From the iconoclasm to the modern functions of images in ecclesiastical life, icons have known a culturally, politically and spiritually controversial existence. During the Byzantine period between 726 and 843 , a struggle brewed between the faithful icon lovers, iconophiles, and the icon-destroying iconomaches.1 Despite the magnificent workmanship and sacred tradition that icons provide to the pious worshipers, opposing iconomaches argue that they contradict the Biblical scriptures as being a form of idolatry. Finally, in March of 8431, in the name of her son Michael III, empress Theodora decisively restored the veneration of images to the Byzantine Empire. Consequently, the Eastern Orthodox faith, one of the major Christian religious denominations, perceives the inclusion of icons within their divine liturgies to offer a window on heaven from which the archetype of the image is able to affect the earthly world. In the practice of its holy rituals, Orthodox theology attests that "the icon [is] the true key to understanding the Orthodox dogma"(Benz 19). According to their creed, Orthodox Christians claim that icons can have curing properties or can even be utilized as a phylactery1 by which evil can be kept at bay. Even in the households of devout Orthodox Christians the presence of icons was felt as an exclusive icon corner, iconostasis , was devoted to their veneration. This iconophile practice prevailed triumphantly over the adverse philosophy by defining the distinct nature of icons, the appeal to icons as visual aid, as well as the symbolic signification of an icon with respect to God. In fact, to this day the archaic iconophile victory over the iconomache is customarily celebrated on the first Sunday of Lent; the Sunday of Orthodoxy.1.
Unlike the many different artworks of other religious groups in which the artists are given free reign over the image, the icons of the Eastern Orthodox faith are restricted by certain pre-established norms of the church.
