Κείμενο και εικόνα : Η μικρογραφία στον Α΄ Λόγο του Γρηγορίου του Ναζιανζηνού στον κώδικα Par. gr. 550
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.35, 1994, pages 381-386
Issue:
Pages:
381-386
Parallel Title:
Text and Image : The Miniature of the First Homily of Gregory Nazianzenus in the Codex Par. gr. 550
Section Title:
Articles
Abstract:
Ms. Par. gr. 550 is best known due to the miniaturepreceding the First Oration of Gregory on Easter. Thefact that the miniature does not correspond to the text itdecorates, together with the miniature's specific iconography has drawn the attention of scholars who havetried to determine the text from which this miniaturederives (see Fig. 1). This article attempts to reconsiderthe textual source of the miniature in Par. gr. 550.A. Xyngopoulos (1941) suggested that the iconographyof the main scene — the Anastasis — was drawn fromthe Canon of St. John of Damascus and Easter Hymnology. This also applies, he claimed, to the accompanying scenes (the Archangels, the Maries at the Tomb andthe Disciples, the Raising of the Dead and the Candlebearers). G. Galavaris (1969) criticised the connectionof the miniature with the Canon and Easter Hymnology, indicating that neither the Anastasis scene nor theSymbols of the Passion held by the Archangels correspond to these texts. Moreover, contrary to Xyngopoulos, he stated that this miniature, which has no relationto the text it decorates, could not have been invented forthis text (i.e. the First Oration of Gregory on Easter).The present article attempts to clarify that, while all theelements included in the Canon of Saint John of Damascus and the Easter Hymnology can, to a degree,explain the iconography of our miniature, the elementsactually derive from Nazianzenus' Second Oration onEaster which, in addition to the Hymnology, can alsoexplain the depiction of the Symbols of the Passion.Nevertheless, the "hymnological" type of the Anastasisis not explained by the text of the Second Oration,neither is it clarified by the First Oration nor the EasterHymnology. It is therefore suggested that the painterchose the Anastasis type from the contemporary iconographical repertoire, without reference to the text.To conclude, it is suggested that our miniature was originally "invented" for the Second Oration of Gregory,since its iconography, with the exception of the Anastasis, corresponds to the text. We should not be surprisedat this "mistake" of employing a "migrating" miniatureto decorate the First Oration, since both Orations werewritten for the same feast (Easter) and by the same author (Gregory Nazianzenus). Certainly this miniaturedid not become the standard depiction of the SecondOration of Easter, since preference was shown for aHabakkuk scene illustrating the first words of the Homily. But from this hypothetical manuscript which contained the Second Oration on Easter decorated originally by the miniature discussed above, there have "survived" its probable copy, i.e. the miniature of the FirstOration in Par. gr. 550, as well as two more specificscenes of it, the Symbols of the Passion and the Raisingof the Dead which accompany the Habakkuk panel (theestablished decoration of the Second Oration) in Par.gr. 510 (a full edition of Nazianzenus' Homilies) wherethe Symbols are held by Saint Paraskeve and Saint Helen, and in Par. gr. 543 (edition of the Liturgical Homilies) where the Raising of the Dead is depicted below theHabakkuk scene.
Subject:
Subject (LC):
