The Triumph of Orthodoxy

The site for Alexandria ad AEgyptum is currently unavailable due to it being labeled as publishing "adult content." Normally, I would share the icon of the Triumph of Orthodoxy on the Facebook page, but with the page down and given our focus on iconography, this icon plays a crucial role in the discussion.

In the wake of the protracted and devastating conflict of the war of the West against the East, a significant and tragic consequence has been the systematic annihilation of Oriental Christians and various minorities residing in the Eastern regions. This grim reality has been exacerbated by the emergence of staged militias, which have frequently utilized the guise of religious fervor to carry out acts of violence and persecution against these vulnerable communities. Within this complex and fraught narrative, the icon in question emerges as a pivotal resource of profound importance, serving not only as a symbol of resilience but also as a testament to the rich legacy of the Orientals and their intricate iconography. The significance of this icon transcends mere aesthetic appreciation; it embodies the historical struggles, cultural identities, and spiritual heritage of a people who have faced relentless adversity. This article, while it may not fully encapsulate the depth and breadth of the subject matter, endeavors to shed light on the multifaceted role that this icon plays in preserving the memory and identity of the Oriental Christians and minorities. It seeks to explore the historical context surrounding its creation, the artistic techniques employed in its making, and the profound meanings embedded within its imagery. Furthermore, it will touch upon how such icons have served as focal points for communal worship and cultural expression, even in times of great turmoil. The narrative surrounding this icon is not merely a reflection of the past; it is a living testament that continues to inspire hope and solidarity among those who cherish their heritage in the face of ongoing challenges. Through this exploration, I aim to honor the legacy of the Orientals and contribute, albeit modestly, to the broader discourse surrounding their iconography and cultural significance.

The Icon of the Triumph of Orthodoxy (also known as the Icon of the Sunday of Orthodoxy) is a divine celebratory icon created around 1400 to commemorate the first feast of the Triumph of Orthodoxy on the first Sunday of Great Lent. The icon references the overcoming of the Byzantine Empire’s Eastern Orthodox faith from the dominance of the Islamic faith and the Byzantine Iconoclasm in 842. Shown in the icon's composition are important figures such as the Virgin Hodegetria, her child Jesus, and eleven saints and martyrs associated with the Triumph of Orthodoxy. Other elements and saints depicted in the icon’s composition are representative of iconodule ideology and the turmoil endured. It is painted with mediums such as gold leaf and egg wash that are of divine spiritual significance.

During the seventh century, the Constantinople’s Orthodox faith saw iconoclasms due to Islam’s dominance in the region and their practice of aniconism. Influenced by Islam's aniconism, iconoclasm of icons and violence against iconodules in the Orthodox faith had become more common. In 842, icon veneration became an acceptable practice again in the Orthodox church with the endorsement of Empress Theodora and the death of iconoclast Emperor Theopilos. Under the later coming threat of Islamic conquest, the Triumph of Orthodoxy on the first Sunday of Great Lent was created to be a reminder of perseverance that led to the end of the Byzantine Iconoclasm. The celebration was created to reassure the people that Muslim conquest would not happen and that the Byzantine Empire would prevail.

The icon was created around the year 1400 to depict the first celebration of the Triumph of Orthodoxy after the founding of the triumph’s celebration in 1370.The usage of the icon was important to the celebration that occurs on the first Sunday of Lent as its main role is to celebrate the end of the iconoclasm in 843. It also served the role of quelling the Byzantine people’s insecurity about the downfall of the Byzantine Empire. The icon is thought to have been painted in Constantinople, capital of the Byzantine Empire.

Created in a style typical of Byzantine artwork, the composition of the icon uses elements of spirituality to overall represent a ceremonial feast between members of the Orthodox church.The composition can be seen to have two separate halves including figures placed in a formation that suggests a gathering for a celebration. The colors used are made up of bright and bold red, gold and brown colors. Other subtle colors such as white and blue are present in the clothing of the figures on the top right and bottom half of the composition. The artwork features high contrast between the space and the subjects through the use of the gold leaf on the wood panel.

The focal point is located on the top center right as a famous icon, here intended to be understood as the physical icon itself, the Virgin Hodegetria. The Hodegetria is a specific representation of the Virgin Mary holding the child Christ. The composition is representative of the original moment in life where the Virgin Hodegetria held the child Jesus. The image was a proliferant icon in the early Byzantine era due to its power in showing populations the way to the Christian faith. The Hodegetria is being held up by two angels while to the left stand Empress Theodora and her son Michael III, who were responsible for ending Iconoclasm in 843. To the right of the Hodegetria are Patriarch Methodios, Bishop Theodore and two monks. Patriarch Methodios is the depicted saint who founded the feast of the Triumph of Orthodoxy. Beneath them are eleven saints and martyrs. Just below the Hodegetria are Theophanes the Confessor and Theodore the Studite jointly holding an image of Christ. To the far left is Saint Theodosia, the only female saint, holding an icon of Christ-Emmanuel. She is depicted wearing a skepe, a veil with a squarish top, typical of Byzantine nuns. The fourth figure from the left, right behind Theophanes the Confessor, is identified as Joannicius the Great. On the right, behind Theodore the Studite, stands a bishop identified by his garb while right behind him stand the brothers Theodorus and Theophanes Graptoi. The last two figures are identified as Saint Theophylaktos and Arsakios. Though they are all depicted together, a number of them were not contemporaries nor relevant until much later after the end of the iconoclasm.