Iconoclast decoration of three Naxos churches

Several churches on the island of Naxos feature aniconic decoration. The sanctuary of the church of Hagios Ioannis Theologos in Adisarou contains traces of frescoes that consist of, among other things, regular polygons framing floral motifs and geometric ornaments such as circles, lozenges and, in the corners, palmettes, as well as multicoloured chevrons. In the eastern section of the church of Hagia Kyriaki in Kalloni, near Apiranthos, is a depiction of six birds together with small crosses flanked by palm trees. There are also chevrons, repeated circular and square shapes, and floral motifs. The decoration of a third church in Stavros, near Sangri, Hagios Artemios, is very similar to that of Hagia Kyriaki, comprising geometric and floral motifs and spirals in the sanctuary area. The dating of these churches is a matter of debate. Their aniconic decoration – without any human figures at least – links them to the Iconoclast period in general. They are most often attributed to the ninth century, during or after the reign of Emperor Theophilus (829–42). This dating is based on the decoration consisting of palmettes and floral motifs, as well as on the birds of Hagia Kyriaki. These birds have ribbons tied around their necks: this detail may be found on Sassanid monuments and was undoubtedly passed into Arab art and, via that route, into Byzantine art during the reign of Theophilus, who was regarded as a great admirer of Arab art. But inasmuch as this motif also figures in older Byzantine mosaics, this filiation is far from certain.

During the Iconoclast period, the emperors forbade any form of religious representation containing human figures, more often than not only allowing imperial, floral or geometric motifs. However, the use of the human figure was authorised in Byzantine profane art, very few examples of which have survived. There may have even been scenes with animals or hunt scenes in churches: it is difficult to be certain of this, however, as these are only mentioned in sources written by adversaries.

This aspect of Byzantine religious art of the Iconoclast period – that is, the absence of human figures – establishes a parallel with Muslim art.

The art of the Umayyad caliphs (661–750) made a clear distinction between religious art, which allowed plant and architectural motifs, but no representation of a living creature of any type, and the profane art of the caliphs’ palaces, where great freedom of expression was permitted, notably with the depictions of female dancers or bathers.

It may be observed that the decoration of Iconoclast religious monuments was less rigid than Muslim religious art, as it featured both plant motifs and living creatures, such as animals.

The decorative repertory of these two cultures has, for the most part, common origins. One finds in Iconoclast decoration the continuation of the tradition bequeathed by Greco-Roman art with the incorporation of new motifs from Arab art. Nevertheless, it is remains difficult to distinguish between what was inspired by early Christian decoration and what was borrowed directly from the Arab world.