Iconostasis

Semi-Autonomous: In Eastern Christianity, an iconostasis (Greek: εἰκονοστάσιον) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church.

A direct comparison for the function of the main iconostasis can be made to the layout of the great Temple in Jerusalem.

The word iconostasis comes from the Greek εἰκονοστάσι(-ον) (eikonostási(-on)), still in common use in Greece and Cyprus), which means 'icon stand'.

In the very center of the soleas is an extension (or thrust), often rounded, called the ambon, on which the deacon will stand to give litanies during the services.

Icons of sainted deacons are often depicted on these doors (particularly St. Stephen the Protomartyr and St. Ephrem the Syrian).

The most notable exception is of the church of Saint George (Aghios Georgios) inside the Ecumenical Patriarchate of Constantinople (in today's Istanbul).

[citation needed] A number of guidelines or rubrics govern which icons are on which parts of the iconostasis, although there is some room for variation.

[citation needed] Many modern iconostases in the Greek tradition only include the bottom ("Sovereign") tier, and on occasion a second tier of smaller icons, usually depicting either the Great Feasts or the Apostles (with an icon of the Mystical Supper, or occasionally the Hospitality of Abraham) above the Beautiful Gates.

[citation needed] When the Iconostasis does not reach all the way to the ceiling, it is often surmounted by a central cross, centered directly above the Beautiful Gates.

The perfect explanation for the iconostasis, and its uniting purpose, is seen in Hebrews 10:19–20, "Therefore, brethren, since we have confidence to enter the sanctuary by the blood of Jesus, by the new and living way which he opened for us through the curtain, that is through his flesh.".

[citation needed] Archaeological evidence from the St. John of Stoudios monastery in Constantinople suggests that the iconostasis evolved from the early templon.

This had curtains on rods on all four sides, which were closed for sections of the liturgy, as is still performed in the Coptic and Armenian churches,[note 2] a comparison with the biblical Veil of the Temple was intended.

[4] As the iconostasis grew, the ciborium declined, although some late examples, by now invisible to the congregation, were produced.

[citation needed] The templon gradually replaced all other forms of chancel barriers in Byzantine churches in the 6th, 7th, and 8th centuries, except in Cappadocia.

[5] The rood screens or pulpita that most large European Roman Catholic churches and cathedrals had acquired by late medieval times occupied a similar position between chancel and nave but served a different function.

Many survive, often most completely in Scandinavia, and more were built in the Gothic Revival, particularly in Anglican churches in England.