Pantocrator or Pantokrator (from the Greek Παντοκράτωρ) is one of many titles ascribed to the Divine. When the Hebrew Bible was translated into Greek as the Septuagint, Pantokrator was used to translate the Hebrew title El Shaddai. Christians ascribed this title to Jesus of Nazareth.
The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., able to do anything, or omnipotent.
Another, more literal translation is "Ruler of All" or, less literally, "Sustainer of the World". In this understanding, Pantokrator is a compound word formed from the Greek for "all" and the verb meaning "To accomplish something" or "to sustain something" (κρατεω). This translation speaks more to God's actual power; i.e., God does everything (as opposed to God can do everything).
The Pantokrator, largely an Eastern Orthodox or Eastern Catholic theological conception is by that name less common in Western (Roman) Catholicism and largely unknown to most Protestants. In the West the equivalent image in art is known as Christ in Majesty, which developed a rather different iconography.
The icon of Christ Pantokrator is one of the most widely used religious images of Orthodox Christianity, though the earliest remaining examples of the subject are all in Italy. Generally speaking, in Byzantine church art and architecture, an icon of Christ Pantokrator occupies the space in the central dome of the church, or simply on the ceiling, over the nave.
This blog's main image:
The oldest known surviving example of the icon of Christ Pantocrator was painted in encaustic on panel in the sixth or seventh century, and survived the period of destruction of images during the Iconoclastic disputes that racked the Eastern church, 726 to 787 and 814 to 842, by being preserved in the remote desert of the Sinai, in Saint Catherine's Monastery.[5]
The gessoed panel, finely painted using a wax medium on a wooden panel, had been coarsely overpainted around the face and hands at some time around the thirteenth century. It was only when the overpainting was cleaned in 1962 that the ancient image was revealed to be a very high quality icon, probably produced in Constantinople. The subtlety, immediacy and realism of the image are immediately apparent when the image is compared to any of the more familiar stiffened and hieratic icons — following the same model - that were painted after iconoclasm had been decisively rejected.
Christ here is Christ the Teacher: the gesture of Christ's right hand is not the gesture of blessing, but the orator's gesture; the identical gesture is to be seen in a panel from an ivory diptych of an enthroned vice-prefect, a Rufius Probianus, ca 400, of which Peter Brown remarks, "With his hand he makes the 'orator's gesture' which indicates that he is speaking, or that he has the right to speak."[6]
