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Acheiropoieta - Wikipedia. Image of the Saviour Made Without Hands: a traditional Orthodox iconography in the interpretation of Simon Ushakov (1. Acheiropoieta (Medieval Greek: ἀχειροποίητα, "made without hand"; singular acheiropoieton) — also called Icons Made Without Hands (and variants) — are Christianicons which are said to have come into existence miraculously, not created by a human.
Invariably these are images of Jesus or the Virgin Mary. The most notable examples that are credited by tradition among the faithful are, in the Eastern church the Mandylion, also known as the Image of Edessa, and the Hodegetria (depending on the version of their origin stories followed—in many versions both are painted by human painters of Jesus or Mary while alive), and several Russian icons, and in the West the Shroud of Turin, Veil of Veronica, Our Lady of Guadalupe, and Manoppello Image. The term is also used of icons that are only regarded as normal human copies of a miraculously created original archetype. Although the most famous acheiropoieta today are mostly icons in paint on wood panel, they have been in several other types of technique, such as mosaics, painted tile, and cloth. Ernst Kitzinger distinguished two types: "Either they are images believed to have been made by hands other than those of ordinary mortals or else they are claimed to be mechanical, though miraculous, impressions of the original".[1] The belief in such images becomes prominent only in the 6th century, by the end of which both the Mandylion and the Image of Camuliana were well known. The pilgrim Antoninus of Piacenza was shown a relic of the Veil of Veronica type in Memphis, Egypt in the 5.
Background[edit]Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist), they therefore acted as important references for other images in the tradition.
They therefore were copied on an enormous scale, and the belief that such images existed, and authenticated certain facial types, played an important role in the conservatism of iconographic traditions such as the Depiction of Jesus.[3] Beside, and conflated with, the developed legend of the Image of Edessa, was the tale of the Veil of Veronica, whose name was wrongly interpreted in a typical case of popular etymology to mean "true icon" or "true image", the fear of a "false image" remaining strong. Conventional images believed to be authentic[edit]A further and larger group of images, sometimes overlapping with acheiropoieta in popular tradition, were believed in the Early Middle Ages to have been created by conventional means in New Testament times, often by New Testament figures who, like many monks of the later period, were believed to have practiced as artists.
The best known of these, and the most commonly credited in the West, was Saint Luke, who was long believed to have had the Virgin Mary sit for her portrait, but in the East a number of other figures were believed by many to have created images, including narrative ones. Saint Peter was said to have "illustrated his own account of the Transfiguration", Luke to have illustrated an entire Gospel Book, and the late 7th century. Frankish pilgrim Arculf reported seeing in the Holy Land a cloth woven or embroidered by the Virgin herself with figures of Jesus and the apostles. The apostles were also said to have been very active as patrons, commissioning cycles in illuminated manuscripts and fresco in their churches.[4]Such beliefs clearly projected contemporary practices back to the 1st century, and in their developed form are not found before the lead- up to the Iconoclastic Controversy, but in the 4th century, Eusebius, who disapproved of images, accepted that "the features of His apostles Peter and Paul, and indeed of Christ himself, have been preserved in coloured portraits which I have examined".[4] Many famous images, including the Image of Edessa and Hodegetria, were described in versions of their stories as this type of image.
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The belief that images presumably of the 6th century at the earliest were authentic products of the 1st century distorted any sense of stylistic anachronism, making it easier for further images to be accepted, just as the belief in acheiropoieta, which must have reflected a divine standard of realism and accuracy, distorted early medieval perceptions of what degree of realism was possible in art, accounting for the praise very frequently given to images for their realism, when to modern eyes the surviving corpus has little of this. The standard depictions of both the features of the leading New Testament figures, and the iconography of key narrative scenes, seemed to have their authenticity confirmed by images believed to have been created either by direct witnesses or those able to hear the accounts of witnesses, or alternatively God himself or his angels.[3]Acheiropoieta of 8. Such icons were seen as powerful arguments against iconoclasm.
In a document[citation needed] apparently produced in the circle of the Patriarch of Constantinople, which purports to be the record of a (fictitious)[citation needed]Church council of 8. The acheiropoieta listed are: 1. Image of Edessa, described as still at Edessa; 2. Virgin at Lod, Israel, which was said to have miraculously appeared imprinted on a column of a church built by the apostles Peter and John; 3. Virgin, three cubits high, at Lod in Israel, which was said to have miraculously appeared in another church. The nine other miracles listed deal with the maintenance rather than creation of icons, which resist or repair the attacks of assorted pagans, Arabs, Persians, scoffers, madmen, iconoclasts and Jews. This list seems to have had a regional bias, as other then- famous images are not mentioned, such as the Image of Camuliana,[5] later brought to the capital.
Another example, and the only one which indisputably still exists, is a mosaic of the young Christ from the sixth century in the church of Latomos Monastery in Thessaloniki (now dedicated to Saint David). This was apparently covered by plaster during the Iconoclastic period, towards the end of which an earthquake caused the plaster to fall down, revealing the image (during the reign of Leo V, 8.
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However, this was only a subsidiary miracle, according to the account[by whom?] we have. This says that the mosaic was being constructed secretly, during the 4th century persecution of Galerius, as an image of the Virgin, when it suddenly was transformed overnight into the present image of Christ.[6]Notable examples[edit]. King Abgarus. A number of other images from the Western church are covered at Holy Face of Jesus. Image of Edessa[edit]According to Christian legend, the image of Edessa, (known to the Eastern Orthodox Church as the Mandylion, a Medieval Greek word not applied in any other context), was a holy relic consisting of a square or rectangle of cloth upon which a miraculous image of the face of Jesus was imprinted — the first icon ("image"). Watch Alpha Alert Online Mic. According to legend, Abgar V wrote to Jesus, asking him to come cure him of an illness. Abgar received an answering letter from Jesus, declining the invitation, but promising a future visit by one of his disciples. Along with the letter went a likeness of Jesus.
This legend was first recorded in the early fourth century by Eusebius,[7] who said that he had transcribed and translated the actual letter in the Syriac chancery documents of the king of Edessa. Instead, Thaddeus of Edessa, one of the seventy disciples, is said to have come to Edessa, bearing the words of Jesus, by the virtues of which the king was miraculously healed. The first record of the existence of a physical image in the ancient city of Edessa (now Şanlıurfa) was in Evagrius Scholasticus, writing about 6.