#The Seventh Ecumenical Council

This article analyses the theology of the veneration of holy icons in the Orthodox Christian tradition, examining the contributions of Saints John of Damascus, Nicetas of Constantinople and Theodore the Studite regarding the relationship between the icon and its prototype, and the distinction between worship (latreia) and veneration (proskinisis kata timin). Icons are presented not as decorative or didactic objects, but as liturgical and sacramental means of communion with the prototype they represent, grounded Christologically in the reality of the Incarnation and validated by the Seventh Ecumenical Council of Nicaea (787).

This article traces the development of the theology of Christian art, from the reservations regarding images and music in the early centuries to the patristic and synodal justification of the icon, with a focus on the contributions of Saints John of Damascus and Theodore the Studite. Church art — iconography, unison chanting, sacred architecture — is understood as a Christological, Eucharistic and soteriological expression of the faith of the Orthodox Church.

The Orthodox icon is analysed from the perspective of the theology of the divine presence, following the thought of Pavel Evdokimov, Boris Bobrinskoy, Michel Quenot, Leonid Uspensky and Pavel Florensky, with an emphasis on the distinction between the icon and the religious painting, on the Christological foundation of the icon, and on Florensky’s triad of ‘face–image–mask’, through which humankind is called to bear the likeness of God.