Παρατηρήσεις στὴν εἰκονογραφία τοῦ «Ἐπὶ σοι...

Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας

Τομ. 35, 2014

Παρατηρήσεις στην εικονογραφία του «Ἐπὶ σοὶχαίρει» σε εικόνα από το Βυζαντινό και

Χριστιανικό Μουσέιο Αθηνών (Τ.134/ΚειμήλιαΠροσφύγων 67)

ΓΟΥΜΑΤΙΑΝΟΣ Ἄγγελος 10η Ἐφορεία ΒυζαντινῶνἈρχαιοτήτων

10.12681/dchae.1757

Copyright © 2014 Ἄγγελος ΓΟΥΜΑΤΙΑΝΟΣ

To cite this article:

ΓΟΥΜΑΤΙΑΝΟΣ (2014). Παρατηρήσεις στην εικονογραφία του «Ἐπὶ σοὶ χαίρει» σε εικόνα από το Βυζαντινό καιΧριστιανικό Μουσέιο Αθηνών (Τ.134/Κειμήλια Προσφύγων 67). Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας, 35,245-266.

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10.12681/dchae.1757

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The icon from the Byzantine and Christian Museumin Athens depicting the theme of “In Thee Rejoices”likely contains interesting topographical elements con$necting it with Philadelphia in Asia Minor. Its icono $graphy belongs to Late Byzantine art (at least post$1360) and hesychastic influences are obvious in itscomposition, in combination with the possible depic$tion of the leading hesychast Theoleptus, bishop ofPhiladelphia.

./0#+& 1$#+2+3{26#)&D?o*'6,'= 0#)4&K&F, 14&F *$S'*F, +&)96TF #$%^'#F, #$%&8'&()*+4*, «/01 2&1 3*4)#,», R2?3*2µ^F, [µ'&;&(4*, µ96)&0&;4869F X#^;906&F, a,%)J |24*, v,;*K.;+#,*, 57'26*'6,'&P0&;9.

KeywordsLate8Byzantine period, 14th century, icons, iconography, “InThee Rejoices”, Hesychasm, hymnology, bishop Theoleptus,Asia Minor, Philadelphia, Constantinople.

15_GOYMATIANOS_TELIKO_2_XAE_2014:Layout 1 28/04/2014 4:35 !! 45



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9e !),%*'QF (Y k&P;(*),F 6"' :'*+.)#, l),%*'Q) �6*' R(&Pµ#8'&F 6EF p*P)*F :0" 6" 1351 gF 6" 1366 [D;. PLP, 6. 12 (U0,µ. Er.Trapp – H.V. Beyer – S. Kaplaneres – I. Leontiadis), k,.''9 1994,29308] %*1 -#)µ"F [0&269),%6=F 6]' 0*;*µ,%]' -.2#7', c07F[0*,'422#6*, %*1 Y M9µ@6),&F 5?KS'9F 2T µ4* U0,26&;@ 6&? 6"'�%6SD),& 6&H 1364, D;. Démétrius Cydonès, correspondance (U0,µ.R. J. Loenertz), 6. II (Studi e Testi 208), Città del Vaticano 1960, U0,826&;= 96, 26. 4 %*1 R. J. Loenertz, «Démétrius Cydonès I. De la nais8sance à l’année 1373», OCP 36 (1970), 61.10l*0*-*'*24&? –a0&P%*F, c.0. ([0&29µ. 3), 141.11 G. de Jerphanion, «Icône du musée chrétien d’Athènes», BZ 30(192981930), 6088612. k. 5S66*, «l#)1 20*'4*F 0*)*26B2#7F 6EFX#&6^%&? U01 #$%^'&F 6&H k?o*'6,'&H a&?2#4&? |-9']'», @A 2(1937), 6738686. M. lB;;*F, «B K-=#"P)%T 6(T; 9-;6(";();0]40$&' µ8(R (.; j&-6'», @> 26 (1971), #$%. 63, 256. 5. 5*;&%P)9F, B_80(D%0+ 8C+ (T; 8C%0;0=#"P7"; (*+ M;"(0&*+ %"5 (*+ >]68-+,X#22*;&'4%9 1972, #$%. 291, 208. a. x*6o9KB%9F, «l#)1 23&;EF57'26*'6,'&?0^;#7F �;4(*», @> 27 (1972), q�, a#;.6*,, 1218137.M. lB;;*F, «l#)1 6EF o7()*+,%EF #$F 6=' 57'26*'6,'&P0&;,' %*16=' X#22*;&'4%9' µ#6J 6=' �;72,'», AAJk 42 (197581976), 126. AC $O)%T l%G86' %8)µ'&7-; 4#06P]=-; (%*6B;&(&F >%-#29F) (U0,269µ.U0,µ. l. p*o*)4K9F), |-@'* 1982, :),-. 5, 11. a. x*6o9KB%9F,

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15 PLP, 6. 4 (U0,µ. E. Trapp – R. Walther – H.V. Beyer – K. Sturm8Schnabl), k,.''9 1980, 7509.16|;,µ0)B'69F, c.0. ([0&29µ. 11), 112 %.U.17 P. Guran, «Jean VI Cantacuzène, l’hésychasme et l’empire. Les mi8niatures du codex Parisinus graecus 1242», L’empereur hagiographe,Culte des saints et monarchie byzantine et post$byzantine (U0,26.U0,µ. P. Guran), k&?%&?).26, 2001, 82 29µ. 24, 93.18 K. Ware, «St Maximos of Kapsokalyvia and Fourteenth8CenturyAthonite Hesychasm», Kathegetria: Essays Presented to Joan Husseyfor her 80th Birthday (U0,26. U0,µ. J. Chrysostomides), Camberley1988, 4098430. � µ&'*K,%= 0*)B26*29 %&'6J 26= 3)&'&;^(9296EF #$%^'*F µ*F, 0&C 2?'B'692*, #f'*, A'* 0)76&()Bµµ* q µTµ&)+= :2%96&H, 0&C %)*6Q %&µD&23&4',, 2T #$%&'&()*+9µ.'& 3#,8)^()*+& 6&H 1495 :0" 6= µ&'= M,&'?24&? ~(4&? O)&?F (%SK.605, p^(&, L2*J% 6&H tP)&?), D;. m. 5*KQF, mR 8C%0;0=#"P'µ:;"/8)#D=#"P" (0H y=701 z#01+, X#22*;&'4%9 2008, 164, 04'. 100K.19 b. d$%&'&µB%98l*0*K&0&P;&? – k. Pitarakis – 5. p&D.)K&?8!2,(*)4K*, e8#R <8=76(' <0;T J"(04")O701. 3=%D&4)", �(,&'O)&F 2000, 14.

20 K. Weitzmann, The Monastery of Saint Catherine at Mount Si$nai, The Icons I: From the Sixth to the Tenth Century, Princeton1976, #$%. B.38, 65, 04'. XCI %*1 #$%. 26 :'6426&,3*.21 k. Pitarakis, Les croix$reliquaires pectorales byzantines en bronze,l*)42, 2006, 29.22 M. b,*''&P;9F, nZ (0)/0=#"P78+ (Q; Y1K";();Q; µ;'µ87-; (*+{#("+ %"(R (T; 48#70O0 (0H >8640(W(01 (*+|487#01, L7B'','*2010, 324, 326, #$%. 382, 387. 23 M. Vinson, «The Terms U(%^;0,&' and 6#'B'6,&' and the Conver8sion of Theophilus in the Life of Theodora (BHG 1731)», GRBS 36(1995), 94 29µ. 16.24M.L. lB;;*F, «l#)1 6EF o7()*+,%EF #$F 6=' 57'26*'6,'&P0&;,'%*1 6=' X#22*;&'4%9' µ#6J 6=' �;72,'», AAJk 42 (197581976),1278129. J. Trkulja, @esthetics and Symbolism of Late Byzantine Church Façades 1204$1453 (K,K*%6&),%@ K,*6),D@), Princeton2004, 1788179. J. Trkulja, «The Rose Window: A Feature of Byzant 8ine Architecture?», Approaches to Byzantine Architecture and itsDecoration, Studies in Honor of Slobodan }ur~i� (U0,269µ. U0,µ. M.Johnson – R. Ousterhout8 A. Papalexandrou), Surrey 2012, 148, 154.

>?@A p`´ (2014), 2458266 249

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25�;.V9 µ0&)#< 'J :'*+.)#6*, 2T D*06,26@),&, +,B;9 G ;&?6)^.b,J 6=' �)µ9'#4* 6&H c)&?, D;. A Patristic Greek Lexicon (U0,µ. G.W. H. Lampe), dV+^)K9 1961, 812. `8^)%F �#-; Y1K";();*+ I#/)$(8%(0;)%*+ %"5 =&14()%*+ (U0,µ. t. 5*;&04298k.)69 – a. l*'*8(,764K&?85#242&(;&?), �)B%;#,& 2012, 199.26 Recueil des inscriptions grecques$chrétiennes d’Asie Mineure,(U0,µ. H. Grégoire), l*)42, 1922, :'*6P0729 Amsterdam 1968,:),-. 343.2: &01(*#" P")O[#]F; Iµ0&];(� O864D(� / [�+]('68 _8$D&' [4](0+ N% (Q; %#'4[.]O-; / 4[']O"&)0H/0+ [U])&"O8&P:-;6%[W]P[01]+� / !"&")0&D=[-;] /#1[6F+ �&G8;] I[PG]D;[-+] /4#F+ M;O#0;[7%]01 [%"5] <)/["T]& [O]8[64]D[(01] / %"5 [4]"[) $OF+] "�(0H 4#06P)(&0H+)? M;[O#0;7]%01. / [ /85# [O]E 61;.#$='+[8 (0H – – – ]01 / IO8&P)O0H [4]:&0;[(0+] 0C["]%0+[(#]DP01 /.27 M. Couroupou, «Le siège de Philadelphie par Umur Pacha d’aprèsle manuscrit de la bibl. patriarcale d’Istanbul, Panaghias 58», Geo$graphica byzantina (U0,26. U0,µ. s. Ahrweiler), l*)42, 1981, 73, 26.18. k;. %*1 G. Passarelli, Macario Crisocefalo, L’omelia sulla festadell’Ortodossia e la basilica di S. Giovanni di Filadelfia [OCA 210],rSµ9 1980, 60. e L. 5. b)9(&)^0&?;&F, _80&.4(01 U)&"O8&P87"+(0H gµ0&0='(0H (1250$1322), J70+ %"5 �#=", 5*6#)4'9 1996, 6. q�, 95 29µ. 242 3)&'&;&(#< 6=' :'&,%&K^µ929 µ#6*VC 1305 %*11307.28 k*06,26@),& -&;&2%#0TF [0E)3# %*1 26= 2P(3)&'9 U%%;924* 6EFl*'*(4*F 26=' �+#2&, N. Karydis, «Limiting the Use of Centeringin Vault Construction: The Early Byzantine Churches of West AsiaMinor», Masons at Work (U0,269µ. U0,µ. R. Ousterhout – R. Holod –L. Haselberger), v,;*K.;+#,* 2012 (http://www.sas.upenn.edu/an8cient/masons/Karydis8Limiting_Use_of_Centering.pdf 6=' 21/3/2014).

29 H. Buchwald, «The Church of St. John the Theologian in Ala ehir(Philadelphia)», JÖB 30 (1981), 3018302. 30 b. p*µ0B%9F, nZ �4(R I6(:#8+ (*+ M40%"&]�8-+, U' |-@'*,F1909 (:'*6P0.X#22*;&'4%9 1995), 375 %.U.31 b,J 6= µ&'=, D;. 6=' *_6^()*+9 K,*-@%9 6&H %6@6&)B 69F a*V48µ&?26"Actes de Vatopedi u (U0,µ. J. Lefort – V. Kravari – Ch. Giros – K.Smyrlis (Archives de l’Athos xxu), l*)42, 2001, :),-. 15 (1247), 136%.U. P. Thonemann, The Maeander Valley, Cambridge 2011, 178 %.U.32 Actes de Vatopedi u, c.0. ([0&29µ. 31), 156 (26. 137, 157), 162 (26.311). !" %#4µ#'& 6EF K,*-@%9F >3#, ()*+#< O)R (0H X40µ;'(0=#W$P01 (*+ �=)-(W('+ µ'(#04D&8-+ U)&"O8&P87"+.33 Couroupou, c.0. ([0&29µ. 27), 73, 26. 17820 (1348): «%*1 ;,6*8'#P&'6#F UV#)3^µ#-* 6EF µ#(B;9F U%%;924*F %*1 :0#)3^µ#-* U' 6�0*;*64�. 5:%#<2# 6=' -#4*' µ?26*(7(4*' U%6#;&Hµ#' U' 6� 0*'82.06� '*� 6EF 2#D*2µ4*F µ&'EF 6EF [0#)B('&? X#&6^%&?, 6EF&n67 ;#(&µ.'9F k&)#,'EF...».34p*µ0B%9F, c.0. ([0&29µ. 30), 410.35 t6" �K,&, 388.36 G. Anrich, Hagios Nikolaos, der heilige Nikolaos in der griechi$schen Kirche. Texte und Untersuchungen, p#,N4* – k#)&;4'& 191381917, 6. u, 223-224, 3938394, 459-460. m. P. ¡ev¢enko, The Life ofSaint Ni cholas in Byzantine Art, !&)4'& 1983, 79.37 /0#,K= R 0*)B26*29 6EF v,;&V#'4*F 6&H |D)*Jµ 26=' #$%^'*µ*F Uµ+*'4o#, :+9(9µ*6,%" 3*)*%6@)* µT 6=' 0*)B-#29 ;#06&8µ#)#,]' (Y µ^23&F %B67 :0" 6" 6)*0.o,, 6J 2%#P9 +*(96&H 26='U0,+B'#,B 6&? %*1 26J 3.),* 6&H |D)*Jµ %*1 6EF tB)*F) �27F 'J0*)*0.µ0#, 26=' :+,.)729 %B0&,&? '*&H 6EF v,;*K.;+#,*F26&CF |)3*((.;&?F. t9µ#,S'&?µ# c6, 2T k4& 6&H �(4&? L7B''&?

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42 !. l*0*µ*26&)B%9F, g O)W%06µ0+ (0H (#0]&01 (Q; ;"Q; (*+4"&")0&D=8)"+ 48#)DO01 6(T J"&%";)%T /8#6D;'60 %"5 (T; 9]$4#0, |-E'*, 2001, 104, 126. q. Trifonova, nZ (0)/0=#"P78+ (0Hy=701 w8-#=701 (0H J01;0H 6(T; K"6(0#)W: 61µY0&T 6(T µ8&:('(*+ K-=#"P)%*+ (0H O8](8#01 µ)60H (0H 1401 "C2;" 6(T; 8�#](8$#' 48#)0/T (*+ <"%8O0;7"+, X#22*;&'4%9 2010, 56 %.U., $K,*46#)*6= 29µ. 220.43 Theoleptus of Philadelphia, The Monastic Discourses (U0,µ. R. E.Sinkewicz), Toronto 1992, 3. b)9(&)^0&?;&F, c.0. ([0&29µ. 27), 6.q�, 50852.44 Theoleptus of Philadelphia, The Monastic Discourses, c.0. ([0&829µ. 43), 8� b)9(&)^0&?;&F, c.0. ([0&29µ. 27), 6. q�, 62873. 45|)3,µ. 5&?%,B)9F, c.0. ([0&29µ. 39), 108.46 k;. LChrI, 6. 7, 26. 1028104 (G. Kaster). G. Babi¤, «Les moines8poè 8tes dans l’église de la Mère de Dieu à Studenica», Studenica et l’art by$zantin autour de l’année 1200 (U0,26. U0,µ. V. Kora¤), k#;,()BK,1988, 2068210. <";01T& !";6:&';0+ N% (0H Z8#0H ;"0H (0H !#-$(W(01 (U0,269µ. U0,µ. `. m. !2,(*)4K*F) (%*6B;&(&F >%-#29F), X#282*;&'4%9 2003, #$%. 1288129, 264. . m. !2,(*)4K*F, nZ (0)/0=#"P78+(0H 4"#8%%&'6701 (0H y=701 A�G1µ701 (1302/3) 6(F; ;"F (0Hy=701 >'µ'(#701, X#22*;&'4%9 2008, #$%. 145. k;. U'K#,%6,%J %*16=' #$%^'* 6EF 5&,µ@2#7F 6EF X#&6^%&? 26" a&?2#<& 5*'#;;&0&P8;&? µT 6&CF KP& [µ'&()B+&?F M*µ*2%9'" %*1 5&2µQ �%*6.)7-#'6EF 2%9'EF 26" 0;*42,& 6EF #$%^'*F, a. |3#,µB26&?8l&6*µ,B'&?(U0,26. U0,µ.), Holy Image, Holy Space. Icons and Frescoes fromGreece (%*6B;&(&F >%-#29F), |-@'* 1988, 123, 2028203, :),-. %*6. 42. 47 `. C. C&nstantinides, The Wall Paintings of the Panagia Olympio$tissa at Elasson in Northern Thessaly,|-@'* 1992, 6. I, 1058106.!2,8

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55 A. Stylianou, «The Communion of St. Mary of Egypt and her Death in the Painted Churches of Cyprus», Actes du XIVe CIEB,k&?%&?).26, 1971, 6. III, 440. |. t6)*6E, «� #$%&'&()*+4* 6&H D48&? 6EF Y24*F a*)4*F 6EF q$(?064*F. t3^;,* %*1 0*)*69)@2#,F», B=1;"7%" 6(F J1KW;()0, "(#87" %"5 (:/;'. ACO)%F G:µ" (0H 2601k1µ406701 Y1K";();*+ %"5 µ8("Y1K";();*+ I#/")0&0=7"+ %"5 (:$/;'+, |-@'* 2012, 32 %.U., #$%. 10.56 D. Mouriki, «Portraits of St Theodosia in Five Sinai Icons», _1$µ7"µ" 6(T µ;.µ' (*+ `"6%"#7;"+ <40]#", |-@'* 1994, 214. By$zantine Defenders of Images (U0,µ. A. M. Talbot), Washington, D.C.1996, 187. �;. 5&?'6&?)Q8b*;B%9, «L7B''9F t6*?)B%,&F: ¦'*F;^(,&F 26= X#22*;&'4%9 6EF 0)S,µ9F l*;*,&;^(#,*F U0&3EF»,J1K";();R k]µµ8)%(" 16 (2003), 3898390.57 l*)^µ&,& 0)"F *_6" 6]' µ&'*o&?2]' :0" 6" 3#,)^()*+& µT6" !?0,%" 6EF a&'EF X#&6^%&? 6EF k#D*4*F /;04K&F 26=' 57'826*'6,'&P0&;9 (132781342), %*-4K)?µ* 6EF 0*;*,&;^(#,*F :),826&%)*64*F, %*-�F >3#, 6" �K,& (7',]K#F 23Eµ*, D;. A. Cutler – P.Magdalino, «Some Precisions on the Lincoln College Typikon»,CahArch 27 (1978), #$%. 7. l*)^µ&,& %B;?µµ* 2?'*'6&Hµ# %*1 2TN9+,K76" :0" 6" 0*)#%%;@2,& 6EF a&'EF 6EF xS)*F (Kariye Dja8mi), D;. The Kariye Djami (U0,µ. P. Underwood),m.* {^)%9 1966,6. III, 539c. !J 3*)*%69),26,%J 6EF µ&)+EF µT 6" 0;*6P, �#)*6,%"0)^270& Uµ+*'4o&?' Yµ&,^696#F µT #$%^'* 6EF �(4*F X#&K&24*F26" t,'Q, D;. m6. a&?)4%9, «`$%^'#F :0" 6"' 12& gF 6"' 15& *$S 8'*», k);V. nZ G'6"1#05 (*+ e. <0;*+ y=7"+ @C%"(8#7;'+ (U0,26.U0,µ. 5. a*'*+EF), |-@'* 1990, 111, :;;J %*1 µT 6=' #$%^'* µT 6"X)4*µD& 6EF �)-&K&V4*F :0" 6" k?o*'6,'" a&?2#<& |-9']'(0#). 1400), D;. a. k*2,;B%9 (U0,26. U0,µ.),<.('# _80H.M48)%0$;768)+ (*+ !";"=7"+ 6(T Y1K";();T (:/;' (%*6B;&(&F >%-#29F),a&?2#<& a0#'B%9, |-@'* 2000, 340, #$%. 32, c0&? 26=' :),26#)=0)"F 6" -#*6= (7'4* :0#,%&'4o#6*, R �(4* X#&K&24*.58 x. a0*;6&(,B''9, «`$%^'* 6EF �(4*F X#&K&24*F 6EF 57'26*'86,'&?0&;46,22*F 26= mBV&», >?@A 5k´ (2001), 222 %.U. H. A. De8an, tcons of the tconodule: Gender, Politics, and Orthodoxy in the

Palaiologan Imagery of Saint Theodosia (MA Thesis), Oregon 2009,37 %.U.59 K. Weitzmann, «Icon Programs of the 12th and 13th Centuries atSinai», >?@A uk´ (1984), 95 %.U.60 Synaxarium Ecclesiae Constantinopolitanae, c.0. ([0&269µ. 50),26. 822. e �(,&F K#43'#, 26" %#+B;, 6&? %*-�F Y -B'*6^F 6&?0)&E;-# c6*' Y R(#µ^'*F 6EF !*)2&H «... *_6" %*6B 6]' D*-µ48K7' 6&H D@µ*6&F >§¨,N#� 6� KT 0)&2%)&P2#, 2?'6),DT' 6" %)*'4&':+E%# 6=' N?3@'».61 Th. Chatzidakis8Bacharas, Les peintures murales de Hosios Loukas.Les chapelles occidentales,|-@'* 1982, 23.K. uu, #$%. 24.62 t6. l#;#%*'4K9F, 9"6(0#7", u. J1K";();"5 m0)/0=#"P7"), X#282*;&'4%9 1953, 04'. 40D.63 G. Millet – A. Frolow, La peinture du Moyen Âge en Yougoslavie,l*)42, 1962, 6. III, 04'. 1.1.64l#;#%*'4K9F, 9"6(0#7", c.0. ([0&29µ. 62), 04'. 143*, 152D. 65 Constantinides, c.0. ([0&29µ. 47), 992, 6. u, 2458246, 04'. 158D.66 `. m. !2,(*)4K*F, m0)/0=#"P78+ (*+ 48#)DO01 (Q; !"&")0&D$=-; 6E ;"0S+ (*+ <"%8O0;7"+, X#22*;&'4%9 1990, 04'. 124. Tri8fonova, c.0. ([0&29µ. 42), 2578259.67nZ _'6"1#05 (0H y=701 z#01+ (U0,269µ. U0,µ. |. 5*)*%*62B8'9F) (%*6B;&(&F >%-#29F), X#22*;&'4%9 19972, 96, #$%. 2.31. b#',8%^6#)*, |. 5*62#;B%9, «`$%^'* 6]' �(47' L&?;466*F %*1 59)P8%&? 26" k?o*'6,'" a&?2#<&. `$%&'&()*+,%TF 0*)*69)@2#,F»,>?@A 5k´ (2001), 1818190.68 k;. U'K#,%6,%J 26= µ&'= 6EF l*'*(4*F �;?µ0,S6,22*F 26='/;*22^'*, Constantinides, c.0. ([0&29µ. 47), 6. uu, 102. �. !2,6&?8)4K&?, g K-=#"P)%F+ O)W%06µ0+ (0H y=701 d)%0&W01 ,#P";0H6(T _866"&0;7%', X#22*;&'4%9 1986, 204, #$%. 103. Trifonova,c.0. ([0&29µ. 42), 1928195. b,J 0*;*,^6#)* 0*)*K#4(µ*6* 26='5P0)&, D;. C. Mango, «The Monastery of St. Chrysostomos at Kou8tsovendis (Cyprus) and its Wall Paintings», DOP 44 (1990), 90, #$%.151. b#',%^6#)*, `_. a*;*KB%9F – |. t6)*6E, «w1µ;0L+ (0L+ 62$µ"6) (0L+ I;("=-;)6("L+ 61µ4&8%Dµ8;0): t?o?(4* U)9µ,6]'

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�(47' 2T µ#6*D?o*'6,'TF #$%^'#F 6&H ~(4&? O)&?F (e �(,&F�'&P+),&F %*1 Y �(,&F l.6)&F Y |-7'469F)», J1K";();R 26(2006), 323, 325 29µ. 44.69e M,&'P2,&F U% v&?)'Q, o#µ';87" (*+ K-=#"P)%*+ (:/;'+, U' l# 86)&?0^;#, 1909, 6"' 0#),()B+#, «... (.)7', +*)*%;^F, YV?(.'9F ...».l)D;. +&)96= #$%^'* :0" 6= µ&'= l*'6&%)B6&)&F 6&H ~(4&?O)&?F [D;. nZ _'6"1#05 (0H y=701 z#01+, c.0. ([0&29µ. 67), 81, #$%.2.20] 0#)40&? 26J 136081380, 6&,3&()*+4* :0" 6" 5*-&;,%" 6EF�K,*F µ&'EF [D;. `. m. !2,(*)4K*F, «!&,3&()*+4#F %*1 #$%^'#F 6EFµ&'EF l* '6&%)B6&)&F ~(4&? O)&?F», <"%8O0;)%R 18 (1978), #$%.8D %*1 b. 5&?)&PK9F (U0,26. U0,µ.), AC%D;8+ <0;*+ !";(0%#W(0#0+,�(,&' O)&F 1998, 51, #$%. 13 (!. l*0*µ*26&)B%9F)]. a. |3#,µB826&?8l&6*µ,B'&?, «l*)*69)@2#,F 2T KP& :µ+,0)^270#F #$%^'#F 6EFµ&'EF l*'6&%)B6&)&F 26" �(,&' O)&F», >?@A 5´ (1998), 3098316. 70l)D;. 6=' #$%^'* 6&H :0&26^;&? l.6)&? :0" 6" '*" 6&H ~(4&?l)&%&04&? 26= k.)&,*, 2@µ#)* 26= 2?;;&(@ 6&H DumbartonOaks, D;. X. l*0*o]6&F, J1K";();E+ 8C%D;8+ (*+ J:#0)"+, |-@'*1995, 112, %*-�F %*1 2T :0&26&;,%" :0" 6"' '*" 6&H ~(4&? l)&8%&04&? 26=' �K,* 0^;9 (1360), D;. 26" �K,&, 146, #$%. 48. b#',%J (,J6=' #$%&'&()*+4* 6&H l.6)&?, D;. K. Weitzmann, The Saint PeterIcon of Dumbarton Oaks, Washington, D.C. 1983.71l*0*o]6&F, c.0. ([0&29µ. 70), 146, #$%. 48.72 t6" �K,&, 149, #$%. 51.73 a. x*6o9KB%9F, «/% 6]' 6&H /;04&? 6&H r7µ*4&?», AAJk 14(1938), 409: «20BK7', #_#,K=F ;4*'». 74 The Kariye Djami, c.0. ([0&29µ. 57), 6. u, 55. Constantinides, c.0.([0&29µ. 47), 6. u, 100. l*0*µ*26&)B%9F, c.0. ([0&29µ. 42), 215 %.U.75 x*6o9KB%9F, «/% 6]' 6&H /;04&?», c.0. ([0&29µ. 73), 410: «'.&F, %*H%&F, #_#,K@F, µ#,K,]' %*1 3*)70"' >37' 6" 0)^270&',0*)J µ,%)"' $2^%&?)&F». /0429F, D;. :'B;&(9 µ,%)&()*+4* 6&Hy*3*)4* 26" µ#2&D?o*'6,'" %SK. k.u.2 6EF /-',%EF k,D;,&-@%9F6&H Torino 26" V. Lazarev, Storia della pittura bizantina, Torino

1967, #$%. 133. m6. a&?)4%9, «q� k,D;,%*1 l)&#,%&'42#,F 6EF l*8'*(4*F #$F 6"' !)&H;;&' 6EF l#),D;.06&? 26"' a,26)Q», @> 25(1970), a#;.6#F, 230 %.U. H. Belting – C. Mango – D. Mouriki, TheMosaics and Frescoes of St. Mary Pammakaristos (Fethiye Camii)at Istanbul, Washington, D.C. 1978, #$%. xuu.76x*6o9KB%9F, «/% 6]' 6&H /;04&?», c.0. ([0&29µ. 73), 409: «(.8)7' #$F µ,%)"' �VC >37' %*6*;@(&'6* 6"' 0S(7'* ...». l*0*µ*826&)B%9F, c.0. ([0&29µ. 42), 215 %.U.77 D. T. Rice – T. T. Rice, Icons, The Natasha Allen Collection, TheNational Gallery of Ireland, M&?D;4'& 1968, #$%. 1. a&?)4%9, «q�k,D;,%*1 l)&#,%&'42#,F», c.0. ([0&29µ. 75), 04'. 91. Ch. Davis(U0,26. U0,µ.), National Gallery of Ireland: The Essential Guide,p&'K4'& 2002, 275.78 x*6o9KB%9F, «/% 6]' 6&H /;04&?», c.0. ([0&29µ. 73), 409: «µ*8%)&%.+*;&F, ;,('&0)^270&F, %*1 µ,%)"' U0,µE%#F 6" (.'#,&' >37'».79 l. k&%&6^0&?;&F, J1K";();E+ 8C%D;8+, |-@'* 1995, #$%. 22. k;.l*0*µ*26&)B%9F, c.0. ([0&29µ. 42), 212 %.U.80 b#',%J (,J 6=' #$%&'&()*+4* 6]'M*?K %*1 t&;&µ]'6&F, D;.q.D. Kartsonis, Anastasis, The Making of an Image, Princeton 1986,1918200. l*0*µ*26&)B%9F, c.0. ([0&29µ. 42), 190. b,J #$%&'&()*8+,%" 0*)BK#,(µ* 6EF �K,*F 0#)40&? 0#),^K&?, D;. 6" U0,26P;,&:0" 6"' �(,& L7B''9 p*µ0*K,26= 26=' 5P0)&, 6= 2%9'= 6EF|'B26*29F, k&%&6^0&?;&F, c.0. ([0&29µ. 79), 152, #$%. 131. 5*126='�;?µ0,S6,22* :'Bµ#2* 26&CF 0)&+E6#F 6&H 6)&P;;&? 2?(8%*6*;.(&'6*, Y M*D1K %*1 Y t&;&µS'.81 L. M9µ*%^0&?;&F, «l*)*26B2#,F U%%;92,]' 6EF 57'26*'6,8'&P0&;9F, 6EF k#'#64*F %*1 6EF 5)@69F 2T +&)96TF µ#6*D?o*'6,'TF#$%^'#F», >?@A u´ (198081981), 183. p.3. &� �(,&, |0^26&;&,X#22*;&'4%9F G R ~(4* q$%*6#)4'9 26=' �K,* 0^;9, %*1 6J KP&%642µ*6* 6&H 0)S6&? µ,2&H 6&H 14&? *$S'*, D;. `_. x*6o96)P8+7'&F, mF 48#76(-0 6(T; X6(8#0Y1K";();T N%%&'6)"6()%T I#/)$(8%(0;)%., X#22*;&'4%9 2004, 270 %.U., 275 %.U.

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89 t. 5422*F, «� a&'= 6]' ~(47' |0&26^;7' m#)&µB'*F q$678;4*F», 348('#5+ 3(")#87"+ k(8#808&&"O)%Q; <8&8(Q; b� (197181972), 40 29µ. 1.90 W. T. Woodfin, Late Byzantine Liturgical Vestments and theIconography of Sacerdotal Power, Illinois 2002, 187. M. G. Parani,Reconstructing the Reality of Images: Byzantine Material Cultureand Religious Iconography 11th$15th Centuries, Leiden – Boston2003, 47.91 H. Maguire, «A Murderer among the Angels: The FrontispieceMiniatures of Paris. Gr. 510 and the Iconography of the Archangelsin Byzantine Art», mhe Sacred Image: East and West (U0,269µ. U0,µ.R. Ousterhout – L. Brubaker), Urbana 1995, 69.92l*0*µ*26&)B%9F, c.0. ([0&29µ. 42), 37, 291.93 k&%&6^0&?;&F, c.0. ([0&29µ. 79), 146, #$%. 125. Byzantium:

Faith and Power 1261$1557 (U0,269µ. U0,µ. H. C. Evans) (%*6B;&8(&F >%-#29F), m.*{^)%9 2004, :),-. %*6. 117 (M. Vassilaki).94 e X#^K7)&F t6&?K469F, `$F 6=' 2P'*V,' 6]' &_)*'47' 6*(µB867', PG 99, 737k ()B+#,: «L#o#%,=; KT 0B;,', Y 0)" -#&064*F, #$%*4 6,F h;;&F, 6"' '&H' U0,69K#47F >37', &_ µ^'&' K1F :;;J 6#6)B8µ&)+* o�* 6&CF :'76B6� 6]' :27µB67' :((.;7' 6#-#S)9%# '^8*F, 0)&K,*6?0&H'6*F &fµ*, 2*+]F %*1 U' *_6&<F U'*'-)70@2#7F6&H /µµ*'&?=; U% l*)-.'&? µ?26@),&'� 0#),#43#6& (J) U' 6&<Fo´&,F #fK&F :'-)S0&? %*1 23Eµ* D&"F %*1 6" 6)46&' ;.&'6&F, 6" K’:'S6#)&' 6&P6&,F, :#6&H». J. Gouillard, «Le Synodikon de l’Ortho8doxie, édition et commentaire», TM 2 (1967), 51. Ch. Barber, Contest $ing the Logic of Painting, Art and Understanding in Eleventh$Cen$tury Byzantium, Leiden – Boston 2007, 18.

>?@A p`´ (2014), 2458266 257

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95 E. Piltz, Trois sakkoi byzantins, Uppsala 1976, 68, #$%. 5. Byzantium:Faith and Power, c.0. ([0&29µ. 93), :),-. %*6. 177 (W. T. Woodfin).W. T. Woodfin, The Embodied Icon: Liturgical Vestments and Sacramental Power in Byzantium, dV+^)K9 2012, 76 %.U.96 G. Millet, La dalmatique du Vatican, l*)42, 1945, 82891 %*1#$K,%J 6"' 04'. 6EF 2. 91.97 m,%&;\&? 5*D\2,;*, !8#5 (*+ N; ?#)6(� K-*+, p�(&F t6�. 15,16 (U0,µ. l. x)@26&?) (`l` 22), X#22*;&'µ%9 1979, 524, 526.

98 X#&;@06&? v,;*K#;+#4*F, m0H "�(0H &D=0+ 48#5 ;.�8-+ %"54#0681/*+, b)9(&)^0&?;&F, c.0. ([0&29µ. 27), 223, 26. 6718674.99 A. Grabar, «Le schéma iconographique de la Pentecôte», L’art dela fin de l’Antiquité et du Moyen Âge (U0,269µ. U0,µ. A. Grabar), l*8)42, 1968, 6. III, 615 %.U.100 B. Th. Stevenson, Miniature Decoration in the Vatican Virgil,Tübingen 1983, 87, #$%. 87. D. H. Wright, The Vatican Vergil, Berke8ley 1993, 72 (µT >(3)7µ9 +76&()*+4*).

258 >?@A p`´ (2014), 2458266

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101 C. Ceccheli – G. Furlani – M. Salmi, The Rabbula Gospels, Facsi$mile Edition of the Miniatures of the Syriac Manuscript Plut I. 56 inthe Medicaean$Laurentian Library, Olten 1959, +. 1r.102 b. b*;BD*)9F, �-=#"P)%T Y1K";();Q; /8)#0=#WP-;, |-@'*1995, #$%. 9.103 Grabar, c.0. ([0&29µ. 99), 625, #$%. 155c. «Dumbarton Oaks Re8search Library and Collection», Bulletin of the Fogg Art Museum

10/6 (1947), 219 %.U. M. C. Ross, Catalogue of the Byzantine andEarly Mediaeval Antiquities in the Dumbarton Oaks Collection,Washington, D.C. 1962, 1, :),-. 91, 04'. 1. G. Hellemo, AdventusDomini: Eschatological Thought in 4th Century Apses and Catech$eses, Leiden 1989, 49850, #$%. 19.104 |20)Q8k*)K*DB%9, B <0;T (*+ !";(W;"66"+ 6(F;<16(#V, c.0. ([0&29µ. 47), 84.

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10' 3P0#87" J1K";();Q; M#/")0(.(-;[email protected]


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6. IV (OCA 238), 101. q$64* 6EF #$2*(7(EF R h)'929 6]' a&'&+?82,6]' 'J :0&K#3-&H' 6" 3*)*%69),2µ" X#&6^%&F, :µ+,2D9 86]'6*F 6" K^(µ* 6EF /'2B)%729F.141 Taft, The Diptychs, c.0. ([0&29µ. 140), 118. 142 !)#µ0.;*F, c.0. ([0&29µ. 138), 122. Taft, The Diptychs, c.0.([0&29µ. 140), 119.143 b,J 6= 23.29 6&H b)9(&)4&? l*;*µQ %*1 6&H m,%&;B&? 5*DB82,;* µT 6"' M,&'P2,& |)#&0*(469, D;. A. Louth, «The Reception ofDionysius in the Byzantine World: Maximus to Palamas», Re$thinking Dionysius the Areopagite (U0,26. U0,µ. S. Coakley – Ch. M.Stang), Chichester 2009, 64 %.U.144 H. Papastavrou, «L’idée de l’Ecclesia et la scène de l’Annoncia8tion. Quelques aspects», >?@A 5q´ (2000), 228 %.U.145tPµ+7'* µT 6"' !)#µ0.;*, c.0. ([0&29µ. 138), 122: «� :+& )] 82* #$F 6=' X#&6^%&' U%+S'92,F 0)&2.;*D# 6"' 3*)*%6E)* Yµ&8;&(4*F 0#)1 6EF :#,0*)-#'4*F *_6EF %*1 6EF 0)*(µ*6,%EF (#''@ 8

2#7F [0’ *_6EF 6&H 2*)%7-.'6&F X#&H». C. Corsato, «La tipologia“`va8Chiesa8Maria” nella tradizione patristica prenicena», Theoto$kos 9 (2001), 1538190.

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266 >?@A p`´ (2014), 2458266

The iconographical theme “In Thee Rejoices” («/01 2&13*4)#, 5#3*),67µ.'9») illustrates a theotokion troparionfrom the liturgical book Octoechos, presumably com8posed by St. John Damaskene. It is chanted as kathisma inthe beginning of Sunday matins (orthros). By the end ofthe 14th century takes a special role in Liturgy of St. Basilthe Great, as megalynarion in honour of Theotokos. Thisdevelopment takes part in the monastery of MegistiLavra, Mt. Athos under hesycastic influence.

The icon of Athens Byzantine and Christian Museumshows exactly this influence. A donor scene depicts possiblyTheoleptus, the famous hesychast bishop of Philadelphia,Asia Minor. Other topographical observations set theprovenance of the icon to be very possibly Philadelphia.

The cyclical depiction follows an old tradition from Paleochristian illuminated manuscripts (Vat. lat. Cod. 3225,Laur. syr. cod. Plut. I, 56) to Middle Byzantine wall paintings(Last Judgement), manuscripts (Vat. cod. gr. 1291, Kokki8nobaphos) to the Late Byzantine Vatican sakkos.

The whole setting of the icon strongly reminds icono8graphical program from Late Byzantine secondary domes,

e.g. exonarthex of Kariye Djami, Odigitria (Afendiko),Mystras. The depiction of the four evangelist symbolsshows relation with Late Byzantine Theophanies, like thePoganovo icon, the Vatican sakkos, or the wall paintingfrom Hagia Sophia in Trebizond.

Various scenes from Christ’s Life around the Churchyear (extended Passion cycle and Dodekaorton) with Virgin enclosed in the centre, invites us to see in her animage of the Church, in addition to the depiction of twochurches in the icon, according to the troparion’s text.The presence of a multitude of saints everywhere in theicon shows a strong belief to their in8between role for thesalvation of people. The connection between Theo tokosand liturgical practice, the depiction of Incarnation as theultimate Theophany, the emphasis on the Lives of Christand saints, the presentation of Theoleptus in front ofTheotokos, all the above underline the hesychastic influ8ence on the creation of the specific iconographical scheme.

10th Ephorate of Byzantine [email protected]

Angelos Goumatianos

SOME OBSERVATIONS ON THE BYZANTINE ICON “IN THEE REJOICES” («`lu tdu xqur`u») FROM THE BYZANTINE AND

CHRISTIAN MUSEUM IN ATHENS (!.134/REFUGES HEIRLOOM 67)


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