section_path: Specific characteristics/Depiction
section_name: Depiction
paragraph_text: Depiction
  
  In Zoroastrianism, during the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sasanian Empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback, which is found in Sassanian investiture.
  
  Deities from Near Eastern cultures are often thought of as anthropomorphic entities who have a human like body which is, however, not equal to a human body. Such bodies were often thought to be radiant or fiery, of superhuman size or extreme beauty. The ancient deity of the Israelites (Yahweh) too was imagined as a transcendent but still anthropomorphic deity. Humans could not see him, because of their impurity in contrast to Yahweh's holiness, Yahweh being described as radiating fire and light which could kill a human if looking at him. Further, more religious or spiritual people tend to have less anthropomorphic depictions of God. In Judaism, the Torah often ascribes human features to God, however, many other passages describe God as formless and otherworldly. Judaism is aniconic, meaning it overly lacks material, physical representations of both the natural and supernatural worlds. Furthermore, the worship of idols is strictly forbidden. The traditional view, elaborated by figures such as Maimonides, reckons that God is wholly incomprehensible and therefore impossible to envision, resulting in a historical tradition of "divine incorporeality". As such, attempting to describe God's "appearance" in practical terms is considered disrespectful to the deity and thus is taboo, and arguably heretical.
  
  Gnostic cosmogony often depicts the creator god of the Old Testament as an evil lesser deity or Demiurge, while the higher benevolent god or Monad is thought of as something beyond comprehension having immeasurable light and not in time or among things that exist, but rather is greater than them in a sense. All people are said to have a piece of God or divine spark within them which has fallen from the immaterial world into the corrupt material world and is trapped unless gnosis is attained.
  
  Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God. However, later depictions of God are found. Some, like the Hand of God, are depiction borrowed from Jewish art. Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art. Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of man in the image of his own (thus allowing humans to transcend the other animals). It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted. By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto 's fresco of c. 1305 in Padua. In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry had a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms. In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a range of other icons being placed on the forbidden list, mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.
  
  In Islam, Muslims believe that God (Allah) is beyond all comprehension, and does not resemble any of his creations in any way. Muslims tend to use the least anthropomorphism among monotheists. They are not iconodules and have religious calligraphy of titles of God instead of pictures.