Iconostasis
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Overview |
In Eastern Christianity, an iconostasis (Greek: εἰκονοστάσιον) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church.[1] Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon, a process complete by the 15th century.
A direct comparison for the function of the main iconostasis can be made to the layout of the great
This architectural tradition for the two main parts can be seen carried forward in Christian churches and is still most demonstratively present in Eastern Orthodox churches where the iconostasis divides the altar, the Holy of Holies where the Eucharist is performed – the manifestation of the New Covenant – from the larger portion of the church accessible to the faithful. In the Eastern Orthodox tradition, usually only men can enter the altar portion behind the iconostasis. However, one will see women serving behind the iconostasis at female monasteries.
The word "iconostasis" comes from the Greek εἰκονοστάσι(-ον) (eikonostási(-on), still in common use in Greece and Cyprus), which means "icon stand".
Location
The
The iconostasis, though often tall, rarely touches the ceiling.
The iconostasis typically has three openings or sets of doors: the They remain shut whenever a service is not being held. Modern custom as to when they should be opened during services varies depending upon jurisdiction and local custom.
The North and South Doors are often called Deacons' Doors because the
There are some exceptions where both the side doors depict Archangel Michael. The most notable exception is of the church of Saint George (Aghios Georgios) inside the Ecumenical Patriarchate of Constantinople (in today's Istanbul).
In many monastery churches and chapels (though often not in the katholikon, the monastery's main church) one may find iconostases with only two doors: the Holy Doors and the North Door. These churches are used for simpler monastic observances when only a hieromonk would be serving alone.[citation needed]
Placement of icons
A number of guidelines or rubrics govern which icons are on which parts of the iconostasis, although there is some room for variation. In its fullest Slavic development, it comprised five tiers of icons:
- The bottom tier is sometimes called Sovereign. On the right side of the Beautiful Gates (from the nave facing forward) is an icon of Christ (often Twelve Great Feasts:
- In the center of the Paul, and then any other important Church Fathers that may be desired for inclusion as space allows.
- The Feasts tier contains icons of the twelve Great Feasts of the liturgical year. Above this, the top two tiers are also interchangeable with each other:
- The Old Testament Prophets and Patriarchs—the latter including the 12 sons of Jacob—often to either side of an icon of Our Lady of the Sign; and
- the Holy Trinity.[citation needed]
It is also not uncommon to find an icon of the
The Sovereign (bottom) tier is found in all iconostases, but other tiers are somewhat optional. In general, preference is given to the
Many modern iconostases in the Greek tradition only include the bottom ("Sovereign") tier, and on occasion a second tier of smaller icons, usually depicting either the Great Feasts or the Apostles (with an icon of the Mystical Supper, or occasionally the Hospitality of Abraham) above the Beautiful Gates.[citation needed]
When the Iconostasis does not reach all the way to the ceiling, it is often surmounted by a central cross, centered directly above the Beautiful Gates. If the cross bears an iconographic depiction of Christ Crucified, it is often flanked by icons of the Theotokos and St. John the Evangelist standing at the foot of the cross.[citation needed]
Rubrics
There are rules regarding who may enter or leave the sanctuary (altar), and by which door. Neither the Beautiful Gates (Holy/Royal Doors – central doors) nor the space between them and the altar table may be used by laity under any circumstances, although infants are either carried into the altar through them in the "churching" rite if they are boys, or if they are girls, the infant is simply presented at the doors.[2] Bishops may enter through the Beautiful Gates at any time; priests and deacons may do so only at specific times during the services when the gates are open (but during Bright Week they always enter and exit through them). All others enter the sanctuary through the side doors.[citation needed]
In a
Male members of the laity who are usually allowed to enter the sanctuary include those involved in the running of the particular church, i.e.,
, etc.In the
Theological implications
The iconostasis does not really "separate" the nave from the Holy of Holies; rather, it brings them together. The iconostasis is the link between heaven (the Holy of Holies) and the nave (the Holy Place). Therefore, everything is symbolic upon the iconostasis. The icons of Christ, the Theotokos, and various saints and feasts are there because Christ, the Theotokos, the saints etc., are said to lead and guide followers into the Holy of Holies. Therefore, the personages on the icons upon the iconostasis guide followers into heaven, and therefore the iconostasis is said to connect not separate. The icons upon the iconostasis also are windows and bridges into heaven (although all icons, no matter where, are windows and bridges into heaven). Therefore, in a sense the iconostasis represents Christ, who is the connection, the door, between both realms. The perfect explanation for the iconostasis, and its uniting purpose, is seen in Hebrews 10:19–20, "Therefore, brethren, since we have confidence to enter the sanctuary by the blood of Jesus, by the new and living way which he opened for us through the curtain, that is through his flesh.".[citation needed]
Evolution
Archaeological evidence from the
In early churches, including the
The templon gradually replaced all other forms of chancel barriers in
As late as the 10th century, a simple wooden chancel barrier separated the apse from the nave in the
The
See also
Notes
- ^ So called because the Emperor used to enter by these doors during official ceremonies at Hagia Sophia in Constantinople.
- ^ The Orthodox Armenian Apostolic Church and Catholic Armenian Catholic Church
- ^ Bock covers the use and decline of ciborium curtains in considerable detail, though he is an old source.
References
Citations
- ^ Britannica, The Editors of Encyclopaedia. "iconostasis". Encyclopedia Britannica
- ^ Metropolitan PHILIP "Prayers at the Churching of a Mother and her Child" in A Pocket Prayer Book for Orthodox Christians (Englewood, New Jersey: 1956) p. 118
- ISBN 0-271-00108-9.
- ^ Grove, 2.1
- ISBN 0-262-11042-3.
Sources
- Bock, Franz Johann Joseph, The Hangings of the Ciborium of the Altar (translated section of his Organ für Christliche Kunst), The Ecclesiologist, Volume 26, 1868, Ecclesiological Society/Stevenson, google books
- "Grove", van Hemeldonck, G., "Ciborium (ii)." In Grove Art Online. Oxford Art Online, subscription required, (accessed April 25, 2011).
- Efthalia Rentetzi, Le iconostasis Delle Chiese greche in Italia, Athens 2008