Symbols and the Christian Faith

1. Symbolic Communication

“The church is in the process of rediscovering that the arts are a gift from God and
meant for worship.” (R. Webber, Worship Old & New, p. 215.) The term “arts” is
used broadly and includes especially the visual and dramatic arts. This study
focuses primarily on Christian symbols as a subset of the visual arts. In part, the
renewed interest in the arts is the result of cultural influences. The modern
paradigm of conceptual communication based “word” and print media continues
to give way to symbolic communication based on “image” in visual media (see
further P. Babin, The New Era of Religious Communication, pp. 150-51). The
recent emphasis on holism in our culture and the Christian sub-culture has also
affected religious thought and practice generally and Christian worship
specifically, encouraging a whole person worship response to God.

The value of symbols and symbolic communications lies in its ability to touch
human imagination and intuition and create a sense of awe and wonder, to instill a
sense of beauty, and thus aid in the recovery of the mystery of the transcendent.
Symbols and symbolic communication also reinforce the complimentary nature of
word + image in instruction (see further Instruction under 4. below). Symbols
and symbolic communication pose challenges as well, given the tendency of word
based communication toward univalent meaning and the tendency of image based
communication toward multivalent meaning (see further 7. Dangers Associated
with Symbols below).

The Symbol: Pointers to Understanding

“All language (including visual language) about God must, as St. Thomas Aquinas
pointed out, necessarily be analogical. The fact is, that all language about everything
is analogical; we think in a series of metaphors. We can explain nothing in terms of
itself, but only in terms of other things…it may be perilous, as it must be inadequate, to
interpret God by analogy with ourselves, but we are compelled to do so; we have no other
means of interpreting anything.” (D. Sayers, Mind of the Maker, pp. 22-23.)

The Symbol as the Language of Artistic Expression

If the arts are to be used to assist in worship, then we need them, with their
symbolic language, to be an integral part of corporate worship (implying education
in the making and viewing of art). (A. Steffler)

2. Theological Basis: A Theology of Form

Robert Webber states that “[B]ecause worship is something done by way of enactment, it
necessarily involves certain forms. Forms are not mere externals but signs and symbols of
a spiritual reality.” (Webber, Worship Old & New, p. 85.)He roots the theological basis of

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form in worship in creation (the goodness of creation as the product of God’s imagination
and action, Gen 1), revelation (God communicates through the natural creation, Ps 19;
through events like the Hebrew exodus from Egypt and the cross of Jesus Christ, Exod
12-13; Acts 2 ; and through the institutions of worship like the tabernacle and temple,
Exod 25-40; 1 Kgs 7-8), and the incarnation (the eternal Word of God become a human
being, John 1:14).

3. Terms and Definitions

Religious belief strives for embodiment in conventional and tangible modes of 
expression.  Signs and symbols may help communicate the reality of God to the 
worshiper.  The value of the symbol lies in its ability to compress biblical and spiritual 
truth in a form easily comprehended and assimilated. Note the terminology below:

Icon:  A flat, one­dimensional pictorial representation of Christ, or Mary, one of the 
Apostles or other saints executed in formal Byzantine style venerated in the Orthodox 
Christian tradition. 

Sign (Emblem, Figure, Image):   A practical and visible representation of reality (whether 
a spiritual quality or characteristic, a biblical doctrine or truth, or a person) that 
essentially conveys information leading to personal action.  A sign may be (or become) a 
symbol when that sign conveys a particular message or meaning.  For example, the sign 
of Christian baptism points to the idea of death, burial, and resurrection in Jesus Christ.   

Symbol:  A visual representation of an idea or reality beyond or more than itself.  The 
religious symbol points beyond itself to reality, participating in its power, and makes 
intelligible its meaning.  A sign may represent reality, whereas the symbol embodies it. 
Genuine religious symbols are divinely created in the sense that they find their origin in 
Scripture.  For example, the dove is a symbol of the Holy Spirit (Matt. 3:16), and the 
lamb is a symbol of Jesus Christ (John 1:29).    

Type:  An Old Testament event, person, object, or idea that foreshadows (or serves as a 
prototype) for establishing historical correspondence with a similar New Testament truth. 
The Old Testament correspondent is identified as the “type”; and the New Testament 
correspondent expressing the Old Testament truth in a greater way is regarded the 
“antetype.”

4. Purposes of Symbols in Christian Worship*

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Affiliation:  A (sometimes secret) mark of identification/affiliation for Christians during 
times of persecution (e.g., the sign of the fish used as a motto or badge of identification 
attesting initiation and membership into the church of Jesus Christ), and/or a badge of 
public witness of identification attesting initiation and membership into the church of 
Jesus Christ.

Documentation:  A means of memorializing God’s activity in human history (e.g., the 
Passover Meal or the Bread and the Cup of the Lord’s Table or the Cross of Christ), 
and/or advancing an ideology (e.g., the doctrine of the incarnation or the resurrection of 
Jesus Christ).

Instruction:  A means to teach biblical truth to those unable to read; or a pedagogical 
device complementing oral and written  teaching about God and spiritual truth through 
visual images that have the ability to elucidate, to compress truth into a simple and 
meaningful whole, in a form readily grasped and retained. (For a more elaborate form of 
this concept see the folio from the Pauper’s Bible below:)

Biblia pauperum. Block book.

[The Netherlands, c. 1460-1470].
2º, 40 (-2) leaves.
Provenance: Tongerlo collection, 1828

Intervention:  A means to represent supernatural powers, unseen forces, and the mystery 
of religious thought and experience; a bridge between the physical and spiritual realms.

Assist in worship: some symbols, such as furniture (e.g., the table or altar) and vessels 
(e.g., the chalice) also have functional roles in Christian liturgy.

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Aesthetic Contemplation:   A means to enhance the environment of worship and stimulate 
emotion, intuition, and imagination through a sense of beauty; to decorate and celebrate.

*[Adapted from Lynn Mackenzie, Non­Western Art:  A Brief Guide. Rev. ed. Prentice Hall, 2000, pp. 1-2.]

5. Particular vs. Universal Symbols

Particular Christian Symbols:

• May or may be biblically based

• May convey an essential or supplemental biblical teaching
• May or may not have a long tradition in church history
• Generally a more restricted geographical recognition
• Generally require more “code” in unpacking and transmitting the meaning of
the symbol

Universal Christian Symbols:

• Image usually biblically based

• Conveys an essential biblical truth or teaching
• Generally a long tradition in church history
• Wide geographical recognition
• Minimal “code” needed to unpack the image

6. Ecclesiastical History

One aspect of religious education in the church historically is learning the “code” for
Christian symbols and passing it on to the next generation of the Christian faithful. An
example is the Christian & Missionary Alliance Church logo (the denomination with
which my wife and I are affiliated):

During the set of membership classes prospective church members learn that the Cross
represents Christ our Savior, the Laver Christ our Sanctifier, the Pitcher Christ our

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Healer, the Crown Christ our Coming King, and the Globe represents Completing
Christ’s Commission.

Guidelines for the Use of Symbols in the Church:

• Is the symbol Bible based?

• Does the symbol help tell the story of salvation history?
• What is the place and meaning of the symbol in church history/tradition?
• Does the symbol have currency or relevance for the contemporary setting?
• Is the symbol redeemable (i.e., are the non-Christian associations so strong as to
predominate)?
• Does the symbol have a “code” so that it can be rightly understood?
• Is the “code” known and taught on a regular basis so people understand the
symbol?

7. Dangers Associated with Symbols

Idolatry:  the worship of a physical object as a god (cf. Exod.  20:3­5). 

Iconolatry:  the worship of images or icons.  (Note the Iconoclastic Controversy [A.D. 
726­787 and 813­843] and the “iconoclasm” of the Protestant Reformation.)

Veneration:  to honor or show reverential respect to an icon or image with a ritual act of 
devotion.  In the Roman Catholic tradition reverence is paid to relics of saints; in 
Orthodox traditions icons are venerated; and in some liturgical Protestant traditions the 
processional includes the “Veneration of the Book” (i.e. the Bible).  Throughout church 
history the distinction between the worship of God and reverence shown images and 
objects often has been blurred.

Overuse: “commercialization” tends to trivialize a symbol, robbing it of its meaning and 
power to communicate.

Ignorance: symbolic language is “coded” language (the code for interpreting the symbol 
must be known and taught). 

8. Bibliography

Babin, P. The New Era in Religious Communication.  Minneapolis:  Fortress, 1991.

Begbie, J. S. Voicing Creation's Praise: Towards a Theology of the Arts. London: T & T Clark, 1991.
--------------, ed. Beholding the Glory: Incarnation Through the Arts. Grand Rapids: Baker, 2000.
Best, H. Unceasing Worship. Downers Grove: IVP, 2003.
Brand, H. and A. Chaplin. Art & Soul. Downers Grove: IVP, 2002.
Cammerer, R. Visual Art in the Life of the Church. Minneapolis: Augsburg, 1983.
Dupree, L. Symbols of the Sacred. Grand Rapids: Eerdmans, 2000.

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Dyrness, W. A. Visual Faith: Art, Theology, and Worship in Dialogue. Grand Rapids: Baker, 2001.
Ferguson, G.  Signs and Symbols in Christian Art.  New York:  Oxford University Press, 1961.
Gaebelein, F. E. The Christian, the Arts, and Truth.  Portland:  Multnomah, 1985.
Griffith, H. S.  The Sign Language of our Faith.  Grand Rapids:  Eerdmans, 1966.
Hill, A. E. Enter His Courts with Praise!  Grand Rapids:  Baker, 1996.  Especially pp.56­61 (“Sign and
 Symbol in Worship”) and pp. 211­22 (“The Arts and Hebrew Worship”).
Klein, P. S. Worship Without Words. Brewster: Paraclete, 2000.
Ladner, G. B. God, Cosmos, and Humanity: The World of Early Christian Symbolism. Berkley: University
of California Press, 1992.
Leisch, B.  People in the Presence of God.  Grand Rapids:  Zondervan, 1988.  Especially pp. 138­51
 (“Symbolism”) and pp. 152­62 (“Fine Arts”). 
Michalski, S. The Reformation and the Visual Arts. London: Routledge, 1993.
Moe, D.  Christian Symbols Handbook:  Commentary and Patterns for Traditional and Contemporary
 Symbols.  Minneapolis:  Augsburg, 1985. 
 Noland, R.  The Heart of the Artist.  Grand Rapids:  Zondervan, 1999.
------------. Thriving as an Artist in the Church: Hope and Help for your Ministry Team. Grand Rapids:
Zondervan, 2004.
Norden, R. F.  Symbols & Their Meaning.  St. Louis: Concordia Publishing House, 1985.
Rest, F. Our Christian Symbols. Pilgrim Press, 1982.
Ryken, L.  Culture in Christian Perspective:  A Door to Understanding and Enjoying the Arts.  Portland: 
 Multnomah, 1986.
Sayers, D. The Mind of the Maker. San Francisco: Harper & Row, 1987.
Schaefer, F. A.  Art and the Bible.  Downers Grove:  IVP, 1973. 
Sill, G. G.  A Handbook of Symbols in Christian Art.  New York:  Collier, 1975. 
Steffler, A. W. Symbols of the Christian Faith. Grand Rapids: Eerdmans, 2002.
Veith, G. E.  The Gift of Art:  The Place of the Arts in Scripture.  Downers Grove:  IVP, 1983.
Walton, J. R.  Art and Worship:  A Vital Connection.  Liturgical Press, 1991.
Webber, R. E.  Worship Is A Verb.  Waco:  Word, 1985.  Especially pp. 173­95 (“Rediscover the Arts”).
-----------------. Worship Old & New. 2nd ed. Grand Rapids: Zondervan, 1994. Chaps. 12, 19.
­­­­­­­­­­­­­­­­­­, (Ed.).  The Complete Library of Christian Worship.  Nashville:  Star  Song, 1994.  Vol. 4, 
Part II:  Music and the Arts in Christian Worship.  Especially pp. 487­655 (“The Visual Arts in 
Worship”).
­­­­­­­­­­­­­­­­­­­­­­­­.  Ancient Future Faith.  Grand Rapids:  Baker, 1999.  Especially pp. 107­15 
(“Recovering Symbolic Communication”).
Whittemore, C. E.  Symbols of the Church.  Nashville:  Abingdon, 1987.