Signed Post-Byzantine icon (1765) depicting Christ as ‘Man of Sorrows’ from Kermira in Cappadocia
Abstract
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.
Article Details
- How to Cite
-
Σκλείδα Μ. (2015). Signed Post-Byzantine icon (1765) depicting Christ as ‘Man of Sorrows’ from Kermira in Cappadocia. Bulletin of the Centre for Asia Minor Studies, 19, 55–64. https://doi.org/10.12681/deltiokms.316
- Issue
- Vol. 19 (2015)
- Section
- Articles
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution Non-Commercial License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (preferably in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
Downloads
Download data is not yet available.
