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Université De Montréal the Political and Artistic Program of Prince Petru Université de Montréal The Political and Artistic Program of Prince Petru Rares of Moldavia (1527-1538 and 1541-1546) and the Fresco Series Depicting the “Life of the Mother of God” in the Church of Humor Monastery par Adriana Balaban Bara Faculté de théologie et de sciences des religions Thèse présentée à la Faculté des études supérieures en vue de l’obtention du grade de Philosophiae Doctor (Ph. D.) en theologie Mars, 2012 © Adriana Balaban Bara, 2012 Université de Montréal Faculté des études supérieures Cette thèse intitulée: The Political and Artistic Program of Prince Petru Rares of Moldavia (1527-1538 and 1541-1546) and the Fresco Series Depicting the “Life of the Mother of God” in the Church of Humor Monastery présentée par: Adriana Balaban Bara a été évaluée par un jury composé des personnes suivantes: Professeur Alain GIGNAC, président-rapporteur Professeur Pierre LÉTOURNEAU, directeur de recherche Professeur Lucian Turcescu, codirecteur .. Professeur Jean-François ROUSSEL, membre du jury Professeur Peter GALADZA, examinateur externe iii Abstract In 1993, the church of Humor Monastery and six other churches from northern Moldavia (Romania) were classified as UNESCO Patrimony, due to their unique iconographical and architectural features. Built in the sixteenth-century, Humor Monastery became a rich and vital cultural religious center under the patronage of Prince Petru Rares of Moldavia. This center encouraged ecclesial architectural innovations, as well as an extraordinarily prolific program of frescoes, both internally and externally, expressing creativity beyond the canon of painting of the time. This dissertation focuses on understanding these architectural and iconographical innovations, in the light of the historical context that gave rise to this unique moment in Moldavian history, in the century following the Fall of Constantinople (1453). While the first part of the dissertation focuses on these historical circumstances, and more precisely on the impact of the patronage of Prince Rares, the second part of the research concentrates on the literary sources and the theology of a unique fresco series depicting the “Life of the Mother of God,” which has been painted on the walls of the gropnita (burial chamber) of Humor monastic church.1 The fresco series is an extraordinary example of the interaction between texts, the apocryphon Protogospel of James and the Synaxarion, and the iconographic narration of the “Life of the Mother of God.” Careful attention to the iconography of the Humor monastic church demonstrates the need for the correlation between text and icon, as well as the need for a correlation between theological studies, art and history. 1 The fresco series is untitled. I will refer to the fresco series as the “Life of the Mother of God.” iv This methodological perspective will foster a richer appreciation of the abundant cultural and religious treasures of the Christian communities of Eastern Europe, both from a cultural as well as a specifically theological perspective as a further response to their prestigious recognition of being included in the UNESCO’s Patrimony in the closing decade of the twentieth - century. Keywords: Iconography, Protgospel of James, Synaxarion, the “Life of the Mother of God”- frescoes, Mariology, Moldavia, Petru Rares, UNESCO, Humor Monastery. v Résumé En 1993, l’église du monastère Humor et six autres églises du nord de la Moldavie (Roumanie) ont été classifiés comme patrimoine de l'UNESCO, en particulier en raison de leurs caractéristiques iconographiques et architecturales uniques. Construit au seizième siècle, le monastère Humor est devenu un riche centre religieux et culturel sous le patronage du prince Petru Rares de Moldavie. Ce centre a encouragé les innovations architecturales ecclésiales, ainsi qu’un programme très prolifique de fresques, extérieures et intérieures, exprimant une créativité au-delà du canon de la peinture de l'époque. La présente thèse est concentrée sur ces innovations architecturales et iconographiques, comprises à la lumière du contexte historique de ce moment unique dans l'histoire de la Moldavie, dans le siècle qui suivit la chute de Constantinople (1453). Tandis que la première partie de la thèse est concentrée sur ces circonstances historiques, et plus précisément sur l'impact du patronage du Prince Rares, la deuxième partie de la recherche est concentrée sur l'analyse des sources littéraires et de la théologie d’une série unique de fresques, placé dans la gropnita (chambre funéraire) de l’église monastique d’Humor, évoquant la vie de la Mère de Dieu. La série est un exemple extraordinaire d’interaction des textes, le Protévangile de Jacques et le Synaxarion, avec l'iconographie. Une attention particulière à l'iconographie du monastère Humor démontre le besoin de la corrélation entre texte et icône d'une part, ainsi que la nécessité d’une corrélation vi entre les études théologiques, l'art et l’histoire d’autre part. Un autre avantage de la recherche est de contribuer à une appréciation plus riche des trésors culturels et religieux des communautés chrétiennes de l'Europe de l'Est aux points de vue religieux et culturel, en réponse à leur reconnaissance comme patrimoine de l’UNESCO. Mots-clés : Iconographie, Protévangile de Jacques, Synaxarion, la vie de la Mère de Dieu - fresques, théologie mariale, Moldavie, Petru Rares, UNESCO, monastère Humor. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ...................................................................................................... xiv GENERAL INTRODUCTION .................................................................................................... 1 Object and Goal of the Thesis ..................................................................................................... 1 Methodology ............................................................................................................................. 11 PART I THE REIGN OF PRINCE RARES AND THE HUMOR MONASTERY ............ 17 Introduction to Part I ................................................................................................................. 17 1. THE TURBULENT REIGN OF PRINCE RARES OF MOLDAVIA IN THE CONTEXT OF THE EXPANSION OF THE OTTOMAN EMPIRE ................................... 20 1.1. Introduction ........................................................................................................................ 20 1.2 Prince Stephen the Great, the Father of Petru Rares ........................................................... 20 1.3.The Reign of Prince Rares (1527-1538; 1541-1546) .......................................................... 24 1.3.1.The First Reign (1527-1538) ........................................................................................ 24 1.3.3. The Second Reign (1541-1546) ................................................................................... 32 1.3.4. Conclusion ................................................................................................................... 34 2. MOLDAVIAN CHURCH INNOVATIONS UNDER THE PATRONAGE OF PRINCE RARES ......................................................................................................................... 35 2.1. Introductory Remarks ............................................................................................................ 35 2.2. The Church of Dobrovat Monastery .................................................................................. 37 2.3. The Church of Probota Monastery ..................................................................................... 39 2.4. The church of Moldovita Monastery.................................................................................. 43 2.5. Other Churches and Monastic Establishments Constructed During Rares’s Reign .......... 46 2.6. Conclusion.......................................................................................................................... 47 3. THE IMPACT OF PRINCE RARES’ POLITICAL VISION ON THE EXTERIOR CHURCH FRESCOES AT HUMOR AND MOLDOVITA MONASTERIES .................... 49 3.1. Introduction ........................................................................................................................ 49 3.2. The First Interpretation of the Fresco Representing the Fall of Constantinople ............... 49 3.3. The Second Interpretation of the Fresco Representing the Fall of Constantinople ........... 62 3.4. The Third Interpretation of the Fall of Constantinople: A Historical Graffito ................. 65 viii 3.5. Conclusion .......................................................................................................................... 67 4. HUMOR MONASTERY: A SIXTEENTH CENTURY MOLDAVIAN CULTURAL CENTER .............................................................................................................. 69 4.1. The History and the Architecture of the Church of Humor Monastery ............................. 69 4.1.1. Historical Data ............................................................................................................. 69 4.1.2. The Scriptorium of Humor Monastery ........................................................................ 76 4.1.3. The Architecture of the Church of Humor Monastery ................................................ 81 4.1.4. The Architecture of the Church and the Golden Ratio ................................................ 86 4.2. The Interior and Exterior Frescoes of the Church of Humor Monastery
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