Biblical Artwork Is Commanded By God For Churches (Orthodox answer for the doubting Toms)

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For all of our Protestant friends out there, we want you to know the facts about Biblical artwork. Perhaps you haven’t gotten the answers you wished for from the Orthodox theologians. Well then, this will be your place to find the case for Biblical artwork.
(Note: This article doesn’t go into the Biblical old testament veneration of relics of Saints. That would be another study like on the Staffs, the Tallits, anointing cloths, or even the bones of Elisha.)
This is a first effort in history by the canonical Orthodox Church of the Culdees to defend the artwork in churches.
Finally Protestants now have an answer from the Orthodox, in a published work on why churches must use good artwork. This has come as first disclosed from the Orthodox Church of the Culdees.
Please note, several others have described the early American pilgrims as “Neo Culdees” for their ethnic and religious background, as coming to America for reasons of religious integrity. For the first 400 years, nearly every University and church in America (not connected to any state church) still used our Orthodox English Liturgy (BCP). Therefore it remains the responsibility of the Orthodox Culdees to guide them back to reintegration.

Archaeologists discovered images in a Jewish synagogue and Christian church in the Syrian town of Dura Europos dating back to circa 250. Even earlier evidence are the images found in the catacombs that have been dated to the late 100s to the early 200s. The significance of these images lies in the fact that Christians across the Roman Empire were comfortable with images in their places of worship prior the Emperor Constantine’s acceptance of Christianity in 313. In other words, the presence of images in Christian churches cannot be attributed to new converts importing pagan practices as Protestant iconoclasts have alleged.

An ironic witness to the cultic use of images in the early Church is the outspoken curmudgeon, Tertullian (155 to 220). In his treatise On Modesty, Tertullian complained about the image of the Good Shepherd on the communion chalice:

“. . . to which, perchance, that Shepherd, will play the patron whom you depict upon your (sacramental) chalice.” (ANF Vol. 4 p. 85; emphasis added; NewAdvent).

Biblical References On Artwork For Churches

· Cherubims are commanded to be carved into the Sanctuaries, not only directly where the priests would minister, but also in the outside and various vessels used for the service. Many cherubims and surrounding artwork are decked throughout the temples of YAHWEH in the Bible (i.e. Moses’, Solomon’s and Ezekiel’s temples) with most cunning artwork depicted on the veil in Exodus 26:1 and 36:8. In 1Kings 6:23-29 they’re carved into all the walls of the house round about with cherubims, palm trees and open flowers, both within and without. With larger depictions and more decorations in 2Chronicles 3. In Ezekiel 41:18-20 it says they were also depicted “through all the house round about”.

· Cunning artwork of “gold, silver, brass precious stones, and in carving of wood”

Exodus 31:3-5: “And I have filled him with the spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship; To devise cunning works, to work in gold, and in silver, and in brass, And in cutting of stones, to set them, and in carving of wood, to make any manner of cunning work.”

Exodus 35:35: “Them hath he filled with wisdom of heart, to work all manner of work, of the engraver, and of the cunning workman, and of the embroiderer, in blue, and in purple, in scarlet, and in fine linen, and of the weaver, even of them that do any work, and of those that devise cunning work.”

Note: It repeats that these were devised “as commanded” and “as shown to Moses”, each time these artists are mentioned.

· Beautification of the Temple Ezra 7:27 (The King of Persia said spare no expense in restoring all that was commanded in the building of the Temple of God, with all it’s decoration (see vs 23).
· Wooden carved artwork is mentioned as being perpetually in all the various congregations / synagogues everywhere as described in Psalms 74:3-9, and says in verse 6 “however”(strongs 6256), the wicked have sought to burn it down. Such cunning artwork decorations carved in wood was attributed to the righteous congregations and all the synagogues, which were burned.
We read in Exodus 31 how God filled men with His Spirit to devise “cunning works” in wood carvings for the decorations of His sanctuary.
· The “holy habitations” are places of worship that are apart from the Temple itself. Such places are mentioned in Exodus 15:13, Ps 77:20, Ps 78:54 as places for His people to assemble. These were no doubt decorated richly, as previously stated in Psalms 74:3-9, the extravagant artwork of wood etc. Except the altars themselves had to not be made of any gold or silver, but of unhewn stone, as in Exodus 20:25. So it would make sense that more wooden and other artwork would be implemented in such altars that were set up within holy habitations abroad. Each area had to have an altar for the regular services, thanks offerings, sacrifices, praise and worship, see Deuteronomy 12:5-7.
We know that both Moses and Solomon also had such artwork first carved with the most cunning wood artwork. It says God filled certain men with His Spirit to “devise cunning works, to work in gold, and in silver, and in brass, and in the cutting of stones, to set them, and in the carving of wood, to make any manner of cunning work.” Much of that wooden artwork for the national Temple and Tabernacle was overlaid with gold. Later this full golden version was also re-created in the “beautified Sanctuary” in Ezra 7:27.
As even during the time of the restored Temple, all the synagogues had artwork as well.
We may get an idea from Luke 21:5 where it tells us how the exterior of the Temple was richly decorated: “And as some spake of the temple, how it was adorned with goodly stones and gifts…”
· Depictions of the Saints in the sanctuary as the “Most finest gold stones of the sanctuary” which are called “holy sons of Zion” and repeats “finest gold” that has become “esteemed as earthen pitchers, the work of the hands of the potter” and “are poured out in every street.” Lamentations 4:1-2
· Make “Ensigns of our Fathers house” or Coats of Arms and other commanded Biblical symbols we are to assemble under, as used for civil buildings, and for genealogical purposes in Numbers 2:2.
· Outdoors Iconography of Cherubim is depicted on ten carts and ten lavers 1Kings 7:29, 36. These particular lavers were made of brass and were used for washing burnt offerings. Priests only bathed in the sea.
· Cherubim are associated with places His presence was manifested Psalms 80:1; 99:1. As David said He would always remain in the Temple, it may be that He brought depictions of the cherubim wherever he went. No doubt, this is one of the inspirations for decorating our “prayer closet”.
· His Majestic Ornament (probably the cross) has been mis-used by the wicked Ezekiel 7:27. (Note, the Cross is very ancient as Yahshua was “slain from the foundation of the world” as it says in Revelation 13:8 and 1Peter 1:20 as our sacrificial Lamb. The Hebrew Passover lambs were always placed on a beam that looked like the cross. A dozen more reasons for decorating with, or wearing a cross can also be found.)
· Graven statue artwork of Crosses was used for remembering He is raised up as a serpent on a Cross, as our healer in Numbers 21:8. We must lift up the cross ensign for Israel, just as it was necessary for Moses to lift up the serpent on a rod.

John 3:14 “And as Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up:”

· THE CROSS. That sign we were sealed is the Tau or T Cross symbol, which was used at all Hebrew Baptisms “And YAHWEH said unto him(the cherub at the altar), Go through the midst of the city, through the midst of Jerusalem, and set a mark (tav) upon the foreheads of the men that sigh and that cry for all the abominations that be done in the midst thereof.” (Ezekiel 9:4)
Scenes of Cherubim and Seraphim
It can best be said that Seraphim are the higher order of “the Saints”.
  • Notice the Scriptures say it is the seraphim who are at the altar and place the sign of the Cross on those who are spared for judgement.
  • Notice the Scriptures say it’s the seraphim who are called “full of life” and also “redeemed by the blood of the lamb”.
Ezekiel 1 uses the word “chai” or fullness of life to describe the  us they’re “full of life” In Isaiah 6 it gives a glimpse of the heavenly scene, where the Seraphim minister at the altar before the throne. These seraphim were called the vision of Glory of YHWH which had the faces of the Lion, the Ox, the Man and the Eagle and their two or three sets of wings. throughout the Ezekiel visions of the heavenly Temple Also the sign of Passover, was as the cross, where blood was placed on the doorposts.
The Cherubim (or Seraphim) are always there at the throne and altar scenes of glory.
The Cross is called the greatest altar which satisfied Christ as our Sacrifice and our “perpetual Lamb” at the throne. So it’s most fitting that the Cross is depicted in the artwork along with the Seraphim. as they all sing “we’re redeemed by the blood”(Revelation 5). The cross symbol reminds of Christ’s victory on the Cross (the primary aspect of the gospel) and the sealing His redeemed for their victory over evil. Revelation 5:9 it says these cherubim(which were faces in Ezekiel, now are full bodies with six wings instead of four as redeemed in glory) are the redeemed by the blood of the Lamb. It says that there are hundreds of thousands of them “in the throne, on the throne and around the throne”. Therefore these depictions of cherubim are of those who are Saints. The main 4 cherubim are also called Matthew, Mark, Luke and John manifestations of Christ in their gospels. The cherubim of glory, winged symbols of Lion, Ox, Man and Eagle. These manifestations of Christ will be evident in the lives of His literal body, the Saintly church members.
In ancient times, before TV they only had icons, and so icons were used differently to animate them with lights / candles, etc, but not worship. They also would decorate them etc as found was Biblically commanded, as found in this article. Not only decorate but talk about their glorious works… and paint it for some who couldn’t read, and call it gemstones in His temple, as is commanded.
Watching TV would be much more blasphemous if applying the standards of those who are against icons. People who watch TV get a lot more emotional and yet it’s not worship, so we don’t condemn our friends who seek to keep all the commandments. We should all talk about the glorious works of the rest of the church which went on before us. Don’t fall into false stigmas.
Our English liturgy is primarily found in the Book of Common Prayer. In it is no mentions of icons, but there is always time for remembering the great witnesses and inspirations of those who were before us.
The Pictish Stones of Scotland (and those of Ireland) are great examples of churches following this Biblical principle of engraving sanctuaries with cherubim artwork and “lifting up crosses” the same way Moses lifted up the serpent rod.
Eassie Stone

Were Images Widespread in the Early Church?

I hope it’s clear that from BC times it was already common to use all sorts of imagery artwork in synagogues as fully compliant within the most strict Old Testament guidelines.
We know that after the 4th Century images were used nearly everywhere in the church. However, some want to say that this never was part of the original church.
In the 4th Century St Gregory of Nyssa laid out the practice quite well. He demonstrates that skilled artists depict the martyrs on the walls of the sanctuary, glorifying the temple with resplendent beauty:

“Should a person come to a place similar to our assembly today where the memory of the just and the rest of the saints is present, first consider this house’s great dignity to which souls are lead. God’s temple is brightly adorned with magnificence and is embellished with decorations, pictures of animals which masons have fashioned with delicate silver figures. It exhibits images of flowers made in the likeness of the martyr’s virtues, his struggles, sufferings, the various savage actions of tyrants, assaults, that fiery furnace, the athlete’s blessed consummation and the human form of Christ presiding over all these events. They are like a book skillfully interpreting by means of colors which express the martyr’s struggles and glorify the temple with resplendent beauty. The pictures located on the walls are eloquent by their silence and offer significant testimony; the pavement on which people tread is combined with small stones and is significant to mention in itself.These spectacles strike the senses and delight the eye by drawing us near to [the martyr’s tomb] which we believe to be both a sanctification and blessing. If anyone takes dust from the martyr’s resting place, it is a gift and a deserving treasure. Should a person have both the good fortune and permission to touch the relics, this experience is a highly valued prize and seems like a dream both to those who were cured and whose wish was fulfilled. The body appears as if it were alive and healthy: the eyes, mouth, ears, as well as the other senses are a cause for pouring out tears of reverence and emotion. In this way one implores the martyr who intercedes on our behalf and is an attendant of God for imparting those favors and blessings which people seek.” (Sanidopoulos, text in English with emphasis added; cf. Pelikan p. 106; see also Migne’s Patrologia Graeca 46:737-740, text in Latin and Greek; and Cavarnos’ text in Greek).

The above style of decorating the sanctuary with images of the Saints was already prevalent in the Synagogues of BC times, as we read in Lamentation 4:1-2:

“Most finest gold stones of the sanctuary” which are called “holy sons of Zion” and repeats “finest gold” that has become “esteemed as earthen pitchers, the work of the hands of the potter” and “are poured out in every street.”

The “touching the relic” and getting cured, In 2 Kings 13:20-21 the bones of Elisha raised a dead soldier back to life. As being of the canon of Holy Scripture, such practices of gathering dirt from Martyrs graves, or viewing images of them (in a non-dishonoring way) as they were when alive, is a sanctioned practice of the church.
Such rightful thoughts on the Saints when remembering them, or honoring them (their memory / example etc) as the most beautiful stones of the sanctuary, is yet for another study.
Luke 21:5 tells us how the Temple was richly decorated: “And as some spake of the temple, how it was adorned with goodly stones and gifts…”
Not only Scripture, also archeology is rife with numerous examples of Christians using images before the 5th Century:

Archaeologists discovered images in a Jewish synagogue and Christian church in the Syrian town of Dura Europos dating back to circa 250. Even earlier evidence are the images found in the catacombs that have been dated to the late 100s to the early 200s. The significance of these images lies in the fact that Christians across the Roman Empire were comfortable with images in their places of worship prior the Emperor Constantine’s acceptance of Christianity in 313. In other words, the presence of images in Christian churches cannot be attributed to new converts importing pagan practices as Protestant iconoclasts have alleged.

An ironic witness to the cultic use of images in the early Church is the outspoken curmudgeon, Tertullian (155 to 220). In his treatise On Modesty, Tertullian complained about the image of the Good Shepherd on the communion chalice:

“. . . to which, perchance, that Shepherd, will play the patron whom you depict upon your (sacramental) chalice.” (ANF Vol. 4 p. 85; emphasis added; NewAdvent).

Early Christian Images

Murals within the 250 AD Christian Synagogue Duro Europos (town was recorded as destroyed at that time and closed off till the last Century)

6th century Mosaic pavement in a Christian Synagogue/Church, at Beit Alpha, Israel.
BEIT ALPHA 6c TILE FLOOR

Such Infinity bands, or Celtic Knotwork, were from Israel. Such cunning artwork was done also for their masters as slaves in Egypt (the 12 Months, ensigns of the 12 Tribes, 12 Gemstones, 12 fruits, for the New Jerusalem City, one day, as per the Holy Christian and Hebrew Bible).Notice the Celtic Knotwork. The above was put together at the climax period of the most well known Saints of the Celtic Orthodox Church. The greatest writing of cunning knotwork was then being devised in the British Isles, as these had intercourse with the holy land. It’s a part of history that the 6th Century Saint David of Wales was consecrated by the Bishop of Jerusalem.

5th Century Galilean Synagogue/Church Jerusalem Synagogue 1st Century

5th Century Galilean Synagogue/Church as shown on PATTERNSOFEVIDENCE.COM:
Stunning Biblical Mosaics Discovered in Ancient Synagogue | Patterns of Evidence: The ExodusStunning Biblical Mosaics Discovered in Ancient Synagogue by Steve Law | Jul 20, 2018 | Evidence, Moses Series | A mosaic from the 5th century synagogue in northern Israel depicting the Israelite spies returning from the land of Canaan. (Photo: Jim Haberman, U. North Carolina at Chapel Hill) And the…

Hebrews 12:1 “Wherefore seeing we also are compassed about with so great a cloud of witnesses, let us lay aside every weight, and the sin which doth so easily beset [us], and let us run with patience the race that is set before us,”

verse 22-24 “But ye are come unto mount Sion, and unto the city of the living God, the heavenly Jerusalem, and to an innumerable company of angels, To the general assembly and church of the firstborn, which are written in heaven, and to God the Judge of all, and to the spirits of just men made perfect, And to Jesus the mediator of the new covenant, and to the blood of sprinkling, that speaketh better things than [that of] Abel.”