Panayia Asinou (Church : Troodos--Cyprus)
Icons--post-Byzantine--Cyprus
Εικόνες--Μεταβυζαντινές--Κύπρος
Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)
Saint Tryphon is depicted on the place above Saint Paul on the north adjoining respond of the central bay, and dates to the fourteenth century. On the south respond across, saint Memnon is portrayed and they are associated with each other. Tryphon is a novel theme occurring in the fourteenth century. His and Memnon’s inclusion may be explained through their attribute as defenders of the locusts. The first recorded instance of a plague of locusts occurred in 1351 A.D., around the date of the third layer of Asinou took place.
Ioannides, Marinos
Digital Heritage Research Lab of Cyprus University of Technology
Library of Cyprus University of Technology
2006
Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.
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Apostle Paul is located on the north respond of the western transverse arch of the naos while Saint Peter is portrayed opposite, on the south respond. The respond was placed as a reinforcement during alterations took place in the thirteenth century, covering the original frescoes of the twelfth century. An important detail is that these may be executed during the same time as the Virgin and the frescoes on the triumphal arch of the apse, but not by the same hand. The figure of Paul consists of the subjective thirteenth-century fresco layer on the lower part of his body and the overlying fourteenth-century fresco layer on the upper part. Therefore, the fresco dated to the re-painting programme of the fourteenth-century follows the stylistic tradition of the former. However, the red background of the former fresco layer was not adopted by the overlying fresco. It has a blue background just to be harmonised with the rest of the frescoes of the central nave. Peter is depicted facing to the left, blessing with his right hand, holding an open scroll in the left hand and is dressed in a grey chiton and pink himation. The garments of Paul are long enough to touch his feet and are painted over the bottom frame.
A composition containing buildings and partially the figure of Saint John Theologos (recognised by an inscription) exists behind the north respond of the thirteenth-century arch of the western section of naos and belongs to the original fresco programme.
The representation of the Dormition of Virgin Mary is located above the western door of the bay, which leads from the naos to the narthex. The murals in the western bay of the naos are dated to 1105 A.D. The iconographic style of the scene in Asinu can be characterised as one of the finest which appeared during the middle Byzantine period. Inspiration for the representation of the scene was drawn from Apocryphal books and made its first appearance after the ninth century. Regarding the scene, the central figure is apparently Mary, who lies in the coffin. Above her Christ stands and holds His mother’s soul personified as an infant. Additionally, three Apostles appear above the Theotokos. Peter is depicted standing at the head of the casket with a censer in his left hand and wiping a tear with his right hand. Paul mourns at her feet and John kneels on the right side of the Theotokos and grabs the end of his garment. The remaining Apostles flank either side while their gestures and postures reveal their grief. The mourning women are separated from the men and they appear in the buildings’ galleries in the background. Christ’s face does not express any emotion, in contrast with the facial expressions, gestures and postures of the Apostles and mourning women.
Underneath the southern pilaster which reinforced the arch in the thirteenth century, the depictions of a building are clearly visible. This must be part of a larger representation originally depicting a scene concerning the Evangelists as opposite a part of John the Theologos is depicted.
Clad in imperial vestments, Saints Constantine and Helen are depicted on the upper part of the blind south-western arch of the naos. Located between them, the two Saints are represented holding the Holy Cross. The scene embodies their Discovery of the Holy Cross and Christianity’s establishment via the Cross. Under the figures of Saint Constantine and Helen, the dedicatory inscription of Nicephorus is attested. However, after the reinforcement procedure and the addition of the respond on the western arch, the beginning of the inscription had been hidden. Therefore, the part which is visible today contains the following text: support and great effort of Nikephoros Ischyrios the Magistros, in the reign of Alexios Komnenos, the year 6614, indiction fourteen. Although the description gives a date of 1105 A.D., we do not know whether this corresponds to the erection date or the first decorating program of the church. Additionally, we are informed that Nicephorus had the nickname Ischyrios meaning ‘the Strong’, a designation presumably declaring his authority and power through his job s as a judge or a tax officer.
In the lower zone of the blind southern niche in the western side of the naos, three saint-monks are depicted, from left to right: Thedosius the Abbot, Arsenius and Ephrem Syrus.
A blind arch is formed in the north-west corner of the western bay, on which the scene of the Forty Martyrs of Sebaste is developed. The scene is dated to the twelfth century A.D. The painting is really intriguing as it depicts forty men who seem to be in pain as their facial expressions and injury scars attest. They freeze to death in a frozen lake with hot water baths located on its banks in order to appeal them. They are half-naked, only wearing underpants. In the centre of the scene, a martyr loses consciousness and two others support him. On the upper part of the recess, thirty-eight crowns descend from heaven. The scene narrates the martyrdom of forty soldiers who were martyred at Sebaste in Lesser Armenia during the persecutions of early Christian period. On the soffit of the blind arch, Christ is depicted within a medallion and has His hands extended holding two crowns. According to the story, one of them did not endure of this suffering and ran to the hot baths on the last day. This martyr is represented on the western side of the soffit of the blind arch. After watching the incident, a pagan soldier, surprised by the faith of the forty martyrs, converted and decided to join the group. He is depicted on the eastern side of the soffit of the recess. Noteworthy is the fact that the Forty Martyrs were the patron Saints of the upper classes of the imperial soldiers.
Nicetas is the saint who is depicted on the eastern side of the soffit of the blind arch in the north-western corner of the naos.
Ioannides,Marinos
Saints Bacchus, Sergius, Florus And Laurus in Medallions
Four medallions containing the busts of martyrs and a gemmed cross-monogram were painted on the central part of the soffit of the south-western recess of the naos. The martyrs from left to right are: Bacchus, Sergius, Florus and Laurus.