SERIES BYZANTINA Virgin Mary; glassware decoration, from catacombs in Rome, 4th c. AD; N. P. Kondakov, Ikonografi a Bogomateri, St. Petersburg 1914, p. 77 SERIES BYZANTINA Studies on Byzantine and Post -Byzantine Art VOLUME X POLISH INSTITUTE OF WORLD ART STUDIES CARDINAL STEFAN WYSZYŃSKI UNIVERSITY Warsaw 2012 EDITOR: Waldemar Deluga EDITORIAL BOARD: Anca Bratuleanu, Bucharest Viktoria Bulgakova, Berlin Ana Dumitran, Alba Iulia Mat Immerzeel, Leiden Michał Janocha (chairman), Warsaw Alina Kondratjuk, Kiev Magdalena Łaptaś, Warsaw Jerzy Malinowski, Warsaw Márta Nagy, Debrecen Athanassios Semoglou, Thessaloniki Tania Tribe, London Natasha Tryfanava, Minsk ADMINISTRATOR: Dominika Macios EDITORIAL ADDRESS: Institut of History of Art Cardinal Stefan Wyszyński University ul. Wóycickiego 1/3 PL 01-938 Warszawa [email protected] Revised by Nicholas Barber, Athanassios Semoglou and Nicholas Smith Cover design, typhographic project, illustrations editing and typesetting by Paweł Wróblewski Continuation of the series published by the NERITON Publishing House The issue subsidized by the Ministry of Science and Higher Education © Copyright by Waldemar Deluga ISSN 1733–5787 Printed by Sowa - Druk na Życzenie www.sowadruk.pl tel. (48 22) 431 81 40 Edition of 400 copies Contents Introduction...........................................................................................................................................7 Agnieszka Gronek, The Offi ciating Bishops of the Fresco Cycle in the Church of St. Onouphrios, Posada Rybotycka: the Problem of their Identifi cation........................................11 Dariusz Milewski, The two missions of Petar Parchevich to Poland..................................................27 Vanya Sapundzhieva, The cults of St. Rocco and St. Haralambos in the Eastern Mediterranean and in the Balkan...............................................................................49 Cornel Tatai-Baltă, The Icon of the Virgin Which Shed Tears at Bishop Petru Pavel Aron’s Death (1764)..........................................................................................61 Iliana Zarra, The synthesis of a new iconography under the stimulus of emerging Greek liberation...............................................................................67 Taras Stefanyshyn, Sacred Art in Ukrainian Art Studies of Lviv in the 1920s-1930s. Personalities, works, tendencies........................................................................105 Anca Brătuleanu, Quelques notes sur la modernite de la recherche architecturale de Georg Balş....................................................................................117 Iryna Hayuk, Yaroslav Dashkevych.................................................................................................123 Introduction The tenth volume of Series Byzantina brings a long lasting research of numerous scien- tists from various countries to a conclusion. It presents directions of scientifi c exploration of our associate institutions in Central Europe. Back when we started to discuss ideas for a scientifi c journal, we had no support from scientifi c institutions. Discussions held in Kiev and Gdańsk led to the presentation of the fi rst articles on the website even before the fi rst volume was published. At that time, we did not have suffi cient funds to publish a book, but thanks to the courtesy of the Neriton publishing house, we could fi nally publish the early volumes. Now, we want to come back to the idea of presenting the content of our volumes on the website; fi rst archived issues in an electronic form will follow soon. As always, in this short introduction we would like to present the most important achievements of Polish Byzantologists. Special mention goes to the group of young scientists at the Pontifi - cal University of John Paul II and the Jagiello- nian University in Cracow, Piotr Grotowski and Sławomir Skrzyniarz, who organized two inter- national conferences on Byzantine art. They combined the efforts of scientists from both the past and the present capitals of Poland (i.e. Cracow and Warsaw) to conduct joint research, Fig. 1. William Gell, Holy Virgin church, some of it published in this journal. In the 8th Parthenon, drawing, 1811, British Museum volume, Series Byzantina presents materials from the 2008 conference Towards Rewriting? New Approaches to Byzantine Archaelogy and Art. In September 2012, they held the second conference Μίμησις in Byzantine Art: Classical, Realistic or Imitative? This one was also attended by many scientists from abroad. In December 2012, the community in Cracow held another conference on the history book, with many papers on illustrations in Orthodox liturgy books. The initiatives of Polish Byzantinologists include a new research centre Ceraneum, named for Waldemar Ceran, a historian who posthumously donated his library to the University 8 Introduction of Łódź. Research at Ceraneum is interdisciplinary and covers various areas of interest and methods. Another important centre of Byzantine studies is Institute Artes Liberales at the University of War- saw, run by Rev. Michał Janocha. Together with his peers, Aleksandra Sulikowska-Gąska, Irina Tatarowa and Karolina Wiśniewska, he held two scientifi c conferences Byzan- tium and Renaissances, a Polish one Fig. 2. Supraśl monastery church, photos taken in 1947, in 2008 and an international one in Archive, Institute of Art, Warsaw 2011. These meetings greatly fostered interest in artistic relations between Eastern and Western Christianity. One prominent book we would like to mention is Ikonotheka, dedicated to Prof. Barbara Dąb Ka- linowska, author of many publica- tions crucial in research on Russian icons in the 17th and 18th century. The authors of the paper presented conclusions of their most recent re- search. Fig. 3. Creţulescu chuch, photo, ca. 1930, Archive of the National Museum of Art of Romania, Bucarest The ninth volume of Series Byz- antina covers the art of the Arme- nian diaspora and includes papers from the conference of April 2010, which accompanied the exhibition Ars Armeniaca. The end of 2011 saw another Armenian studies confer- ence, with Polish and Ukrainian sci- entists working together on a book on the history, culture and art of Ar- menians in Lviv, as the Armenian ca- thedral in Lviv celebrates its jubilee anniversary in 2013. Fig. 4. Creţulescu church, photo taken in 2006 Introduction 9 Fig. 5. Iconostasis, church in Lipie, ca. 1925, Jarosław Konstantynowicz Archive, Rural Architecture Museum of Sanok In Central Europe, comparative studies usually analyze the artistic relations between the East and the West. However, the direction North – South is by no means any less im- portant. Some time ago, Răzvan Teodorescu, a Romanian scientist, suggested research in this area (“between Istanbul and Poland”). Some Romanian and Polish art historians followed this direction (especially Tadeusz Chrzanowski, co-author of the fi rst Polish book on the history of Romanian art). Our previous volumes included similar papers on artistic relations between Poland and Moldavia. In our seventh volume, we started publishing papers on Bulgarian art. In this tenth volume, we present two more articles on Bulgaria. Moreover, we get back to the issues in history of research, following the discussion started at the conference in Toruń in 2011, which was held by the Polish Institute for Studies of the World Art. We would like our jour- nal to grow and include more elements: reviews, short descriptions of little-known relics, documentation of demolished relics. Studies of the Byzantine and post-Byzantine art are an attempt to reconstruct what has been lost through wars and political activities. This is why for this line of research, iconographic documentation from past centuries and literary works are so crucial. We would like to invite all researchers to work on the future volumes of Series Byzantina. Waldemar Deluga Series Byzantina X, pp. 11–26 The Offi ciating Bishops of the Fresco Cycle in the Church of St. Onouphrios, Posada Rybotycka: the Problem of their Identifi cation* Agnieszka Gronek, Jagiellonian University, Cracow In this article an attempt is made to identify the bishops represented in the scene The Offi ciating Bishops in the sanctuary of the old orthodox church of St. Onuophrios in Posada Rybotycka near Przemyśl (fi g. 1). The paintings in this church were discovered by Wojciech Kurpik in 1966, who published his fi ndings in ‘Materials of the Museum of Folk Architecture’1. Anna Różycka Bryzek gave a preliminary description of the painted decora- tion in the sanctuary, dating it to the 15th century, and publishing her fi ndings in 1986 and 19942. These fi ndings provide a perfect basis for further, more detailed, study, particularly given that, further fragments of the frescoes have since been discovered. The walls and the vaulting of the presbytery and nave were covered with artwork ar- ranged in zones. Research carried out during the restoration process has shown consid- erable technical and stylistic differences in the frescoes in both areas of the church, in- dicating different painters and different time periods for their creation. The techniques employed, according to Janusz Lehmann’s fi ndings, suggest that the painted decoration is * This article is part of an exhaustive monograph on paintings in the orthodox church in Posada Ry- botycka currently being drawn up by its author, although more detailed and substantiated fi ndings require further study. 1 W. Kurpik, ‘Odkrycie malowideł