iconostasis

iconostasis
/uy'keuh nos"teuh sis/, n., pl. iconostases /-seez'/. Eastern Ch.
a partition or screen on which icons are placed, separating the sanctuary from the main part of the church.
Also, iconostas /uy kon"euh stas'/.
[1825-35; < MGk; see ICONO-, STASIS]

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In Eastern Christian churches of Byzantine tradition, a solid screen of stone, wood, or metal separating the sanctuary from the nave.

It has a royal door in the center and two smaller doors on either side. Covered with panel icons, it always includes the icon of the Incarnation (mother with child) on the left and the second coming of Christ on the right; icons of the four Evangelists, the Annunciation, and the Last Supper cover the royal doors themselves.

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 in Eastern (Eastern Orthodoxy) Christian churches of Byzantine tradition, a solid screen of stone, wood, or metal, usually separating the sanctuary from the nave. The iconostasis had originally been some sort of simple partition between the altar and the congregation; it then became a row of columns, and the spaces between them were eventually filled with icons. In later churches it extends the width of the sanctuary, though the height may vary, and is covered with panel icons. The iconostasis is pierced by a large, or royal, door and curtain in the centre, in front of the altar, and two smaller doors on either side. It always includes the icon of the Incarnation (mother with child) on the left side of the royal door and the second coming of Christ the Pantocrator (Christ in majesty) on the right. The sacrament of the Eucharist, revealed through the doors between the two main icons, is thus the manifestation of Christ in the church during the time between his two comings. Icons of the four Evangelists, the Annunciation, and the Last Supper are set over the royal doors themselves. Representations of the archangels Gabriel and Michael, the 12 Apostles, the feasts of the church, and the prophets of the Old Testament are arranged on the iconostasis in complicated patterns, with all figures facing the royal doors.

      The veneration of icons came under attack during the Iconoclastic Controversy of 725–843, but the Eastern church finally recognized icons as the main form of representing divine revelation and as a pictorial history of the Christian mystery to be contemplated by the faithful while being performed behind the screen in the eucharistic sacrament.

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Universalium. 2010.

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