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In scholarship on religion and religious art, the term aniconism describes the absence of a figural representation of a deity (whether anthropomorphic or theriomorphic), primarily in the context of ritual veneration of one deity or more, but also within a visual tradition more broadly. Aniconic worship may take on a variety of forms, including veneration centered around a standing stone, open fire, vacant space, or no independent physical focal point at all. In religious art and visual culture, aniconism may also be manifested in a range of ways, such as adherence to the usage of ornament, calligraphy, or geometric forms. Although it is often treated as synonymous with iconoclasm, the word aniconism does not refer to the destruction of religious images. It may be adopted without an articulated reason or coherent doctrine, or it may be connected with an explicit theology. Worship of deities without figural representations has been widely attested for millennia in both polytheistic traditions (Greco-Roman, Phoenician) and monotheistic ones (Jewish, Islamic). The concept of aniconism, however, is modern. It was introduced by Johannes Adolph Overbeck (1826–1895) for the particular purpose of describing the presumed earliest phases in the development of Greek religion, which were construed as imageless. In the 20th century, aniconism has come to describe the absence of the figural image of a deity in worship and has been applied more broadly to certain artistic traditions such as early Buddhist, Islamic, and Jewish art. Since the manifestations of aniconism differ widely, it is vitally important to apply the concept contextually, with clear criteria for what is considered aniconic within a particular framework. Among the religions in the West from the Renaissance to the present, aniconism is notable in its emergence in certain strands of Protestantism, particularly in Calvinist houses of worship. Worship with no figural image is also often linked with primeval religions and is seen either negatively, as the practice of a less advanced culture, or positively, as a marker of higher spirituality. Claims of a complete absence of imagery and figural art in various religious traditions (e.g., Jewish, Islamic) have often been disproven, as further examination of those traditions has revealed the occurrence of figuration alongside some form of aniconism. The wide range of forms of aniconism and its coexistence with semi-figural and fully figural forms in worship and within broader visual traditions suggest that the concept is best applied through a nuanced approach which considers the nature and frequency of its occurrence rather than seeing it as an absolute negation of the figural image.

Contemporary visual art that uses themes and symbols of particular religious traditions has the potential to alienate both those who are adherents of those traditions and those who are non-adherents. Such art is often characterized as sentimental, superstitious, naïve, exclusivist, or triumphalist by modern standards of judgment. At the same time, efforts to avoid exclusivism or triumphalism in contemporary visual art can render the meanings of works so vague that it is hard to identify a work with any particular religion. For these reasons and more, the art world tends to disparage the benign use of religious themes and symbols in art and tends to accept works that are transgressive—that is, art that transgresses the boundaries of religious decorum. Material and visual culture studies provide ways for the art world to find value in and analyze the use of religious themes and symbols in contemporary visual art. These approaches have widened the scope of works that might be identified as contemporary visual art: popular, mass-produced, and folk art are all within the purview of analyses of contemporary visual art. These studies examine how religious themes and symbols function in religious communities and in the wider communities of which they are a part. Even when studying the function of visual and material culture within a particular religious tradition, these studies tend to identify common or essential themes in different religions. The contemporary preference for being “spiritual but not religious” emerges in the identification of common religious themes and symbols. Contemporary theological approaches to the study and appreciation of contemporary visual art are “insider” methods that religious adherents use to assess critically the value of the use of religious themes and symbols in modern culture. These insider methods identify orthodox uses of religious themes and symbols in contemporary visual art, not only to identify negatively that which is unorthodox or heterodox, but also to identify works of art that celebrate religious beliefs, make traditional beliefs relevant, and help to shape new ways of engaging the wider community. Theological methods often incorporate the work of material and visual studies scholars. Like these scholars, theologians seek to affirm the value of unique religious beliefs in an increasingly pluralistic world.