Παρατηρήσεις σε δύο αμφιπρόσωπες εικόνες της μονής Παντοκράτορος στο Άγιον Όρος
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.38, 1999, pages 309-316
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309-316
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Observations on two Bilateral Icons from the Pantokrator Monastery, Mount Athos
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Articles
Abstract:
Two bilateral icons hold a special place among the treasures of the Pantokrator Monastery: the first is an icon of Christ Pantokrator, which was originally combined with an icon of Saint Athanasios the Athonite on the reverse side, though the latter has been transferred to a separate piece of wood (104x71 cm); the second is an icon of St. John the Baptist, with a composition showing the Virgin Vrephokratousa together with John the Baptist on the reverse side (dimensions 99x67 cm). The icon of Christ dates to around 1360-1380; the icon of St. John dates to the third quarter of the 14th century (E.N. Tsigaridas: Treasures of Mount Athos, Thessaloniki 1977, nos. 2.20, 2.19). Certain aspects of the technique used in their creation, as well as stylistic considerations, lead with considerable certainty to the conclusion that these two icons were both parts of a larger painted liturgical composition. Common elements shared by both icons are: the carved frame on both sides of each icon; the ochre ground, which is the same on the front and reverse sides; and the silver casings which probably covered the ochre from the beginning and adorned both the main representations of Christ and John the Baptist, as indicated by the arrangement of small holes made by nails. The letters in the inscriptions accompanying the holy figures on all four icons can be identified as having been painted by the same hand, the distinctive omega and final sigma being similarly formed, indicating that the icons were painted at the same time. Moreover, the fact that they have been attributed to the same workshop and even to the same painter indicates the close stylistic relationship between these icons. The broad presence of the holy figures in the icons, the range of color, the effective use of line, the subtle monochrome effect, and the generally understated tone all contribute in similar ways to the noble serenity and heightened spirituality in these icons, whose refined workmanship points to a Constantinople workshop. The figure of Christ is noticeably differentiated, both in color and form, by the use of thick, vivid brushstrokes that indicate the momentous and holy presence of the Pantokrator among his saints. These representations of Christ and of John the Baptist, subjects that were probably too unrelated to be paired together on a bilateral icon, were probably first located in the intercolumnal spaces of the iconostasis in the katholikon of the Pantokrator Monastery, as indicated by their similarities in size, style and technique, and by the likelihood that from the beginning they were both encased in silver. If this is correct, then based on their importance and their necessary presence for the celebration of the divine liturgy, these two icons can be chronologically linked to the founding of the monastery by the great stratopedarches Alexios and his brother, the great primikerius John, in 1358-1363.
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