underscore reverence and the sacred threshold. Clergy and laity alike perform prostrations or bows before the doors during veneration of icons or relics positioned there, expressing humility before the divine mysteries enacted beyond.^[35] Additionally, in certain liturgical seasons such as Holy Week, the curtain behind the Royal Doors may be drawn closed or icons veiled to heighten the sense of mystery surrounding the altar's holy actions. These protocols reflect a broader theological emphasis on safeguarding the holiness of the sanctuary.^[36]

Integration in Worship

The iconostasis plays a central role in the structure of the Divine Liturgy by providing a visual and spatial framework that guides the congregation's participation throughout the service. During the Liturgy of the Word, also known as the Liturgy of the Catechumens, the icons on the iconostasis remain fully visible to the faithful in the nave, serving as focal points for contemplation and veneration while the Scripture readings, homily, and litanies are conducted. This visibility allows worshippers to direct their prayers toward the depicted saints and Christ, integrating the icon screen as an active element in the communal hearing of the Word.^[37]^[4] In the Liturgy of the Faithful, particularly during the Eucharistic portion, the iconostasis regulates visibility between the nave and the sanctuary to heighten the mystery of the sacrament. The Royal Doors in the center of the iconostasis are typically opened briefly to permit partial views into the altar area during key moments, such as the fraction of the gifts and the distribution of Holy Communion; however, in many traditions, a curtain is drawn across the doors during the anaphora—the Eucharistic prayer—to screen the consecration from full view, reopening only after the prayer concludes. This controlled access maintains the sanctity of the altar while allowing the congregation to witness essential actions through the doors, fostering a sense of shared yet veiled participation. Access rules, such as those governing who may pass through the doors, serve as prerequisites for these liturgical movements.^[38]^[39] The iconostasis further enhances the dramatic flow of worship through its involvement in processions, notably the Little and Great Entrances. In the Little Entrance, which occurs after the antiphons during the Liturgy of the Word, the clergy process from the altar through the north door of the iconostasis, around the nave carrying the Gospel Book, and return via the Royal Doors, with the icon screen framing the procession to emphasize the entry into the heavenly kingdom. Similarly, the Great Entrance during the Eucharistic preparation involves the prepared gifts being carried in procession around the church and through the Royal Doors, where the iconostasis's structure accentuates the solemn transfer to the altar, drawing the assembly's attention to the screen's icons as witnesses to the offering. These movements utilize the iconostasis not merely as a barrier but as a dynamic threshold that integrates the spatial elements of the church into the liturgical narrative.^[40]^[41]

Theological Dimensions

Symbolic Interpretations

The iconostasis serves as a symbolic representation of the veil described in Hebrews 10:19–20, which signifies the access to God through Christ's sacrifice, where the veil—that is, his flesh—was torn at the crucifixion, yet in Orthodox theology, this boundary is symbolically restored as a permeable screen facilitating spiritual entry into the divine presence. This imagery draws from the Gospel accounts of the temple veil tearing (Matthew 27:51), interpreted not as complete removal but as a transformed threshold that maintains mystery while allowing mediated communion, as articulated in patristic exegesis linking the event to the ongoing separation and union between humanity and God.^[42] In Eastern Orthodox tradition, the iconostasis functions as a "window to heaven," with its icons mediating the invisible divine realm, a concept rooted in the patristic defense of images by St. John of Damascus, who argued that icons reveal the incarnate God and enable believers to contemplate heavenly realities through visible forms. This view positions the iconostasis not as an opaque barrier but as a transparent portal, where the saints and Christ depicted therein bridge the earthly and eternal, inviting the faithful into participatory vision of the divine economy.^[43] Furthermore, the iconostasis embodies the unity of the Church as the body of Christ, connecting the triumphant aspect in the sanctuary—representing the heavenly communion of saints—with the militant aspect in the nave, where the faithful strive on earth, thus illustrating the ecclesial whole as one mystical entity spanning visible and invisible realms.^[44] Icon placements on the screen, such as the Deesis row, reinforce this heavenly imagery by depicting intercessory figures that link the two spheres.^[45]

Doctrinal Implications

The iconostasis serves as a theological affirmation of the doctrines established by the Second Council of Nicaea in 787 AD, which upheld the veneration of icons as an expression of incarnational theology. The council decreed that icons of Christ, the Virgin Mary, angels, and saints should be honored with relative veneration (proskynesis), distinct from the worship (latreia) due to God alone, precisely because the Incarnation rendered the divine visible and depictable in human form. This position countered iconoclastic denials by emphasizing that rejecting icons implicitly rejects the reality of Christ's assumption of flesh, thereby safeguarding the hypostatic union of divine and human natures.^[46] In Eastern Orthodox ecclesiology, the iconostasis embodies the Church as a mystical union of the visible and invisible realms, reflecting the hierarchical yet interconnected nature of creation as articulated in the Nicene Creed's reference to God as Maker of "all things visible and invisible." Pavel Florensky, in his seminal work Iconostasis, describes this screen as a boundary that simultaneously separates and unites the earthly nave from the heavenly sanctuary, symbolizing the Church's dual reality: the empirical body of believers on one side and the celestial communion of saints on the other. This structure influences Orthodox soteriology by illustrating salvation as participation in the divine life, where the faithful are drawn into the eschatological assembly through liturgical encounter.^[47]^[4] The iconostasis further shapes the practice of prayer by facilitating theosis, the process of deification through union with God, as icons visually mediate divine energies and invite worshippers into transformative communion. By presenting Christ, the Theotokos, and the saints as intercessors and exemplars, it orients the faithful toward participation in the heavenly liturgy, fostering spiritual ascent and likeness to the divine. This visual theology echoes the scriptural imagery of the Temple veil, which veiled yet hinted at the holy of holies, now fulfilled in Christ's rending of that barrier through His Incarnation and Resurrection.^[4]^[48]

Historical Development

Evolution from the Templon

The iconostasis originated as an evolution of the early Christian chancel screen, known as the templon, which served to demarcate the sanctuary from the nave in Byzantine churches. Emerging in the 5th century, these initial structures were low marble rails or parapets, typically without icons, designed to regulate access while maintaining visual continuity during liturgy. Archaeological evidence from the basilica of Hagios Ioannes Studios (St. John Stoudios) in Constantinople, constructed around 463 AD, illustrates this early form: the chancel barrier enclosed the altar in a π-shaped configuration using marble posts and slabs, emphasizing functional separation over decorative elements.^[49]^[50] The transformation of the templon into the iconostasis accelerated after the Second Iconoclastic Controversy ended in 843 AD, when the veneration of images was officially restored. From the 8th to the 15th century, icons were progressively added to the templon's architrave and intercolumnar spaces, initially as painted or hung panels that enhanced the screen's symbolic role without fully obstructing the view of the altar. This period saw a shift toward greater enclosure, with curtains and additional icon layers filling gaps, culminating in a solid, multi-tiered barrier by the 1400s that fully separated the sanctuary in both Byzantine and Slavic Orthodox churches. Materials transitioned from marble to wood during this evolution, enabling intricate carving and easier icon integration.^[51]^[52] Key milestones highlight this development's regional nuances within the broader Byzantine context. In 9th-century Cappadocia, rock-cut churches began incorporating icons directly onto templon beams and posts, as seen in post-iconoclastic fresco programs that adorned screens with Christological and Marian imagery, bridging architectural function and devotional art. By the 16th century, under Ottoman rule in Greece, the iconostasis underwent further elaborations, with wooden screens adopting elaborate multi-row designs influenced by permitted church renovations, such as those documented in Cycladic islands like Paros, where marble and wood combined for ornate, tiered structures housing expanded icon sets.^[51]^[53]

Regional and Modern Variations

In Russian Orthodox tradition, the iconostasis is characteristically a multi-tiered structure crafted from carved wood, featuring elaborate tiers that include icons of Christ, the Virgin Mary, angels, apostles, and the Deesis composition, a style that emphasizes hierarchical symbolism and visual density.^[54] This contrasts with the Greek Orthodox approach, where the iconostasis is generally simpler and lower, often consisting of a three-tiered arrangement in stone or wood with a focus on essential icons like the Deesis group and local saints, reflecting a more open and less ornate aesthetic derived from earlier columnar templons.^[54] In Coptic Orthodox churches, the iconostasis takes the form of a rigid screen made of wood or marble, incorporating open latticework with cross-shaped patterns that permit partial visibility into the sanctuary, underscoring a simpler, functional design with three doors for liturgical processions.^[55] Eastern Catholic churches of the Byzantine Rite, such as those in the Ukrainian Greek Catholic tradition, retain the iconostasis as a core element, typically featuring multi-layered screens in Slavic styles that integrate icons of Christ, the Theotokos, and patron saints like St. John Chrysostom, though adaptations during renovations have sometimes aligned it more closely with traditional Byzantine forms amid Western influences.^[20] In contrast, the Roman Rite of the Catholic Church has not adopted the iconostasis, relying instead on historical precedents like medieval rood screens without developing a comparable screen tradition in modern practice. In the 20th and 21st centuries, modern variations of the iconostasis have emerged in response to practical needs in new church constructions and restorations, particularly in mission settings and post-communist Eastern Europe. Minimalist designs, often using simple wooden frames to support essential icons, have been implemented in emerging Orthodox missions to balance tradition with affordability and portability, as seen in contemporary builds that prioritize unadorned structures for liturgical focus.^[56] Following the dissolution of the Soviet Union in 1991, numerous restorations in Eastern European Orthodox churches, such as replicas and repairs in Ukrainian monasteries, have employed authentic materials like oak and gilding to revive damaged iconostases, exemplified by the 1998 reconstruction at the Bohorodchany Iconostasis site.^[57] Some contemporary projects incorporate modular wood constructions with carved elements for ease of assembly, while occasional use of acrylic-based painted icons appears in workshops serving new churches, though these remain supplementary to traditional tempera methods.^[58] As of 2025, no significant innovations have altered the fundamental form, maintaining fidelity to canonical precedents from the templon evolution.

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the holy doors and the curtain with some remarks on orientation
(1) At the Dismissal it is indeed closed. At the beginning of Liturgy, though, the curtain is opened, and it stays opened all the way to the Great Entrance.Missing: access rules side
[39]
The Orthodox Faith - Volume II - The Divine Liturgy - Small Entrance
The Small Entrance is the movement of the entire Church through its Head Jesus Christ, in the person of the celebrant, to the altar which symbolizes the Kingdom ...
[40]
Little Entrance - OrthodoxWiki
The Little Entrance is the procession of the clergy to the altar led by the Book of the Gospels. It sometimes called the "Small" or "First" Entrance.
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The Iconostasis - Glory to God For All Things
Mar 6, 2007 · The iconostasis, from a historical POV, is also simply an elaborate altar rail, which is common in the Western Church. I never went up onto the ...<|control11|><|separator|>
[42]
https://www.orthodoxchristianlife.com/2017/09/18/what-is-the-significance-of-veilcurtain-in-an-orthodox-church/
[43]
What is an icon screen and what is it used for? - Aleteia
Sep 22, 2018 · The Nave represents The Church Militant (Earth). Heaven is linked to earth by the Iconostasis, which is the successor to the curtain that ...
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A CHARACTERISTIC FEATURE OF THE BYZANTINE CATHOLIC ...
The iconostasis, placed before the eyes of the faithful, projects to their minds the main events of salvation and helps them better to understand the true ...
[45]
8 The Iconostasis - The Coptic Treasures Project
The Iconostasis is a rigid screen of wood or marble with icons, separating the Sanctuary from the nave of Orthodox Churches.
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CHURCH FATHERS: Second Council of Nicaea - New Advent
(9) If anyone ventures to represent in human figures, by means of material colors, by reason of the incarnation, the substance or person (ousia or hypostasis) ...Missing: iconostasis theology
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Iconostasis
### Summary of Theological Significance in "Iconostasis" by Pavel Florensky
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The Theology of the Icon
Aug 15, 2024 · Icons have been described by iconodules or iconophiles (those defending icons and their veneration) as theology in material form and as doors between heaven ...Missing: iconodulism ecclesiology
[49]
Iconostasis, The Encyclopedia of Eastern Orthodox Christianity
The earliest known examples are the archeological findings at Hagios Ioannes Studios (463) and descriptions of Hagia Sophia. As liturgical movement ...
[50]
(PDF) Claudia Barsanti, The Marble Floor of St. John Studius in ...
96 Claudia Barsanti These last-mentioned scholars have in fact point- ed ... St. John Stoudios in Samatya (redaz.) 1994 Constantinople”, in Byzantine ...
[51]
Art and Iconoclasm | The Oxford Handbook of Byzantine Studies
... ninth- and tenth-century Cappadocia. Soon after iconoclasm the templon screen between the nave and the sanctuary was enhanced with images, and quickly ...
[52]
(PDF) The Role of Icons in Byzantine Worship - Academia.edu
After briefly describing the role of icons in contemporary Byzantine ... After iconoclasm churches were generally no longer built with n-shaped templons.
[53]
An introduction to Greek Orthodox iconostases - The Frame Blog
Nov 12, 2014 · In the iconostasis, which in Greek means 'icon stand', architecture and sculpture collaborate on a large scale, forming a gigantic sculptural ...
[54]
(PDF) THE ICONOGRAPHIC CANON OF ORTHODOX CHURCHES
Aug 8, 2025 · In this study several non-invasive and minimally-invasive techniques were employed for the discovery of the original aspect of an old ...
[55]
Architecture of the Coptic Church - HCOC
The iconostasis represents one of the most important architectural features of Orthodox churches. It is a rigid screen made of wood or marble, containing icons ...Missing: characteristics | Show results with:characteristics
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Building a Simple and Beautiful Iconostasis for a Mission Church
Jul 21, 2016 · The iconostasis uses inexpensive Southern Yellow Pine, 3/4-inch boards, and 1-1/2-inch lumber, with a simple design and no underlying framework ...
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The Race to Save Ukraine's Sacred Art - Smithsonian Magazine
In the nave stood a replica of the Bohorodchany Iconostasis, created after the monastery reopened in 1998 after having been closed for more than 200 years.Missing: post- | Show results with:post-
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(PDF) DESIGNING AN ICONOSTASIS OF AN ORTHODOX CHURCH
Jul 26, 2023 · An individual iconostasis project was developed for the needs of the Orthodox Church, in accordance with all the canons and meeting the requirements of the ...