DOCSLIB.ORG

Archangel Michael As 'Icon' in the Byzantine and Post

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Archangel Michael As 'Icon' in the Byzantine and Post ARCHANGEL MICHAEL AS ‘ICON’ IN THE BYZANTINE AND POST–BYZANTINE PERIODS by RAITA STEYN DISSERTATION Submitted in fulfilment of the requirements for the degree of MAGISTER ARTIUM in Greek and Latin Studies in the Faculty of Humanities at the UNIVERSITY OF JOHANNESBURG Supervisors : Prof. JLP Wolmarans Ms Annali Cabano-Dempsey Johannesburg 2008 To my parents 2 ACKNOWLEDGEMENTS I would like to thank my supervisors, Ms. Annali Dempsey and Prof. Hansie Wolmarans (University of Johannesburg), for their sound guidance and assistance during the completion of this dissertation. I also wish to thank Mr. Mentor de Wet for his advice and valuable suggestions regarding matters of style and formulation of the content. Last but not least, I would like to thank my husband, Johan Steyn, for his support and patience, as well as my parents, Prof. B. Hendrickx and Dr. Thekla Sansaridou- Hendrickx, whose encouragement have inspired me to complete this study. 3 CONTENTS 1. Introduction ------------------------------------------------------------------------------------------------ 5 2. Chapter 1: Icons & Angels ---------------------------------------------------------------------------- 10 3. Chapter 2: The Byzantine & Post-Byzantine Orthodox Society & the importance of hagiography & iconography in its context --------------------------------------------------------------- 33 4. Chapter 3: Archangel Michael represented as an ‘icon’ in the pure Byzantine & Post-Byzantine Orthodox context of a ‘theological art picture’ -------------------------------------------------------------- 43 5. Chapter 4: The characteristics & functions of Michael in the Byzantine & Post-Byzantine periods -------------------------------------------------- 58 6. Chapter 5: Funeral laments & death rites in the Orthodox Greek society & the role of Archangel Michael -------------------------------------- 64 7. Chapter 6: The aspects of syncretism, synthesis & parallelism in Archangel Michael’s icon status in the Byzantine and Post-Byzantine society ---------------------------------------- 79 8. Chapter 7: Michael’s Byzantine & Post-Byzantine iconographic identity as understood and/or revealed in the interpretation of ‘icon’ in its contemporary meaning -------------------------------------------------------------------- 93 9. Conclusion -------------------------------------------------------------------------------------------------- 110 10. Abstract ---------------------------------------------------------------------------------------------------- 112 11. Bibliography --------------------------------------------------------------------------------------------------- 114 4 INTRODUCTION In the year 330 A.D., the East Roman Empire became the Byzantine Empire and in the process, three different basic cultural components, Hellenism, Roman Civilization and Christianity (including Judaism), merged into a new civilization.1 Byzantine culture and art are essentially religious in character and the primary aim of Byzantine art was to capture that which was holy and mysterious in a concrete form such as icons, murals, and architecture.2 This dissertation will focus on the perception of Archangel Michael as an ‘icon’ in the pure Byzantine and Post–Byzantine Orthodox context of a ‘theological art picture; a religious, sacred image’, subject to the theological and artistic Byzantine prescriptions.3 Indeed, Archangel Michael was arguably the most popular and venerated figure among the Judeo-Christian angels, saints, and arch-fathers (of the Byzantine Church) and in Greek society. He was hugely popular across the entire spectrum of Greek society, but especially amongst the Byzantine youth. So much so, for example, that young students venerated him in order to pass their exams, young advocates venerated him so that they may have rich clients, and soldiers venerated him so that they may win their battles. Even the Imperial family elevated him, as leader of the heavenly army, to a status equivalent to that of Emperor. He was eventually venerated by all mortals as the guardian of Paradise and collector of souls.4 Because of his broad overall popularity in Greek society in general, we have to specifically examine the functions and status of Michael as ‘icon’ in a Greek Orthodox context. One cannot however ignore the fact that contemporary society has ‘created’ a similar phenomenon called the modern day icon: “someone greatly admired, often seen as a 1 Savvides & Hendrickx, Introducing Byzantine History, Paris, 2001, pp. 29-31. 2 Yanagi, M., Takahashi, E., Tsusuka, S., & Nagatsuka, Y., Byzantium, London, 1978, pp. 7-13. 3 Theunissen W. P., Ikonen, Den Haag (no date) – Hendrix, P., Skrobucha H & Janssens, A. M., Ikonen, Amsterdam/Brussels, 1960 – Ζografidis, G., Βυζαντινή φιλοσοφία της εικόνας (2nd ed.), Athens, 1997. 4 Hendrickx, B., “Agathias se epigramme oor ‘ikone’,” in Acta Patristica et Byzantina 5, 1994, pp. 66-75. – Danforth L. M., The Death Rituals of Rural Greece, Princeton University Press, New Jersey, 1982. 5 perfect example or an idealised role model”.5 It would therefore be interesting to see how these modern day icons compare to Michael. 1. Research Aims and Justification This study aims to provide a clean and scholarly sound explanation of why and how Archangel Michael became the main ‘icon’ in Greek society for more than ten centuries.6 No such study has ever been undertaken and I am convinced that a study like this will contribute greatly to the understanding of the Byzantine and Post–Byzantine value system, mentality and worldview. 2. Problem Statements a. Iconography In a Byzantine and Post–Byzantine context, serious consideration must be given to the question ‘What exactly contributed to the ‘iconic status’ of Michael?’ To fully address this question, we need to look at the following: • Did traditional Byzantine iconography play a part in the role model status and/or functions of Michael? • Was this iconography influenced by Michael’s status and if so, how and to what extent? b. Syncretism • Did syncretism play a role in Michael’s ‘icon’ status? • Did (and how) ancient pagan elements blend in with the Biblical and Christian traditions? • Did the Christian ‘promise of paradise’ alter the negative image of Charon7 into a figure capable of bridging earthly life with the eternal one? 5 Collins, Today’s English Dictionary, London, 1995, p. 388 – (Compare also Eco, U., On Beauty, London, 2004, pp. 418 – 430.) 6 Zografidis, Βυζαντινή – Tsakiridis, L., Παμμέγιστοι Ταξιάρχαι Μιχαήλ και Γαβριήλ (Οι Αρχάγγελοι), Κατερίνη (2nd ed.), 2001. 7 For a definition, see Hyperidis, “Αυτοκράτορες”, Εγκυκλοπαιδικόν λεξικόν Ελευθερoυδάκη, vol. VIII, Athens, 1930, pp. 376-377: Charon, also known as Charos, Charondas or Haros. 6 c. The different roles attributed to Michael • How did the different ‘roles’ attributed to Michael fit in with his status and did this status enhance his popularity? d. Contemporary Icons • In this modern day, what elevates an ordinary person to the status of ‘icon’? • Can the ‘icon’ of today be compared to the Byzantine icon of Michael? 3. Methodology A combination of socio-historical, anthropological and literary approaches will be applied within a contextual (such as texts and icons) analysis, to highlight the socio- historical and artistic religious relationships between the different interpretations of the term ‘icon’ (also against a literary background). The relationship between the perceptions/concepts, both in a Byzantine and Post–Byzantine context, will be examined. For the period under consideration, a broad spectrum of Byzantine and Post–Byzantine sources will be used: icono-hagiography (icons, murals, mosaics), literary sources (poems, inscriptions, graffiti) and laography (study of folklore; in casu recorded visions and dreams) as well as an eclectic and exemplary selection of important and representative pictorial, literary and laographic ‘images’ of Archangel Michael. For the Byzantine iconographic stereotypes and their theological meaning,8 the 18th Century text of the Ερμηνεία της ζωγραφικής τέχνης, by Dionysius of Fourna, is most important.9 4. Structure This dissertation will consist of seven chapters in the following order: Chapter 1 The first chapter will present the terminology and meaning of icons and angels in general with special attention on the Byzantine and Post–Byzantine society. 8 Romaios, K., Κοντά στις ρίζες, Athens, 1980 – See also Danforth, The death rituals. 9 Papadopoulo-Kérameus, A. (ed.), Διονυσίου του εκ Φουρνά: Ερμηνεία της ζωγραφικής τέχνης, Thessaloniki, 2004. 7 Chapter 2 In this chapter a historical overview of the Byzantine and Post–Byzantine Orthodox society and the degree of importance of iconography and hagiography therein will be discussed. Essential historical events will be examined in terms of religious, social, cultural and political influences with special attention to influences and transformation of pagan themes on early Christian art with regard to the Byzantine iconography and hagiography. Chapter 3 It will mainly examine the artistic and symbolic iconographic representation of Archangel Michael in the Byzantine and Post–Byzantine periods while referring to the writings of Dionysius of Fourna. Chapter 4 This chapter invites us to analyse the conceptualisation, characteristics and functions of Archangel Michael in the Post–Byzantine Period. Chapter 5 Chapter five will present a critical overview and discussion of funeral laments and death rites in the Orthodox Greek Society as well as the role which Archangel Michael
Load more

Recommended publications
  • The Garment of Adam in Jewish, Muslim, and Christian Tradition
    24 The Garmentof Adam in Jewish, Muslim, and ChristianTradition Stephen D. Ricks Although rarely occurring in any detail, the motif of Adam's garment appears with surprising frequency in ancient Jewish and Christian literature. (I am using the term "Adam's garment" as a cover term to include any garment bestowed by a divine being to one of the patri­ archs that is preserved and passed on, in many instances, from one generation to another. I will thus also consider garments divinely granted to other patriarchal figures, including Noah, Abraham, and Joseph.) Although attested less often than in the Jewish and Christian sources, the motif also occurs in the literature of early Islam, espe­ cially in the Isra'iliyyiit literature in the Muslim authors al­ ThaclabI and al-Kisa'I as well as in the Rasii'il Ikhwiin al­ ~afa (Epistles of the Brethren of Purity). Particularly when discussing the garment of Adam in the Jewish tradition, I will shatter chronological boundaries, ranging from the biblical, pseudepigraphic, and midrashic references to the garment of Adam to its medieval attestations. 1 In what fol­ lows, I wish to consider (1) the garment of Adam as a pri­ mordial creation; (2) the garment as a locus of power, a symbol of authority, and a high priestly garb; and (3) the garment of Adam and heavenly robes. 2 705 706 STEPHEN D. RICKS 1. The Garment of Adam as a Primordial Creation The traditions of Adam's garment in the Hebrew Bible begin quite sparely, with a single verse in Genesis 3:21, where we are informed that "God made garments of skins for Adam and for his wife and clothed them." Probably the oldest rabbinic traditions include the view that God gave garments to Adam and Eve before the Fall but that these were not garments of skin (Hebrew 'or) but instead gar­ ments of light (Hebrew 'or).
    [Show full text]
  • A Synopsis of Byzantine History, –
    Cambridge University Press 978-1-107-40474-8 - John Skylitzes: A Synopsis of Byzantine History, 811–1057 John Wortley Frontmatter More information JOHN SKYLITZES: A synopsis of Byzantine history, – John Skylitzes’ extraordinary Middle Byzantine chronicle covers the reigns of the Byzantine emperors from the death of Nicephorus I in to the deposition of Michael VI in , and provides the only surviving continuous narrative of the late tenth and early eleventh centuries. A high offi cial living in the late eleventh century, Skylitzes used a number of existing Greek histories (some of them no longer extant) to create a digest of the previous three centuries. It is with- out question the major historical source for the period, cited con- stantly in modern scholarship, and has never before been available in English. Th is edition features introductions by Jean-Claude Cheynet and Bernard Flusin, along with extensive notes by Cheynet. It will be an essential and exciting addition to the libraries of all historians of the Byzantine age. is Professor of History Emeritus at the University of Manitoba. He has published widely on the Byzantine era, and completed several translations to date, including Les Récits édifi - ants de Paul, évêque de Monembasie, et d’autres auteurs (), Th e ‘Spiritual Meadow’ of John Moschos, including the additional tales edited by Nissen and Mioni (), Th e spiritually benefi cial tales of Paul, Bishop of Monembasia and of other authors () and John Skylitzes: A Synopsis of Histories (AD –) , a provisional transla- tion published
    [Show full text]
  • GOD's GREATEST SIN Rosh Hashanah Second Day October 1
    GOD’S GREATEST SIN Rosh Hashanah Second Day October 1, 2019 2 Tishri 5780 Rabbi Jennifer R. Greenspan I have found, at least in my life, that we are often our own worst critics. We expect too much of ourselves, and we overuse the word “should,” trying desperately to reach some unattainable goal of perfection. I should be able to work a full-time job, maintain a clean home, cook and serve three healthy meals a day, and find at least an hour a day for exercise. I should be able to find time to meditate, go to bed earlier, get up earlier, still get eight hours of sleep, drink more water, and start a yoga routine. I should stop buying things I don’t need and be better about saving money. I should stop using disposable bottles, plastic straws, and eating anything that isn’t organic. I should come to synagogue more often. I should stop looking at my phone. I should use my phone to make sure I’m on top of my calendar. I should spend more time with my family. I should figure out how to be perfect already. How many of those “should”s that we constantly tell ourselves are really true to who we are, and how many come from a culture of perfectionism? When we are sitting in a season of judgement, how are we to judge ourselves and our deeds and our sins when we know we’re not perfect? In the Talmud, Rabbi Abbahu asks: Why on Rosh Hashanah do we sound a shofar made from a ram’s horn? אמר הקדוש ברוך הוא: תקעו לפני בשופר של איל כדי שאזכור לכם עקידת יצחק The Holy Blessed One said: use a shofar made from a ram’s horn, so that I will be reminded of the
    [Show full text]
  • Michael Defeats the Dragon
    THE REVELATION OF JOHN Bible Study 31 Study by Lorin L Cranford Text: Rev. 12:7-12 All rights reserved © QUICK LINKS 1. What the text meant. Exegesis of the Text: Historical Aspects: A. War between Michael and Satan, vv. 7-9 External History B. Declaration of victory, vv. 10-12 Internal History Literary Aspects: Genre 2. What the text means. Literary Setting Literary Structure Michael Defeats the Dragon Greek NT Gute Nachricht Bibel NRSV NLT 7 Καὶ ἐγένετο πόλεμος ἐν 7 Dann brach im Himmel 7 And war broke out in 7 Then there was war τῷ οὐρανῷ, ὁ Μιχαὴλ καὶ οἱ ein Krieg aus. Michael mit heaven; Michael and his an- in heaven. Michael and the ἄγγελοι αὐτοῦ τοῦ πολεμῆσαι seinen Engeln kämpfte gegen gels fought against the drag- angels under his command μετὰ τοῦ δράκοντος. καὶ ὁ den Drachen. Der Drache mit on. The dragon and his angels fought the dragon and his δράκων ἐπολέμησεν καὶ οἱ seinen Engeln wehrte sich; 8 fought back, 8 but they were angels. 8 And the dragon ἄγγελοι αὐτοῦ, 8 καὶ οὐκ aber er konnte nicht stand- defeated, and there was no lost the battle and was forced ἴσχυσεν οὐδὲ τόπος εὑρέθη halten. Samt seinen Engeln longer any place for them in out of heaven. 9 This great αὐτῶν ἔτι ἐν τῷ οὐρανῷ. musste er seinen Platz im heaven. 9 The great dragon dragon -- the ancient serpent 9 καὶ ἐβλήθη ὁ δράκων ὁ Himmel räumen. 9 Der große was thrown down, that ancient called the Devil, or Satan, μέγας, ὁ ὄφις ὁ ἀρχαῖος, ὁ Drache wurde hinunterg- serpent, who is called the the one deceiving the whole καλούμενος Διάβολος καὶ estürzt! Er ist die alte Sch- Devil and Satan, the deceiver world -- was thrown down to ὁ Σατανᾶς, ὁ πλανῶν τὴν lange, die auch Teufel oder of the whole world—he was the earth with all his angels.
    [Show full text]
  • From Gods to God
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and Chapters University of Nebraska Press 2012 From Gods to God Avigdor Shinan Yair Zakovitch Follow this and additional works at: https://digitalcommons.unl.edu/unpresssamples Part of the Arts and Humanities Commons Shinan, Avigdor and Zakovitch, Yair, "From Gods to God" (2012). University of Nebraska Press -- Sample Books and Chapters. 130. https://digitalcommons.unl.edu/unpresssamples/130 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. From Gods to God Buy the Book University of Nebraska Press | Lincoln Buy the Book FROM GODS TO God How the Bible Debunked, Suppressed, or Changed Ancient Myths & Legends avigdor shinan & yair zakovitch Translated by Valerie Zakovitch The Jewish Publication Society Philadelphia Buy the Book English translation © 2012 by Avigdor Shinan and Yair Zakovitch. Lo kakh katuv ba-Tanakh © 2004 by Miskal-Yedioth Ahronoth Books and Chemed Books. All rights reserved. Published by the University of Nebraska Press as a Jewish Publication Society book. Manufactured in the United States of America. ∞ Library of Congress Cataloging-in-Publication Data Zakovitch, Yair. [Lo kakh katuv ba-Tanakh. English] From gods to God: how the Bible debunked, suppressed, or changed ancient myths and legends / Yair Zakovitch and Avigdor Shinan; translated by Valerie Zakovitch. p. cm. “Published by the University of Nebraska Press as a Jewish Publication Society book.” Includes bibliographical references and index.
    [Show full text]
  • The Frescoes of the Church of the Holy Archangels at Zemo-Krichi, Rača (Georgia) and the Contemporary Monuments on Mani in Southern Greece
    Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας Τομ. 17, 1994 Οι τοιχογραφίες της εκκλησίας των Αγίων Αρχαγγέλων στο Zemo-Krichi, Rača (Γεωργία) και τα σύγχρονά τους μνημεία στη Μάνη στη νότια Ελλάδα CONSTANTINIDES Efthalia http://dx.doi.org/10.12681/dchae.1103 Copyright © 1994 To cite this article: CONSTANTINIDES, E. (1994). Οι τοιχογραφίες της εκκλησίας των Αγίων Αρχαγγέλων στο Zemo-Krichi, Rača (Γεωργία) και τα σύγχρονά τους μνημεία στη Μάνη στη νότια Ελλάδα. Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, 17, 181-192. doi:http://dx.doi.org/10.12681/dchae.1103 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 26/11/2018 14:26:36 | The Frescoes of the Church of the Holy Archangels at Zemo-Krichi, Rača (Georgia) and the Contemporary Monuments on Mani in Southern Greece Efthalia CONSTANTINIDES Δελτίον XAE 17 (1993-1994), Περίοδος Δ'. Στη μνήμη της Ντούλας Μουρίκη (1934-1991)• Σελ. 181-192 ΑΘΗΝΑ 1994 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 26/11/2018 14:26:36 | Efthalia C. Constantinides THE FRESCOES OF THE CHURCH OF THE HOLY ARCHANGELS AT ZEMO-KRICHI, RACA (GEORGIA) AND THE CONTEMPORARY MONUMENTS ON MANI IN SOUTHERN GREECE J. he destruction through the centuries of countless lengthy inscription written in minuscule letters. This lat­ medieval Christian monuments in eastern Europe and er paleography was indentified by Mrs. Virsalâdze as Asia Minor has enhanced the study of Georgian monu­ belonging to the thirteenth or fourteenth century. Dur­ mental decorations leading to a more comprehensive ing the nineteenth century, the church was enlarged and view of the diffusion of Byzantine art from the tenth to the original west wall was demolished along with its the fifteenth century1.
    [Show full text]
  • Most Common Jewish First Names in Israel Edwin D
    Names 39.2 (June 1991) Most Common Jewish First Names in Israel Edwin D. Lawson1 Abstract Samples of men's and women's names drawn from English language editions of Israeli telephone directories identify the most common names in current usage. These names, categorized into Biblical, Traditional, Modern Hebrew, and Non-Hebrew groups, indicate that for both men and women over 90 percent come from Hebrew, with the Bible accounting for over 70 percent of the male names and about 40 percent of the female. Pronunciation, meaning, and Bible citation (where appropriate) are given for each name. ***** The State of Israel represents a tremendous opportunity for names research. Immigrants from traditions and cultures as diverse as those of Yemen, India, Russia, and the United States have added their onomastic contributions to the already existing Jewish culture. The observer accustomed to familiar first names of American Jews is initially puzzled by the first names of Israelis. Some of them appear to be biblical, albeit strangely spelled; others appear very different. What are these names and what are their origins? Benzion Kaganoffhas given part of the answer (1-85). He describes the evolution of modern Jewish naming practices and has dealt specifi- cally with the change of names of Israeli immigrants. Many, perhaps most, of the Jews who went to Israel changed or modified either personal or family name or both as part of the formation of a new identity. However, not all immigrants changed their names. Names such as David, Michael, or Jacob required no change since they were already Hebrew names.
    [Show full text]
  • The Rule of St Basil in Latin and English
    The Rule of St Basil in Latin and English The Rule of St Basil in Latin and English A Revised Critical Edition Translated by Anna M. Silvas A Michael Glazier Book LITURGICAL PRESS Collegeville, Minnesota www.litpress.org A Michael Glazier Book published by Liturgical Press Cover design by Jodi Hendrickson. Cover image: Wikipedia. The Latin text of the Regula Basilii is keyed from Basili Regula—A Rufino Latine Versa, ed. Klaus Zelzer, Corpus Scriptorum Ecclesiasticorum Latinorum, vol. 86 (Vienna: Hoelder-Pichler-Tempsky, 1986). Used by permission of the Austrian Academy of Sciences. Scripture has been translated by the author directly from Rufinus’s text. © 2013 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be reproduced in any form, by print, microfilm, micro- fiche, mechanical recording, photocopying, translation, or by any other means, known or yet unknown, for any purpose except brief quotations in reviews, without the previous written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, Minnesota 56321-7500. Printed in the United States of America. 123456789 Library of Congress Cataloging-in-Publication Data Basil, Saint, Bishop of Caesarea, approximately 329–379. The Rule of St Basil in Latin and English : a revised critical edition / Anna M. Silvas. pages cm “A Michael Glazier book.” Includes bibliographical references. ISBN 978-0-8146-8212-8 — ISBN 978-0-8146-8237-1 (e-book) 1. Basil, Saint, Bishop of Caesarea, approximately 329–379. Regula. 2. Orthodox Eastern monasticism and religious orders—Rules. I. Silvas, Anna, translator. II. Title. III. Title: Rule of Basil.
    [Show full text]
  • Angelology Angelology
    Christian Angelology Angelology Introduction Why study Angels? They teach us about God As part of God’s creation, to study them is to study why God created the way he did. In looking at angels we can see God’s designs for his creation, which tells us something about God himself. They teach us about ourselves We share many similar qualities to the angels. We also have several differences due to them being spiritual beings. In looking at these similarities and differences we can learn more about the ways God created humanity. In looking at angels we can avoid “angelic fallacies” which attempt to turn men into angels. They are fascinating! Humans tend to be drawn to the supernatural. Spiritual beings such as angels hit something inside of us that desires to “return to Eden” in the sense of wanting to reconnect ourselves to the spiritual world. They are different, and different is interesting to us. Fr. J. Wesley Evans 1 Christian Angelology Angels in the Christian Worldview Traditional Societies/World of the Bible Post-Enlightenment Worldview Higher Reality God, gods, ultimate forces like karma and God (sometimes a “blind watchmaker”) fate [Religion - Private] Middle World Lesser spirits (Angels/Demons), [none] demigods, magic Earthly Reality Human social order and community, the Humanity, Animals, Birds, Plants, as natural world as a relational concept of individuals and as technical animals, plants, ect. classifications [Science - Public] -Adapted from Heibert, “The Flaw of the Excluded Middle” Existence of Angels Revelation: God has revealed their creation to us in scripture. Experience: People from across cultures and specifically Christians, have attested to the reality of spirits both good and bad.
    [Show full text]
  • Lesson 8.Key
    Revelation Chapter 7 Lesson 8 Revelation 7:1-2 1 After this I saw four angels standing upon the four corners of the earth, grasping the four winds of the earth in order that no wind might blow upon the earth, nor upon the sea, nor upon any tree. 2 And I saw another angel ascending from the rising of the sun having the seal of the living God, and he cried out with a great voice to the four angels who had been given permission to harm the earth and the sea, Revelation 7:3 3 saying do not harm the earth nor the sea, nor the trees, until we have sealed the slaves of our God upon their foreheads. Revelation 7:4-6 4 And I heard the number of the ones having been sealed, one hundred forty four thousand, being sealed out of all the tribes of the sons of Israel. 5 out of the tribe of Ruben, twelve thousand, out of the tribe of Gad, twelve thousand, 6 out of the tribe of Asher, twelve thousand, out of the tribe of Naphtali, twelve thousand, out of the tribe of Manasseh, twelve thousand, Revelation 7:7-8 7 out of the tribe of Simeon, twelve thousand, out of the tribe of Levi, twelve thousand, out of the tribe of Issachar, twelve thousand, 8 out of the tribe of Zebulun, twelve thousand, out of the tribe Joseph, twelve thousand, out of the tribe of Benjamin, twelve thousand, having been sealed. Genesis 49 Num.1:20-4312 Tribes Deut.
    [Show full text]
  • St. Ephraim the Syrian's Thought and Imagery As an Inspiration to Byzantine Artists
    Hugoye: Journal of Syriac Studies, Vol. 1.2, 227–251 © 1998 [2010] by Beth Mardutho: The Syriac Institute and Gorgias Press ST. EPHRAIM THE SYRIAN’S THOUGHT AND IMAGERY AS AN INSPIRATION † TO BYZANTINE ARTISTS ZAGA GAVRILOVIC INSTITUTE FOR ADVANCED RESEARCH IN THE HUMANITIES THE UNIVERSITY OF BIRMINGHAM UNITED KINGDOM [1] For students of Byzantine art, St. Ephraim the Syrian is linked with the iconography of the Last Judgment. This paper gives an account of the previous research concerning his part in the development of that theme, although it is usually accepted that all previous conclusions were in fact based on pseudo-Ephraimic writings. However, in this article, a genuine text by St. Ephraim, which confirms that link, is introduced into the discussion. It is pointed out that, thanks to a great number of modern studies and the wider availability of St. Ephraim’s works, it is becoming possible to establish a more general connection between his thought and imagery and the art of the Byzantine world. This article includes a brief survey of the representations of St. Ephraim in Byzantine portraiture and of the iconography of his death and funeral. [2] One of the earliest preserved representations of St. Ephraim the Syrian in Byzantine art is on a small 10th century icon at St. Catherine’s Monastery, Mount Sinaï.1 The icon is divided into two † The General Editor acknowledges the assistance received from Eileen Wilson in scanning the images from slides. 1 K. Weitzmann, “The Mandylion and Constantine Porphyro- genetos,” CahArch XI (1960): 163–184. A photograph in colour, in id., The 227 228 Zaga Gavrilovic registers.
    [Show full text]
  • MIN ANGEL Summary Overall
    MIN ANGEL Summary Overall - General sense of moving practice forward, positive direction for most, more direct painting language on a non-high art, disposable ‘punk’ support, personal and universal themes of life/death and memories. Allegorical and spiritual references. Humorous, tender, sad, unsettling, intriguing, immediacy. An exploration of image relationships within the composition and in relation to the configurations of the support and the conversations the support introduces in painting materially and thematically in particular in terms of time and space. The ‘reveal’ of the box. Handing paint with authority and fluidly, ‘treating the paint as a new guest at the table’, forthright, painterly, graphic, illustrative. Good colour. Relationship of the three images. Reflecting on ways forward - Continue with cardboard, use the cardboard colour, build up from photos, directness of paint application, reconsider the dreamy, embrace drawing/ illustrative/graphic qualities. Consider compositions, explore single image paintings of the portraits hung close together, limit palette. Build up from photographic references. Draw more. Comments: Marcus Big changes! The card board is working very well, it seems to invite so much more in. This is early days to analyse the paintings in any depth or indeed the composition and painting so just enjoy letting the work emerge. Having said that........ I detect that these are about family and the source material is family photos. I love the male figure in the suit! The Dean Martinish figure. There is tons of good colour in this painting , the modelling in loose greys on the pink ground with cardboard fringes showing. This limited range really works well and has something of the nostalgia of old photos without being too restricted to monochrome.
    [Show full text]