An icon (from Greek ''eikōn'' "image") is a religious work of art, most commonly a painting, from Eastern Christianity and in certain Eastern Catholic churches. More broadly the term is used in a wide number of contexts for an image, picture, or representation; it is a sign or likeness that stands for an object by signifying or representing it either concretely or by analogy, as in semiotics; by extension, ''icon'' is also used, particularly in modern culture, in the general sense of symbol — i.e. a name, face, picture, edifice or even a person readily recognized as having some well-known significance or embodying certain qualities: one thing, an image or depiction, that represents something else of greater significance through literal or figurative meaning, usually associated with religious, cultural, political, or economic standing.

Throughout history, various religious cultures have been inspired or supplemented by concrete images, whether in two dimensions or three. The degree to which images are used or permitted, and their functions — whether they are for instruction or inspiration, treated as sacred objects of veneration or worship, or simply applied as ornament — depend upon the tenets of a given religion in a given place and time.

In Eastern Christianity and other icon-painting Christian traditions, the icon is generally a flat panel painting depicting a holy being or object such as Jesus, Mary, saints, angels, or the cross. Icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc. Creating free-standing, three-dimensional sculptures of holy figures was resisted by Christians for many centuries, out of the belief that ''daimones'' inhabited pagan sculptures, and also to make a clear distinction between Christian and pagan art. To this day, in obedience to the commandment not to make "graven images", Orthodox icons may never be more than three-quarter bas relief. Comparable images from Western Christianity are generally not described as "icons", although "iconic" may be used to describe a static style of devotional image.

Emergence of the Christian icon

The first mention of "Christian" art is found near the beginning of the 2nd century in the writings of Tertullian (c. 160-220) and in Clement of Alexandria (c. 150-212). Tertullian, in his ''De Pudentia'' (On Modesty) 7:1-4 mentions the depiction of a shepherd on Christian cups, calling to mind the parable of the Good Shepherd and thus used as a symbol for Jesus. Clement of Alexandria, in his ''Paedagogus'' (The Pedagogue) 3.59.2-3.60, writes that Christians may wear a seal ring for the sealing of documents, and he specifies permissible depictions: "And let our seals be either a dove, or a fish, or a ship scudding before the wind, or a musical lyre, which Polycrates used, or a ship's anchor, which Seleucus got engraved as a device; and if there be one fishing, he will remember the apostle, and the children drawn out of the water. For we are not to delineate the faces of idols, we who are prohibited to cleave to them; nor a sword, nor a bow, following as we do, peace; nor drinking-cups, being temperate." It is noteworthy that all of the images so mentioned by Tertullian and Clement were common Greco-Roman depictions used by non-Christians; but Christians adopted them for their own use, even giving a specifically Christian significance to some of them. The non-Christian prototype of the Good Shepherd image, for example, was the ''Kriophoros'', the Ram-Bearer, which originally represented Hermes, the shepherd of souls.

The only Christian art for which we have approximate 1st-century written and physical evidence, therefore, is an art of symbols that could be used either in a non-Christian or in a Christian context. Consequently it is generally not possible to distinguish a Christian use of a given image on an object of that period from a non-Christian use. What is certain from the evidence, however, is that Christians of at least the latter part of that period did use, sometimes symbolically, a restricted range of images that already had non-Christian prototypes or parallels.

Though the word ''eikon'' ("image") is found in the New Testament (see below), it is never in the context of painted icons though it is used to mean portrait. There were Christian paintings and art in the early catacomb churches. Many can still be viewed today, such as those in the catacomb churches of Domitilla and San Callisto in Rome.

In Eastern Orthodoxy and other icon-painting Christian traditions, the icon is generally a flat panel (generally of wood) painting depicting a holy being or object such as Jesus, Mary, saints, angels, or the cross. Icons may also be cast in metal, carved in stone, embroidered on cloth, done in mosaic work, printed on paper or metal, etc.

The earliest written records of Christian images treated like icons in a pagan or Gnostic context are offered by the 4th-century Christian Aelius Lampridius in the ''Life of Alexander Severus'' (xxix) that was part of the Augustan History. According to Lampridius, the emperor Alexander Severus (222–235), who was not a Christian, had kept a domestic chapel for the veneration of images of deified emperors, of portraits of his ancestors, and of Christ, Apollonius, Orpheus and Abraham. Irenaeus, (c. 130–202) in his ''Against Heresies'' (1:25;6) says scornfully of the Gnostic Carpocratians, "''They also possess images, some of them painted, and others formed from different kinds of material; while they maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honouring these images, after the same manner of the Gentiles [pagans].''" St. Irenaeus on the other hand does not speak critically of icons or portraits in a general sense, only of certain gnostic sectarians use of icons.

Another criticism of image veneration is found in the non-canonical 2nd-century ''Acts of John'' (generally considered a gnostic work), in which the Apostle John discovers that one of his followers has had a portrait made of him, and is venerating it: (27) ''"...he [John] went into the bedchamber, and saw the portrait of an old man crowned with garlands, and lamps and altars set before it. And he called him and said: Lycomedes, what do you mean by this matter of the portrait? Can it be one of thy gods that is painted here? For I see that you are still living in heathen fashion''." Later in the passage John says, ''"But this that you have now done is childish and imperfect: you have drawn a dead likeness of the dead."''

Aside from the legend that Pilate had made an image of Christ, the 4th-century Eusebius of Caesarea, in his ''Church History'', provides a more substantial reference to a "first" icon of Jesus. He relates that King Abgar of Edessa sent a letter to Jesus at Jerusalem, asking Jesus to come and heal him of an illness. In this version there is no image. Then, in the later account found in the Syriac ''Doctrine of Addai'', a painted image of Jesus is mentioned in the story; and even later, in the account given by Evagrius, the painted image is transformed into an image that miraculously appeared on a towel when Christ pressed the cloth to his wet face. Further legends relate that the cloth remained in Edessa until the 10th century, when it was taken to Constantinople. In 1204 it was lost when Constantinople was sacked by Crusaders, but its iconic type had been well fixed in numerous copies.

Elsewhere in his ''Church History'', Eusebius reports seeing what he took to be portraits of Jesus, Peter and Paul, and also mentions a bronze statue at Banias / Paneas, of which he wrote, "They say that this statue is an image of Jesus" (''H.E.'' 7:18); further, he relates that locals thought the image to be a memorial of the healing of the woman with an issue of blood by Jesus (Luke 8:43-48), because it depicted a standing man wearing a double cloak and with arm outstretched, and a woman kneeling before him with arms reaching out as if in supplication. John Francis Wilson thinks it possible to have been a pagan bronze statue whose true identity had been forgotten; some have thought it to be Aesculapius, the God of healing, but the description of the standing figure and the woman kneeling in supplication is precisely that found on coins depicting the bearded emperor Hadrian reaching out to a female figure symbolizing a province kneeling before him.

After Christianity was legalized by the emperor Constantine within the Roman Empire in 313, huge numbers of pagans became converts. This created the necessity for the transfer of allegiance and practice from the old gods and heroes to the new religion, and for the gradual adaptation of the old system of image making and veneration to a Christian context, in the process of Christianization. Robin Lane Fox states "By the early fifth century, we know of the ownership of private icons of saints; by c. 480-500, we can be sure that the inside of a saint's shrine would be adorned with images and votive portraits, a practice which had probably begun earlier".

When Constantine converted to Christianity the majority of his subjects were still pagans and the Roman Imperial cult of the divinity of the emperor, expressed through the traditional burning of candles and the offering of incense to the emperor’s image, was tolerated for a period because it would have been politically dangerous to attempt to suppress it. Indeed, in the 5th century the portrait of the reigning emperor was still honoured this way in the courts of justice and municipal buildings of the empire and in 425 the Arian Philostorgius charged the orthodox in Constantinople with idolatry because they still honored the image of the emperor Constantine the Great, the founder of the city, in this way. Dix notes that this was more than a century before we find the first reference to a similar honouring of the image of Christ or his saints, but that it would seem a natural progression for the image of Christ, the King of heaven and earth, to be eventually paid the same cultic veneration as that given to the earthly Roman emperor.

Constantine to Justinian

After adoption of Christianity as the only permissible Roman state religion under Theodosius I, Christian art began to change not only in quality and sophistication, but also in nature. This was in no small part due to Christians being free for the first time to express their faith openly without persecution from the state, in addition to the faith spreading to the non-poor segments of society. Paintings of martyrs and their feats began to appear, and early writers commented on their lifelike effect, one of the elements a few Christian writers criticized in pagan art — the ability to imitate life. The writers mostly criticized pagan works of art for pointing to false gods, thus encouraging idolatry. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be (with some small-scale exceptions) throughout the history of Eastern Christianity.

Nilus of Sinai, in his ''Letter to Heliodorus Silentiarius'', records a miracle in which St. Plato of Ankyra appeared to a Christian in a dream. The Saint was recognized because the young man had often seen his portrait. This recognition of a religious apparition from likeness to an image was also a characteristic of pagan pious accounts of appearances of gods to humans, and was a regular ''topos'' in hagiography. One critical recipient of a vision from Saint Demetrius of Thessaloniki apparently specified that the saint resembled the "more ancient" images of him - presumably the 7th century mosaics still in Hagios Demetrios. Another, an African bishop, had been rescued from Arab slavery by a young soldier called Demetrios, who told him to go to his house in Thessaloniki. Having discovered that most young soldiers in the city seemed to be called Demetrios, he gave up and went to the largest church in the city, to find his rescuer on the wall.

During this period the church began to discourage all non-religious human images - the Emperor and donor figures counting as religious. This became largely effective, so that most of the population would only ever see religious images and those of the ruling class. The word icon referred to any and all images, not just religious ones, but there was barely a need for a separate word for these.

Luke's portrait of Mary

It is in a context attributed to the 5th century that the first mention of an image of Mary painted from life appears, though earlier paintings on cave walls bear resemblance to modern icons of Mary. Theodorus Lector, in his 6th-century ''History of the Church'' 1:1 stated that Eudokia (wife of Theodosius II, died 460) sent an image of "the Mother of God" named Icon of the Hodegetria from Jerusalem to Pulcheria, daughter of the Emperor Arcadius: the image was specified to have been "painted by the Apostle Luke." Margherita Guarducci relates a tradition that the original icon of Mary attributed to Luke, sent by Eudokia to Pulcheria from Palestine, was a large circular icon only of her head. When the icon arrived in Constantinople it was fitted in as the head into a very large rectangular icon of her holding the Christ child and it is this composite icon that became the one historically known as the Hodegetria. She further states another tradition that when the last Latin Emperor of Constantinople, Baldwin II, was leaving Constantinople in 1261 he took this original circular portion of the icon with him. This remained in the possession of the Angevin dynasty who had it likewise inserted into a much larger image of Mary and the Christ child, which is presently enshrined above the high altar of the Benedictine Abbey church of Montevergine. Unfortunately this icon has been over the subsequent centuries subjected to repeated repainting, so that it is difficult to determine what the original image of Mary’s face would have looked like. However, Guarducci also states that in 1950 an ancient image of Mary at the Church of Santa Francesca Romana was determined to be a very exact, but reverse mirror image of the original circular icon that was made in the 5th century and brought to Rome, where it has remained until the present. In later tradition the number of icons of Mary attributed to Luke would greatly multiply; the Salus Populi Romani, the Theotokos of Vladimir, the Theotokos Iverskaya of Mount Athos, the Theotokos of Tikhvin, the Theotokos of Smolensk and the Black Madonna of Częstochowa are examples, and another is in the cathedral on St Thomas Mount, which is believed to be one of the seven painted by St.Luke the Evangelist and brought to India by St. Thomas. Ethiopia has at least seven more.

Acheiropoieta

The tradition of ''acheiropoieta'' (, literally "not-made-by-hand") accrued to icons that are alleged to have come into existence miraculously, not by a human painter. Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject: naturally and especially because of the reluctance to accept mere human productions as embodying anything of the divine, a commonplace of Christian deprecation of man-made "idols". Like icons believed to be painted directly from the live subject, they therefore acted as important references for other images in the tradition. Beside the developed legend of the ''mandylion'' or Image of Edessa, was the tale of the Veil of Veronica, whose very name signifies "true icon" or "true image", the fear of a "false image" remaining strong. A familiar example of an icon of this type within Roman Catholicism is the icon of Our Lady of Guadalupe in the West.

Theology

Christianity teaches that the immaterial God took flesh in the human form of Jesus Christ, making it therefore possible to create depictions of the human form of the Son of God. It is on this basis that the Old Testament proscriptions against making images (see Deuteronomy 4) were overturned for the early Christians by their belief in the Incarnation. Also, the concept of archetype was redefined by the Early Church Fathers in order to better understand that when a person shows veneration toward an image, the intention is rather to honor the person depicted, not the substance of the icon. As St. Basil the Great says, "The honor shown the image passes over to the archetype." He also illustrates the concept by saying, "If I point to a statue of Caesar and ask you 'Who is that?', your answer would properly be, 'It is Caesar.' When you say such you do not mean that the stone itself is Caesar, but rather, the name and honor you ascribe to the statue passes over to the original, the archetype, Caesar himself." So it is with an Icon.

In the Eastern Orthodox tradition, only flat panel or bas relief images are used. The Greeks, having a long, pagan tradition of statuary, found the sensual quality of three dimensional representations did more to glorify the human aspect of the flesh rather than the divine nature of the spirit and so prohibitions were created against statuary. The Romans, on the other hand, did not adopt these prohibitions and so there is still statuary among the Roman Catholics to this day. Because the Greeks rejected statuary, the Byzantine style of iconography was developed in which figures were stylized in a manner that emphasized their holiness rather than their humanity. Symbolism allowed the icon to present highly complex material in a very simple way, making it possible to educate even the illiterate in theology. The interiors of Orthodox Churches are often completely covered in icons.

Stylistic developments

Although there are earlier records of their use, no panel icons earlier than the few from the 6th century preserved at the Greek Orthodox Monastery of St. Catherine at Sinai survive. The surviving evidence for the earliest depictions of Christ, Mary and saints therefore comes from wall-paintings, mosaics and some carvings. They are realistic in appearance, in contrast to the later stylization. They are broadly similar in style, though often much superior in quality, to the mummy portraits done in wax (encaustic) and found at Fayyum in Egypt. As we may judge from such items, the first depictions of Jesus were generic rather than portrait images, generally representing him as a beardless young man. It was some time before the earliest examples of the long-haired, bearded face that was later to become standardized as the image of Jesus appeared. When they did begin to appear there was still variation. Augustine of Hippo (354-430) said that no one knew the appearance of Jesus or that of Mary. However, Augustine was not a resident of the Holy Land and therefore was not familiar with the local populations and their oral traditions. Gradually, paintings of Jesus took on characteristics of portrait images.

At this time the manner of depicting Jesus was not yet uniform, and there was some controversy over which of the two most common icons was to be favored. The first or "Semitic" form showed Jesus with short and "frizzy" hair; the second showed a bearded Jesus with hair parted in the middle, the manner in which the god Zeus was depicted. Theodorus Lector remarked that of the two, the one with short and frizzy hair was "more authentic". To support his assertion, he relates a story (excerpted by John of Damascus) that a pagan commissioned to paint an image of Jesus used the "Zeus" form instead of the "Semitic" form, and that as punishment his hands withered.

Though their development was gradual, we can date the full-blown appearance and general ecclesiastical (as opposed to simply popular or local) acceptance of Christian images as venerated and miracle-working objects to the 6th century, when, as Hans Belting writes, "we first hear of the church's use of religious images." "As we reach the second half of the sixth century, we find that images are attracting direct veneration and some of them are credited with the performance of miracles" Cyril Mango writes, "In the post-Justinianic period the icon assumes an ever increasing role in popular devotion, and there is a proliferation of miracle stories connected with icons, some of them rather shocking to our eyes". However, the earlier references by Eusebius and Irenaeus indicate veneration of images and reported miracles associated with them as early as the 2nd century. What might be shocking to our contemporary eyes may not have been viewed as such by the early Christians. Acts 5:15 reports that "people brought the sick into the streets and laid them on beds and mats so that at least Peter's shadow might fall on some of them as he passed by."

Iconoclast period

There was a continuing opposition to misuse of images within Christianity from very early times. "''Whenever images threatened to gain undue influence within the church, theologians have sought to strip them of their power''". Further,"''there is no century between the fourth and the eighth in which there is not some evidence of opposition to images even within the Church''. Nonetheless, popular favor for icons guaranteed their continued existence, while no systematic apologia for or against icons, or doctrinal authorization or condemnation of icons yet existed.

The use of icons was seriously challenged by Byzantine Imperial authority in the 8th century. Though by this time opposition to images was strongly entrenched in Judaism and Islam, attribution of the impetus toward an iconoclastic movement in Eastern Orthodoxy to Muslims or Jews "''seems to have been highly exaggerated, both by contemporaries and by modern scholars''".

Though significant in the history of religious doctrine, the Byzantine controversy over images is not seen as of primary importance in Byzantine history. "Few historians still hold it to have been the greatest issue of the period..."

The Iconoclastic Period began when images were banned by Emperor Leo III the Isaurian sometime between 726 and 730. Under his son Constantine V, a council forbidding image veneration was held at Hieria near Constantinople in 754. Image veneration was later reinstated by the Empress Regent Irene, under whom another council was held reversing the decisions of the previous iconoclast council and taking its title as Seventh Ecumenical Council. The council anathemized all who hold to iconoclasm, i.e. those who held that veneration of images constitutes idolatry. Then the ban was enforced again by Leo V in 815. And finally icon veneration was decisively restored by Empress Regent Theodora.

From then on all Byzantine coins had a religious image or symbol on the reverse, usually an image of Christ for larger denominations, with the head of the Emperor on the obverse, reinforcing the bond of the state and the divine order.

Greek-speaking regions

Today icons are used particularly among Eastern Orthodox, Oriental Orthodox, Coptic and Eastern Catholic Churches.

Of the icon painting tradition that developed in Byzantium, with Constantinople as the chief city, we have only a few icons from the 11th century and none preceding them, in part because of the Iconoclastic reforms during which many were destroyed, and also because of plundering by Venetians in 1204 during the Fourth Crusade, and finally the taking of the city by the Islamic Turks in 1453.

It was only in the Comnenian period (1081–1185) that the cult of the icon became widespread in the Byzantine world, partly on account of the dearth of richer materials (such as mosaics, ivory, and enamels), but also because an ''iconostasis'' a special screen for icons was introduced then in ecclesiastical practice. The style of the time was severe, hieratic and distant.

In the late Comnenian period this severity softened, and emotion, formerly avoided, entered icon painting. Major monuments for this change include the murals at Daphni (ca. 1100) and Nerezi near Skopje (1164). The Theotokos of Vladimir (ca. 1115, ''illustration, right'') is probably the most representative example of the new trend towards spirituality and emotion.

The tendency toward emotionalism in icons continued in the Paleologan period, which began in 1261. Paleologan art reached its pinnacle in mosaics such as those of the ''Kariye Camii'' (the former Chora Monastery). In the last half of the 14th century, Paleologan saints were painted in an exaggerated manner, very slim and in contorted positions, that is, in a style known as the Paleologan Mannerism, of which Ochrid's Annunciation is a superb example.

After 1453, the Byzantine tradition was carried on in regions previously influenced by its religion and culture — in the Balkans and Russia, Georgia in the caucasus, and, in the Greek-speaking realm, on Crete.

Crete

Crete was under Venetian control from 1204 and became a thriving center of art with eventually a ''Scuola di San Luca'', or organized painter's guild on Western lines. Cretan painting was heavily patronized both by Catholics of Venetian territories and by Eastern Orthodox. For ease of transport, Cretan painters specialized in panel paintings, and developed the ability to work in many styles to fit the taste of various patrons. El Greco, who moved to Venice after establishing his reputation in Crete, is the most famous artist of the school, who continued to use many Byzantine conventions in his works. In 1669 the city of Heraklion, on Crete, which at one time boasted at least 120 painters, finally fell to the Turks, and from that time Greek icon painting went into a decline, with a revival attempted in the 20th century by art reformers such as Photios Kontoglou, who emphasized a return to earlier styles.

Symbolism

In the icons of Eastern Orthodoxy, and of the Early Medieval West, very little room is made for artistic license. Almost everything within the image has a symbolic aspect. Christ, the saints, and the angels all have halos. Angels (and often John the Baptist) have wings because they are messengers. Figures have consistent facial appearances, hold attributes personal to them, and use a few conventional poses.

Colour too plays an important role. Gold represents the radiance of Heaven; red, divine life. Blue is the color of human life, white is the uncreated essence of God, only used for resurrection and transfiguration of Christ. If you look at icons of Jesus and Mary: Jesus wears red undergarment with a blue outer garment (God become Human) and Mary wears a blue undergarment with a red overgarment (human was granted gifts by God), thus the doctrine of deification is conveyed by icons. Letters are symbols too. Most icons incorporate some calligraphic text naming the person or event depicted. Even this is often presented in a stylized manner.

In later Western depictions, much of the symbolism survives, though there is far less consistency. Artistic license allows the painter much more freedom over the depiction. Examples of this style abound. And yet, despite the imagination and brilliance of Michelangelo's Sistine Chapel, it is still quite easy to identify the saint depicted because the traditional attribute and appearance of Peter is still present.

Russia

Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. Many religious homes in Russia have icons hanging on the wall in the ''krasny ugol'', the "red" or "beautiful" corner (see Icon Corner). There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an ''iconostasis'' (Russian ''ikonostás'') a wall of icons.

The use and making of icons entered Kievan Rus' following its conversion to Orthodox Christianity from the Eastern Roman (Byzantine) Empire in 988 AD. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians—notably Andrei Rublev and Dionisius—widened the vocabulary of iconic types and styles far beyond anything found elsewhere. The personal, improvisatory and creative traditions of Western European religious art are largely lacking in Russia before the 17th century, when Simon Ushakov's painting became strongly influenced by religious paintings and engravings from Protestant as well as Catholic Europe.

In the mid-17th century, changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" or "Old Believers", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. The Stroganov movement and the icons from Nevyansk rank among the last important schools of Russian icon-painting.

Western Christianity

thumb| An icon of Our Lady of Czestochowa, one of the national symbols of Poland. This stylistic variant is also used in depicting the Haitian Voodoo loa Erzulie Dantor. Until the 13th century, icons followed a broadly similar pattern in West and East - although very few survive from this early from either tradition. Western icons, which are not usually so termed, were largely patterned on Byzantine works, and equally conventional in composition and depiction. From this point on the western tradition came slowly to allow the artist far more flexibility, and a more realist approach to the figures. If only because there was a much smaller number of skilled artists, the quantity of icons, in the sense of panel paintings, was much smaller in the West, and in most Western settings a single diptych as an altarpiece, or in a domestic room, probably stood in place of the larger collections typical of Orthodox "icon corners".

Only in the 15th century did production of painted icons begin to approach Eastern levels, and in this century the use of icons in the West was enormously increased by the introduction of prints on paper, mostly woodcuts which were produced in vast numbers (although hardly any survive). They were mostly sold, hand-coloured, by churches, and the smallest sizes (often only an inch high) were affordable even by peasants, who glued or pinned them straight onto a wall.

With the Reformation, after an initial uncertainty among early Lutherans, who painted a few "icon"-like depictions of leading Reformers, and continued to paint scenes from Scripture, Protestants came down firmly against icon-like portraits, especially larger ones, even of Christ. Many Protestants found these "idolatrous". Narrative Biblical scenes, especially as book illustrations, remained acceptable, and were encouraged. The Catholics maintained, even intensified the traditional use of icons, both printed and on paper, now using the different styles of the Renaissance and Baroque. Popular Catholic imagery to a certain extent has remained attached to a Baroque style of about 1650, especially in Italy and Spain.

Traditions in other regions

In Romania, icons painted as reversed images behind glass and set in frames were common in the 19th century and are still made. The process is known as Reverse painting on glass. "''In the Transylvanian countryside, the expensive icons on panels imported from Moldavia, Wallachia, and Mt. Athos were gradually replaced by small, locally produced icons on glass, which were much less expensive and thus accessible to the Transylvanian peasants...''"

The Egyptian Coptic Church and the Ethiopian Church also have distinctive, living icon painting traditions. Coptic icons have their origin in the Hellenistic art of Egyptian Late Antiquity, as exemplified by the Fayum mummy portraits. Beginning in the 4th century, churches painted their walls and made icons to reflect an authentic expression of their faith.

Protestant Reformation

The abundant use and veneration historically accorded images in the Roman Catholic Church was a point of contention for Protestant reformers, who varied in their attitudes toward images. In the consequent religious struggles many works of art were destroyed, and there was also iconoclasm, or destruction of images, often by force, in all Protestant regions. Notable episodes were in England during the English Reformation, and then more severely in the English Civil War, in Flanders in the Beeldenstorm, and in France during the Wars of Religion.

Though followers of Zwingli and Calvin were more severe in their rejection, Lutherans tended to be moderate: many of their parishes displayed statues and crucifixes. A recent joint Lutheran-Orthodox statement made in the 7th Plenary of the Lutheran-Orthodox Joint Commission, on July 1993 in Helsinki, reaffirmed the Ecumenical council decisions on the nature of Christ and the veneration of images:

7. As Lutherans and Orthodox we affirm that the teachings of the ecumenical councils are authoritative for our churches. The ecumenical councils maintain the integrity of the teaching of the undivided Church concerning the saving, illuminating/justifying and glorifying acts of God and reject heresies which subvert the saving work of God in Christ. Orthodox and Lutherans, however, have different histories. Lutherans have received the Nicaeno-Constantinopolitan Creed with the addition of the filioque. The Seventh Ecumenical Council, the Second Council of Nicaea in 787, which rejected iconoclasm and restored the veneration of icons in the churches, was not part of the tradition received by the Reformation. Lutherans, however, rejected the iconoclasm of the 16th century, and affirmed the distinction between adoration due to the Triune God alone and all other forms of veneration (CA 21). Through historical research this council has become better known. Nevertheless it does not have the same significance for Lutherans as it does for the Orthodox. Yet, Lutherans and Orthodox are in agreement that the Second Council of Nicaea confirms the christological teaching of the earlier councils and in setting forth the role of images (icons) in the lives of the faithful reaffirms the reality of the incarnation of the eternal Word of God, when it states: "The more frequently, Christ, Mary, the mother of God, and the saints are seen, the more are those who see them drawn to remember and long for those who serve as models, and to pay these icons the tribute of salutation and respectful veneration. Certainly this is not the full adoration in accordance with our faith, which is properly paid only to the divine nature, but it resembles that given to the figure of the honored and life-giving cross, and also to the holy books of the gospels and to other sacred objects" (Definition of the Second Council of Nicaea).

Contemporary Christianity

Today attitudes can vary even from church to church within a given denomination, whether Catholic or Protestant. Protestants generally use religious art for teaching and for inspiration, but such images are not venerated as in Orthodoxy, and many Protestant church sanctuaries contain no imagery at all.

After the Second Vatican Council declared that the use of statues and pictures in churches should be moderate, most statuary was removed and even destroyed from many Catholic Churches. Eastern Orthodoxy, however, continues to give such strong importance to the use and veneration of icons that they are often seen as the chief symbol of Orthodoxy. Catholicism has a long tradition of valuing the arts and was the prime patron of artists even after the Renaissance. Present-day imagery within Roman Catholicism varies in style from traditional to modern, and is affected by trends in the art world in general.

Icons are often illuminated with a candle or jar of oil with a wick. (Beeswax for candles and olive oil for oil lamps are preferred because they burn very cleanly, although other materials are sometimes used.) The illumination of religious images with lamps or candles is an ancient practice pre-dating Christianity.

Miracles

In the Eastern Orthodox Christian tradition there are reports of particular, Wonderworking icons that exude myrrh (fragrant, healing oil), or perform miracles upon petition by believers. When such reports are verified by the Orthodox hierarchy, they are understood as miracles performed by God through the prayers of the saint, rather than being magical properties of the painted wood itself. Theologically, all icons are considered to be sacred, and are miraculous by nature, being a means of spiritual communion between the heavenly and earthly realms. However, it is not uncommon for specific icons to be characterised as "miracle-working", meaning that God has chosen to glorify them by working miracles through them. Such icons are often given particular names (especially those of the Virgin Mary), and even taken from city to city where believers gather to venerate them and pray before them. Islands like that of Tinos are renowned for possessing such "miraculous" icons, and are visited every year by thousands of pilgrims.

Eastern Orthodox teaching

Icons are used particularly in Eastern Orthodox, Oriental Orthodox, and Eastern Catholic churches.

The Eastern Orthodox view of the origin of icons is quite different from that of secular scholars and from some in contemporary Roman Catholic circles: "''The Orthodox Church maintains and teaches that the sacred image has existed from the beginning of Christianity''", Léonid Ouspensky has written. Accounts that some non-Orthodox writers consider legendary are accepted as history within Eastern Orthodoxy, because they are a part of church tradition. Thus accounts such as that of the miraculous "Image Not Made by Hands", and the weeping and moving "Mother of God of the Sign" of Novgorod are accepted as fact: "''Church Tradition tells us, for example, of the existence of an Icon of the Savior during His lifetime (the "Icon-Made-Without-Hands") and of Icons of the Most-Holy Theotokos [Mary] immediately after Him.''" Eastern Orthodoxy further teaches that "a clear understanding of the importance of Icons" was part of the church from its very beginning, and has never changed, although explanations of their importance may have developed over time. This is because iconography is rooted in the theology of the Incarnation (Christ being the ''eikon'' of God) which didn't change, though its subsequent clarification within the Church occurred over the period of the first seven Ecumenical Councils. Also, icons served as tools of edification for the illiterate faithful during most of the history of Christendom.

Eastern Orthodox find the first instance of an image or icon in the Bible when God made man in His own image (Septuagint Greek ''eikona''), in Genesis 1:26-27. In Exodus, God commanded that the Israelites not make any graven image; but soon afterwards, he commanded that they make graven images of cherubim and other like things, both as statues and woven on tapestries. Later, Solomon included still more such imagery when he built the first temple. Eastern Orthodox believe these qualify as icons, in that they were visible images depicting heavenly beings and, in the case of the cherubim, used to indirectly indicate God's presence above the Ark.

In the Book of Numbers it is written that God told Moses to make a bronze serpent, ''Nehushtan'', and hold it up, so that anyone looking at the snake would be healed of their snakebites. In John 3, Jesus refers to the same serpent, saying that he must be lifted up in the same way that the serpent was. John of Damascus also regarded the brazen serpent as an icon. Further, Jesus Christ himself is called the "image of the invisible God" in Colossians 1:15, and is therefore in one sense an icon. As people are also made in God's images, people are also considered to be living icons, and are therefore "censed" along with painted icons during Orthodox prayer services.

According to John of Damascus, anyone who tries to destroy icons "is the enemy of Christ, the Holy Mother of God and the saints, and is the defender of the Devil and his demons." This is because the theology behind icons is closely tied to the Incarnational theology of the humanity and divinity of Jesus, so that attacks on icons typically have the effect of undermining or attacking the Incarnation of Jesus himself as elucidated in the Ecumenical Councils.

The Eastern Orthodox teaching regarding veneration of icons is that the praise and veneration shown to the icon passes over to the archetype (Basil of Caesarea,''On the Holy Spirit'' 18:45: "''The honor paid to the image passes to the prototype''"). Thus to kiss an icon of Christ, in the Eastern Orthodox view, is to show love towards Christ Jesus himself, not mere wood and paint making up the physical substance of the icon. Worship of the icon as somehow entirely separate from its prototype is expressly forbidden by the Seventh Ecumenical Council; standard teaching in the Eastern Orthodox and Roman Catholic churches alike conforms to this principle. The Catholic Church accepts the same Councils and the canons therein which codified the teaching of icon veneration.

The Latin Church of the West, which after 1054 was to become known separately as the Roman Catholic Church, accepted the decrees of the iconodule Seventh Ecumenical Council regarding images. There is some minor difference, however, in the Catholic attitude to images from that of the Orthodox. Following Gregory the Great, Catholics emphasize the role of images as the ''Biblia Pauperum'', the "Bible of the Poor," from which those who could not read could nonetheless learn. This view of images as educational is shared by most Protestants.

Catholics also, however, accept in principle the Eastern Orthodox veneration of images, believing that whenever approached, sacred images are to be reverenced. Though using both flat wooden panel and stretched canvas paintings, Catholics traditionally have also favored images in the form of three-dimensional statuary, whereas in the East statuary is much less widely employed.

Septuagint

The Greek word ''eikon'' means an image or likeness that represents something else. An ''eikon'' does not necessarily imply sanctity or veneration.

The Septuagint is the Greek translation of the Hebrew Scriptures used by the early Christians, and Eastern Orthodox consider it the only authoritative text of those Scriptures. In it the word ''eikon'' is used for everything from man being made in the divine image to the "molten idol" placed by Manasses in the Temple. #Genesis 1:26-27; #Genesis 5:1-3; #Genesis 9:6; #Deuteronomy 4:16 #1 Samuel (1 Kings) 6:11 (Alexandrian manuscript); #2 Kings 11:18; #2 Chronicles 33:7; #Psalm 38:7 #Psalm 72:20; #Isaiah 40, 19-20; #Ezekiel 7:20; #Ezekiel 8:5 (Alexandrian manuscript); #Ezekiel 16:17; Ezekiel 23:14; Daniel 2:31,32,34,35; Daniel 3:1,2,3,5,7,11,12,14,15,18; Hosea 13:2

Be aware that Septuagint numberings and names and the English Bible numberings and names are not uniformly identical.

New Testament

In the New Testament the term is used for everything from Jesus as the image of the invisible God (Colossians 1:15) to the image of Caesar on a Roman coin () to the image of the Beast in the Apocalypse (Revelation 14:19). Here is a complete listing:

#; #Mark 12:16 #Luke 20:24 #Romans 1:23 #Romans 8:29; #1 Corinthians 11:7; #1 Corinthians 15:49 #2 Corinthians 3:18; #2 Corinthians 4:4; #Colossians 1:15; #Colossians 3:10; #Hebrews 10:1; #Revelation 13:14; #Revelation 13:15; #Revelation 14:9; #Revelation 14:11 #Revelation 15:2 #Revelation 16:2 #Revelation 19:20; #Revelation 20:4.

Other religious traditions

Other religious traditions, such as Hinduism, have a very rich iconography called murti, while others, such as Islam, severely limit the use of visual representations (see Islamic art). Yet even though Hinduism is commonly represented by such anthropomorphic religious murtis, aniconism is equally represented with such abstract symbols of God such as the Shiva linga and the saligrama. Moreover, Hindus have found it easier to focus on anthropmorphic icons, because Lord Krishna said in the Bhagavad Gita, Chapter 12, Verse 5, that it is much more difficult to focus on God as the unmanifested than God with form, due to human beings having the need to perceive via the senses.

See also

Analogion

Archetype

Christian symbolism

Computer icon

Crucifix

Daniil Chyorny

Fresco

Icon of the Hodegetria

Iconography

Iconostasis

Ideogram

Idolatry

Isaac Fanous

Mosaic

Murti

Orans

Panagia

Portrait

Prokhor

Proskynetarion

Religious topics

Russian symbolism

Saint Saviour in Chora

Egon Sendler

Symbolism (disambiguation)

Templon

Thangka

Notes

External links

Orthodox

A Discourse in Iconography by St. John of Shanghai and San Francisco

The Iconic and Symbolic in Orthodox Iconography

Contemporary Byzantine icon studio, iconography school and orthodox resources

Iconography Guide -free eLearning site

Orthodox iconography by Fr. Theodore Koufos

Orthodox Iconography by Elias Damianakis

On the difference of Western Religious Art and Orthodox Iconography

Church of the Nativity - Explanation of Orthodox Christian Icons

Concerning the Veneration of Icons

Holy Icons: Theology in Color (Antiochian Orthodox Archdiocese)

Icons by Sergei Fyodorov

Catholic

"Veneration of Images" article from ''The Catholic Encyclopedia''

Pictures

Icons of Mount Athos

Greek Orthodox Archdiocese of America: Icons

Gallery of icons, murals and mosaics (mostly Russian) from 11th to 20th century

www.eikonografos.com A huge collection of Byzantine Icons

Contemporary Orthodox Byzantine style murals. Large gallery.

Category:Eastern Orthodoxy Category:Eastern Catholicism Category:Eastern Christian liturgy Category:Christian iconography Category:Sacramentals Category:Christian religious objects Category:Christian terms

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Coordinates	12°58′0″N77°34′0″N
name	Gary Valenciano
background	solo_singer
birth name	Edgardo Jose Martin Santiago Valenciano
alias	Gary V.
born	August 06, 1964
origin	Manila, Philippines
instrument	Vocals, Keyboards, Percussions
genre	Gospel, Pinoy pop, Manila Sound
occupation	Singer, Songwriter, Record producer, Actor, Dancer
years active	1983–present
label	Manila Genesis Entertainment & Management, Inc.Universal Records (Philippines)
website	GaryV.com
notable instruments	}}

Edgardo Jose Martin Santiago Valenciano (born August 6, 1964) , better known as Gary Valenciano or Gary V., is a Filipino musician. He is also dubbed as Mr. Pure Energy. He has released 26 albums, and won the Awit Awards for "Best Male Performer" 11 times. In 1998, he became UNICEF Philippines first national Ambassador. His most notable songs include ''Di Bale Na Lang'', ''Sana Maulit Muli'', ''Natutulog Ba Ang Diyos?'', ''Gaya ng Dati'', ''Pasko na Sinta Ko'', ''Narito''.

He is currently part of ABS-CBN contract actors, and is frequently tapped to sing the theme songs for the network's soap operas and Star Cinema movies.

Biography

Gary Valenciano was born in Santa Mesa, Manila on August 6, 1964. He is the sixth of Vicente Valenciano and Grimilda Santiago Ortiz's seven children. His parents met in New York, married, and settled in Manila. His father is from Bicol, Philippines. His mother is a Puerto Rican woman of Italian descent, who sang opera in Manila during the 1960s. Valenciano took his primary and secondary studies in La Salle Green Hills.

Career

Valenciano had already been in early appearance in an on-screen television when he was first discovered in a Philippine soft-drink commercial in the late of 70swhen he was 14 years old at that time. He was started as a choir singer, then performing in 1982 and launched his career in singing and show business on May 13, 1983. He was also first appeared as a solo in a television show called ''The Pilita and Jackie Show'' in 1982, and later in ''Germspesyal'' and ''Penthouse Live''. He had his first solo concert, in April 1984 at the Araneta Coliseum. That would be followed a number of albums, three of them released internationally, including a Christian inspired album called ''Out of the Dark''.

He is married to Maria Anna Elizabeth "Angeli" Pangilinan, with whom he has three children: Juan Paolo Martin, Jose Angelo Gabriel and Kristiana Maria Mikaela.

Valenciano has released multiple albums. He has won the Awit Award for "Best Male Performer" 11 of the past 21 times. He has been called "Mr. Pure Energy."

In 1998, he became UNICEF Philippines first national Ambassador. In 2008, he marked his tenth year as a UNICEF Ambassador with a visit to Sitio Avocado, a former war zone in Negros Oriental.

In 2008, Valenciano returned to acting by appearing in "Maalaala Mo Kaya" which he plays a prisoner who turns his life to Jesus and becomes a changed man as a Christian. The same year, he was nominated as "Best Single Performance By An Actor" in the 22nd PMPC Star Awards for TV.

In 2009, Valenciano released a collaborative album with Martin Nievera called "As 1", with their carrier single, "As 1".

In 2010, Gary V. returns to acting again via a Holy Week drama special, ''Gulong'', a CBN Asia Production was recently shown on GMA 7, this was his 3rd GMA 7 holy week special since 2006. The same year, Gary V. releases his brand new 25th full-length album and his 4th compilation album, "Replay" was recently released, with his carrier single, "Did It Ever".

He is currently living with diabetes.

Discography

Studio albums

{|class="wikitable" |- ! Year ! Album details ! Certifications(sales thresholds) |- | 1984 | ''Gary''

Released: 1984

Label: Universal

| |- | 1985 | ''Gary...Next''

Released: 1985

Label: Universal

| |- | rowspan="2" | 1986 | ''Gary...Inside Out''

Released: 1986

Label: Universal

| |- | ''From Gary, Merry Christmas''

Released: 1986

Label: Universal

| |- | 1987 | ''Moving Thoughts''

Released: 1987

Label: Warner

| |- | 1989 | ''Faces of Love''

Released: 1989

Label: Warner / Dyna

| |- | 1991 | ''Shout4Joy''

Released: 1991

Label: Universal

| |- | 1992 | ''Dancing in the Moonlight''^[A]

Released: 1992

Label: Universal, Toshiba-EMI

| |- | 1993 | ''Hataw Na!''

Released: 1993

Label: Universal

| |- | rowspan="2" | 1995 | ''Out of the Dark''^[B]

Released: 1995

Label: Universal

| |- | ''Outside Looking In''^[C]

Released: 1995

Label: Universal, Polygram

| |- | 1998 | ''Interactive''

Released: 1998

Label: Universal

| PARI: Gold |- | 2001 | ''Revive''

Released: 2001

Label: Universal

| PARI: 6× Platinum |- | rowspan="2" | 2002 | ''one2one''

Released: 2002

Label: VIVA

| PARI: Platinum |- | ''I Will Be Here''

Released: 2002

Label: Universal

| |- | rowspan="2" | 2003 | ''Beyond Words''

Released: 2003

Label: Universal

| |- | ''At the Movies''

Released: 2003

Label: Universal

| PARI: Platinum |- | rowspan="2" | 2005 | ''Pure Heart''

Released: 2005

Label: Star

| PARI: Platinum |- | ''Soul Full''

Released: 2005

Label: Universal

| PARI: Gold |- | 2006 | ''Relevance''

Released: 2006

Label: Universal

| PARI: Platinum |- | 2008 | ''Rebirth''

Released: April 24, 2008

Label: Universal

| |- | 2009 | ''As 1'' (with Martin Nievera)^[D]

Released: 2009

Label: Universal

| |- |} Notes

^[A] Album was released in Japan under Toshiba-EMI.

^[B] Album was released in the United States.

^[C] Album was released internationally under Polygram Records.

^[D] ''As 1'' is a collaborative album, with Martin Nievera.

Live albums

{|class="wikitable" |- ! Year ! Album details ! Certifications(sales thresholds) |- | 1988 | ''Heart and Soul''

Released: 1988

Label: Universal

| |- | 1993 | ''Shout Live''

Released: 1993

Label: Universal

| |- | 1995 | ''Move Live''

Released: 1995

Label: Warner

| |- |}

Compilation albums

{|class="wikitable" |- ! Year ! Album details ! Certifications(sales thresholds) |- | 1997 | ''Greatest Hits Vol. 1 and 2''

Released: 1997

Label: Universal

| PARI: 4× Platinum |- | 2004 | ''Gary V.: The Blackgold Collection''

Released: 2004

Label: Universal

| |- | 2008 | ''The Platinum Ballad Collection: 25th Anniversary Album''

Released: 2008

Label: Universal

| |- | 2010 | ''Replay'' Released: October 2010

Label: Universal

| |- |}

Collaboration Albums

Salubungin Ang Pasko (Universal Records, 1986)

Ginintuang Diwa ng Pasko (Universal Records, 1989)

18 Classic OPM Love Songs (EMI Music Philippines, 1998)

The Best Of Crossover Presents (Viva Records, 2003)

Only Selfless Love 2 (Universal Records, 2003)

OPM Rewind (Universal Records, 2004)

The Love Song Collection (Universal Records, 2004)

Top Male OPM Hits (Star Records, 2004)

Various Movie Themes (Vicor Music, 2005)

Nagmamahal Kapamilya Songs For Global (Star Records, 2005)

Best Of OPM Inspirational Songs (Universal Records, 2005)

Best Of OPM Love Duets (Universal Records, 2005)

Best Of OPM Love Ballads (Universal Records, 2005)

Best Of OPM Movie & TV Themes (Universal Records, 2005)

Pinoy Biggie Hits (Star Records, 2006)

OPM With Love (Universal Records, 2006)

Lovestruck Vol. 1 (Viva Records, 2006)

OPM Gold (Universal Records, 2006)

OPM Superstars Christmas (Universal Records, 2006)

Hotsilog The ASAP Hotdog Compilation (Star Records, 2006)

Top Male OPM Hits (Star Records, 2007)

Pinoy Biggie Hits Rewind (Star Records, 2007)

Musika At Pelikula: A Star Cinema Music Collection (Star Records, 2008)

No.1 Signature Hits OPM's Best (Vicor Music, 2008)

Kris Aquino: The Greatest Love (Universal Records, 2008)

Wings of the Soul (Star Records, 2008)

OPM No. 1's (Star Records, 2009)

I-Star 15: Best Of TV & Movie Themes (Star Records, 2010)

60 Taon Ng Musika At Soap Opera (Star Records, 2010)

OPM All-Star Christmas (Universal Records, 2010)

Ngayong Pasko Magniningning Ang Pilipino (Star Records, 2010)

OPM Number 1s Vol.2 (Star Records, 2011)

I Love You (Star Records, 2011)

Bida Best Hits Da Best (Star Records, 2011)

Songs

Valenciano's songs include:

'' 1983 – Growing Up (Theme Song of the Philippine Movie "Bagets")

'' 1983 – You Got Me Working

'' 1983 – Hang On

'' 1983 – Betty's in Bed

'' 1984 – Love of Mine

'' 1984 – Reaching Out

'' 1984 – Hotshots

'' 1985 – Move Your Body

'' 1985 – Once Upon a Life

'' 1986 – Paano

'' 1986 – Pasko Na Sinta Ko

'' 1987 – 'Di Bale Na Lang

'' 1987 – 'Wag Mo Na Sanang Isipin

'' 1987 – 'Di Na Natuto

'' 1987 - Sana Maulit Muli

'' 1988 – Take Me Out Of The Dark

'' 1989 – Heto na Naman

'' 1989 – Laughter All The Time

'' 1989 – Each Passing Night (with Regine Velasquez)

'' 1989 – Narito

'' 1989 – Letting Go

'' 1989 – Mahal Na Mahal Ko Siya

'' 1990 – Natutulog Ba Ang Diyos?

'' 1990 – Look In Her Eyes

'' 1991 – Shout For Joy

'' 1991 – Could You be Messiah?

'' 1991 - Sa Tuwing Naaalala Ka (with Sharon Cuneta)

'' 1992 – Gaya ng Dati

'' 1993 – Hataw Na!

'' 1993 - Sa Yahweh!

'' 1993 – Muli (with Regine Velasquez)

'' 1994 – Babalik Ka Rin

'' 1995 – Hele ni Inay

'' 1997 – Until Then (remade from the Side A original)

'' 1998 – (Everybody) Get Down

'' 1998 - Pampanga

'' 1999 – More and More

'' 2000 - Anak

'' 2000 – I Will Be Here

'' 2001 – The Warrior is a Child

'' 2002 – Can't We Just Stop And Talk a While (with Kyla)

'' 2002 – Kung Mawawala Ka (with Zsa Zsa Padilla)

'' 2003 – Kailangan Kita

'' 2004 – How Did You Know

'' 2005 – Ikaw Lamang

'' 2005 – Break Me

'' 2005 – Lipad ng Pangarap

'' 2005 – Break me

'' 2006 – Wait Forever

'' 2007 – You Are (with Joni Villanueva)

'' 2008 – Only Hope

'' 2008 – Ilaan mo (theme from ICare Compassion Ministry)

'' 2009 – Tayong Dalawa

'' 2009 – AYT! (with Sponge Cola)

'' 2009 – And I Love You So

'' 2010 – Kung Tayo'y Magkakalayo

'' 2010 – How Can I?

'' 2010 - Did It Ever

'' 2011 - Minsan Lang Kita Iibigin

'' 2011 - Home

Television

CBN Asia Holy Week Special (GMA Network, 1995)

Ikaw Lang Ang Mamahalin (GMA Network, 2002) - cameo appearance

Sa Ngalan Ng Anak: A CBN Asia Holy Week Special (GMA Network, 2006)

ASAP (ABS-CBN, 2006–present)

Maalaala Mo Kaya? (ABS-CBN, 2008)

May Bukas Pa (ABS-CBN, 2009) - guest

Gulong: A CBN Asia Holy Week Special (GMA Network, 2010)

Twist & Shout (ABS-CBN, 2010)

Minsan Lang Kita Iibigin (ABS-CBN, 2011) - guest/himself

Awards

20th Awit Awards (2007) – Best Performance by a Male Recording Artist – "In Another Lifetime"

See also

Kuh Ledesma

George Canseco

Pilita Corrales

Martin Nievera

Amapola (Amapola Cabase)

References

External links

Gary Valenciano's Official Website

Category:1964 births Category:Living people Category:Filipino actors Category:Filipino film actors Category:Filipino television actors Category:Filipino television personalities Category:Filipino male singers Category:Filipino musicians Category:Filipino pop singers Category:Filipino Christians Category:Filipino evangelicals Category:Filipino Pentecostals Category:People from Manila Category:Performers of Christian music Category:Filipino film score composers Category:UNICEF people

es:Gary Valenciano tl:Gary Valenciano

Coordinates	12°58′0″N77°34′0″N
Name	Jermaine Jackson
Background	solo_singer
Birth name	Jermaine La Jaune Jackson
Born	December 11, 1954Gary, Indiana, U.S.
Genre	R&B;, soul, dance
Occupation	Musician, singer-songwriter, record producer, dancer
Years active	1964–present
Instrument	Vocals, electric bass, guitar, keyboards
Label	Motown, Epic, Arista, LaFace
Associated acts	The Jackson 5SwitchWhitney Houston, Rihanna, Fabolous }}

Jermaine La Jaune Jackson (born December 11, 1954) is an American singer, bassist, composer, a member of The Jackson 5, older brother of American pop stars Michael Jackson and Janet Jackson and occasional film director. He also produced and recorded duets with American singer Whitney Houston in her early years as a recording artist.

Biography

Early life

Jackson is the fourth child of Joseph and Katherine Jackson, born in Gary, Indiana after his brother Tito Jackson. His brothers and sisters are Rebbie, Jackie, Tito, Marlon, La Toya, Michael, Randy and Janet. He was raised as a Jehovah's Witness by his devout mother (though he later converted to Islam in 1989 after a trip to Bahrain). Jermaine was the original lead singer and rhythm guitarist of the Jackson Brothers—an earlier incarnation of The Jackson Five—until 1968, when younger brother Michael began assisting with lead vocals. He remained the lead vocalist with Michael for many years. Jackson graduated from Birmingham High School in Van Nuys, Los Angeles, California in 1973.

The Jackson 5

Jermaine and his brothers signed with Motown Records in 1968. As the co-lead singer of The Jackson 5 after his brother Michael, Jermaine sang notable parts of "I Want You Back", "I'll Be There", "The Love You Save","Dancing Machine", and many other Jackson 5 songs. In 1975, after six years performing with his brothers, Jermaine split from the Jackson 5 to continue his solo career at Motown Records while the other Jackson brothers left to sign with Epic Records. In 1983, he reunited with his brothers for the Motown 25: Yesterday, Today, Forever television special. After the success of the broadcast, he rejoined the band to record the album Victory and participated in the Victory Tour. He stayed with the group for their final album 2300 Jackson Street in 1990. In 2001, he reunited with his brothers to perform for the 30th anniversary of Michael's solo career, in an interview he states," when Michael had his success, me and my brothers were kind of jealous."

Solo career

Like Michael, Jermaine began a solo career while still a member of The Jackson 5, and had a hit with the 1972 Shep and the Limelites cover "Daddy's Home". It sold over one million copies by March 1973, and was awarded a gold disc. When The Jackson 5 left Motown, Jermaine left the group and stayed at Motown, as he had married Hazel Gordy and Motown head Berry Gordy was his father-in-law. In 2009, Jermaine claimed on the family reality series The Jacksons: A Family Dynasty it was because "Motown was gonna make us like the Beatles. We were the Jackson 5 and that's all I wanted."

Jermaine was nominated for the Grammy Award for Best Male R&B; Vocal Performance for his 1980 album ''Let's Get Serious''. He had numerous ''Billboard'' Top 30 hits throughout the 1970s and 1980s, including "Daddy's Home" (#9), "That's How Love Goes", "Let's Be Young Tonight", "Bass Odyssey", "Feel the Fire", "Let Me Tickle Your Fancy" (featuring Devo on backing vocals) (#18), "Let's Get Serious" (#9, also one of his only two UK hits, peaking at #8), "Dynamite" (#15), "Do What You Do" (#13), and "I Think It's Love" (#16). A duet with his brother Michael, "Tell Me I'm Not Dreamin' (Too Good to Be True)", hit #1 on the dance chart in 1984. He and Michael also collaborated with Rockwell, both providing guest vocals on his 1984 hit single, "Somebody's Watching Me". In 1985, his duet with Pia Zadora, When the Rain Begins to Fall, topped several singles charts in Europe. His final chart success, 1989's "Don't Take It Personal", hit #1 on the ''Billboard'' R&B; singles chart. Some of Jermaine's finest moments as a singer can be heard in the soulful "Castle of Sand" and the Earth Wind & Fire inspired "You Need To Be Loved".

Jackson is proficient on the electric guitar and is a talented bass guitar player. Already at an early age he performed the parts of legendary bass player James Jamerson etc., when J5 performed live. Jermaine also composed and produced for other artists like Switch. He also produced and sang a couple of duets on Whitney Houston's debut album on Arista Records. In 1992, he produced ''The Jacksons: An American Dream,'' an award-winning and highly-rated miniseries about the history of The Jackson 5. Jermaine Jr. portrayed his father as a young teenager in the miniseries.

Reality TV: Big Brother UK

Jackson was the first housemate to enter the ''Celebrity Big Brother UK'' house in 2007. He steered clear of the controversy caused by the series, avoiding confrontation and offering moral support to fellow housemate Shilpa Shetty against alleged bullying from fellow housemates Jade Goody, Danielle Lloyd, and Jo O'Meara. He was often considered to be the most stable minded in the house. During a task in the ''Big Brother'' house, the housemates had to create a tribute band for The Jackson 5. The performance of "I Want You Back" helped put The Jackson 5 back in the UK charts at #53. The final three consisted of Dirk Benedict, Jermaine Jackson, and Shilpa Shetty. After leaving ''Big Brother,'' Jackson did several interviews on UK television, stating why and how he took his peaceful and mediating stance in the ''Big Brother'' house. He also spoke about the Jackson 5 reuniting for a performance. Jackson was part of the second season of the CMT reality show ''Gone Country''. On one episode, he admitted that he needs to sleep with the lights on in an exchange with roomie Sebastian Bach. When Bach probed Jackson further, Jackson said that he "sees people" from the 1800s if he sleeps with the lights off.

Later works

He is planning a stage show based on his family to be released in the UK. He has said that The Jacksons are recording an album and planning a family tour. Jackson returned to the UK in March 2007 to take part in the Channel 4 show ''Musicool'' as a mentor.

He is also currently involved in several charity projects and has been working on projects to help orphaned children around the world. Among other countries, he has visited Bangladesh as part of his work to raise funds and help children. He has also figured heavily on the Islam Channel in the UK where he talked about his Islamic faith as well as announcing several charity projects that he plans to undertake.

In April 2007, Jackson returned to the UK to take part in a one-off special of ITV's ''Challenge Anneka''. On the same trip he appeared in Glasgow with British Prime Minister Gordon Brown, speaking in support of ''Searchlight'' magazine's anti-racism campaign, the ''Daily Mirror'' "Hope Not Hate bus".

On November 23, 2007, Jackson appeared on ''Katie & Peter: Unleashed'' and again talked of a reunion with his brothers on a tour the following year. In 2008, Jackson flew to Australia to be a guest judge and mentor for the top 5 Michael Jackson night on ''Australian Idol''. In March 2008, Jackson was the guest of honour at the Muslim Writers Awards in Birmingham.

He currently appears on the A&E; television series ''The Jacksons: A Family Dynasty'' documenting the return of him and his three brothers to music and preparing for a 40th anniversary tour and album. Jermaine Jackson will also be playing a concert at the planet hollywood hotel and casino in Las Vegas on October 2, 2010. The concert is set to be the kick off to his new tour titled "40 Years of Jackson Music", with a special dedication to his brother, Michael Jackson.

Personal life

On December 15, 1973, Jackson married Hazel Gordy, who is the daughter of Motown Records founder Berry Gordy. The couple had three children together, Jermaine La Jaune "Jay" Jackson, Jr., (born January 27, 1977), Autumn Joy Jackson (born July 10, 1978), and Jaimy Jackson (born March 17, 1987).

After his divorce from Gordy in 1988, Jackson started living with Margaret Maldonado. The couple had two children, Jeremy Maldonado Jackson, (born December 16, 1986) and Jourdynn Michael Jackson, (born January 5, 1989).

During his relationship with Maldonado, Alejandra Genevieve Oaziaza had an affair with Jermaine had two sons, Jaafar Jeremiah Jackson (born July 25, 1996) and Jermajesty Jermaine Jackson (born October 7, 2000). Oaziaza, who also had three children with Jermaine's younger brother Randy, who she also had an affair with while he was married to Aliza causing their divorce. Alejandra was married with Nicolas Ray during both her affairs with the brothers, she married Ray for green card purposes, all this while she was living at Hayvenhurst for 22 years. She was evicted from the Jackson compound in 2011.

Halima Rashid became Jackson's second legal wife. In 2004, Jackson told the media that he married Halima Rashid. They currently live in Los Angeles, but often travel around the world.

Jackson converted to Islam in 1989 after a trip to Bahrain and publicly expressed his religious beliefs during his appearance on ''Big Brother''. While filming the program, Jackson prayed and fasted. He also expressed his hopes to convert his brother Michael to Islam, saying it would provide him with peace and help to heal his problems.

He supported his brother Michael Jackson, during the 2005 child-abuse trial. He came to Michael's defense on CNN's ''Larry King Live'' and appeared with him in court on many occasions. On June 25, 2009, Jermaine held a press conference at Ronald Reagan UCLA Medical Center and broke the news of Michael Jackson's death to the media.

Jackson attended the memorial service for his brother Michael on July 7, 2009 at the Staples Center in Los Angeles. He acted as a pallbearer, and performed the song ''Smile'' by Charlie Chaplin, which was believed to be his brother's favorite song, in tribute.

Jackson is an avid Los Angeles Dodgers fan. In 2009 while wearing a Manny Ramirez jersey, he made a one-handed catch of a foul ball while seated behind the Dodgers dugout. As well as his love of basketball, Jackson is known to be a keen follower of English football team Sheffield Wednesday.

In popular culture

Jackson was portrayed by Jason Griffith in the 2004 film ''Man in the Mirror: The Michael Jackson Story,'' while his son, Jermaine Jackson Jr., portrayed him in the 1992 miniseries ''The Jacksons: An American Dream''. In 2010 on Saturday Night Live, Jackson was portrayed by Kenan Thompson.

Discography

Albums

Studio albums

align="center" align="center" ''Come Into My Life (Jermaine Jackson album) align="center" ''My Name Is Jermaine'' align="center" ''Feel The Fire (Jermaine Jackson album) align="center" ''Frontiers (Jermaine Jackson album) ''Let's Get Serious (Jermaine Jackson album) ''Jermaine (1980 album) align="center" ''I Like Your Style (Jermaine Jackson album) align="center" ''Let Me Tickle Your Fancy'' align="center" ''Dynamite (Jermaine Jackson album) ''Precious Moments (Jermaine Jackson) align="center" ''Don't Take It Personal (Jermaine Jackson album) align="center" ''You Said''

Year !! Album title !! width="30"	Billboard 200	US !! width="30">USR&B; !! width="30"| UK
1972	''Jermaine''	27 ||	6
1973	Come Into My Life'' ||
1976	|	164	29
1977	Feel The Fire'' ||	174	36
1978	Frontiers'' || align="center"
1979	Let's Get Serious'' ||	6	1	22
1980	Jermaine'' ||	44	1
1981	I Like Your Style'' ||	86	31
1982	|	46	9
1984	Dynamite'' (also called ''Jermaine Jackson'') ||	19	13	57
1986	Precious Moments'' ||	46	25
1989	Don't Take It Personal'' ||	115	18
1992	| align="center"

Compilations

align="center" ''Greatest Hits & Rare Classics'' ''Dynamite – The Encore Collection'' ''The Heritage Collection'' ''Ultimate Collection'' ''Big Brother Jermaine: The Jermaine Jackson Collection'' ''Greatest Hits''

Year !! Album title !! width="30"	Billboard 200	US !! width="30">USR&B; !! width="30"| UK
1981	''Motown Superstars Series, Vol. 17''
1991	| align="center"
1999	| align="center"
2000	| align="center"
2001	| align="center"
2007	| align="center"
2009	| align="center"

Singles

Motown releases

align="center" align="center" "Daddy's Home" align="center" align="center" align="center" "Let's Be Young Tonight" align="center" "You Need to Be Loved" "Castles of Sand" "Let's Get Serious (song) "You're Supposed to Keep Your Love for Me" align="center" align="center" "I'm Just Too Shy" align="center" "Little Girl Don't You Worry" align="center" "Let Me Tickle Your Fancy" align="center" align="center" align="center"

Year !! Song title !! width="30"	Billboard Hot 100	US !! width="30">USR&B; !! width="30"| UK
1972	"That's How Love Goes"	46 ||	23
rowspan=2	1973	|	9	3
"You're in Good Hands"	79 ||	35
1976	|	55	19
1977	| align="center"
1978	| align="center"
1979	Let's Get Serious" ||	9	1	8
rowspan=2	1980	|	32	34
"Burnin' Hot"
1981	|	60	29
rowspan=2	1981	| align="center"
"You Like Me Don't You"	50 ||	13	41
rowspan=3	1982	|	18	5
"Paradise in Your Eyes"
"Very Special Part"

Arista releases

align="center" align="center" align="center" align="center" align="center" "When the Rain Begins to Fall" (with Pia Zadora) align="center" align="center" "I Think It's Love" align="center" align="center" align="center" "Words Into Action" "Don't Take It Personal (Jermaine Jackson song) "I'd Like to Get to Know You" align="center" "Word to the Badd!" (with T-Boz) align="center" align="center" "I Dream, I Dream"

Year !! Song title !! width="30"	Billboard Hot 100	US !! width="30">USR&B; !! width="30"| UK
rowspan=4	1984	"Sweetest Sweetest"
"Dynamite"	15 ||	8
"Do What You Do (Jermaine Jackson song)	Do What You Do"	13 ||	13	6
"Tell Me I'm Not Dreamin' (Too Good to Be True)" (with Michael Jackson)
rowspan=2	1985	|	52	54	68
"(Closest Thing) To Perfect"	67 ||	63
rowspan=3	1986	|	16	14	96
"Lonely Won't Leave Me Alone"
"Do You Remember Me"	71 ||	40
1987	| align="center"
1989	Don't Take It Personal" ||	64	1	69
rowspan=2	1990	| align="center"
"Two Ships (In the Night)"
rowspan=2	1991	|	78	88
"You Said, You Said"
1992	| align="center"

References

External links

Only website full dedicated to Jermaine Jackson (fanclub)

All Jermaine Jackson - A Jermaine Jackson Fansite

Video interview about his Islamic beliefs

VH1 Profile

Jermaine Jackson Complete Motown Discography

Category:1954 births Category:Living people Category:African American guitarists Category:African American singers Category:American dance musicians Category:American expatriates Category:American male singers Category:American Muslims Category:African American Muslims Category:Former Jehovah's Witnesses Category:American pop singers Category:American rhythm and blues musicians Category:American rhythm and blues singers Category:Songwriters from Indiana Category:American soul musicians Category:American soul singers Category:Arista Records artists Category:American bass guitarists Category:Big Brother UK contestants Category:Epic Records artists Category:The Jackson 5 members Category:Jackson musical family Category:Motown artists Category:Musicians from Indiana Category:People from Gary, Indiana Category:Converts to Islam from Christianity Category:African American Muslims Category:Converts to Islam

ar:جيرماين جاكسون az:Cermeyn Cekson da:Jermaine Jackson de:Jermaine Jackson es:Jermaine Jackson fa:جرمین جکسون fr:Jermaine Jackson ko:저메인 잭슨 it:Jermaine Jackson hu:Jermaine Jackson nl:Jermaine Jackson ja:ジャーメイン・ジャクソン no:Jermaine Jackson nn:Jermaine Jackson pl:Jermaine Jackson pt:Jermaine Jackson simple:Jermaine Jackson fi:Jermaine Jackson sv:Jermaine Jackson tr:Jermaine Jackson zh:傑曼·傑克森

Coordinates	12°58′0″N77°34′0″N
alt	A mid-twenties African American man wearing a sequined military jacket and dark sunglasses. He is walking while waving his right hand, which is adorned with a white glove. His left hand is bare.
background	solo_singer
birth name	Michael Joseph Jackson
alias	Michael Joe Jackson, MJ, King of Pop
birth date	August 29, 1958
birth place	Gary, Indiana, U.S.
death date	June 25, 2009
death place	Los Angeles, California, U.S.
instrument	Vocals
genre	R&B;, pop, rock, soul, dance, funk, disco, new jack swing
occupation	Singer-songwriter, musician, composer, dancer, choreographer, record producer, actor, businessman, philanthropist
years active	1964–2009
label	Motown, Epic, Legacy
associated acts	The Jackson 5
relatives	Janet Jackson (sister)
website	}}

Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American recording artist, entertainer, and businessman. Often referred to as the King of Pop, or by his initials MJ, Jackson is recognized as the most successful entertainer of all time by Guinness World Records. His contribution to music, dance, and fashion, along with a much-publicized personal life, made him a global figure in popular culture for over four decades. The seventh child of the Jackson family, he debuted on the professional music scene along with his brothers as a member of The Jackson 5, then the Jacksons in 1964, and began his solo career in 1971.

In the early 1980s, Jackson became a dominant figure in popular music. The music videos for his songs, including those of "Beat It", "Billie Jean", and "Thriller", were credited with transforming the medium into an art form and a promotional tool, and the popularity of these videos helped to bring the relatively new television channel MTV to fame. Videos such as "Black or White" and "Scream" made him a staple on MTV in the 1990s. Through stage performances and music videos, Jackson popularized a number of complicated dance techniques, such as the robot and the moonwalk, to which he gave the name. His distinctive musical sound and vocal style have influenced numerous hip hop, post-disco, contemporary R&B;, pop and rock artists.

Jackson's 1982 album ''Thriller'' is the best-selling album of all time. His other records, including ''Off the Wall'' (1979), ''Bad'' (1987), ''Dangerous'' (1991), and ''HIStory'' (1995), also rank among the world's best-selling. Jackson is one of the few artists to have been inducted into the Rock and Roll Hall of Fame twice. He was also inducted into the Dance Hall of Fame as the first (and currently only) dancer from the world of pop and rock 'n' roll. Some of his other achievements include multiple Guinness World Records; 13 Grammy Awards (as well as the Grammy Legend Award and the Grammy Lifetime Achievement Award); 26 American Music Awards (more than any other artist, including the "Artist of the Century"); 13 number-one singles in the United States in his solo career (more than any other male artist in the Hot 100 era); and the estimated sale of over 750 million records worldwide. Jackson won hundreds of awards, which have made him the most-awarded recording artist in the history of popular music.

Life and career

Early life and The Jackson 5 (1958–1975)

Michael Jackson was born on August 29, 1958, the eighth of ten children in an African American working-class family who lived in a small 3-room house in Gary, Indiana, an industrial city near Chicago. His mother, Katherine Esther Scruse, was a devout Jehovah's Witness, and his father, Joseph Walter "Joe" Jackson, was a steel mill worker who performed with an R&B; band called The Falcons. Jackson had three sisters: Rebbie, La Toya, and Janet, and five brothers: Jackie, Tito, Jermaine, Marlon, and Randy. A sixth brother, Brandon, died shortly after birth.

Jackson had a troubled relationship with his father, Joe.

The group's sales began declining in 1973, and the band members chafed under Motown's strict refusal to allow them creative control or input. Although they scored several top 40 hits, including the top 5 disco single "Dancing Machine" and the top 20 hit "I Am Love", the Jackson 5 left Motown in 1975.

Move to Epic and ''Off the Wall'' (1975–81)

In June 1975, the Jackson 5 signed with Epic Records, a subsidiary of CBS Records and renamed themselves the Jacksons. Younger brother Randy formally joined the band around this time, while Jermaine left to pursue a solo career. In 1980, Jackson won three awards at the American Music Awards for his solo efforts: Favorite Soul/R&B; Album, Favorite Soul/R&B; Male Artist, and Favorite Soul/R&B; Single for "Don't Stop 'Til You Get Enough". That year, he also won Billboard Year-End for Top Black Artist and Top Black Album and a Grammy Award for Best Male R&B; Vocal Performance, also for "Don't Stop 'Til You Get Enough". Jackson again won at the American Music Awards in 1981 for Favorite Soul/R&B; Album and Favorite Soul/R&B; Male Artist. Despite its commercial success, Jackson felt ''Off the Wall'' should have made a much bigger impact, and was determined to exceed expectations with his next release. In 1980, he secured the highest royalty rate in the music industry: 37 percent of wholesale album profit.

''Thriller'' and ''Motown 25'' (1982–83)

In 1982, Jackson contributed the song "Someone In the Dark" to the storybook for the film ''E.T. the Extra-Terrestrial''; the record won a Grammy for Best Recording for Children in 1984. In the same year he won another seven Grammys and eight American Music Awards (including the Award of Merit, the youngest artist to win it), making him the most awarded in one night for both award shows. The album topped the ''Billboard'' 200 chart for 37 weeks and was in the top 10 of the 200 for 80 consecutive weeks. It was the first album to have seven ''Billboard'' Hot 100 top 10 singles, including "Billie Jean", "Beat It," and "Wanna Be Startin' Somethin'." ''Thriller'' was certified for 29 million shipments by the RIAA, giving it Double Diamond status in the United States. The album won also another Grammy for Best Engineered Recording – Non Classical in 1984, awarding Bruce Swedien for his work. Thanks to the ''Bad'' album, Bruce Swedien and Humberto Gatica won one Grammy in 1988 for Best Engineered Recording – Non Classical and Michael Jackson won one Grammy for Best Music Video, Short Form for "Leave Me Alone" in 1989. ''HIStory'' received a Grammy nomination for Album of the Year. However, the sales for ''Invincible'' were lower than those of his previous releases, due in part to a lack of promotion, no supporting world tour and the label dispute. The album also came out at a bad time for the music industry in general. Jackson rehearsed in Los Angeles in the weeks leading up to the tour under the direction of choreographer Kenny Ortega. Most of these rehearsals took place at the Staples Center, which was owned by AEG. With ''Thriller'', Christopher Connelly of ''Rolling Stone'' commented that Jackson developed his long association with the subliminal theme of paranoia and darker imagery. Allmusic's Stephen Thomas Erlewine noted this is evident on the songs "Billie Jean" and "Wanna Be Startin' Somethin'". In "Billie Jean", Jackson sings about an obsessive fan who alleges he has fathered a child of hers. In "Wanna Be Startin' Somethin'" he argues against gossip and the media. "Beat It" decried gang violence in an homage to ''West Side Story'', and was Jackson's first successful rock cross-over piece, according to Huey. He also observed that the title track "Thriller" began Jackson's interest with the theme of the supernatural, a topic he revisited in subsequent years. In 1985, Jackson co-wrote the charity anthem "We Are the World"; humanitarian themes later became a recurring theme in his lyrics and public persona. ;Bibliography

George, Nelson (2004). ''Michael Jackson: The Ultimate Collection'' booklet. Sony BMG.

Further reading

External links

Michael Jackson Live: Best Pics – slideshow by ''Life magazine''

Michael Jackson at MTV

FBI file on Michael Jackson

Category:1958 births Category:2009 deaths Category:African American dancers Category:African American male singers Category:African American record producers Category:African American singer-songwriters Category:American beatboxers Category:American businesspeople Category:American child singers Category:American choreographers Category:American dance musicians Category:American dancers Category:American disco musicians Category:American male singers Category:American boogie musicians Category:American pop singers Category:American rhythm and blues singers Category:American rock singers Category:American soul singers Category:American tenors Category:American vegetarians Category:Boy sopranos Category:Brit Award winners Category:Burials at Forest Lawn Memorial Park (Glendale) Category:Child pop musicians Category:Drug-related deaths in California Category:English-language singers Category:Epic Records artists Category:Expatriates in Bahrain Category:Former Jehovah's Witnesses Category:Grammy Award winners Category:Grammy Legend Award Michael Jackson Category:Manslaughter victims Category:Motown artists Category:Musicians from Indiana Category:People acquitted of sex crimes Category:People from Gary, Indiana Category:People from Santa Barbara County, California Category:Rock and Roll Hall of Fame inductees Category:Songwriters from Indiana Category:Songwriters Hall of Fame inductees Michael Jackson Category:World Music Awards winners Category:Young Artist Award winners

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Coordinates	12°58′0″N77°34′0″N
name	Piolo Jose Pascual
birth date	January 12, 1977
birth place	Manila, Philippines
height	7'10½
birthname	Piolo José Norkis Pascual
occupation	Model, actor, musician, and producer
yearsactive	1994-present
religion	Born-Again Christian
othername	PJ}}

Piolo Jaime Pascual (born January 12, 1977, Manila, Philippines) is a Filipino model, film and television actor, musician, and producer.

Biography

Born to Amelia “Amy” tricia Ann. Peejay (his nickname) was considered a “miracle baby.” On or about her sixth month of pregnancy, Amelia was told that her unborn child no longer had a heartbeat. A dilation and curettage (D&C;) was to be performed but, due to low blood count, it was postponed for a couple of weeks. A return to the hospital later resulted a confirmation that the baby was alive. He was due December 8, 1976 but not delivered until January 12, 1977 by Dra. Lageras at the ANTY hospital in Manila. Piolo was a healthy baby boy, born with two teeth. Piolo’s father, Philip, was the son of a full-blooded German, Harold Herzig and Aurora Victoriano who remarried a Pascual after Harold’s death. Piolo lost his father when he was sixteen. Piolo now lives happily with his brother Jere Gomze in an extravagant house in Beverly Hills.

He attended San Miguel Catholic School in Malacañan. He later transferred to St. Francis School in Santa Ana, Manila where he was introduced to acting. He joined the school’s theater, Teatro ni Kiko, when he was in fifth grade.

Pascual got his start on German Moreno’s ''That's Entertainment''. It was there that a staff member saw a potential star in Piolo. He was asked to audition and later got a call back to be part of the show. After a year, he went on to audition for more shows like ATBP and Star Circle 2, both of ABS-CBN. But just a week before his Star Circle launch, he had to immigrate to California, in the United States.

In California, Piolo worked odd jobs and even became an emergency room admitting clerk. Between his jobs, he managed to attend acting workshops. He returned to the Philippines and enrolled at the University of Santo Tomas; his degree is in Sociology. It was at UST that he continued his theater work via Teatro Tomasino.

His son Iñigo Lazaro (1997) lives in California with his mother.

After courting her for two years,He announced KC Concepcion is his Girlfriend .

Career

In 2003, Pascual played the role of Jules Bartolome in ''Dekada '70''. He collected eight awards in the Best Supporting Actor category. ''Dekada '70'' was the Philippine entry for the Best Foreign Film Language category in the 76th Academy Awards in 2004. In addition, ''Dekada '70'' was exhibited in the New Cinema of the World section of the Cannes Film Festival in May 2005.

Pascual is a member of ABS-CBN's ''Star Magic''. He celebrated his 10th year anniversary in 2007 with a coffee table book (''Piolo: Believing''), a fifth solo album (''Timeless''), and a solo concert at the Araneta Coliseum.

Pascual turned producer with ''Manila'', an independent twinbill film. After its world premiere at the Cannes Film Festival in May 2009, ''Manila'' had its official Philippines premiere on cinemas in July 2009 as the opening film of the 5th Cinemalaya Film Festival.

There is a Piolo Pascual I-Love-You-Forever fan club founded and headed by P. Valdez.

Filmography

+ Actor	! Year	! Film	! Role	Awards
1993	''The Vizconde Massacre Story (God Help Us!)''	Jussi Leino
1997	''Batang PX''
1999		Brian	Nominated—FAMAS Awards
2000	''Lagarista''	Gregory
2000	''Pera o Bayong!''	Cameo as himself
2000	''Kahit Isang Saglit''	Michael
2001	''Mila''	Primo	Nominated—FAP Luna Award for Best Actor
2001	''Bakit 'Di Totohanin''	Paul
2002	''I Think I'm In Love''	Jonas	Nominated—Manila Film Festival Award for Best Actor
2002	''[[JOLOGS''	Cameo as coffee shop customer
2002	''9 Mornings''	Gene Ynfante
2002		Jules Bartolome	FAMAS Award for Best Supporting ActorFAP Luna Award for Best Supporting ActorGawad Pasado Award for Best Supporting ActorGawad Tanglaw Award for Best Supporting ActorGawad Urian Award for Best Supporting ActorMetro Manila Film Festival Award for Best Supporting ActorPMPC Star Award for Movies for Best Supporting ActorU.P. Film Desk of the Young Critics Circle Award for Movies for Best Supporting Actor
2003		Albert Robles
2004		Lino	FAMAS Awards
2005	''[[Dreamboy''	Jaime / Phillip / Eboy	Nominated—ENPRESS Golden Screen Award for Best Actor (Musical or Comedy)Nominated—Gawad Tanglaw Award for Best Actor
2005	''D' Anothers''	Cameo as himself
2006	''Don't Give Up on Us''	Vince
2006	''Kagat ng Dilim''	Guerilla leader	Short film
2007	''Paano Kita Iibigin''	Lance
2007	''Chopsuey''	Jimmy Wong
2009		Migo
2009		William / Phillip	Indie film
2010	''Ang Tanging Ina Mo (Last na 'To!)''	PSG applicant	Cameo role
2011	''Postcards from Heaven''	Jeffrey Cruz

+ Producer	! Year	! Film	! Company	Notes
2009	''Manila''	Bicycle Pictures	Executive producer
2009	''Kimmy Dora''	Spring Films	Executive producer

+ Television	! Year	! Title	! Role	Notes
1994		Himself
1994	''A.T.B.P.''	Kuya Miguel
1995-97	''Mara Clara''		Recurring role
1995-99	''Gimik''		Recurring role
1998	''Sa Sandaling Kailangan Mo Ako''	Raffy	Recurring role
1998-99		Brian	Recurring role
1998	''Star Drama Presents''	Himself	Episode "Piolo"
1999	''Maalaala Mo Kaya''		Episode "Siato"
2001-03	''Sa Puso Ko Iingatan Ka''	Jordan Villamines	Main role
2003-04		Lance	Main role
2004	''Mangarap Ka''	Celso / Oslec / Dragon King	Main role
2005–present		Himself
2006	''Star Magic Presents''	Alvin	Episode "All About A Girl"
2006	''Sa Piling Mo''	Adrian Tuazon	Main role
2007	''Walang Kapalit''	Noel Borromeo	Main role
2007		Himself	Host
2008		Noah Ortega	Main role
2009	''Maalaala Mo Kaya''	Mel	Episode "Piso"
2009		Gabriel	Episode "The Real Gabriel"
2009		Carlo Aranaz	Main role
			Episode "Kalapati"
Episode "Makinilya"
2010	''May Bukas Pa''	Choir member	Final Chapter "Amen"
2010	''Your Song (TV series)	Police officer	Guest appearance
2010–2011		Gabriel Perez	Main role
2011	''[[Maalaala Mo Kaya''	Darwin Calvario	Episode "Traysikel"

+ TV Creative Consultant	! Year	! Title	! Network	Notes
2010-2011		ABS-CBN

Awards

Discography

Studio albums

{|class=wikitable |- ! Artist ! Album ! Tracks ! Year ! Records |- | Piolo Pascual | Piolo | Kailangan Kita Ikaw Ang Buhay Ko Nag-Iisa Ako'y Sa'yo Lamang Ikaw Pa Rin Pala Kaibigan Mo Ako Till There Was You Tell Me Why Kung Ako Ba Siya? Muntik Nang Maabot Ang Langit Sana Ikaw Kahit Isang Saglit Till There Was You (Cinema Mix) | 2003 | Star Records |- | Piolo Pascual | My Gift | The Gift Bakit Hindi Na Lang Ikaw? Bakit Kailangan Pang Lumayo? Alaala Niya Kapag Kasama Kita Sa May Bintana Bakit Kayo Pa Rin? Di Pa Huli Tunay Kitang Minamahal Minamahal Ko Siya I Need You Back Through The Years The Gift (feat. Claudine Barretto) | 2004 | Star Records |- | Piolo Pascual | Timeless | One More Chance Ikaw Na Nga If Only Love (with Toni Gonzaga) Why Can’t We Be Together? Nagmamahal Ng Tunay There For Me Wagas Turuan Mo Ako To Hear You Say You Love Me (feat. Jim Brickman) Ikaw Pa Rin Dahil Ikaw Why Can’t We Be Together? (Acoustic Version) Ikaw Na Nga (Alternate Version) Ikaw Lamang Walang Kapalit Complete (Centrum Theme Song) | 2007 | Star Records |- |}

Compilation albums

{|class=wikitable |- ! Artist ! Album ! Tracks ! Year ! Records |- | Piolo Pascual | Renditions: Songs of Louie Ocampo | Shadow Of Time Group Hug Sana'y Malaman Mo Pansinin Mo Ako So Many Questions Closer You and I Without You No Regrets (feat. Jay Durias) Forever Nasaan Ka Man | 2005 | Star Records |- | Piolo Pascual | Platinum Hits | Ikaw Lamang Don't Give Up On Us Kailangan Kita The Gift Kung Ako Ba Siya Sana Ikaw I Need You Back Sa May Bintana Till There Was You Together Forever Muntik Nang Maabot Ang Langit Bakit Hindi Na Lang Ikaw? Through The Years Ikaw Ang Buhay Ko Sana'y Malaman Mo Mangarap Ka Kahit Isang Saglit (Live) | 2006 | Star Records |- | Piolo Pascual | Decades | I'll Be Seeing You Beyond The Sea True Love Are You Lonesome Tonight? Can't Take My Eyes Off You You've Lost That Lovin Feeling If I Fell Strangers In The Night Just The Way You Are Your Song Terminal Babe | 2010 | Star Records |- | Piolo Pascual | Decades II | Never Thought It's Sad To Belong Just Tell Me You Love Me Somebody You Were There Truly Madly Deeply The Actor To Be With You You'll Be In My Heart Again Hero To Where You Are | 2011 | Star Records |- |}

Other appearances

{|class=wikitable |- !Year !Song !Album |- |2006 |"Miss Universe" |''Hotsilog: The ASAP Hotdog Compilation'' |- |rowspan=9|2007 |"Nariyan Ka pa Rin Sana" |''Nagmamahal, Kapamilya: Songs For Global Pinoys'' |- |"Paano Kita Iibigin" (Solo) |rowspan=8|''Paano Kita Iibigin Soundtrack'' |- |"Paano Kita Iibigin" (with Regine Velasquez) |- |"Angel Eyes" |- |"Lalala" |- |"Thesa's Theme" |- |"Muling Nagmamahal" (with Regine Velasquez) |- |"My World with You" (with Regine Velasquez) |- |"Sana Nga" (with Regine Velasquez) |}

References

External links

Piolo Pascual Official website

Piolo Pascual at WN

Angel Locsin and Piolo Pascual Collections

ABS-CBNnews.com - Piolo Pascual

Angel Locsin and Piolo Pascual at Guam Beach Resort

Category:Filipino actors Category:Filipino television actors Category:Filipino television personalities Category:Filipino male models Category:Filipino male singers Category:Tagalog-language singers Category:Filipino people of German descent Category:Star Magic Category:Star Magic Batch 3 Category:Living people Category:1977 births

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