Church painting

Le message du texte dans le répertoire iconographique: prolégomenes

The message of the text in the iconographic repertorium: prolegomena

  • Summary/Abstract

    Does the text placed beside (in, on) the medieval image double the meaning of the information because of the phenomenon redundancy of the text contributes different by its nature information? What is the non-linear hierarchy of the texts in one image and by what means is this gradation achieved? Is the text message constant (for each separate type of iconography throughout the centuries) and to what extent is it adequate to the image? The point of view of the user – creator and recipient also matters. Who defines the fragment of the text and its place in the image, i.e. who chooses and who decides? What are the criteria for a choice of text regarding the origin and size? Can and should each text be read? Do the text and the image have common features? What happens if a text is not understood? As every sacred text the inscription has significant onoric power. How is it used? Who and how can read the inscription? However, neither art critics, nor historians, nor philologists have so far answers to these questions

Une oeuvre inconnue du XIV siècle: icône de saint Demetrios avec son cycle hagiographique Scripta & e-Scripta vol 2, 2004 floyd Sat, 10/09/2004 - 11:50
An unknown work of 14th c.: icon of St. Demetrios with his hagiographic cycle

The fragment of an icon, which has been published here for the first time, belongs to the department “Old Bulgarian Art / Cripta” of the National Art Gallery and has an inventory No. 590. It comes from the church “Holy Virgin” in Veliko Turnovo. Only the right part of a large-sized work is preserved. In the central part used to be painted saint Demetrios on a horse, stabbing his defeated enemy with a spear. In two vertical columns to the left and to the right of the central image eight scenes from the hymnographic cycle of the saint used to be placed. The four scenes in the right column have remained: 1) St. Dimitrios speaks to the emperor Maximilian; 2) Emperor Maximilian and his wife at the amphitheatre; 3) St. Dimitrios blesses Nestor; 4) The martyr’s death of St. Dimitrios. Some of the scenes, especially the second and third ones, have interesting iconographic peculiarities. They, as well as the stylistic marks, indicate that the work was created in the XIV century. As a closest stylistic parallel to our icon, we can point the miniatures of the well-known manuscript Vaticanus slav. 2 of the Manasius chronicle, which was painted and decorated for Tsar Ivan Alexander around 1344-1345. Therefore, the present icon should also be referred to the artistic production from the middle of the XIV century in the capital city of Turnovo. The cult to St. Dimitrios represents an important element of the propaganda of the first Asens, which continues to be maintained and developed by the following Turnovo rulers. The icon we publish here is a product of this political and religious-spiritual context. For the history of the medieval art the work is important mainly because it is the earliest, for the time being, example of including a hymnographic cycle in an icon of St. Dimitrios.

Subject: Fine Arts Performing Arts Church painting Iconography Saint Demetrios of Tessaloniki

Eine falsche Übersetzung – eine neue Ikonographie – ein nicht bestimmter Ritus. De Staurolatria Orthodoxa

A wrong translation – a neu iconography – an indefinite rite. De Staurolatria Orthodoxa

  • Summary/Abstract

    In the article a unique by it plot for the Bulgarian Middle Ages and the Orthodoxy icon is studied – “Provenance of the Honest Cross” from the collection of the Rila Monastery. For the appearance of such a plot in the East, they appointed is the wrong translation to church-Slavonic from the Greek name of the holiday “Taking of the Honest Cross”. The author finds works by the same artist from the end of the XVIII century in other Bulgarian collections, searches even remote iconographic parallels, as well as historical grounds for such imagery, summarizes the cult to the Holy Cross in the Orthodoxy. The artistic basis for comparison in the article is diachronical – it stretches from the VI to the XIX century and it moves from Russia, across the Balkans to the island of Cypress. The comparison with the western tradition has not been omitted. Finally, the author correlates the appearance of the icon “Provenance of the Honest Cross” to the specific religious-festive complex in the Rila Monastery, suggesting hypothesis for the presence of such an icon, made by a master from Athos, namely at the Rila Monastery. E. Mutafov’s approach is comparative-linguistic, supported by art-critical methodology and a

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