7 10 135 https://apsida.cut.ac.cy/files/original/0bbbae1db729e95f521931016be41fd6.jpg 9643e492da9dbfe155a9a38e6e8bd6ed https://apsida.cut.ac.cy/files/original/973424dcc90176f334aa7f4377bb0d95.mp3 0bd6227a55a9765f65d5957a1f0daee0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Theotokos Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource Theotokos is placed on the left hand side of the entrance from the naos to the narthex. Along with her son who is portrayed on the right side of the entrance and John the Forerunner, painted next to Jesus, they create a Deesis. Deesis constitutes an integral part of the iconographic representation of the Last Judgement functioning as an intercessor. Concurrently, the placement of these three important figures of Christianity in the lower band of frescoes in the narthex which traditionally includes depictions inspired by the sanctoral cycle, strengths the saints’ prayers for the salvation of the humankind. The portrait of Virgin has been painted over the initial fresco layer which is visible on the lower right corner. The same representation motif can be seen flanking the bema, leading to a visual correlation between the two. The Virgin has turned to her son, holding an open scroll, and her sigla Mother of God the merciful, depicted on each side of her halo. Her iconographic form is of the Intercession type as she is the principle figure serving as median between Christ and humankind. The text of the scroll she holds contains a two-verse dialogue with Christ asking for redemption. However, she does not seem literally to speak. The poem is written in the third person, driving you mentally to a meeting with her and Christ. The written text is: 'The Virgin offers her motherly entreaties, she steers him toward the salvation of mortals'. As has been noted through the poem depicted on the scroll at Asinou the Virgin intervenes with her son on behalf of each supplicant depicted on the church’s frescoes to ask for their salvation. Contextualising Deesis in the whole iconographic program of the narthex of Asinou, it functions as a key image either by its placement, the selection of inscriptions or the gestures of each figure and serves a number of roles. Firstly it is part of the Last Judgement. Then it copies the iconography of the Deesis on the templon and sets zones of prayer and gradual holiness from the narthex to the church. And lastly, Deesis has the role of the recipient of the intercessions of the saints depicted in the narthex, the individuals or groups of donors portrayed on the walls, the brotherhood of the monastery and every person participating in the services. These roles can be enclosed with the cyclical procedure of response. John preaches that the Kingdom of Heaven will not be late and evokes in humankind that only though repentance will they earn a place in Heaven. Mary, on the other hand, asks from her son the salvation of humans and, in turn, Christ gives back a new command, to love one another, as a precondition. Therefore, if those commands are fulfilled, then Jesus Eleemon as He is, will show mercy and will bless the faithful. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-086 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/26367bd4b5c875bb5b25f88d7d3a84d1.jpg a5a42c0829e9ba1304b2830dcd9f7281 https://apsida.cut.ac.cy/files/original/23685776e17f5e24ef87eb6fcb48393b.mp3 ced5e6b9d115fa077a092bc664c07cfc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Prophet Solomon Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource Integral part of the upper zones of the churches were the Prophets. Thus, the portrait of King Solomon one of the renowned Prophets in the northern soffit of the eastern transverse arch of the nave fits into this long-established tradition. In this way, the prophecy of incarnation announced above with the Annunciation is strengthened. Solomon is depicted with an open scroll in his hand. The inscription reads: "Wisdom has built her house she has set up her seven pillars" (Proverbs 9:1). His words have a twofold interpretation. On the one hand refers to Mary as the temple of Logos and on the other hand refers to the church that Mary founded with Christ’s birth. Reflective to Prophet David across are the garments of Solomon. He wears a khaki tunic, a red lakerna (the cape over his chest) and red boots. All of them are decorated with jewels and stones as they suit to a King. His crown imitates the flared western-type crowns but this should not be interpreted as influences of the Latin rulers of Cyprus but the other way round, as the efforts of Cypriots to mingle the Byzantine tradition into the new Latin reality of the fourteenth century. Creator An entity primarily responsible for making the resource Ioannides,Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-085 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/eba111039b9bd585272e2549366c2e6c.jpg 8fff712e6938bdf1c2ce4520edb98db9 https://apsida.cut.ac.cy/files/original/6d91620c98a91712d06826593acc1ac4.mp3 1c6c8f9f227cb154a76fdd77106ef7b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Betrayal, Way To The Cross, Crucifixion and Entombment Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource The frescoes of the northern half of the vault are dated to the late thirteenth early fourteenth century. The grid format for the development of the frescoes continues. However, in contrast to the scenes of the south side, these are the actual narrative imageries (not the whole), telling the story of the Passion. The Betrayal and the Way to the Cross scenes are depicted above and the Crucifixion and the Entombment are below. The Betrayal depicts a number of soldiers at each side of Jesus and Judas. Jesus extends his arm toward Peter and Malchus, while Judas is ready to embrace Him. The scene of Betrayal was excluded from the Middle Byzantine iconographic cycle from the interior of the church but in the Palaiologan period, when the extensive narratives returned, the scene retook its position in the naos. Most probably the Betrayal scene was part of the imagery cycle of 1106 A.D., as the same was adopted in the instance of the church of Saint John Chrysostom in Kutsovendis – whose the wall-painting program was an inspiration for the Asinou Master. If this is the fact, the fourteenth-century frescoes undertook a series of remodelling. More explicitly the military presence is an important characteristic of the thirteenth century and of the Asinou and Cyprus’s historic reality. Therefore, soldiers were often portrayed in scenes of Greece and Cyprus due to the connection of military forces with areas of Crusader occupation. Concerning Judas, the most surprising feature is his grey halo. Normally, Judas was depicted without a halo but at Asinou Judas has grey one. This is distinctive in Panayia Phorviotisa. The grey halo was attested in Arta Greece, and Trecento Italy, and probably reached Cyprus from Byzantium. Hence, the fact that such a detail survived and travelled to Cyprus shows the cosmopolitan and elite atmosphere of the Lusignan cities. Next to the Betrayal scene is the scene of the Way to the Cross. Simon is depicted carrying an enormous cross and a soldier comes next, pulling Jesus by His wrists on a rope while other soldiers follow. As in the instance of the Betrayal scene, the Way to the Cross scene was not attested on a regular basis in iconographic cycles of churches. In the thirteenth-century wall-paintings programmes, however, it was reintroduced as a narrative reference to the Passion. It is not impossible that the scene was part of the imagery program of the original frescoes. Supporting the argument, two instances of iconographic cycles of the twelfth century, Kutsoventis and Apsinthiotissa, contain a similar scene. If this is the case, i.e. the Way to the Cross scene was included in the iconographic cycle of the original wall-paintings, the fourteenth-century counterpart underwent a major facelift such as the addition of pearls on Jesus’s garment and the painting of a strongly wood-grained cross. These signs of richness gave to the later fresco its visual weight among the other scenes compared to its ‘flat’ predecessor – if in fact used there. The Crucifixion is situated below the Betrayal scene. Jesus is on the cross, with His crown of thorns; the title bar on the top of it reads: “king of glory”; above his arms are attested His sigla. Below His right arm are three women, Maria, Mother of God, and Maria and on the right side is John and Longinus. Two angels are attested at each side of the cross along with the representations of sun and moon. A combination of marks of conservatism and characteristics of novelty are attested within this scene. Firstly, the Crucifixion scene was an integral part of the original painting cycle whereas its conventional dramatis personae remained as it was. However, the vigorous frontality of the scene is innovative. Explicitly, the figures seemed to be stretched with the ‘bodies’ of John and Longinus seen as if in a close-up. John’s outward turn of his face and Mary’s expression, also seem to enrich the immediacy of the scene and provoke the viewer to stare at it and especially at Christ and His passion. Further pointing out the innovative character of the scene is Christ’s designation as the ‘king of glory’, which was introduced in the early thirteenth century and therefore not included in the original fresco. The Entombment is the last and most intriguing scene of all four. It is named O'-ento'fiasmos and shows the dead body of Christ over the open stone sarcophagus. Mary holds the head of her child, John kneels to cradle His left arm and a bearded man, labelled ‘M’, but surely Joseph of Arimathea, kisses His feet. The particular representation of the Entombment in Asinou seems to be mingled with different areas of the Mediterranean and must have not been included in the original programme of wall-paintings. This Entombment edition made its debut in the Palaiologan period, long after the first painting programme, but it would not be an abnormality if this place was occupied by the Middle Byzantine version of Mary’s lament over the dead body on the ground. The representation of Mary’s mourning over Christ’s body before or while being placed in an open sarcophagus was the last moment of the canonical history of Entombment in the Western European scenes during the Middle Ages. But in Byzantium, the sarcophagus was never shown before the thirteenth-century. From this century onward, the period of Crusader expansion, there are several examples of this iconographic style of the Entombment and also adopted by the Asinou Master. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-081-082-083-084 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/08d87d734ad84795421e3caa98bcf2fa.jpg 7cf0a04d77c715930d07d01fa4c3bc56 https://apsida.cut.ac.cy/files/original/691191d761c68ec291d3860de5cf8fab.mp3 f9aecc3c2251194df8f27ed449ebae0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Prophet Isaiah Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource The northern side of the soffit of the western transverse arch in the naos bears the figure of Prophet Isaiah. Jeremiah, Solomon and David depicted on the soffits of the transverse arches of the central nave follow the tradition according to which Prophets were to be found on the upper zones of the iconographic programmes within a church. Isaiah is turned to the eastern side, facing the Annunciation. The open scroll which he holds has the following text: "Behold, a young woman shall conceive and bear a son and shall call his name Emmanuel" (Isaiah 7:14). He promotes the same meaning as the depiction with the closed gate above, i.e. the virginity of Mary, and the divine pregnancy. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-080 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/d6b6f15b294d7fcbc07b979a91b7a463.jpg e63042aa2555906393bb15605283fd95 https://apsida.cut.ac.cy/files/original/97f275a4c75ea3dff5de0f4ae4d2f5a4.mp3 d66466f53736714dbdbbe0c808b75a72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Washing Of Disciples Feet Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource The northern lower zone of the western vault of the naos is occupied by the scene of the Washing of the Disciples’ Feet. Christ washes the feet of Peter and sets the example for every Apostle. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-079 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/c561ca441b003876d391e80773297e1e.jpg 60a2464d6bcf28cdd3f934dc3116e61b https://apsida.cut.ac.cy/files/original/a399df6a99452f95ec0dd78d67197749.mp3 947230d9a33541e4361a351b02213989 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Last Supper Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource In the lunette above the western door of the naos, leading to the narthex, two scenes of the life of Christ are depicted. The northern shows the Last Supper and like the neighbouring murals, it is dated to the original mural painting executed by the Asinou Master. Iconographically speaking, Christ and the Apostles are gathered around a semi-circular table. Christ and Saint Peter possess the seats of honour on each side of the table, as the Hellenistic custom on which the scene is based on dictates. On the table, in front of Christ, there are a whole loaf of bread, a cup, a fork and a knife and in front of Peter, a piece of bread, a drinking cup and a knife. Also, on the table there is a bowl with a large fish in it. The fish is the symbol of Christ since the early days of Christianity. Jesus is depicted in a gesture of blessing and his image expresses severity. Judas has an extreme posture as he extends his hand across the table and his face is depicted in profile. This is not unusual in Byzantine art as it shows weakness and harsh features. It is believed that this is the exact moment when Jesus announced to His followers that one of them would betray him. Therefore, Judas’ posture and the confusion on the Apostles’ faces can be explained. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-078 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/ca21366a82a3763d2f71cc44642361e1.jpg 2014aef13d4f30ad8045b01e4a4af659 https://apsida.cut.ac.cy/files/original/83028665b207045b65656844b5587cb6.mp3 f82c30676bbc00157cb051de8602ded0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Entry To Jerusalem Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource In the lunette above the western door of the naos, leading to the narthex, two scenes of the life of Christ are depicted. The southern represents the Entry to Jerusalem. It dates back to the 1105 A.D. iconographic cycle of the church. Christ is shown on a donkey, heading to the city with two of the Apostles following him. The Jerusalem crowd welcomes Him after the Raising of Lazarus and, as the Gospels testify, they climbed trees to watch Him and disposed of their garments and palm branches for Christ to pass over. The significance of His entry to Jerusalem on a donkey symbolises his arrival in peace and modesty rather than as a King on a horse. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-077 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/7ef767be3ee3443a90b97bf5f892f3b1.jpg 6f83bd127f2844bb20bb7718fc86cf97 https://apsida.cut.ac.cy/files/original/e6e8d837e59e7a8926a9f5a2e3aaf658.mp3 0e0a398acd121ea4abc86d6e25363801 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pentecost Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource The top of the western side of the vault is occupied by the scene of the Pentecost with six Apostles depicted on either side. In the centre, there is a medallion with the Preparation of the Throne. The preservation of the fresco is poor but the subject of it can be easily discerned. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-076 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/7bf32ff8f74d5a210232c923f0cd418a.jpg f030d79539dadd6b6d95cb26518b8ed9 https://apsida.cut.ac.cy/files/original/b8883c943113e3b76f70331186d27f81.mp3 254bb081c7ee73fa31fa9bb35a72b599 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raising Of Lazarus Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource On the southern lower zone of the western vault of the naos, the scene of the Raising of Lazarus appears. The representation shows Lazarus coming out of his tomb after the command of Christ. Behind Him follow two Apostles. Additionally a number of figures are presented with an expression of awe on their faces due to the miracle that Jesus performed with Lazarus. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-075 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) https://apsida.cut.ac.cy/files/original/9d275f4515d4ea203603d305e8bf372d.jpg 01237bd2b90082f29627e9e4e524a817 https://apsida.cut.ac.cy/files/original/d86f765e608ce755273f11c9d1ae147f.mp3 e273c97d6b8cc1fe88733cf231f68b75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Church of Panagia of Asinou Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Prophet Jeremiah Subject The topic of the resource Panayia Asinou (Church : Troodos--Cyprus) Icons--post-Byzantine--Cyprus Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος) Description An account of the resource On the soffit of the western transverse arch of the naos, Prophet Jeremiah and Isaiah are portrayed. They carry on a custom which dictates the inclusion of Prophets within the upper part of the iconographic program of a church. Jeremiah is drawn on the southern face of the soffit facing to the Annunciation and holding an open scroll on which a text is written. The inscriptions says:" This is our God; no other can be compared to him" Baruch 3:36[35]. Based on these words, it is reaffirmed that Mary carries the real God of Scripture. Creator An entity primarily responsible for making the resource Ioannides, Marinos Source A related resource from which the described resource is derived Digital Heritage Research Lab of Cyprus University of Technology Publisher An entity responsible for making the resource available Digital Heritage Research Lab of Cyprus University of Technology Library of Cyprus University of Technology Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Digital Heritage Research Lab of Cyprus University of Technology Rights Information about rights held in and over the resource Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού. Relation A related resource https://apsida.cut.ac.cy/items/show/45036 Format The file format, physical medium, or dimensions of the resource JPG, MP3 Language A language of the resource en Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context Figure-074 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 35.046355, 32.973431 Icons--post-Byzantine--Cyprus Panayia Asinou (Church : Troodos--Cyprus) Εικόνες--Μεταβυζαντινές--Κύπρος Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)