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Liminal Bishops: Episcopal Portraits from the Cathedral of Pachoras, Nubia

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Liminal Bishops: Episcopal Portraits from the Cathedral of Pachoras, Nubia LIMINAL BISHOPS: EPISCOPAL PORTRAITS FROM THE CATHEDRAL OF PACHORAS, NUBIA A Thesis Submitted to The Temple University Graduate Board In Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS By Agnieszka E. Szymańska May 2010 Thesis Approval(s) _____________________________________ Dr. Elizabeth S. Bolman, Advisor, Art History _____________________________________ Dr. Jane DeRose Evans, Advisor, Art History ii ABSTRACT Prior to the removal of monumental murals from the cathedral of Pachoras (Faras), the largely unknown cultural entity of Christian Nubia figured in scholarship merely as a peripheral outpost of Byzantine and Egyptian influence. The impressive corpus of visual evidence from Pachoras, located south of the first Nile cataract and now inundated by Lake Nasser, led Kurt Weitzmann to reevaluate its significance in a seminal essay published in 1970. By tracing artistic sources of Christian Nubian art to Egypt, Palestine, and Syria, Weitzmann initiated recognition of the close ties between Nubia and Byzantium. Since that time, however, this subject has received little art historical attention, and it continues to pose interpretive challenges. I endeavor to recuperate the Nubian wall paintings from Pachoras for mainstream Byzantine studies. To that end, I explore the depictions of three of the Pachoras bishops, with particular attention to their original location, relationship with surrounding images, and epigraphic evidence. I conceive of these tenth- and eleventh-century portraits as visual constructions of Nubian episcopal authority mapped out on the cathedral‘s walls. I also explore the possible meanings of the indigenous elements represented in the images of the Pachoras bishops, while considering their relationships to the eastern Mediterranean textual and visual traditions. Evidence includes the paintings with accompanying inscriptions, fourteenth-century scrolls of Bishop Timotheos, Greek and Coptic epitaphs engraved on ninth- through twelfth-century funerary steles, and a list of bishops, first painted around the turn of the tenth century. iii ACKNOWLEDGMENTS During my serendipitous visit to the National Museum of Warsaw, Poland, in the summer of 2008, I encountered for the first time Christian Nubian art. It became clear to me that the paintings, removed from the cathedral of Pachoras by a Polish archaeological mission in the 1960s, bring to mind Byzantine style and iconography. Ever since my ―discovery‖ of the Nubian images in the collection of the Warsaw Museum, I have developed a strong affection for the cultural sphere of Christian Nubia. I was fortunate to begin my graduate studies at Temple University in the fall that same year, where Dr. Elizabeth S. Bolman, my academic advisor, has encouraged my fascination with the Nubian material. Dr. Bolman has read and generously commented on several drafts of this thesis. Her remarks have improved my ability to translate conceptual ideas into coherent writing. Sharing her expertise on the relationship between the center and periphery, Dr. Bolman‘s feedback has enhanced my critical thinking about the Nubian material, neglected in art historical discourses. I am also indebted to Dr. Jane DeRose Evans who has read and commented on this thesis. Dr. Evans‘ graduate seminars, as well as my directed research with her, have provided me with a deeper understanding of the classical antecedents of Byzantium, indispensable in exploring eastern Christian visual culture. I also want to acknowledge the Department of Art History at Temple University, chaired by Dr. Gerald Silk. I am grateful to all of the faculty members who have read my thesis proposal, as well as to my fellow graduate students, who have supported my obsession with the Nubian bishops. Finally, I want to thank Dr. Helen Evans, the iv Byzantine Curator at the Metropolitan Museum of Art, New York, for sharing with me her acute perspective on the importance of the periphery in learning about the center. Philadelphia, April 2010 v TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iii LIST OF FIGURES .......................................................................................................... vii CHAPTER 1 INTRODUCTION THE LOCUS OF CHRISTIAN NUBIA IN THE EASTERN MEDITERRANEAN ........ 1 1.1. A Historiographic Overview of Christian Nubian Art ............................................. 1 1.2. Historical Questions ................................................................................................. 4 1.3. Textual Evidence ...................................................................................................... 6 1.4. The Project of this Thesis ......................................................................................... 9 CHAPTER 2 EPISCOPAL PORTRAITS FROM THE CATHEDRAL OF PACHORAS .................... 10 2.1. Images of the Pachoras Bishops and Their Locations in the Cathedral ................. 10 2.2. Comparative Overview of Iconographic and Stylistic Features............................. 13 2.3. Bishop Petros (972-999)......................................................................................... 22 2.4. Bishop Ioannes (997-1005) .................................................................................... 25 2.5. Bishop Marianos (1005-1036) ............................................................................... 30 2.6. The Pachoras Bishops‘ Tripartite Authority .......................................................... 36 CHAPTER 3 EPISCOPAL IDENTITY AND THE BODY IN A STATE OF PERPETUAL LIMINALITY ................................................................................................................... 40 3.1. Between Matter and Divinity ................................................................................. 40 3.2. ―The Garments of Priesthood‖ ............................................................................... 42 3.3. Emulating Christ – Bishops as the Apostles .......................................................... 44 3.4. The ―Antifamilial‖ Family of Bishops ................................................................... 49 vi 3.5. The Episcopal Body – The Crucible of Late Antique Manhood............................ 53 3.6. The Liminal Space of the Episcopal Family .......................................................... 58 3.7. The Pachoras Bishops‘ Burial Sites ....................................................................... 62 CHAPTER 4 CONCLUSIONS............................................................................................................... 68 BIBLIOGRAPHY ........................................................................................................... 112 vii LIST OF FIGURES 2.1. Two floor plans of the cathedral of Pachoras (Jakobielski, ―Portraits of the Bishops‖) and a model of the cathedral of Pachoras on display in the National Museum of Warsaw, Poland (Galeria Faras, Muzeum Narodowe w Warszawie, http://www.mnw.art.pl/index.php/zbiory/galerie_stale/galeria_faras/) ..................... 71 2.2. Bishop Petros (972-999), western wall of the baptistery, cathedral of Pachoras (Michałowski, Faras: Wall Paintings) ...................................................................... 72 2.3. Bishop Marianos (1005-1036), southern side chapel, cathedral of Pachoras (Michałowski, Faras: Wall Paintings) ...................................................................... 73 2.4. Reconstruction drawing of the southern side chapel‘s eastern wall, cathedral of Pachoras (Michałowski, Faras: Wall Paintings) ....................................................... 74 2.5. Christ protecting an eparch, twelfth century, south aisle, cathedral of Pachoras (Michałowski, Das Wunder aus Faras) ..................................................................... 75 2.6. Holy protector, Nubian king, and bishop, twelfth or thirteenth century, sanctuary, cathedral of Pachoras (Michałowski, Faras: Wall Paintings) ................................... 76 2.7. Drawing of a typical representation of a bishop from the cathedral of Pachoras (Michałowski, Faras: Wall Paintings) ...................................................................... 77 2.8. Bishop Kyros (866-902), southern side chapel, cathedral of Pachoras (Michałowski, Faras: Die Kathedrale) .............................................................................................. 78 2.9. Detail of the portrait of Bishop Marianos (1005-1036) (Michałowski, Faras: Die Kathedrale) ................................................................................................................ 79 2.10. Detail of the portrait of Bishop Petros (972-999) (Michałowski, Faras: Die Kathedrale) .............................................................................................................. 80 2.11. Apse mosaic of Christ between two angels, Saint Vitalis, and Bishop Ecclesius, church of San Vitale, dedicated in 547 (Gallery: Madison Digital Image Database 2, Temple University) .................................................................................................. 81 2.12. Locations of the portraits of Bishops Petros, Ioannes, and Marianos on the floor plan of the cathedral of Pachoras (adapted from Michałowski, Faras: Wall Paintings) ................................................................................................................
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