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: 27-4:27-526.2
Tihon M. Rakievi
THE ALTAR SCREEN ICONOSTASIS IN THE PERIOD FROM THE 4TH TO THE
MIDDLE OF THE 17TH CENTURY
ITS FORMS, FUNCTIONS AND SYMBOLISM
SUMMARY
Nowadays, in the minds of modern Christians, a temple is perceived both as a place of

worship where the faithful assemble, and the house of God a place with a distinct sense of
Divine presence. Both concepts have had their own course of development. The advent of
Christian temples and related theology was preceded by two periods whose direct influences
reflected in the liturgical space. The first one is the Old Testament period the concept of which
implied Gods dwelling in a temple and a sacral division of space with only one altar. The latter
is the period of early Christianity where prayer meetings introduced an idea of Gods presence in
a koinonia, or, more precisely as a koinonia (Rev. 21:2-4; 22:3-4). This period, unlike that of the
Old Testament which implied the existence of one altar, introduced the equality of altars.
Once Constantine the Greats Pax Christiana came into effect, and along with the rise of
the number of Christians and their communities and the Church expansion, tight bonds that
existed among the faithful started to fade as well as the ties between the clergy and the faithful.
The moment the Church entered a legal system, changes in terms of understanding cultural space
also took place. A sort of religionization of a Christian cult and liturgical space occurred, thus
resulting in the temple concept stepping onto the stage once again. This concept features altar
screens which assumed its outward form from ancient public buildings. As the altar apse was
gaining in importance and literally assumed a role of the temple core/center, an urge to make it
not only separate from the rest, but also in a way protected, arose.
Early altar screens bore their respective names. These terms revealed their shape, size and
practical use. In the 7th century, the term templon entered the use. This term, of Latin origin, used
to denote an altar screen for centuries. In recent centuries, the term iconostasis gradually came
into use instead. In the medieval times, this term signified an icon stand and was used to denote
altar screen because it indeed evolved into one. Its genesis went from a very low, waist-height
screen, later on lifted up higher using columns atop which was a railing, to gradually become a
high icon screen, that is, an icon wall.
Nevertheless, a systematic research into the history of altar screens, which was taking
place simultaneously with the phenomenon of overt saturation with its elevated form, led to the
questioning of purpose of its evolution as such. This issue, which in this form was raised in
Russia, later on started to impose itself as a far greater problem. That happened because the issue
reflected many important elements of Orthodox Divine service, theology and spirituality.
So as to find the right answer to many dilemmas related to altar screens, their purpose and
function, major part of this paper is dedicated to historical evolution of this phenomenon. It
clearly indicates that early altar screens, as well as those dating from the period after the
Iconoclasm, took the shape of open colonnades. We know that the Body of resurrected
Theantropos Christ became a new and eternal Temple, which had its confirmation in the act of
the old cult temple curtain tearing (John 2, 19-22; Mark 15, 38). Therefore, it is absolutely
understandable why an open altar rail of the Byzantine period consisted of columns that were
carrying a gird atop, for the symbolism of this colonnade was an idea of opening, unlike a wall,
which denotes closure. People used to observe and venerate icons through this screen, as
witnessed by Constantine Porphyrogenitus in the 10th century.
A historical analysis of altar screen evolution has also shown something else. It was
noticed that over a longer period, there existed a constant tendency to adorn it with icons. This
process was primarily initiated by pious wishes of the laity. An analysis of painted decoration on
altar screens shows that these were first and foremost meant for the laity. The character of altar
and the advancement of cultural attitude towards icons led to icons finding their place in the
space between the faithful and the altar. In the middle ages, emergence of icons on the templon
was apparently related to believers need to seek intercession of saints before God. This may be
inferred from their forms and the way they were arranged. The Church has eventually adopted
such aspirations, making them an integral part of its liturgical space and giving them a logical
order. However, this process, which eventually resulted in the closure of altar for laitys looks,
did not run smoothly or fast.
On the basis of the analyses carried out for the purpose of this dissertation, it becomes
clear that the altar screen, although over the time it indubitably acquired certain iconographic
quality and meaning which it had not featured before, almost entirely eliminated a visual contact
with the altar by its rising to the very arch of altar apse. Its original purpose was to indicate a
certain distance, between not only the altar and the nave, but also between the clergy and the
laity, but not to become a wall that estranges and divides a space into two enclosed units.
The iconostasis evolved as a composition of eschatological character on par with the
ebbing of eschatological awareness. As if strengthening of such awareness among Christians,
which is a characteristic of our time, enticed a reverse process, that is, a return to the original
forms of altar screen. Nowadays, in the eyes of some believers, any idea about possible change in
the iconostasis form provokes fear and sharp disapproval. It is not surprising though, bearing on
mind that knowledge related to the evolution of altar screens, theological assumptions regarding
their emergence and formation, as well as regarding the consequences they have on devoutness,
has been scarce. Therefore, this study aims at altering the current state of affairs to a certain
extent, and the results obtained provide sufficient argumentation that can contribute to the
envisaging of the phenomenon of altar screen in the right manner and, making appropriate
decisions, in terms of art and theology, about their future variants.
Key words: altar, altar screen, templon, iconostasis, linear concept, Eschaton, Eucharist, icons,
iconolatry, intercession of saints.
Scientific field: Theology
Narrow scientific field: Practical theology
UDC: 27-4:27-526.2
......................................................................................................................................... 3
I ...................................... 12
1. ....................................................... 12
2. ........................................................ 17
3. .... 25
4. .......................................................................................................................... 32
II NOMEN EST OMEN . 34
1. ..................................................................................... 35
2. ........................................................................................................................... 42
3. ........................................................................................................................ 53
III ...................... 58
1. ........................................................................... 58
2. ............................................................................. 62
3. .................. 63
4 . ............................................................. 68
5. ....................................................................... 72
6. .......................................................................................... 77
7. ........................................ 80
8. ............................................................ 85
9. ............................................................................................................ 98
IV .................................... 101
1. ....................................................................................................................... 101
2. ............................................................................................................................ 108
3. ............................................................................................................. 114
4. ............................................................................................................................. 119
V
............................................................................................................................ 129
1. ..................................................................................................................... 131
2. ......................................................................... 133
3. .............................................................................................................................. 134
4. ...................................................................................................................... 135
5. ........................................................................................................................... 137
6. ....................................................................................................................... 138
7. ............................................................................................................................ 140
8. .............................................................................................. 141
9. ........................................................................................ 141
10. ...................................................................................................... 142
11. .................................................................................................... 143
12. ......................................................................................................................... 145
13. ........................................................................................................ 148
14. .................................. 148
VI ................................................................................................ 151
1. ...................................... 151
2. CONTRA..................................................................................... 162
3. PRO ............................................................................................. 167
4. ................................................ 175
1
VII ........................................................................................................ 197
1. .......... 197
2. ................................................ 204
3. ......................................................................................................... 207
4. ........................................................................................................... 209
5. ........................................................................................................ 212
.......................................................................................................................... 217
.............................................................................................................. 226
: .......................................................................................................................... 226
.................................................................................................................... 232
2

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1514
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1523
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1526
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Ergo quicumque Christi salvatoris imaginem non adorat, is in secundo Christi adventu non videat ipsius
faciem. Mansi XVI, 399, : (Hefele-Leclercq, 522). 869/870.
I II
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1550
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( , , PG 91, 672a); ( ,
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.

ITS FORMS, FUNCTIONS AND SYMBOLISM

Nowadays, in the minds of modern Christians, a temple is perceived both as a place of

Scientific field: Theology

Narrow scientific field: Practical theology

1935. ( , , 400, 405).

de l Iconostase, 20, . 7. 11.

). : Walter, A New Look at the Byzantine Sanctuary

Dalton = Dalton, O., Byzantine Art and Archaeology, Oxford 1911.

Labrecque-Pervouchine = Labrecque-Pervouchine, N., icnostase une volution

Pace = Pace, B., Nuova ipotesi sull'origine dell'iconostasio, Byzantion, Revue

Felicetti-Liebenfels, Entstehung = Felicetti-Liebenfels, W., Entstehung und

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