Το Τετραευάγγελο Βατοπεδίου 932 με αφορμή την ανεύρεση μιας μικρογραφίας του
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.44, 2005, pages 141-148
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141-148
Parallel Title:
The Vatopedi Manuscript 932 on the Occasion of a Miniature Recovery
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Articles
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Abstract:
he Vatopedi manuscript 932 is a Byzantine illuminated gospel book, which in its present condition consists of 128 parchment folios (27x20.5 x21 cm.). The text is arranged in two columns of 29 lines each and is in carefully penned miniscule script. The codex contains the four gospels in order, as well as the pericopes from them for the year. The two miniatures belonging to it depict the Evangelists Matthew and John. Until a few years ago, the first miniature had been lying in one of the 21 manuscripts discovered recently in the monastery sacristy. Both the Evangelists are portrayed seated and facing right at the moment of writing their gospels. They are dressed in a decorated tunic and a cloak covering the whole body, from the left shoulder to the feet. To the right of each is a tablecloset, on which are a few writing implements; short lecterns are situated next to this item of furniture. The representation is developed on a wide greenish strip of foreground, occupying about V4 of the surface of the image. The background is filled by various tall aedicules, recalling Classical models, with the solemnity of the red vela at their entrance and the appropriate shading, and creating a sense of the third dimension. The miniatures are set within a rectangular frame, formed by a wide ornamental border. The figures of the Evangelists, with their ascetic faces, meditative gaze, well-proportioned bodies and restrained gestures, emanate an intense spirituality. The drawing is linear and deft, combined with an inner anxiety. The same linear system is apparent in the loose drapery of the garments, in contrasted colours. On the basis of the art of the miniatures, the manuscript can be dated to the middle or the second half of the twelfth century. The general style of the images does not seem to be related either to earlier similar representations or to the 'dynamic' technique of the late twelfth century. We therefore opt for an earlier period than that which is characterized by momentary poses. Unfortunately, the illumination of the gospel book is of little help in this respect, since it includes only three headpieces and three initial letters, embellished with simple geometric and floral motifs. Ornaments of this kind usually occur in preceding periods, whereas in manuscripts of the time proposed there is a variety of patterns, masterfully executed, elements that indicate the important role of ornaments in the painting of the twelfth century. As far as the provenance of the manuscript is concerned, the subdued coloration and the presence of ornaments on the wide frames point to a scriptorium in the region of Palestine, and we suggest specifically the city of Jerusalem.
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