Ecclesiastic
tradition mentions that the first icon, with the essence of representation, was
made by the Lord Himself and in fact without hands. The story of this icon
briefly is as follows: The king of Edessa of Mesopotamia, Augarus, suffered
from leprosy. He wrote therefore to the
Lord a letter, in which he implored Him to visit Edessa and heal him. His
servant Ananias brought the letter to Palestine. He tried to draw the Lord but
did not succeed. The Lord having noticed the effort of Ananias, asked for water
to wash His face which He then dried with a handkerchief. The holy face of the
Lord was miraculously imprinted on the handkerchief. This is known as the
"Holy Mandelion" (handkerchief).
Augarus,
as mark of his gratitude for his healing which happened through the grace of
the icon and completed later with his baptism, raised the icon of the Holy
Mandelion at the entrance of the City's gate, having first written on a plank
underneath it, the phrase: "Christ God, whoever hopes in You never
fails". The icon of the Lord made with no hands, after quite a few
centuries in Edessa, was brought in 994AD to Constantinople, during the empire
of Romanus Lekapinus.
Tradition also mentions as the first
hagiographer, the Evangelist Luke. The Evangelist was the first to draw three
icons- using wax, gum and colours - of the All Holy Theotokos, holding in her
bosom our Lord Jesus Christ and offered them to her, wishing to know if they
were pleasing to her. The Mother of the Lord accepted them saying, "The
grace of the one who drew me goes through me to them". Of these three
icons, one is in Peloponnesus, in the Monastery of the Great Cave which is made
with wax and gum. The second it is said to be in little Russia, in a town
called Vilina which was given as a gift by the byzantine emperors to the
Russians, so that they may be their allies. The third icon according to the
assurance of the golden sealed decree of John Gregory Giga Boeboda, ruler of
Hungarovlachia, is in Cyprus at the Monastery of Kykku. Moreover according to
tradition the Evangelist Luke drew some icons of the Holy Pre-eminent Apostles
and some others and since then the art of drawing of the Holy Icons was passed
on to good and pious people.
The
history of the Byzantine Iconography was divided by historians to various
periods.
1. The
first centuries until the Iconomachy. This period is subdivided:
A) In the
proto-Christianity (until the time of Great Constantine).
B) In the
early Christianity during 320-720AD (From the period of Great Constantine to
the iconomachy)
2. The
time of the Iconamachy (724-843AD).
3. The
time of the Macedonians and Comnenus (867-1204AD).
4. The
Paleologian Renaissance (1204-1453AD) or the final byzantine period.
In the
first centuries of Christianity, the proto-Christian period, was what was known
as the archaic iconography, which had a symbolic characteristic also known as
the art of the catacombs. The art structure of the catacomb depictions was
liberal. It started with motifs received from idolatric art, such as Orpheus.
The purpose of this art was plainly educational. Symbols such as a ship, fish,
olive, anchor, vine etc, were used. The wall paintings of this period were
basically non artistic. They had more religious than artistic significance.
In the
early Christian period, following the cessation of persecutions, they started
to use drawing depictions of holy persons and situations from the Old and New
Testament. In this period we have use of mosaics. There are some important wall
paintings that were worked with the art of Fresco. Important art works of this
period are: at the Basilica of Saint Demetrius in Thessaloniki (5th Century),
of Saint Appolinarius in Ravenna (Italy), the fresco of Castelserpio near Milan
(6th century) etc. Of the portable icons of this period (6th century) is the
magnificent burning art of the Sinai Monastery.
During
the dark years of Iconomachy, the condemnation of the icons and in general the
depictions of human forms, stopped temporarily the course of the byzantine
paintings. The iconographic circle was replaced with decorative motifs
especially from the animal and vegetable world. Iconomachy did not create a new
art but it mainly brought back the proto-Christian ornamentation of the
Churches. This period sees mainly the development of the theology of the icon
with Saint John Damascene, the apologetic and champion of the iconophiles of
the 1st phase of iconomachy (726-787AD) with the 7th Ecumenical Synod at Nicea
(787AD) which condemned the iconomach heresy and with Saint Theodore the
Studite, the other flag bearer of Orthodoxy, who defended the icons during the
second phase of iconomachy (813-843AD).
The
commotion of iconomachy ended decisively with the endemic Synod of 843AD in
Constantinople during the reign of Saint Theodora. The Synod decided to restore
the holy icons and decreed the Sunday of Orthodoxy.
In the period of the Macedonians and the
Comnenus we have the renaissance of Orthodox Hagiography. The victory over the
iconomachs brought about substantial change in painting as well as to the whole
byzantine art. The decoration of churches is forbidden on liturgical and
dogmatic reasons. A hierarchal order is decreed as a result on iconographic
topics. This order is decreed by the Church which at present under the decision
of the 7th Ecumenical Synod, has assumed the direction of hagiography. Thus are
three iconographic groups formed: the dogmatic, the liturgical and the historic
(festive). The topic relates to a dedicated place in the Church to which it
will turn out into a canon of byzantine hagiography.
During
this period we have also features of the art. The type of the monk with dried
up face, with almond shaped eyes due to strict fasting, enters into iconography
etc. We then have a return to the Alexandrian tradition. Angelic features and
saints in mosaic remind of forms in the Hellenistic world. The posing and
movement of the depicted ones are done according to the prototypes of ancient
Greek sculpture. The prophets have the raiment, the pose and expression of
orators. Generally there is a blending of ancient and new features and the tradition
is harmonized with the contemporary art. Charles Delvoye calls this period the
classical age of Byzantium. Magnificent works of this period are: the Church of
Saint Sophia at Ahrida (1040-1045AD), the Church of Saint Panteleimon at Nerezi
in Skopia (1164AD), the magnificent mosaics of Saint Sophia of Constantinople
(12thth century), of the Daphne Monastery (11th century) and many more.
century), of the church of Saint Luke in Libadia.
The
Paleologian period is considered the golden age of hagiography. Whatever the
art of the previous centuries offered came back with renewed life. The
renaissance of the Paleologus' should be considered as a consequent natural
progression of the previous years and not as a phenomenon that appeared suddenly.
It should be explained as a re-enlivening (by the ideas and the climate of the
paleologian years) of the brilliant art of the Macedonians and of the
Comnenus'. The 14th century is an anthropocentric century. The characteristic
therefore of this renaissance is the deep humanism. There is a turn towards the
humanistic, hagiography becoming more narrative, with the art intending to
cause emotion, to touch the feelings. Mainly, the French specialist G. Millet
divided the paleologian art into two "schools", the
"Macedonian" and the "Cretan". Of course the term
"schools" which have since held, is not correct. Rather it concerns
two different currents, two different ways of approach of the paleologian
hagiography.
The
"Macedonian School" was born in Constantinople and bloomed mainly in Macedonia, centered in Thessaloniki and passed on to Serbia. The School is
characterized by its realism and freedom. It has intensity, movement and rich
colours. The face and clothes are broadly illuminated, for this they call it
"broad style". It was viewed - without being of course absolute -
that this art was most inclined to the learned, the educated classes and the
courtiers. Its main proponents were Manuel Panselinus (who drew the Chapel of
Saint Euthymius of Thessaloniki and the church of the "Protatou")
Michael Astrapas and his brother Eutyhius who practiced in Serbia, George
Kalliergis etc. In the same period belongs the unrivalled in craftsmanship and
beauty monument of the Monastery of the Country in Constantinople.
From the
reigning city (Constantinople) the art passed on to Mystra during the end of
the 14th century. There it assumed a close character and produced the
"Cretan School". This School remains more faithful to the byzantine
idealism. It is a conservative art, with its characteristic conservative
motions, the simplicity, the nobility of the faces and generally its attachment
to the byzantine traditions. The light in the close style is scant and feels
like it emanates from some depth, an element that brings the faithful to
profound devoutness. It was considered as an art of monastic circles. The
genuine Cretan School was first formed in Crete from which it derived its name-
after the historically significant event of the fall of Byzantium in the 15th century
and the beginning of the 16th century. The main representative was Theophan the
Cretan, who was an hagiographer at Meteora and at the Holy Mountain. Well known
for the drawing depictions on the Catholicon (nave) of the Monastery of
Dionysius is also Zorzis (1547AD). During this period Francis Catelanus and his
brother George were hagiographers who however began to accept foreign and
western elements.
Finally,
in the 16th century and all of the 17th
a great peak is noted in the portable cretan style, represented mainly
by: Michael Damascene, Ganee, Lambardo, Victor, Poulaki, Mosko etc, who
however make use by a large degree of elements from the prevailing western art.
On the
18th and 19th century the lay art bloomed, characterized by the expression of
the spirit of the era, namely the desire of liberation from the Turkish yoke.
The main contributors were Theophilus, George Markus, Zographus etc. The faces
are expressed with simple forms, the colours are darker and generally the quality
is inferior to the previous centuries. The byzantine art had to large extent
disappeared and the western art took hold until the second half of the 20th
century. Dionysius from Fourna tried during his time (around the 18th century
AD) to bring back the byzantine art but his effort was not fruitful for the
flow thus far led to the West. Even at the Holy Mountain they used Western art.
Not until 1940-1950 the great Fotis Contoglou after superhuman struggles
managed to bring back to light the art of byzantine hagiography and to
cultivate a climate of revival of the painting tradition. During our times, the
blooming of the byzantine studies, the researches for the byzantine art, the
meeting sessions, all created a favourable atmosphere. Contemporary artists having
finally gained the necessary knowledge, can and should as an obligation become
guardians and undertake the creative continuation of the long tradition that is
called the Orthodox hagiography.
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