Iconoclasm

Iconoclasm ()From . ''Iconoclasm'' may also be considered as a back-formation from ''iconoclast'' (Greek: εἰκοκλάστης). The corresponding Greek word for iconoclasm is εἰκονοκλασία, ''eikonoklasia''. is the social belief in the importance of the destruction of icons and other images or monuments, most frequently for religious or political reasons. People who engage in or support iconoclasm are called iconoclasts, a term that has come to be figuratively applied to any individual who challenges "cherished beliefs or venerated institutions on the grounds that they are erroneous or pernicious."

Conversely, one who reveres or venerates religious images is called (by iconoclasts) an '' iconolater''; in a Byzantine context, such a person is called an ''iconodule'' or ''iconophile.'' Iconoclasm does not generally encompass the destruction of the images of a specific ruler after their death or overthrow, a practice better known as ''damnatio memoriae''.

While iconoclasm may be carried out by adherents of a different religion, it is more commonly the result of sectarian disputes between factions of the same religion. The term originates from the Byzantine Iconoclasm, the struggles between proponents and opponents of religious icons in the Byzantine Empire from 726 to 842 AD. Degrees of iconoclasm vary greatly among religions and their branches, but are strongest in religions which oppose idolatry, including the Abrahamic religions. Outside of the religious context, iconoclasm can refer to movements for widespread destruction in symbols of an ideology or cause, such as the destruction of monarchist symbols during the French Revolution.

Early religious iconoclasm

Ancient era

In the Bronze Age, the most significant episode of iconoclasm occurred in Egypt during the Amarna Period, when Akhenaten, based in his new capital of Akhetaten, instituted a significant shift in Egyptian artistic styles alongside a campaign of intolerance towards the traditional gods and a new emphasis on a state monolatristic tradition focused on the god Aten, the Sun disk—many temples and monuments were destroyed as a result:

In rebellion against the old religion and the powerful priests of Amun, Akhenaten ordered the eradication of all of Egypt's traditional gods. He sent royal officials to chisel out and destroy every reference to Amun and the names of other deities on tombs, temple walls, and cartouches to instill in the people that the Aten was the one true god.

Public references to Akhenaten were destroyed soon after his death. Comparing the ancient Egyptians with the Israelites, Jan Assmann writes:

For Egypt, the greatest horror was the destruction or abduction of the cult images. In the eyes of the Israelites, the erection of images meant the destruction of divine presence; in the eyes of the Egyptians, this same effect was attained by the destruction of images. In Egypt, iconoclasm was the most terrible religious crime; in Israel, the most terrible religious crime was idolatry. In this respect Osarseph alias Akhenaten, the iconoclast, and the Golden Calf, the paragon of idolatry, correspond to each other inversely, and it is strange that Aaron could so easily avoid the role of the religious criminal. It is more than probable that these traditions evolved under mutual influence. In this respect, Moses and Akhenaten became, after all, closely related.

Judaism

According to the Hebrew Bible to "destroy all heengraved stones, destroy all hemolded images, and demolish all hehigh places" of the indigenous Canaanite population as soon as they entered the Promised Land.

In Judaism, King Hezekiah purged Solomon's Temple in Jerusalem and all figures were also destroyed in the Land of Israel, including the Nehushtan, as recorded in the Second Book of Kings. His reforms were reversed in the reign of his son Manasseh.

Iconoclasm in Christian history

Scattered expressions of opposition to the use of images have been reported: the Synod of Elvira appeared to endorse iconoclasm; Canon 36 states, "Pictures are not to be placed in churches, so that they do not become objects of worship and adoration." A possible translation is also: "There shall be no pictures in the church, lest what is worshipped and adored should be depicted on the walls." The date of this canon is disputed. Proscription ceased after the destruction of pagan temples. However, widespread use of Christian iconography only began as Christianity increasingly spread among Gentiles after the legalization of Christianity by Roman Emperor Constantine (c. 312 AD). During the process of Christianisation under Constantine, Christian groups destroyed the images and sculptures expressive of the Roman Empire's polytheist state religion.

Among early church theologians, iconoclastic tendencies were supported by theologians such as Tertullian, Clement of Alexandria, Origen, Lactantius, Justin Martyr, Eusebius and Epiphanius.

Byzantine era

The period after the reign of Byzantine Emperor Justinian (527–565) evidently saw a huge increase in the use of images, both in volume and quality, and a gathering aniconic reaction.

One notable change within the Byzantine Empire came in 695, when Justinian II's government added a full-face image of Christ on the obverse of imperial gold coins. The change caused the Caliph Abd al-Malik to stop his earlier adoption of Byzantine coin types. He started a purely Islamic coinage with lettering only. Cormack, Robin. 1985. ''Writing in Gold, Byzantine Society and its Icons''. London: George Philip. . A letter by the Patriarch Germanus, written before 726 to two iconoclast bishops, says that "now whole towns and multitudes of people are in considerable agitation over this matter," but there is little written evidence of the debate.

Government-led iconoclasm began with Byzantine Emperor Leo III, who issued a series of edicts between 726 and 730 against the veneration of images. The religious conflict created political and economic divisions in Byzantine society; iconoclasm was generally supported by the Eastern, poorer, non-Greek peoples of the Empire who had to frequently deal with raids from the new Muslim Empire. Mango, Cyril. 2002. ''The Oxford History of Byzantium''. Oxford University Press. On the other hand, the wealthier Greeks of Constantinople and the peoples of the Balkan and Italian provinces strongly opposed iconoclasm.

Pre-Reformation

Peter of Bruys opposed the usage of religious images, the Strigolniki were also possibly iconoclastic. Claudius of Turin was the bishop of Turin from 817 until his death. He is most noted for teaching iconoclasm.

Reformation era

The first iconoclastic wave happened in Wittenberg in the early 1520s under reformers Thomas Müntzer and Andreas Karlstadt. In 1522 Karlstadt published his tract
"Von abtuhung der Bylder."
("On the removal of images"), which added to the growing unrest in Wittenberg. Martin Luther, then concealed under the pen-name of 'Junker Jörg', intervened to calm things down. Luther argued that the mental picturing of Christ when reading the Scriptures was similar in character to artistic renderings of Christ.

In contrast to the Lutherans who favoured certain types of sacred art in their churches and homes, the Reformed (Calvinist) leaders, in particular Andreas Karlstadt, Huldrych Zwingli and John Calvin, encouraged the removal of religious images by invoking the Decalogue's prohibition of idolatry and the manufacture of graven (sculpted) images of God. As a result, individuals attacked statues and images, most famously in the '' beeldenstorm'' across the Low Countries in 1566.

The belief of iconoclasm caused havoc throughout Europe. In 1523, specifically due to the Swiss reformer Huldrych Zwingli, a vast number of his followers viewed themselves as being involved in a spiritual community that in matters of faith should obey neither the visible Church nor lay authorities. According to Peter George Wallace "Zwingli's attack on images, at the first debate, triggered iconoclastic incidents in Zürich and the villages under civic jurisdiction that the reformer was unwilling to condone." Due to this action of protest against authority, "Zwingli responded with a carefully reasoned treatise that men could not live in society without laws and constraint".

Significant iconoclastic riots took place in Basel (in 1529), Zürich (1523), Copenhagen (1530), Münster (1534), Geneva (1535), Augsburg (1537), Scotland (1559), Rouen (1560), and Saintes and La Rochelle (1562). Calvinist iconoclasm in Europe "provoked reactive riots by Lutheran mobs" in Germany and "antagonized the neighbouring Eastern Orthodox" in the Baltic region.

The Seventeen Provinces (now the Netherlands, Belgium, and parts of Northern France) were disrupted by widespread Calvinist iconoclasm in the summer of 1566.

File:Destruction of icons in Zurich 1524.jpg, Destruction of religious images by the Reformed in Zürich, Switzerland, 1524
File:Le Sac de Lyon par les Réformés - Vers1565.jpg, ''Looting of the Churches of Lyon by the Calvinists in 1562'' by Antoine Caron
File:Iconoclasm Clocher Saint Barthelemy south side La Rochelle.jpg, Remains of Calvinist iconoclasm, Clocher Saint-Barthélémy, La Rochelle, France
File:2008-09 Nijmegen st stevens beeldenstorm.JPG, 16th-century iconoclasm in the Protestant Reformation. Relief statues in St. Stevenskerk in Nijmegen, Netherlands, were attacked and defaced by Calvinists in the ''Beeldenstorm''.

During the Reformation in England, which started during the reign of Henry VIII, and was urged on by reformers such as Hugh Latimer and Thomas Cranmer, limited official action was taken against religious images in churches in the late 1530s. Henry's young son, Edward VI, came to the throne in 1547 and, under Cranmer's guidance, issued injunctions for religious reforms in the same year and in 1549 the Putting away of Books and Images Act.

During the English Civil War, the Parliamentarians reorganised the administration of East Anglia into the Eastern Association of counties. This covered some of the wealthiest counties in England, which in turn financed a substantial and significant military force. After Earl of Manchester was appointed the commanding officer of these forces, in turn he appointed Smasher Dowsing as Provost Marshal, with a warrant to demolish religious images which were considered to be superstitious or linked with popism. Bishop Joseph Hall of Norwich described the events of 1643 when troops and citizens, encouraged by a Parliamentary ordinance against superstition and idolatry, behaved thus:

Lord what work was here! What clattering of glasses! What beating down of walls! What tearing up of monuments! What pulling down of seats! What wresting out of irons and brass from the windows! What defacing of arms! What demolishing of curious stonework! What tooting and piping upon organ pipes! And what a hideous triumph in the market-place before all the country, when all the mangled organ pipes, vestments, both copes and surplices, together with the leaden cross which had newly been sawn down from the Green-yard pulpit and the service-books and singing books that could be carried to the fire in the public market-place were heaped together.

Protestant Christianity was not uniformly hostile to the use of religious images. Martin Luther taught the "importance of images as tools for instruction and aids to devotion," stating: "If it is not a sin but good to have the image of Christ in my heart, why should it be a sin to have it in my eyes?" Lutheran churches retained ornate church interiors with a prominent crucifix, reflecting their high view of the real presence of Christ in Eucharist. As such, "Lutheran worship became a complex ritual choreography set in a richly furnished church interior." For Lutherans, "the Reformation renewed rather than removed the religious image."

Lutheran scholar Jeremiah Ohl writes:

Zwingli and others for the sake of saving the Word rejected all plastic art; Luther, with an equal concern for the Word, but far more conservative, would have all the arts to be the servants of the Gospel. "I am not of the opinion" said uther "that through the Gospel all the arts should be banished and driven away, as some zealots want to make us believe; but I wish to see them all, especially music, in the service of Him Who gave and created them." Again he says: "I have myself heard those who oppose pictures, read from my German Bible.... But this contains many pictures of God, of the angels, of men, and of animals, especially in the Revelation of St. John, in the books of Moses, and in the book of Joshua. We therefore kindly beg these fanatics to permit us also to paint these pictures on the wall that they may be remembered and better understood, inasmuch as they can harm as little on the walls as in books. Would to God that I could persuade those who can afford it to paint the whole Bible on their houses, inside and outside, so that all might see; this would indeed be a Christian work. For I am convinced that it is God's will that we should hear and learn what He has done, especially what Christ suffered. But when I hear these things and meditate upon them, I find it impossible not to picture them in my heart. Whether I want to or not, when I hear, of Christ, a human form hanging upon a cross rises up in my heart: just as I see my natural face reflected when I look into water. Now if it is not sinful for me to have Christ's picture in my heart, why should it be sinful to have it before my eyes?

The Ottoman Sultan Suleiman the Magnificent, who had pragmatic reasons to support the Dutch Revolt (the rebels, like himself, were fighting against Spain) also completely approved of their act of "destroying idols," which accorded well with Muslim teachings.

16th century Protestant iconoclasm had various effects on visual arts: it encouraged the development of art with violent images such as martyrdoms, of pieces whose subject was the dangers of idolatry, or art stripped of objects with overt Catholic symbolism: the still life, landscape and genre paintings.

Other instances

In Japan during the early modern age, the spread of Catholicism also involved the repulsion of non-Christian religious structures, including Buddhist temples and Shinto shrines and figures. At times of conflict with rivals or some time after the conversion of several daimyos, Christian converts would often destroy Buddhist and Shinto religious structures.

Many of the moai of Easter Island were toppled during the 18th century in the iconoclasm of civil wars before any European encounter. Other instances of iconoclasm may have occurred throughout Eastern Polynesia during its conversion to Christianity in the 19th century.

After the Second Vatican Council in the late 20th century, some Roman Catholic parish churches discarded much of their traditional imagery and art which critics call iconoclasm.

Muslim iconoclasm

Islam has a strong tradition of forbidding the depiction of figures, especially religious figures, Crone, Patricia. 2005.
Islam, Judeo-Christianity and Byzantine Iconoclasm
." pp. 59–96 in ''From Kavād to al-Ghazālī: Religion, Law and Political Thought in the Near East, c. 600–1100'', ('' Variorum''). Ashgate Publishing. with Sunni Islam forbidding it entirely.
In the history of Islam, the act of removing idols from the Ka'ba in Mecca has great symbolic and historic importance for all believers.

In general, Muslim societies have avoided the depiction of living beings (both animals and humans) within such sacred spaces as mosques and madrasahs. This ban on figural representation is not based on the Qur'an, instead, it is based on traditions which are described within the Hadith. The prohibition of figuration has not always been extended to the secular sphere, and a robust tradition of figural representation exists within Muslim art.
However, Western authors have tended to perceive "a long, culturally determined, and unchanging tradition of violent iconoclastic acts" within Islamic society.

Early Islam in Arabia

The first act of Muslim iconoclasm dates to the beginning of Islam, in 630, when the various statues of Arabian deities housed in the Kaaba in Mecca were destroyed. There is a tradition that Muhammad spared a fresco of Mary and Jesus. This act was intended to bring an end to the idolatry which, in the Muslim view, characterized Jahiliyyah.

The destruction of the idols of Mecca did not, however, determine the treatment of other religious communities living under Muslim rule after the expansion of the caliphate. Most Christians under Muslim rule, for example, continued to produce icons and to decorate their churches as they wished. A major exception to this pattern of tolerance in early Islamic history was the "Edict of Yazīd", issued by the Umayyad caliph Yazīd II in 722–723. This edict ordered the destruction of crosses and Christian images within the territory of the caliphate. Researchers have discovered evidence that the order was followed, particularly in present-day Jordan, where archaeological evidence shows the removal of images from the mosaic floors of some, although not all, of the churches that stood at this time. But Yazīd's iconoclastic policies were not continued by his successors, and Christian communities of the Levant continued to make icons without significant interruption from the sixth century to the ninth.

Egypt

Al-Maqrīzī, writing in the 15th century, attributes the missing nose on the Great Sphinx of Giza to iconoclasm by Muhammad Sa'im al-Dahr, a Sufi Muslim in the mid-1300s. He was reportedly outraged by local Muslims making offerings to the Great Sphinx in the hope of controlling the flood cycle, and he was later executed for vandalism. However, whether this was actually the cause of the missing nose has been debated by historians. Mark Lehner, having performed an archaeological study, concluded that it was broken with instruments at an earlier unknown time between the 3rd and 10th centuries.

Ottoman conquests

Certain conquering Muslim armies have used local temples or houses of worship as mosques. An example is Hagia Sophia in Istanbul (formerly Constantinople), which was converted into a mosque in 1453. Most icons were desecrated and the rest were covered with plaster. In 1934 the government of Turkey decided to convert the Hagia Sophia into a museum and the restoration of the mosaics was undertaken by the American Byzantine Institute beginning in 1932.

Contemporary events

Certain Muslim denominations continue to pursue iconoclastic agendas. There has been much controversy within Islam over the recent and apparently on-going destruction of historic sites by Saudi Arabian authorities, prompted by the fear they could become the subject of "idolatry."

A recent act of iconoclasm was the 2001 destruction of the giant Buddhas of Bamyan by the then-Taliban government of Afghanistan. The act generated worldwide protests and was not supported by other Muslim governments and organizations. It was widely perceived in the Western media as a result of the Muslim prohibition against figural decoration. Such an account overlooks "the coexistence between the Buddhas and the Muslim population that marveled at them for over a millennium" before their destruction. According to art historian F. B. Flood, analysis of the Taliban's statements regarding the Buddhas suggest that their destruction was motivated more by political than by theological concerns. Taliban spokesmen have given many different explanations of the motives for the destruction.

During the Tuareg rebellion of 2012, the radical Islamist militia Ansar Dine destroyed various Sufi shrines from the 15th and 16th centuries in the city of Timbuktu, Mali. In 2016, the International Criminal Court (ICC) sentenced Ahmad al-Faqi al-Mahdi, a former member of Ansar Dine, to nine years in prison for this destruction of cultural world heritage. This was the first time that the ICC convicted a person for such a crime.

The Islamic State of Iraq and the Levant carried out iconoclastic attacks such as the destruction of Shia mosques and shrines. Notable incidents include blowing up the Mosque of the Prophet Yunus (Jonah) and destroying the Shrine to Seth in Mosul.

Iconoclasm in India

During Hindu-Buddhist era

In early Medieval India, there were numerous recorded instances of temple desecration mostly by Indian Muslim kings against rival Indian Hindu kingdoms, which involved conflicts between Hindus, Buddhists, and Jains.

In AD 642, the Pallava king Narashimhavarman I looted the image of Ganesha from the Chalukyan capital of Vatapi. Fifty years later armies of those same Chalukyas invaded north India and brought back images of Ganga and Yamuna to the Deccan. In the 8th century, Bengali troops from the Buddhist Pala Empire destroyed temples of Vishnu, the state deity of Lalitaditya's kingdom in Kashmir. In the early 9th century, Indian Hindu kings from Kanchipuram and the Pandyan king Srimara Srivallabha looted Buddhist temples in Sri Lanka. In the early 10th century, the Pratihara king Herambapala looted an image from a temple in the Sahi kingdom of Kangra, which was later looted by the Pratihara king Yashovarman. By the mid-tenth century the same image was seized from the Pratiharas by the Chandella king Yasovarman and installed in the Lakshmana temple of Khajuraho. In the early 11th century the Chola king Rajendra I had looted idols from several prominent neighbouring kings: Durga and Ganesha images from the Chalukyas; Bhairava, Bhairavi, and Kali images from the Kalingas of Orissa; a Nandi image from the Eastern Chalukyas; and a bronze Shiva image from the Palas of Bengal. In the mid-eleventh century the Chola king Rajadhiraja defeated the Chalukyas and plundered Kalyani, taking a large black stone door guardian to his capital in Thanjavur, as a trophy of war. In the early tenth century, the Rashtrakuta king Indra III destroyed the temple of Kalapriya near the Jamuna River.

During the Muslim conquest of Sindh

Records from the campaign recorded in the ''Chach Nama'' record the destruction of temples during the early 8th century when the Umayyad governor of Damascus, al-Hajjaj ibn Yusuf, mobilized an expedition of 6000 cavalry under Muhammad bin Qasim in 712.

Historian Upendra Thakur records the persecution of Hindus and Buddhists:

Muslim conquests in the Indian subcontinent