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Konsili Konstantinopel tahun 869 tidak mengeluarkan maklumat yang langsung menyentuh persoalan seputar citra-citra Allah Bapa. Konsili ini menyusun daftar ikon yang boleh dibuat, tetapi lambang-lambang Allah Bapa tidak termasuk di dalamnya.<ref>Steven Bigham, 1995 ''Image of God the Father in Orthodox Theology and Iconography'' {{ISBN|1-879038-15-3}} halaman 41</ref> Meskipun demikian, keberterimaan umum terhadap ikon dan citra-citra suci mulai menciptakan suatu atmosfer yang memungkinkan pembuatan lambang-lambang Allah Bapa.
Sebelum abad ke-10, tidak ada upaya menggunakan sosok manusia untuk melambangkan [[Allah Bapa]] di dalam [[seni rupa Eropa|seni rupa Dunia Barat]].<ref name="James Cornwell halaman 24" /><!-- YetMeskipun demikian, Westernseni artrupa eventuallyDunia requiredBarat somepada wayakhirnya tomembutuhkan illustratesatu thedan presencelain ofcara theuntuk Father,mengilustrasikan sokehadiran throughAllah successiveBapa. representationsOleh akarena setitu, ofbeberapa artisticgaya stylesartistik foryang symbolizingmemanfaatkan thesosok Fathermanusia usinguntuk amelambangkan manAllah graduallyBapa emergedlama-kelamaan aroundmuncul thesecara 10thbertahap centurysekitar ADabad ke-10. AAlasan rationaleyang formendasari thepemakaian usesosok ofmanusia aadalah humankeyakinan isbahwa theAllah beliefmenciptakan thatjika Godmanusia createdmenurut thecitra-Nya soulsendiri of(dan Man in the image of His own (thusdengan allowingdemikian Humanmemungkinkan tomanusia transcendjauh themengatasi othersatwa animalslain).
ItTampaknya appearsketika thatpara whenseniman earlypertama artistskali designedberusaha tomenggambarkan representAllah God the FatherBapa, fearrasa andtakut awedan restrainedkagum themmenghalangi frommereka auntuk usagemenggunakan of thesosok wholemanusia humanyang figureutuh. TypicallyLazimnya onlycuma asalah smallsatu partbagian wouldtubuh beyang usedditampilkan aspada the imagegambar, usuallybiasanya the handtangan, oratau sometimes thekadang-kadang facewajah, buttetapi rarelyjarang asekali wholeseluruh humanjasad manusia. InDi manydalam imagesbanyak gambar, thesosok figureAllah ofPutra themenggeser Sonsosok supplantsAllah the FatherBapa, sosehingga ahanya smallersebagian portionkecil ofdari thesosok person of theAllah FatherBapa isyang depicteddigambarkan.<ref name="Adolphe Napoléon Didron pages 169">Adolphe Napoléon Didron, 2003 ''Christian iconography: or The history of Christian art in the middle ages'' {{ISBN|0-7661-4075-X}} pageshalaman 169</ref>
[[Berkas:Andrea_del_Verrocchio,_Leonardo_da_Vinci_-_Baptism_of_Christ_-_Uffizi.jpg|thumb|upright=1.0|DepictionGambar ofdua twotangan handsAllah ofdan GodRoh andKudus thedalam Holywujud Spiritburung asmerpati apada dove inlukisan ''[[ThePembaptisan Baptism of ChristKristus (Verrocchio)|The Baptism ofPembaptisan ChristKristus]]'' bykarya [[Andrea del Verrocchio]] anddan [[Leonardo da Vinci]], 1472]]<!--
By the 12th century depictions of God the Father had started to appear in French [[illuminated manuscript]]s, which as a less public form could often be more adventurous in their iconography, and in [[stained glass]] church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the [[Baptism of Jesus|Baptism of Christ]] on the famous [[Baptismal font at St Bartholomew's Church, Liège|baptismal font in Liège]] of [[Rainer of Huy]] is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in [[Giotto]]'s [[fresco]] of c. 1305 in [[Padua]].<ref name="ReferenceA">[[Arena Chapel]], at the top of the triumphal arch, ''God sending out the angel of the Annunciation''. See Schiller, I, fig 15</ref>
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