8 10 135 https://apsida.cut.ac.cy/files/original/7c1daa3f1f8cfc3446e7c5047f36a1b3.jpg 8d049ce632ba34e986b70071057afc31 https://apsida.cut.ac.cy/files/original/e428f9fdc1e6c294cddf2f199d8e0e29.mp3 df2589e20bae5773fe8b7d674b6aa38b 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 Ezekiel 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 scene of Ezekiel with the Closed Door, which is represented on the eastern face of the western arch of the naos, along with the Burning Bush and the Mandylion, attest the message of Incarnation through prophecies by Prophets of the Old Testament. In contrast, the message of Incarnation beyond time is the theme that the Annunciation scene on the western face of the eastern transverse arch bears. For the prophecy of Ezekiel, he is depicted holding an open scroll and standing before a closed door while Mary takes care that none will enter through that door. The text on the scroll of Ezekiel reads: "The Lord said to me: This gate shall remain shut; it shall not be opened, and no one shall enter by it; for the Lord, the God of Israel, has entered by it; therefore it shall remain shut". The presence of Mary is an anachronistic representation. In combination with the text on the scroll of Ezekiel, refer to Her virginity which remained unscathed even after the birth of Christ just like the door which opened only for Jesus. The presence of the Old Testament prefiguration of Mary in the scene of the Ezekiel with the Closed Door needs a re-examination. Although these type of scenes were normal, they were depicted in churches of high social status, and not in marginal churches such as Asinou. Therefore, the instance at Asinou is singular, and its sources of inspiration must be investigated somewhere else. However, there is not a parallel which can be compared to. 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-073 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/cfde25c3abfda754850fa4f5e4515bae.jpg f81ef3b218b16cb450a935cd6b5eec4c https://apsida.cut.ac.cy/files/original/b076c17148d0053f629363f723cc2d30.mp3 d8eef565eeae0a5d2ff06fbc678b994a 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 Mandylion 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 Holy Mandylion, which is represented on the eastern face of the western arch of the naos, along with the Burning Bush and the scene of Ezekiel with the Closed Door, attest the message of Incarnation through prophecies of the Old Testament. In contrast, the message of Incarnation beyond time is the theme that the Annunciation scene on the western face of the eastern transverse arch bears. The Mandylion, is depicted hanged by two snitches, and its form corresponds to the late Byzantine way of representation. However, it bears the face of Christ within a halo, whose type reminisces its middle Byzantine custom of depiction. As a pictorial theme, in iconographic programs of churches in Cyprus, the Mandylion possesses a distinctive role, and bears a symbolic message, it reaffirms the incarnation of God, Jesus. The custom, was to be depicted on the western side of the bema arch, but here at Asinu is located across. The relocation of the Mandylion serves a purpose. The two Prophets, flanking the Mandylion, are turned towards the centre of attention, the Bush and the Closed door, of their scenes and in this way they gaze towards the Mandylion. Actually they stare at the physical proof of their words, and the mandylion connects them to the Annunciation. According to scholars beliefs, the placement of the Holy Mandylion and the Ancient of Days, in the apex of the transverse arches, may substitute the absence of Pantokrator in the central apex of the nave. 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-072 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/f48704a2c24a3fad6ad96e42096ee603.jpg 8ba77239a5e0df514924bd443b90b5a2 https://apsida.cut.ac.cy/files/original/c5ce5f861fbd913c9c07e9595a63e6ae.mp3 100cd5a9da353e33c45f6f09ccf64b8c 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 Burning Bush 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 Burning Bush, which is represented on the eastern face of the western arch of the naos, along with the scene of Ezekiel with the Closed Door and the Holy Mandilion, attest the message of Incarnation through prophecies by Prophets of the Old Testament. In contrast, the message of Incarnation beyond time, is the theme that the Annunciation scene, on the western face of the eastern transverse arch bears. The Burning Bush is the scene, where Christ presents Himself to Moses, in the form of a burning bush. Here, a bush containing the figure of Mary is represented, with Moses facing upwards to the bush and coherently to the Mandylion. The placement of the scene of Burning Bush and the Closed Door on either side of the Holy Mandylion, the visual evidence of God’s incarnation, confirm the prophecies of Moses and Ezekiel and connects them to the Annunciation. The presence of the Old Testament prefiguration of Mary in the scene of the Burning Bush is a fact that needs a second reading. Although these type of scenes were normal, they were depicted in churches of high social status and not in marginal churches such as Asinu. Therefore, the instance at Asinu is singular and its sources of inspiration must be investigated somewhere else. For the Burning Bush, the inspiration must to be found in the depiction of a grizzled Moses with a thin beard in icons of Sinai as visual relations exist. 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-071 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/1778d8891c8860849a20807871e27e58.jpg 6170f9eeabb8db3ed698aa2700024822 https://apsida.cut.ac.cy/files/original/5b46ba7a2c1de412784ddc915d7e95f8.mp3 b9250076e706ed92784a440dc3f10eb9 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 David 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 Prophets could not be missed from the fourteenth century iconographic programme of the central nave, as traditionally the upper sections of the churches were used for their depiction due to their profession. As this is the case, the prophecy of incarnation of God is endorsed by the most prominent prophets traditionally depicted in the soffits of the transverse arches of the nave. At Asinou, below the Annunciation, on the southern face of the soffit, Prophet and King David is portrayed with an open scroll in his hand. Its inscription reads: "Hear, O daughter, consider, and incline your ear" Psalm 44[45]:11[10]. The Word address Virgin and the attentive Christians. Regarding the visual aspect, the paraphernalia of his occupation as a king are present. He wears a red cloak over his shoulders - the lakerna – and a khaki tunic and red boots. These garments are adorned with jewels and gems while red is the colour worn by kings. They also wear their crowns without the prependulia, which recall western influence rather the Byzantine round kamelafkion or the diadem consisting of rounded plaques. The reason which can be attributed to the lack of the prependulia may be the effort of Latin Cyprus to imitate Byzantine models. 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-066 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/5645b2841da0390398fc37961c8eeade.jpg dee120988a9abd2b3012dd8ffa4fa47a https://apsida.cut.ac.cy/files/original/aaed721e654b11b37fabf54181291c9b.mp3 1379d199bdda1913fac558ecf01fc8a5 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 Annunciation 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 eastern transverse arch of the central bay, which is a strengthened later addition, the Annunciation scene in a compound with Christ as the Ancient of Days is illustrated. The Virgin is depicted enthroned, holding the spindle in front of an architectural scenery with pots of flowers. At the centre, Jesus as the Ancient of Days sends the dove of the Holy Spirit to Mary in a very descriptive way while Archangel Gabriel, on the northern side, moves towards Her. The portrait of Christ as the Ancient of Days constitutes a problematic theme. Here at Asinou, His representation in this type is the first example attested in Cyprus. Christ Emmanuel or the Mandylion are portrait types of Him attested elsewhere. A parallel depiction seems to exist at Saint Nicholas Agoriane in Greece from around the same period (ca. 1300). Based on that, the figure of the Ancient of the Days promotes the belief that Christ is identified with the Father, who exists before time and along with the Holy Spirit in the form of the dove constitute the Holy Trinity. Therefore, this could be a visual crash test of the filioque. However, this does not seem to be the case in Lusignan Cyprus. Rather the attention must be paid to the interplay of the message of Incarnation through time on the eastern transverse arch and the Incarnation through the Prophecies on the western. According to scholars’ beliefs, the placement of the Holy Mandylion and the Ancient of Days in the apex of the transverse arches may substitute the absence of Pantokrator in the central apex of the nave. Traditionally, the Annunciation scene decorates the bema opening and so the twelfth-century representation does. But during the course of the time span between A.D. 1105/6 and the fourteenth-century redecoration in which this fresco belongs, the Annunciation scene was relocated to the bema arch. Therefore, the fourteenth century painters left the twelfth-century fresco as it was and added the Annunciation scene on the bema arch as it was the trend during that time. Finally, contradictory features co-exist in the depiction of the Virgin. On the one hand, Mary is depicted in a novel type in Cypriot artistic context which derives from the customary representation of the scene attested in the West. Specifically, the composition evokes contemporary architectural setting. Also, the vivid colours and the vigorous movements of the figures seem to depart from the stylized postures of the previous centuries. On the other hand, Theotokos is dressed in an attire reminiscing twelfth century style. In this way, the painter highlighted the importance of tradition and conservatism in art and incorporates the message of the scene into the new style trends and the visual program of the central nave. 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-065 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/0c5ce63b348279e03955b4dbe12fb909.jpg 66e950bb043d4043bb1059efb369f9e6 https://apsida.cut.ac.cy/files/original/ba33e7d28de873c5970ad510e8b1aa0b.mp3 e79cde1a9ad0a1fbccb6079791b8ec8f 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 Anastasis (Resurrection) 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 Anastasis scene is to be found on the lunette, of the northern wall of the naos. As the other story-telling scenes regarding the Christological cycle, except the Women at the Tomb, the scene is entitled with the label Anastasis. The representation shows Jesus pulling, Adam and Eve out of their tombs. Next to Eve, Cain is painted while behind Jesus Christ Prophets John the Baptist, Solomon and David are represented. The specific Anastasis scene existent since the eleventh century, and painted at Asinu in the early twelfth century, is considered to be the oldest type of the Descent into Hell scenes. The fourteenth-century layer seems to copy the original representation, and mistakenly, adds the name of Cain to the child of the proto-parents, who remained anonymous since the twelfth century. A certain addition though, to the 1105 scene, is the scroll of John the Baptist, which reads: 'Behold the one of whom I said he comes after me' (John 1:29–30). 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-064 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/1a9163b222f0d489d83de702fb848329.jpg 95d490dec1d2a8797189e24d430fb8bb https://apsida.cut.ac.cy/files/original/da10052ab45475acacf7bc9a84901913.mp3 fbbbfb0cf734afd590671978e2de1c8a 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 Women At The Tomb 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 scene on the lunette over the north door of the central bay narrates the series of events which took place after the Entombment of Jesus. The scene depicts the visit of the three Maries to the tomb of Christ three days after His deposition. In other words, it tells the story of what actually happened on the Easter Sunday. Curiously enough, the representation is not labelled. The Maries are shown heading to the place where the tomb of Christ is. There they face Archangel Michael and the opened tomb containing only the burial wrappings and the mandylion but not the dead body. Even though there are features that declare a twelfth century tradition, such as the inscription accompanying the angel, the scene seems to be a fourteenth century conception. Firstly, every scene appearing in middle Byzantine murals in churches, that narrate the series of events after the Entombment, contain only the most important event, the Anastasis. Secondly, Komnenan-era mural cycles in churches which contain the Women at the Tomb scene, are accompanied by other scenes, which also have the theme of an open sarcophagus. Therefore, the dictation, of the presence of the particular scene was dependent, on the presence of the open sarcophagus within the previous scene. And thirdly, custom as it was, in the twelfth century the scenes should be corresponded by another scene across the wall, succeeding to a visual interplay. Thus, as the lunette above the southern door hosts the Donor portrait, then on the lunette above the northern door, should be depicted only one scene, that of Anastasis. Deviating from the norm though, and adding new, late Byzantine conceptions as mentioned above, the synthesis took its current form. 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-063 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/ac28f435547e4c95e79b84479b90580f.jpg 3aa681af43e8f0393607d914a726f1de https://apsida.cut.ac.cy/files/original/16ff849b96b8ad1310887cb08d4bc50d.mp3 a8530943f2a932036c0b1a878a108d52 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 Saint Helena 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 Saint Helena is portrayed in an imperial attire, as the crown, loros and red shoes reveal and the sigla identify her. She is depicted on one of the thirteenth century strengthened responds, and therefore it was not painted over frescoes belonging to the original programme. Her depiction without her son, Constantine, accompanying her, and her reappearance within the naos seems absurd. Despite this paradox of singularity, it may underscores Saint Helena’s contribution to the establishment of the correlation of the relics of Holy Cross with Cyprus, which was shaped around 1340s, within the period of the second phase of painting of the Asinou. 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-062 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/7d304e4b7d669f68fc567480ac6796c5.jpg 1ee9acf88fddee37d268159b00833f1a https://apsida.cut.ac.cy/files/original/11ae2f1fa524014241aa236873c58419.mp3 97645c7aeb24a96f5457fa0bcefc69c3 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 Saints Theodores 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 Saint Theodore Stratelatis and saint Theodore Tiron are depicted on the east side of the north door within the same panel, in accordance to the tradition which dictates their representation along one another. Theodores along with Saint George across are the three armed saints portrayed in the central bay of Asinou. A small missing part of the fourteenth-century layer provides an insight window to the original fresco and asserts that initially a military figure occupied the place. Therefore we cannot but to think that again the Theodores were depicted here. According to the twelfth-century stocking, the two Saints had short tunics, and they were depicted without any sign of move. However, their fourteenth-century iconographic representation, even though it follows their conventional and stereotypic depiction form, it departs in a way and depicts them in long tunics and animate postures. Stratelatis was portrayed with a strong, straight-nosed face, dark hair and a branching beard while Theodore of Tiron had shorter hair and a one-pointed beard. Regarding their lifelike movements, Theodore Stratelatis specifically, is depicted with a raised hand and is connected visually with John the Baptist and Mary, next to the templon, who seem to have the same gesture. 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-061 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/7fd3efe30e3ddf8dbbabb45c6359af32.jpg 25d29cf8f892ab426537d778a6e3f3c9 https://apsida.cut.ac.cy/files/original/4ad94caee18b5923495d12265b0bee46.mp3 4ddb3c4bc10ba1ecca46af17a9c7f1df 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 Saint Nicholas Of Myra 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 upper part of the western panel of the north door the fourteenth century figure of Saint Nicholas of Myra is depicted while on the lower part remnants of the twelfth century layer are visible. Of the upper portion, Nicholas is represented in his typical Palaiologan era depiction with a dark phelonion and the figures of Christ and Mary offering a book and an omophorion respectively depicted in a smaller scale on either side of him. Of the twelfth century layer in the lower part, the traces, point again to Nicholas as a Bishop. He is portrayed in light-coloured garments, his Comnenan customary representation. Jesus and Mary seem not to be included in the original representation as twisted columns are represented which hypothetically support an arch. The custom of their inclusion was established after the twelfth 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-060 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)