Taking a quick glance across churches the world, one can immediately notice a striking change in not only theology but the use of the visual arts. Why is there such a huge change across denominations in the use of images? Artists across history have created many masterpieces of work in the name of God but are these images biblical? Would it be morally wrong to display Jesus or God in the form of a sculpture? Can the Word of God be taught not only by means of words but pictures? Is artwork able to help someone worship God? Is the use of imagery within the church nothing more than idolatry? These questions are just a few that might come up in regards to the use of images in the church setting.
The purpose of this paper is to take a historical, theological, and biblical look at the use of the visual arts in the worship setting and find the practical application to the conclusions in an effort to better equip the reader for Christian ministry. This process will first take place by looking at the church’s relationship with imagery across history. A theological summary will also illustrate what many theologians have thought about said subject. Also, what the Bible states about imagery and its use must be assessed and understood. Finally, a practical application will be given in order to find out how to apply what has been learned in a manner that is effective and biblical.
Historical Summary
From the time of Christ to the reign of Constantine the early church had mixed reactions in regards to the use of images. Images were already a controversial subject in the early church due to a fear of breaking the second commandment. Despite this fear of committing idolatry and Christianity facing harsh persecution, some artwork can be found from this time period. According to some sources the vast majority of Christian images were invisible to the eyes of nonbelievers as they were hidden in catacombs and burial places before about A.D. 200 [1]. Other historians have argued no Christian art existed before this time due to the art being indiscernible from the surrounding pagan artwork [2].
At the conversion of Constantine in 312 Christianity celebrated its triumph with a dramatic use of imagery and architecture [3]. The use of the visual arts rose tremendously as the faith itself spread across the land. In 396 Augustine argued God could use temporal things to show the eternal reality for which the human soul hungers [4]. Medieval Pope Gregory the Great (590-604) insisted that “icons are for the unlettered what the Sacred Scriptures are for the lettered” [5].
The use of the visual arts during this time of the church had tremendous use in not only decoration but in convicting the heart to respond and act, teaching Scripture to those who could not read, and opening “windows to the meaning of the event being depicted” [6]. Christians began using religious pictures of Jesus Christ, Mary, or a saint referred to as icons in communion and intercessory prayer. Art convicted the heart and connected the heart of the individual with the event depicted very much like the relics of martyrs.
The Eastern Orthodox Church had more emphasis on the use of icons and images than the Western churches. Due to the questionable and what many considered abusive use of Eastern Orthodox imagery, the Iconoclast Controversies began in 726, and most of the conflict centered around Constantinople [7]. The Emperor Leo II (717-741) himself initiated the controversy in part because of Islamic influence. His son Emperor Constantine V (741-745) showed an even greater hatred for images as seen from his Iconoclastic Council of 754 which stated [8]:
“Supported by the Holy Scriptures and the Fathers, we declare unanimously in the name of the Holy Trinity that there shall be rejected and removed and cursed out of the Christian Church every likeness which is made out of any material whatever by the evil art of painters. Whoever in the future dares to make such a thing or venerate it, or set it up in a church or in a private house, or possess it in secret, shall, if bishop, priest, or deacon, be deposed, if monk or layman, anathematized and become liable to be tried by the secular lays as an adversary of God and an enemy of the doctrines handed down by the Fathers” [9].
The Second Council of Nicaea of 787 proclaimed images to be right, proper, and even necessary for worship. The Iconoclast Controversy finally ended in 842. The Eastern Orthodox Church won the dispute, and it as well as the Catholic Church today both still hold to the Council of Nicaea’s conclusion [10].
The use of images remained unchanged until the time of the Reformation. During this time period came another iconoclast movement though not as intensive in an effort to teach with Scripture as opposed to what many perceived to be idolatrous imagery. The Reformation witnessed the general condemnation of the image and the rise concentrating on the Scriptures alone. Frescoes and paintings in Catholic churches were whitewashed. Books replaced icons. The result was not doing away with all imagery but all imagery within the Protestant church setting. Every since has existed an uneasy relationship between artwork and Protestant thought and a belief that art should exist only outside the worship setting.
Theological Summary
Many theological views have clearly existed throughout the history of images within the church. Of the views present, the most extreme views are present within the opposing sides of the Iconoclast Controversy: the iconoclasts against images and iconodules for images. The debate largely dealt with whether or not images should be considered to be idolatry.
“In the life, liturgy, and history of Orthodoxy, the icon is not simply sacred art or church decoration; it is above all things theology in color” [11]. Art and theology were and still are inseparable with the Eastern Orthodox Church. Iconodules John of Damascus and Theodore the Studite defended their theological reasoning for what at least appears to be worshiping images. They clearly stated their intent was to worship the Creator rather than the creation. What had appeared to be worship was to them a form of honoring the patron or matron represented within the icon. Also rooted in their defense was the incarnation of Jesus Christ. John and Theodore made clear the blasphemous implications of putting God in the form of an image, but because God gave an icon of himself in Christ, He sanctioned the use of such imaging. Also, just as Jesus is the image of God, so is man according to Genesis 1:26. They thus argue, if one image of God can be made into an image then why not another [12]?
The iconoclasts on the other hand argued that no difference exists between pagan idolatry and Christian iconography. The reason came in part through their understanding of the deity of Christ. Emperor Constantine V said an image is of the exact same nature or essence as its prototype, even as Christ the image of God is the same essence as the Father (2 Cor. 4:4; Col. 1:15) [13]. Any images of Jesus must therefore be considered blasphemous before God. The veneration of icons was never mentioned in the early church which gave the iconoclasts a historical basis for their argument.
“While the East wanted to see the Word in images, the West insisted on hearing it in the spoken word” [14] Martin Luther, John Calvin, and Ullrich Zwingli each shared a passion for spoken word, but each had their own views of Scripture. Luther was more open to the use of images in worship and in private devotion, based on his emphasis on justification by faith. Luther argued that once a person is justified he is free to use images if they are helpful; on the other had, if he does not believe, no image will help [15].
John Calvin stated in his commentary on the second commandment (Exod. 20:4-6), “The words simply express that it is wrong for men to seek the presence of God in any visible image, because He cannot be represented to our eyes” [16]. Calvin goes farther when he states, “images cannot stand in the place of books” [17]. He took this farther by even stating that only in preaching the Word can God’s true majesty be grasped, “Even if the use of images contained nothing evil, it still has no value for teaching” [18]. As a result, all images were to be taken out of the church.
Zwingli was sternly opposed to images and other forms of ceremonial piety for the following reasons: “First, the principle of scriptural authority relativized all extrabiblical practices” [19]. Basically, Zwingli has tended to eliminate what is not expressly commanded in Scripture. Second, images held demonic power to the extent that “images of holy women were shaped so attractively, so smooth and colorful that they were able to entice men to lust” [20].
What largely contributed to the nonuse of images by some of the Reformation leaders was an emphasis of the heart of the individual, divinity of God, and the idea of Sola scriptura. They believed salvation to be expressed through the heart and not any type of representation or emotional release through art. Though one could learn about God through creation (Ps. 19:1; Rom. 1:18-20), one could not gain knowledge about God through another person’s limited imagination. How could one comprehend all of God and put it in the form of an image [21]? The image also had less of a need and took second place to the teaching and reading of Scripture. No longer was the truth of the gospel to be taught by the visual arts but by educating people to read the Scriptures for themselves.
Very different from the Reformation leaders is the view largely held by the Emergent church of the current generation. Emergent church leader Dan Kimball states in his book Emerging Worship: Creating Worship Gatherings for New Generations:
“Multisensory worship involves seeing, hearing, tasting, smelling, touching, and experiencing. This means our worship of God can involve singing, silence, preaching, and art, and move into a much greater spectrum of expression. . . . We move past merely listening and singing to a whole new level of ways to participate in worship through all our senses” [22].
Biblical and Theological Analysis
As seen clearly, many theologians, denominations, and church leaders have taken a wide variety of views upon the subject of whether or not the visual arts are permissible in the worship setting, but what does the Bible say about the matter? Is the subject stated clearly within Scripture or is it an unclear issue? Anytime within Scripture the term image is referenced it is either mentioning a false image which should not be worshiped or the image of God which we should become. The question then arises if images can be made in worshiping the one and true God from a biblical standpoint.
First, one needs to understand the second commandment from Exodus 20:4-5a, “You shall not make for yourself an idol in the form of anything in heaven above or on the earth beneath or in the waters below. You shall not bow down to them or worship them; for I, the LORD your God, am a jealous God.” Some have taken this passage to mean that one cannot make an image of anything for any purpose while others believe it to mean one is commanded not to worship a manmade image. Is it the act of making an image that is forbidden or the act of worshiping the image created?
Peter Enns has argued that the second commandment is to be understood within the framework of the first commandment, “You shall have no other gods before me” (Exod. 20:3). The second expands the first as if to say, “The Israelites are not to worship other gods, therefore, they are not to make any idol of any kind” [23]. Calvin argued, “The words simply express that it is wrong for men to seek the presence of God in any visible image, because He cannot be represented to our eyes” [24].
Images in and of themselves are not condemned in this commandment but the worship of images even if they are of God himself. Identifying God with any created thing is one step from thinking of God in terms of that image. Not to mention God cannot justifiably be formed into an image as mentioned by Paul in Acts 17:29 which states one “should not think that the divine being is like gold or silver or stone-an image made by man’s design and skill.” What image could be comparable to God himself (Isa. 40:18)?
Within the context of the rest of Scripture, each time images are forbidden God seems to attribute His condemnation to the fact that He is the one worthy of worship, not an idol or creation by man (Duet. 4:14-25; 5:8-10; 27:15). Thus, if an image, whether it is a painting or a human being, becomes an idol then it is being worshiped instead of God – just what the second commandment condemned.
If having an image of God is blasphemous then what of having an image of Jesus Christ? The foundation for having permission to ascribe Jesus into an image is based on two arguments: the incarnation of Jesus Christ and both man and Jesus being created in the image of God (2 Cor. 4:4; Col. 1:15). Because of the incarnation, the immaterial God can be represented with the material image; to say otherwise is to deny that the Word became flesh (John 1:14).
In Genesis 1:26-27 God created man in the image of God and men are to shape themselves into the image of God, Jesus Christ (2 Cor. 3:18; Col. 3:10; Rom. 8:29). As Jesus Christ is considered by Scripture to be the image of God, to say Jesus cannot be made into an image is therefore to say humanity cannot.
Has God himself supported the function of images within worship? Scripture itself has commanded and/or approved the making of certain images of created things, even for use in worship. For instance, the tabernacle and the temple were filled with images: lampstands that looked like flowering almond trees (Exod. 25:31-40); a huge basin resting on the backs of oxen (Jer. 52:20); pomegranates on the clothes of the priests (Exod. 28:33); angels on the Ark of the Covenant (Exod. 25:18-22), the curtains (Exod. 26:1,31), and spanning the Holy of Holies (1 Kings 6:23-38); and a variety of images on the doors to the sanctuary (1 Kings 6:32,36).
Within Exodus 31:1-11 God appoints Bezale and Oholiab to use their Spirit-inspired artistic abilities for the purpose of glorifying God. Something which would be considered complete blasphemy for the iconoclasts was the Israelites looking to the bronze serpent to be healed while in the wilderness (Numbers 21:4-9). These God appointed images could be used in a manner which in the very least be used as decoration if not for use in worship and teaching.
Practical Implications
With a biblical view of imagery understood, how is this view to be carried out in a practical manner? The visual arts can bridge the gap between the physical world and the spiritual world. Artwork can be aids to attention; therefore, artwork can help keep the attention upon God. Objects within the works of art are symbols, useful in worship because they represent certain facts, ideas, or feelings. The visual arts can also be just as effective as hindering the Word of God as ministering the Word of God.
Teaching and worship tools can consist of many types and variations of art: painting, sculpting, drawing, photography, PowerPoint, video, etc. Each of these tools can be used in a variety of ways as not only decoration but tools which can be used in teaching and expression of thought. One personal account of using the visual arts within the worship setting was an occasion while preaching. With each point, I used a piece of simple artwork to reinforce the message taught. This method helps in not only helping visually minded individuals remember the material but can cause the viewer to contemplate the message and symbols used.
A drawing can show a person the world in which a biblical person once lived. A painting is able to cause an individual to contemplate the complexities of life. A photograph is able to convict a person’s heart to the lost in order to proclaim the Gospel. Learning, contemplating, and convicting are what the visual arts can do for the glory of God.
Not only can the visual arts be a ministry for the viewers but for the artist himself. Just like music and poetry, the arts can be an excellent way to express emotion within an individual. If an artist feels like Job after his horrible loss and the artist expresses this feeling through a painting, would not the expression of emotion be of healing release? What about those who share the same feelings and emotions? Would the painting not link the two before God within their agony coming together as one?
Not only does artwork express emotion but the awe of the individual toward God. David proclaimed in Psalms 19:1, “The heavens declare the glory of God; the skies proclaim the work of his hands.” In just the same manner, the artist can stand in awe at the beauty of God’s work and creation, expressing this awe in the form of visual works of art.
With some of the benefits of the visual arts now known, the warnings that come along with the arts must be reviewed. First, an image can only be a tool in worship, not the object of the worship. God alone is the one worthy of worship and He should never have to compete with a man-made object. If the arts become a contest instead of an expression of thought and emotion, it becomes the object of the worship. Second, the arts should never come in place of the Word of God. Indeed the arts can be used to express the Bible’s teachings but never take its place. Third, once symbols lose their meaning, they tend to become superstitions useless tradition. Using them as mere decoration is unworthy of the Christian faith. One must know the meaning being taught within the images for this reason. Fourth, symbols may be entirely detached from personal fellowship with God. One may become absorbed in symbolic meanings without having an experience or personal relation to God.
The real value of symbols depends on the individual person. The mind of the worshiper must be filled with the right Christian content in order to make the proper use of symbols in Christian worship. A constant danger exists that false concepts may creep into the mind of the worshiper. Teaching of the Word of God must therefore never be neglected. Putting a visual facade over a false message never makes the content correct, just more appealing from a glance.
Conclusion
The use of the visual arts within the worship setting has been extremely controversial over church history. The Iconoclast Controversy and the abuse of images by the Eastern Orthodox show the most extreme sides of the argument. The balance of those two views seems to display the most biblical use of how images should and should not be used within worship. A historical, theological, biblical analysis of images in the worship setting and the practical application to those findings has been given. Hopefully this knowledge will better equip the reader for knowing how to handle the visual arts within Christian ministry.
BIBLIOGRAPHY
1. Franklin M. Segler, Christian Worship, (Nashville: Broadman and Holman, 1996), 156.
2. Paul Corby Finney, The Invisible God: The Earliest Christians and Art (New York: Oxford University Press, 1994), 130.
3. William A. Dyrness, Visual Faith: Art, Theology, and Worship in Dialogue (Grand Rapids: Baker, 2001), 27.
4. Ibid, 33.
5. Daniel B. Clendenin, Eastern Orthodox Christianity: A Western Perspective, (Grand Rapids: Baker, 2002), 77.
6. Diane Apostolos-Cappadona, “Icon,” Dictionary of Christian Art (New York: Continuum, 1995), 165.
7. Ibid.
8. Clendenin, 84.
9. Ibid, 71.
10. C. C.Berkouwer, Man: The Image of God, (Grand Rapids: Eerdmans, 1962), 108-109.
11. Clendenim, 80.
12. Clendenim, 87, 93. Heidi J. Hornik and Mikeal C. Parsons ed., Interpreting Christian Art: Reflections on Christian Art (Macon, GA: Mercer University, 2003), 3. Jams Stamoolis ed., Three Views on Eastern Orthodoxy and Evangelicalism (Grand Rapids: Zondervan 2004), 240.
13. Clendenim, 86, 92.
14. Ibid, 77.
15. Dyrness, 51.
16. John Calvin, Commentaries on the Four Last Books of Moses, vol. 1, trans. Charles William Bingham (Grand Rapids: Baker, 1998), 107.
17. Clendenim, 78.
18. Dyrness, 53.
19. Timothy George, Theology of the Reformers, (Nashville: Broadman, 1988), 132.
20. Ibid.
21. Dyrness, 53.
22. Dan Kimball, Emerging Worship: Creating Worship Gatherings for New Generations, (Grand Rapids: Zondervan, 2004), 81-82.
23. Peter Enns, The NIV Application Commentary: Genesis, (Grand Rapids: Zondervan, 2000), 415.
24. Calvin, 107.