Ἐνυπόγραφη μεταβυζαντινὴ εἰκόνα (1765) μὲ τὴν παράσταση τῆς Ἄκρας Ταπείνωσης ἀπὸ τὴν Κερμίρα τῆς Καππαδοκίας
Περίληψη
In this work Christ is depicted in the iconographic type known as the
“Man of Sorrows”. The icon comes from the refugees’ heirlooms of Asia
Minor, possibly from Kermira of Cappadocia. It is in almost perfect condition
and measures 39,7×39,4 cm. The center of the depiction is occupied
by the deceased Christ, while two lamenting angels, in smaller
scale, stand behind. The lifeless Lord is inside the sarcophagus with his
hands crossed. Between the two angels appears the nominative inscription
of the icon, while on the right side of the sarcophagus the painter’s
signature.
The earliest known representation of this iconographic type is found
in manuscripts and icons of the 11th and 12th centuries. Stylistically, the
work is a combination of Byzantine and Western art. In the present icon
there is an emphasis on the anatomy of the chest, a contrast between the
strong body and the weak arms. The icon has an almost exaggerated
expressiveness due to the white brushstrokes on the brownish-grey underpaint
which create a dramatic lighting effect.
Although the painter’s signature permits us to understand his name,
it is not possible to identify him. The nominative inscription reveals the
name of the donor, his origin and the date when the icon was produced.
“Man of Sorrows”. The icon comes from the refugees’ heirlooms of Asia
Minor, possibly from Kermira of Cappadocia. It is in almost perfect condition
and measures 39,7×39,4 cm. The center of the depiction is occupied
by the deceased Christ, while two lamenting angels, in smaller
scale, stand behind. The lifeless Lord is inside the sarcophagus with his
hands crossed. Between the two angels appears the nominative inscription
of the icon, while on the right side of the sarcophagus the painter’s
signature.
The earliest known representation of this iconographic type is found
in manuscripts and icons of the 11th and 12th centuries. Stylistically, the
work is a combination of Byzantine and Western art. In the present icon
there is an emphasis on the anatomy of the chest, a contrast between the
strong body and the weak arms. The icon has an almost exaggerated
expressiveness due to the white brushstrokes on the brownish-grey underpaint
which create a dramatic lighting effect.
Although the painter’s signature permits us to understand his name,
it is not possible to identify him. The nominative inscription reveals the
name of the donor, his origin and the date when the icon was produced.
Λεπτομέρειες άρθρου
- Πώς να δημιουργήσετε Αναφορές
-
Σκλείδα Μ. (2015). Ἐνυπόγραφη μεταβυζαντινὴ εἰκόνα (1765) μὲ τὴν παράσταση τῆς Ἄκρας Ταπείνωσης ἀπὸ τὴν Κερμίρα τῆς Καππαδοκίας. Δελτίο Κέντρου Μικρασιατικών Σπουδών, 19, 55–64. https://doi.org/10.12681/deltiokms.316
- Τεύχος
- Τόμ. 19 (2015)
- Ενότητα
- Άρθρα
Αυτή η εργασία είναι αδειοδοτημένη υπό το CC Αναφορά Δημιουργού – Μη Εμπορική Χρήση – Παρόμοια Διανομή 4.0.
Οι συγγραφείς των άρθρων που δημοσιεύονται στο Δελτίο διατηρούν τα δικαιώματα πνευματικής ιδιοκτησίας επί των άρθρων τους, δίνοντας στο περιοδικό το δικαίωμα της πρώτης δημοσίευσης. Άρθρα που δημοσιεύονται στο Δελτίο διατίθενται με άδεια Creative Commons 4.0 και σύμφωνα με την άδεια μπορούν να χρησιμοποιούνται ελεύθερα, με αναφορά στο/στη συγγραφέα και στην πρώτη δημοσίευση για μη κερδοσκοπικούς σκοπούς και με δικαίωμα τροποποίησης μόνον με παρόμοια διανομή (αν αναμείξετε, τροποποιήσετε, ή δημιουργήσετε πάνω στο υλικό, πρέπει να διανείμετε τις δικές σας συνεισφορές υπό την ίδια άδεια όπως και το πρωτότυπο).Λήψεις
Τα δεδομένα λήψης δεν είναι ακόμη διαθέσιμα.
