Iconic

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Icons (from, later, "[the] image" or also "image"; in contrast to, later, "figure, dream image" and, later, "archetype, figure, type") are cult and saint images that are venerated predominantly in the Eastern churches, especially the Orthodox churches of the Byzantine rite by Orthodox Christians, but they were also produced by and for non-Orthodox Christians.

Historical icon painting
The icon painting developed from the fundus and the painting techniques of late antique figurative painting, in which the portrait of the death, the imperial portrait and the image of the gods were exemplary. It emerged from the interest of a central authority in the realm of the imperial court, whose image politics prevailed throughout the Byzantine Empire. Only with time did she find her own formal language, which for centuries was fundamental for the representation of images of saints in European and other Christian societies. This own icon style, which contains its own aesthetic norm and set it apart from wall frescoes, can be established at the earliest in the course of the 6th century. The legacy of icon painting stands at the beginning of European panel painting. She was in the period between the 5th and 15th. Over 1000 years the only one. After the fall of Byzantium, it was continued by other cultures in Europe and the Middle East. Icon images are an independent form of painting through perspective, colour and representation. The basic stylistic design feature is a perspective summary of non-Euclidean geometries and simultaneous use of curved surfaces with inverse perspective (here objects that are far from the observer are displayed larger) and a bird's eye view as well as a frontal image. The inverse perspective, also known as the reversal perspective, is also found in nearly all Gospels and book paintings in Central Europe, always in direct relation to Christ or saints. The perspective representation of icon painting thus remains unaffected by dogmas of the Renaissance perspective (central perspective). The opposite perspective is responsible as a design feature for the in many eyes typical “eccentric” representation in icons. While the reverse perspective can already be found in book painting of the West in the high Middle Ages, it became popular in Russian and Byzantine icon painting from the 14th to 16th centuries. Art-historically, it distinguishes paintings of “iconic art” from other styles. In the tradition of icon worship, the Eastern and Western Churches have differentiated since the 8th century. century about the Libri Carolini in the Frankish Empire of Charlemagne, which excluded veneration.

In the 16th century, the Calvinist direction banned images. As a result of the Reformation iconoclasm, the image lost its liturgical function in the Church. In the Eastern Churches, with the exception of Ze