Chapter, Paragraph

 1  2,6 |   refinement of religious art (iconography), and Christian literature
 2  2,24|       phenomenon of theosis in iconography throughout his book Theology
 3  2,24|         In the final analysis, iconography is the outcome of a holy
 4  4,12|      fact in his book Orthodox Iconography, and he goes on to list
 5  4,12| further notes that:~ ~Orthodox iconography is not realistic, but symbolic.
 6  4,12|     sin and attracting to sin. Iconography should not remind one of
 7  4,12|       bound up with the world. Iconography, as well as church chant,
 8  4,12| Following the upheaval against iconography on the part of the Iconoclasts,
 9  4,12|  Damascus traces the origin of iconography back to this time, to the
10  4,12|        succeeding century, and iconography became more refined.~ Before
11  4,12|    difference between Orthodox iconography and Western religious painting.
12  4,12|        deviation from Orthodox iconography, Protopriest Victor Potapov
13  4,12|        chasm between Byzantine iconography and Western religious art
14  4,12|   innovative ones. Traditional iconography, with its unsurpassed spiritual
15  6,15|        Giotto) which destroyed iconography; the new “personal” concept
16  7,20|      also expressed in art, in iconography. Icons are one of the ways
17 11,4 |    from each other), yet as in iconography, there is always a contrition-evoking