LOGOS
THEOLOGICAL
εἰκονολογία (ἡ)

ΕΙΚΟΝΟΛΟΓΙΑ

LEXARITHMOS 339

Iconology, as the systematic study of images, primarily emerged during the Byzantine period, when the theological dispute over their veneration (Iconoclasm) compelled the Church Fathers to articulate a comprehensive theory regarding the nature, purpose, and honor due to sacred icons. Its lexarithmos (339) suggests a complex balance between material representation and its spiritual significance.

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Definition

In its original sense, εἰκονολογία could refer to any discussion or study concerning images, representations, or likenesses. In classical philosophy, the concept of "image" (εἰκών) was central to Plato's theories of Forms and sensible particulars, where perceptible realities were considered "images" of eternal and immaterial Ideas. The study of these relationships could broadly be termed εἰκονολογία.

However, the word acquired its most specialized and historically critical meaning during the Byzantine period, particularly during the Iconoclastic Controversy (8th-9th century CE). At this time, εἰκονολογία developed as a branch of theology concerned with the justification, interpretation, and defense of the veneration of sacred icons. Church Fathers, such as Saint John of Damascus and Saint Theodore the Studite, formulated a systematic framework for understanding the relationship between the prototype (the person depicted) and the image, distinguishing between adoration (λατρεία), due to God alone, and veneration (τιμητικὴ προσκύνησις), offered to the icon.

In the modern era, the term "iconology" has broadened and is used in various academic disciplines, including art history, semiotics, and cultural theory, to describe the study of images as carriers of meaning, ideologies, and cultural values. It remains, however, deeply connected to its original theological dimension, which laid the groundwork for understanding the power and function of visual representation.

Etymology

εἰκονολογία ← εἰκών ("image, likeness") + -λογία ("study, discourse")
The word εἰκονολογία is a compound, derived from two ancient Greek roots: εἰκών and λόγος. The root of εἰκών traces back to the verb ἔοικα (perfect of εἴκω), meaning "to be like, to resemble." This root, *eik-/*oik-, belongs to the oldest stratum of the Greek language and denotes the concept of similarity and representation. The second component, -λογία, comes from the verb λέγω ("to say, to gather, to speak") and imparts the meaning of systematic study, discourse, or science. The combination of these two elements creates a term that describes the "study of images" or "discourse concerning images."

From the root *eik- derive many words related to similarity and representation, such as the verb εἰκάζω ("to represent by an image, to conjecture"), the noun εἰκασία ("likeness, image, conjecture"), and the adjective εἰκαστικός ("pertaining to representation"). From the root *log- originate countless words signifying speech, thought, collection, or science, such as λόγος, λογική, λογίζομαι. The compound of the two roots into εἰκονολογία is a typical Greek word-formation describing a field of knowledge.

Main Meanings

  1. The study of images and representations — The general meaning of the systematic examination of the nature, function, and meaning of images in any context.
  2. Theological defense and interpretation of sacred icons — The specific meaning acquired during the Byzantine Iconoclastic Controversy, referring to the theological theory justifying the veneration of icons.
  3. Theory of the icon in the Orthodox Church — The body of dogmatic and liturgical principles governing the production, use, and veneration of icons in the Eastern Orthodox tradition.
  4. Science of interpreting visual symbols — In modern art history and semiotics, the study of the symbolic meanings and ideological functions of images.
  5. Philosophical analysis of similarity and representation — The examination of the relationship between prototype and copy, reality and image, as in Platonic philosophy.
  6. Artistic practice of iconography — Sometimes, in a broader sense, it also refers to the practice of creating images, especially sacred ones.

Word Family

*eik- / *oik- (from the verb ἔοικα, meaning "to be like, to resemble")

The root *eik- / *oik- derives from the ancient Greek verb ἔοικα (the perfect tense of εἴκω), which means "to be like, to resemble, to be fitting." From this fundamental concept of similarity and representation, a rich family of words developed, describing both material and spiritual depiction. This root is central to understanding the "image" as something that bears a likeness to a prototype, an idea that runs through ancient philosophy and Christian theology. Each member of the family highlights a different aspect of this relationship of similarity and representation.

εἰκών ἡ · noun · lex. 885
The "image, likeness, resemblance." The most direct derivative from the root, it denotes the visual or mental representation of a prototype. In Platonic philosophy, sensible realities are εἰκόνες of the Forms. In Christian theology, man is the "εἰκών" of God (Gen. 1:26).
εἴκω verb · lex. 835
The original verb from which the root derives, meaning "to be like, to resemble, to be fitting." It is frequently used in Homer and classical authors to describe the similarity of persons or things, emphasizing the fundamental concept of analogy.
εἰκάζω verb · lex. 843
Means "to represent by an image, to depict" but also "to conjecture, to guess." The dual meaning shows the relationship between visual representation and mental comparison or inference, as in Plato's "εἰκασία" (Republic VII).
εἰκασία ἡ · noun · lex. 247
The "likeness, image, conjecture, guess." In Platonic philosophy, εἰκασία is the lowest level of knowledge, that which is based on shadows and reflections, i.e., images of reality.
εἰκονίζω verb · lex. 972
Means "to depict, to represent by an image, to paint." This verb is more directly connected to the act of creating an image, especially in art and religious iconography.
εἰκονομάχος ὁ · noun · lex. 1136
The "iconoclast," one who fights against images. The term emerged during the Byzantine Iconoclastic Controversy to describe opponents of the veneration of sacred icons, highlighting the central role of the image in the theological dispute.
εἰκονόφιλος ὁ · noun · lex. 1035
The "iconophile," one who loves and honors images. The term was used to describe the defenders of sacred icons during Iconoclasm, in contrast to the iconoclasts.
εἰκονικός adjective · lex. 455
The "iconic, pertaining to an image." It describes something that has the nature or function of an image, i.e., is representative or symbolic. Used to denote the quality of similarity or representation.

Philosophical Journey

The concept of iconology, though the word itself is relatively late, has deep roots in ancient Greek thought and culminates in Byzantine theology, shaping the understanding of the image to this day.

5th-4th C. BCE
Classical Philosophy (Plato)
Plato, in the «Republic» and elsewhere, develops the theory of Forms and the "eidola" or "images" of the sensible world, laying the groundwork for philosophical discussion on representation.
1st-3rd C. CE
Early Christianity
Early Christians, influenced by the Jewish prohibition of idols, initially adopted a cautious stance towards images, although the first Christian depictions appeared in the catacombs.
7th-8th C. CE
Beginning of Iconoclasm
The Iconoclastic Controversy erupts in the Byzantine Empire, a religious and political dispute over the legitimacy of venerating sacred icons, leading to icon destruction and persecutions.
c. 730-749 CE
Saint John of Damascus
Saint John of Damascus, with his «Three Apologetic Treatises against those who Attack the Divine Images», articulates the classical Orthodox theology of the icon, distinguishing between adoration (due to God alone) and veneration.
787 CE
Seventh Ecumenical Council (Nicaea II)
The Council restores the icons, defining the doctrine of veneration and condemning Iconoclasm, thus affirming Damascene's theology.
c. 759-826 CE
Saint Theodore the Studite
Saint Theodore the Studite, during the second period of Iconoclasm, vigorously defends icons, further developing their theology and emphasizing the historicity of Christ.
843 CE
Restoration of Icons
Empress Theodora definitively restores the icons, marking the end of Iconoclasm and the final triumph of Orthodox iconology.

In Ancient Texts

The theological basis of iconology was clearly articulated by the Church Fathers during the period of Iconoclasm.

«Οὐ γὰρ τὴν ὕλην προσκυνῶ, ἀλλὰ τὸν τῆς ὕλης Δημιουργόν, τὸν δι' ἐμὲ ὕλην γενόμενον καὶ δι' ἐμοῦ ἐν ὕλῃ κατοικήσαντα καὶ δι' ὕλης τὴν σωτηρίαν μου ἐργασάμενον.»
For I do not worship matter, but the Creator of matter, who for my sake became matter and dwelt in matter through me and through matter worked out my salvation.
Saint John of Damascus, On the Divine Images 1.16
«Τὴν εἰκόνα τοῦ Χριστοῦ καὶ τῶν ἁγίων αὐτοῦ τιμῶμεν, οὐχ ὡς θεοὺς προσκυνοῦντες, ἀλλ' ὡς δι' αὐτῶν τὴν τιμὴν εἰς τὸ πρωτότυπον ἀναβιβάζοντες.»
We venerate the image of Christ and His saints, not worshipping them as gods, but as through them we elevate the honor to the prototype.
Acts of the Seventh Ecumenical Council, Horos of Faith
«Εἰ γὰρ ἀπερίγραπτος ὁ Χριστός, πῶς ἐσαρκώθη; Εἰ δὲ ἐσαρκώθη, περιγραπτός ἐστιν ὡς ἄνθρωπος.»
For if Christ is uncircumscribable, how was He incarnate? But if He was incarnate, He is circumscribable as a man.
Saint Theodore the Studite, Against the Iconoclasts 1.1

Lexarithmic Analysis

The lexarithmos of the word ΕΙΚΟΝΟΛΟΓΙΑ is 339, 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
Λ = 30
Lambda
Ο = 70
Omicron
Γ = 3
Gamma
Ι = 10
Iota
Α = 1
Alpha
= 339
Total
5 + 10 + 20 + 70 + 50 + 70 + 30 + 70 + 3 + 10 + 1 = 339

339 decomposes into 300 (hundreds) + 30 (tens) + 9 (units).

The 18 Methods

Applying the 18 traditional lexarithmic methods to the word ΕΙΚΟΝΟΛΟΓΙΑ:

MethodResultMeaning
Isopsephy339Base lexarithmos
Decade Numerology63+3+9 = 15 → 1+5 = 6. The Hexad, a number of harmony and creation, suggests the balance between the material and the spiritual in the image, as well as the completion of creation.
Letter Count1111 letters. The Hendecad, a number often associated with transition, revelation, and spiritual insight, reflects the image's ability to bridge the visible with the invisible and reveal divine truths.
Cumulative9/30/300Units 9 · Tens 30 · Hundreds 300
Odd/EvenOddMasculine force
Left/Right HandRightDivine (≥100)
QuotientComparative method
NotarikonE-I-K-O-N-O-L-O-G-I-AEnthusiastic Insight Kindles Observable Notions of Orthodox Liturgy, Guiding Ineffable Awareness.
Grammatical Groups7V · 2S · 2M7 vowels (E, I, O, O, O, I, A), 2 semi-vowels (N, L), 2 mutes (K, G). The predominance of vowels gives the word fluidity and openness, highlighting the image's ability to "speak" and convey meaning.
PalindromesNo
OnomancyComparative
Sphere of DemocritusDivination with lunar day
Zodiacal IsopsephySun ☉ / Cancer ♋339 mod 7 = 3 · 339 mod 12 = 3

Isopsephic Words (339)

Words from the Liddell-Scott-Jones lexicon with the same lexarithmos (339) but different roots, offering interesting connections and contrasts with the meaning of iconology:

ἀνδρολογία
The "study of men" or "humans." While iconology studies representations, ἀνδρολογία focuses on human nature itself, creating an interesting juxtaposition between the depicted and the depiction.
ὁλοκληρία
The "completeness, integrity." This word can be connected to iconology through the idea that an image, especially a sacred one, must be "complete" and convey the fullness of its prototype, without distorting or diminishing it.
ἔνθεος
The "inspired, possessed by a god." The connection is strong, as sacred images are often considered vehicles of divine grace and spiritual inspiration, evoking an "enthusiastic" state in the faithful who venerate them.
λεξίδριον
A "small dictionary" or "lexicon." A self-referential connection, as iconology is an entry in a lexicon, and the word itself suggests systematic recording and study, just as a lexicon records words.
δεινός
The "terrible, fearful, powerful, clever." The power of the image, whether as a source of fear for iconoclasts or as an expression of the "cleverness" (skill) of the artist or the divine power it depicts, can be linked to this isopsephic word.
θεραπίδιον
The "little girl, handmaiden." A contrast, as iconology deals with the honor and preeminence of images, while θεραπίδιον suggests humility and service. However, it could imply the "serving" function of the image as a means to the prototype.

The LSJ lexicon contains a total of 36 words with lexarithmos 339. 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: Clarendon Press, 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. 3rd ed. Chicago: University of Chicago Press, 2000.
  • Saint John of DamascusOn the Divine Images. PG 94, 1231-1420.
  • Saint Theodore the StuditeAgainst the Iconoclasts. PG 99, 327-436.
  • Mansi, J. D.Sacrorum Conciliorum Nova et Amplissima Collectio. Vol. 13. Florence: A. Zatta, 1767. (Acts of the Seventh Ecumenical Council).
  • PlatoRepublic.
  • Bredekamp, H.Theorie des Bildakts. Berlin: Suhrkamp, 2010.
  • Belting, H.Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst. Munich: C.H. Beck, 1990.
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