ΕΙΚΟΝΟΓΡΑΦΙΑ (eikonografia) — Lexarithmos 840 · Etymology, Meanings

Definition

In classical antiquity, the word εἰκονογραφία is not attested with the later, specialized meaning it acquired. Its constituent roots, however, εἰκών ("image, likeness") and γράφω ("to write, to draw"), were present and used to describe the representation or description of images in a general sense. The concept of "painting images" or "describing images" was its initial, broader meaning, devoid of the profound theological weight it later gained.

The term εἰκονογραφία acquired its full significance and theological gravitas primarily during the Byzantine period, and especially during the era of Iconoclasm (8th-9th c. CE). Here, it refers not merely to the art of icon painting but to the entire corpus of rules, principles, and theological justifications for representing the divine through images. It is the "writing" of the sacred person or event with colors and forms, rendering it visible and accessible to the faithful.

In contemporary usage, the term has broadened and can refer to the study of themes and symbols in any work of art, not exclusively religious. However, its historical and theological core remains rooted in the Byzantine tradition, where iconography constitutes an indispensable part of Orthodox worship and dogma. It is visual theology, transmitting the message of faith through form and color.

Etymology

εἰκονογραφία ← εἰκών ("image") + γράφω ("to write, to draw")

The word εἰκονογραφία is a compound, derived from the noun εἰκών (from the verb ἔοικα, "to be like, to resemble") and the verb γράφω ("to engrave, to paint, to write"). This compound signifies the act of creating or describing an image. The root εἰκ- carries the meaning of similarity and representation, while the root γραφ- implies the act of imprinting and creation.

From the root εἰκ- derive words such as εἰκάζω ("to guess, to conjecture, to liken") and εἰκαστικός ("pertaining to conjecture or representation"). From the root γραφ- stem numerous words like γραφή ("writing, text"), γραφεύς ("writer, painter"), and γραφικός ("pertaining to writing or drawing"). The synthesis of these two roots creates a new meaning that transcends the sum of its parts, especially in its theological context.

Main Meanings

Description or depiction of images (general) — The original, broad meaning in Greek literature, referring to the act of describing or creating visual representations.
The art of icon painting — The specific application of the term in the Eastern Christian tradition, concerning the painting of sacred persons and scenes.
The corpus of rules and principles of icon painting — The systematic study of the themes, symbols, and techniques governing the creation of icons.
The theology of the image — The dogmatic justification and interpretation of the presence and veneration of images in Christian faith, particularly after Iconoclasm.
Scholarly study of themes in art — In modern art history, the analysis of symbolic meanings and narrative elements in works of art.
Visual representation of ideas or concepts — The use of images to communicate abstract notions, as in diagrams or charts.

Word Family

εἰκ- (root of ἔοικα, meaning "to be like") + γραφ- (root of γράφω, meaning "to engrave, to draw")

The word family stemming from the roots εἰκ- and γραφ- revolves around the concept of visual representation and depiction. The root εἰκ- (from the verb ἔοικα) carries the meaning of similarity, analogy, and portrayal, while the root γραφ- (from the verb γράφω) denotes the act of engraving, painting, or writing. The coexistence of these two roots creates a rich semantic field that encompasses both the idea of the image and the act of its creation, making iconography not merely a technique but an entire philosophy and theology of representation.

εἰκών ἡ · noun · lex. 885

The "image," "likeness," "representation." From classical antiquity (e.g., Plato, "Republic" regarding shadows and images) to Christian theology, where the icon of Christ or the Saints is not an idol but a window to the divine, maintaining a likeness to the prototype.

γράφω verb · lex. 1404

Meaning "to engrave, to paint, to write." Its root is ubiquitous in words related to the imprinting of information or forms. In iconography, it refers to the act of "painting" sacred forms, emphasizing the technique and the process of creation.

εἰκονογράφος ὁ · noun · lex. 1099

The "icon painter," the "hagiographer." The artisan who creates icons, especially sacred ones. In the Byzantine tradition, their role was not merely artistic but also spiritual, as they followed strict rules and prototypes.

εἰκονογραφικός adjective · lex. 1129

Pertaining to iconography, iconographic. It describes anything related to the art, rules, or theology of icons. Used to characterize styles, periods, or studies.

εἰκονοκλαστής ὁ · noun · lex. 984

The "iconoclast," one who breaks or destroys images. The term emerged during the Iconoclastic period (8th-9th c. CE) to describe those who opposed the veneration of icons and proceeded to destroy them.

εἰκονίζω verb · lex. 972

Meaning "to depict, to represent with an image." The verb describing the act of creating an image or resembling something. In theology, man "images" God, being created "in His image" (κατ' εἰκόνα).

εἰκονοκλασία ἡ · noun · lex. 487

Iconoclasm," the breaking of images. The historical term for the movement and period in the Byzantine Empire (726-843 CE) during which the veneration of sacred icons was forbidden and persecuted.

εἰκονόδουλος ὁ · noun · lex. 999

The "iconophile," one who venerates icons. The term was used to describe supporters of icon veneration during Iconoclasm, in contrast to the iconoclasts.

Philosophical Journey

The journey of εἰκονογραφία from a general description of images to a central theological term is inextricably linked with the history of Christianity, and particularly with the Byzantine Empire.

5th C. BCE - 2nd C. CE

Classical/Hellenistic Period

The roots "εἰκών" and "γράφω" are used to describe representation or depiction. The compound word "εἰκονογραφία" does not yet possess its specialized theological meaning.

4th-6th C. CE

Early Christian Period

The use of images begins to develop in Christian communities, initially in catacombs and later in churches, as a means of teaching and expressing faith.

8th-9th C. CE

Iconoclastic Period

The word "εἰκονογραφία" assumes a central role in theological disputes. Iconoclasts reject it as idolatry, while iconophiles (such as John of Damascus) develop the systematic theology of the image.

787 CE

Seventh Ecumenical Council, Nicaea

The Council restores the veneration of icons, distinguishing between "honorific veneration" (προσκύνησις τιμητική) towards the image and "worship" (λατρεία) towards the prototype. Iconography is recognized as a theological art.

843 CE

Restoration of Icons

The definitive restoration of icons by Empress Theodora, marking the "Triumph of Orthodoxy." Iconography is established as an integral part of Orthodox worship and doctrine.

14th-15th C. CE

Late Byzantine Period

Iconography reaches a new zenith with artists like Manuel Panselinos and the Cretan School, shaping the aesthetic and theological tradition that continues to this day.

In Ancient Texts

The theological significance of iconography is illuminated through the writings of the Church Fathers and the decisions of the Ecumenical Councils.

«Οὐ γὰρ τὴν ὕλην προσκυνῶ, ἀλλὰ τὸν τῆς ὕλης δημιουργόν, τὸν δι' ἐμὲ ὕλην γενόμενον καὶ δι' ὕλης σωτηρίαν ἐργασάμενον.»

For I do not worship matter, but the Creator of matter, who for my sake became matter and through matter worked out my salvation.

John of Damascus, On the Divine Images, Oration I, 16

«Τὸ γὰρ τῆς εἰκόνος σέβας ἐπὶ τὸ πρωτότυπον διαβαίνει.»

For the honor rendered to the image passes to the prototype.

Seventh Ecumenical Council, Horos of Faith

«Ἡ γὰρ τέχνη τῆς εἰκονογραφίας οὐκ ἔστιν ἐφεύρεσις ἀνθρωπίνη, ἀλλὰ παράδοσις θεόθεν δοθεῖσα.»

For the art of iconography is not a human invention, but a tradition given by God.

Theodore the Studite, On the Holy Icons, Oration III, 1

Lexarithmic Analysis

The lexarithmos of the word ΕΙΚΟΝΟΓΡΑΦΙΑ is 840, from the sum of its letter values:

Ε = 5

Epsilon

Ι = 10

Iota

Κ = 20

Kappa

Ο = 70

Omicron

Ν = 50

Nu

Ο = 70

Omicron

Γ = 3

Gamma

Ρ = 100

Rho

Α = 1

Alpha

Φ = 500

Phi

Ι = 10

Iota

Α = 1

Alpha

= 840

Total

5 + 10 + 20 + 70 + 50 + 70 + 3 + 100 + 1 + 500 + 10 + 1 = 840

840 decomposes into 800 (hundreds) + 40 (tens) + 0 (units).

The 18 Methods

Applying the 18 traditional lexarithmic methods to the word ΕΙΚΟΝΟΓΡΑΦΙΑ:

Method	Result	Meaning
Isopsephy	840	Base lexarithmos
Decade Numerology	3	8+4+0=12 → 1+2=3 — Trinity, completeness, divine order and harmony in representation.
Letter Count	12	12 letters — Dodecad, the number of completeness, divine order, and apostolic teaching.
Cumulative	0/40/800	Units 0 · Tens 40 · Hundreds 800
Odd/Even	Even	Feminine force
Left/Right Hand	Right	Divine (≥100)
Quotient	—	Comparative method
Notarikon	E-I-K-O-N-O-G-R-A-F-I-A	Eternal Image of Christ, Orthodox Nurturer of God's Righteousness, Apostolic Faith, Illuminating Authority.
Grammatical Groups	7V · 5C · 0D	7 vowels, 5 consonants, 0 double consonants. The dominance of vowels suggests fluidity and spirituality.
Palindromes	No
Onomancy	—	Comparative
Sphere of Democritus	—	Divination with lunar day
Zodiacal Isopsephy	Moon ☽ / Aries ♈	840 mod 7 = 0 · 840 mod 12 = 0

Isopsephic Words (840)

Words from the Liddell-Scott-Jones lexicon with the same lexarithmos (840) but different roots, offering interesting connections.

παρακλητικός

The "comforter," "the consoling one." This word, often referring to the Holy Spirit as the Paraclete, connects with iconography through the consoling and didactic function of icons, which offer spiritual support and guidance to the faithful.

φιλικός

Friendly," "loving." While iconography concerns the representation of the divine, the believer's relationship with the icon can be described as a "friendly" or "loving" connection, an expression of respect and intimacy, not worship of the material.

ξίφος

The "sword." The sword, a symbol of battle and division, can be paralleled with the intense theological disputes of Iconoclasm, where iconography became a field of fierce ideological conflict and schism within the Church.

λύσις

The "solution," "the liberation." This word can symbolize the "solution" to the problem of iconography achieved by the Seventh Ecumenical Council and the Restoration of Icons, bringing an end to a period of division and turmoil.

ὄρυξις

The "digging," "the mining." This may refer to the "digging" into the deeper theological foundations for the justification of iconography by the Church Fathers, who had to "mine" deeply into tradition to demonstrate the correctness of honoring icons.

ἐπιθρήνητος

Lamentable," "mournful." This word can evoke the sorrow and lamentation caused by the destruction of icons and the persecution of iconophiles during Iconoclasm, a period of lamentable events for the Church.

The LSJ lexicon contains a total of 89 words with lexarithmos 840. For the full catalog and AI semantic filtering, see the interactive tool.

Sources & Bibliography

Liddell, H. G., Scott, R., Jones, H. S. — A Greek-English Lexicon. Oxford University Press, 9th edition, 1940.
Bauer, W., Arndt, W. F., Gingrich, F. W., Danker, F. W. — A Greek-English Lexicon of the New Testament and Other Early Christian Literature. University of Chicago Press, 3rd edition, 2000.
John of Damascus — On the Divine Images (Orations I, II, III). Greek Patrology, Migne, Patrologia Graeca (PG) 94.
Theodore the Studite — On the Holy Icons. Greek Patrology, Migne, Patrologia Graeca (PG) 99.
Mantzaridis, Georgios I. — Orthodox Spiritual Life. P. Pournaras Publications, 2002.
Breck, John, & Meyendorff, John — The Orthodox Church: Its Past and Its Role in the World Today. St Vladimir's Seminary Press, 1981.
Cormack, Robin — Byzantine Art. Oxford University Press, 2000.
Kazhdan, Alexander P. — The Oxford Dictionary of Byzantium. Oxford University Press, 1991.