Connection to Reading
The reading this week is "From Transformation to Desire: Art and Worship after Byzantine Iconoclasm." This directly relates to the piece because this image shows the end of Iconoclasm in the Byzantine Empire. The article argues that icons in religious practices, post iconoclasm, were not incorporated fully. The author goes on to explain that icons became a state of desire that were separate from worship but still representations of religious figures and imagery. This can be seen as the start of the transformation from worship objects being a part of worship to art and religious art being separate from worship. They also talk about the relationship between what/who is being painted, who is painting, and religion.
Context, Style, and Subject
This piece is the Icon of the Triumph of Orthodoxy. This piece was made using egg tempera with gold leaf on a wood panel. The context of this image is that it marks the end of Iconoclasm in the Byzantine Empire. This means that the representation of Gods and Goddesses are now being represented by human figures rather than symbols. Before the end of Iconoclasm, people thought that worshiping images and pictures would get them punished by the Gods. This piece shows Theodora and her son Micheal III. The hierarchy of scale shows them as being very important. The saints at the bottom are holding holy icons which also represents the end of iconoclasm. Copies of this image are in existence to spread the news of the end of iconoclasm and propaganda of the new ruler Theodora and her son Micheal.
Object Annotation 5: Iconoclasm-Anna Shiflett
Anna Shiflett
Created on October 24, 2025
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Transcript
Connection to Reading
The reading this week is "From Transformation to Desire: Art and Worship after Byzantine Iconoclasm." This directly relates to the piece because this image shows the end of Iconoclasm in the Byzantine Empire. The article argues that icons in religious practices, post iconoclasm, were not incorporated fully. The author goes on to explain that icons became a state of desire that were separate from worship but still representations of religious figures and imagery. This can be seen as the start of the transformation from worship objects being a part of worship to art and religious art being separate from worship. They also talk about the relationship between what/who is being painted, who is painting, and religion.
Context, Style, and Subject
This piece is the Icon of the Triumph of Orthodoxy. This piece was made using egg tempera with gold leaf on a wood panel. The context of this image is that it marks the end of Iconoclasm in the Byzantine Empire. This means that the representation of Gods and Goddesses are now being represented by human figures rather than symbols. Before the end of Iconoclasm, people thought that worshiping images and pictures would get them punished by the Gods. This piece shows Theodora and her son Micheal III. The hierarchy of scale shows them as being very important. The saints at the bottom are holding holy icons which also represents the end of iconoclasm. Copies of this image are in existence to spread the news of the end of iconoclasm and propaganda of the new ruler Theodora and her son Micheal.