CULT IMAGE

In the practice of religion, a 'cult image' is a man-made object that is venerated for the deity, spirit or daemon that it embodies or represents. ''Cultus'', the outward religious formulas of "cult", often centers upon the treatment of cult images, which may be dressed, fed or paraded, etc.

Contents

Cult images in Ancient Egypt

Cult images in classical Greece and Rome

Opposition from Abrahamic religions

Cult images in Christianity

Jainism

See also

Cult images in Ancient Egypt

Apis Bull

Cult images in classical Greece and Rome

Statue of Zeus at Olympia
The Parthenon contains a cult image of Athena, the Greek goddess of civilization and the noble side of war. This cult image was done by Phidias, the sculptor and head supervisor of building the Parthenon. This cult image was used for religious sacrifices at this Athenian temple.

Opposition from Abrahamic religions

Members of "Abrahamic religions" identify cult images as "idols" and their veneration as "idolatry", the worship of hollow forms (Catholic and Eastern Orthodox Christians make an exception for the veneration of saints, which is not considered adoration or latria). The word ''idol'' entered Middle English in the 13th century from Old French ''idole'' adapted in Church Latin from the Greek ''eidolon'' ("appearance" extended in later usage to "mental image, apparition, phantom"). Greek ''eidos'' means "form" [1] as used by Plato.

Cult images in Christianity

Christian images that are venerated are called icons. Christians who venerate icons make an emphatic distinction between Veneration and Worship, though the proliferation of wonder-working images since at least the 4th century shows that the distinction is blurred in ordinary practice: see Image of Edessa, Veronica etc.
The introduction of venerable images in Christianity was highly controversial for centuries, especially in Eastern Orthodoxy: see the Byzantine Iconoclastic Controversies of the 8th and 9th centuries. In the West, resistance to idolatry delayed the introduction of sculpted images for centuries until the rise of Romanesque art and the use of the crucifix. The intensified pathos that informs the poem ''Stabat Mater'' takes corporeal form in the realism and sympathy-inducing sense of pain in the typical Western European corpus (the representation of Jesus' crucified body) from the mid-13th century onwards. "The theme of Christ's suffering on the cross was so important in Gothic art that the mid-thirteenth-century statute of the corporations of Paris provided for a guild dedicated to the carving of such images, including ones in ivory" [2].
The 16th-century Reformation engendered spates of cult-image smashing, notably in England and Scotland, the Low Countries and France. The ''corpus'' was removed from the crucifix in many Protestant churches leaving a bare cross. Often the damage was concentrated on three-dimensional cult images, but more extreme iconoclasts ("image-breakers") even smashed the representations of holy figures in stained glass windows. Further destruction of cult images, anathema to Puritans, occurred during the English Civil War.

Jainism

The focus for image worship among many Jains is the icon of the Tirthankara in either a domestic shrine or temple shrine room. It appears that Tirthankaras cannot respond to such worship, but veneration of the image can function as a meditative aid.
Although most worship takes the form of prayers, hymns and recitations, the idol is sometimes ritually bathed, and often has offerings of made to it; there are eight kinds of offering representing the eight karmas of Jainism.[3]
This form of reverence is not a central tenet of the faith, and there seems to be debate about the value of this form of worship.

See also

★ Madonna and Child

★ Fetishism

★ Asherah

★ Murti

★ Prana pratishta

★ Puja

★ Antinous Mondragone