Paraklesis (Theotokos And John The Forerunner)
Dublin Core
Title
Paraklesis (Theotokos And John The Forerunner)
Subject
Description
The composition of Paraklesis flanks the templon of the naos. The portraits of Mary and John and Christ the Merciful are depicted on either side of the bema, responds and create a link with the same representation attested, on the respective position in the narthex leading to the naos. This duplication motif was a common figurative scheme in late Byzantine monasteries. As scholars state, both representations operate as gradual markers of holiness zones with the ultimate holiness area of a church being the sanctuary.
The most elaborate figure of the composition is Mary. She is inclined towards Christ and holds a scroll on which a verse dialogue between her and her son is written. Mary’s words are written in black and Christ’s in red. The Theotokos beseeches her son for salvation in favour of the humankind:
“Receive the entreaty of the one who bore you, O Logos.”
“What is it you seek, mother?” “The salvation of mortals.”
“They have angered me.” “Have compassion, my son.”
“But they do not repent.” “And save [them out of your] charity.”
“They shall be redeemed.” “I thank you, O Logos.”
The representation of Mary praising her son, can be attested from the late twelfth century onwards and was a favourite theme in monumental art, not only in Cyprus but in the Byzantine world in general. Therefore, the possibility of the Paraklesis appearing within the initial iconographic program at Asinou, as early as the early twelfth century, would preserve a distinguished example.
Depending on a missing patch of the fourteenth century fresco layer, we can assume that in the original scene again Mary was depicted on the same that position but far more left from the current figure, closer to the north wall. Moreover if we assume that again Mary was holding a scroll based on the respective composition at Apsinthiotissa, then this would be much narrower than the present. Therefore the Paraklesis in the bema at Asinou seems to serve as one of the earliest examples of the synthesis and stresses the church’s ground-breaking mural programme.
Concerning John the Baptist, he is depicted in khaki chiton, holding a shaft with a cross on its top and a scarf knotted in front. He must not be included behind Mary in the programme of 1105/6 as there was not enough space. However, during the course of the period between the original fresco programme and the fourteenth century layer, the inclusion of John in the Paraklesis composition in contemporaneous churches became the norm. Therefore it was inevitable him not to be included.
The most elaborate figure of the composition is Mary. She is inclined towards Christ and holds a scroll on which a verse dialogue between her and her son is written. Mary’s words are written in black and Christ’s in red. The Theotokos beseeches her son for salvation in favour of the humankind:
“Receive the entreaty of the one who bore you, O Logos.”
“What is it you seek, mother?” “The salvation of mortals.”
“They have angered me.” “Have compassion, my son.”
“But they do not repent.” “And save [them out of your] charity.”
“They shall be redeemed.” “I thank you, O Logos.”
The representation of Mary praising her son, can be attested from the late twelfth century onwards and was a favourite theme in monumental art, not only in Cyprus but in the Byzantine world in general. Therefore, the possibility of the Paraklesis appearing within the initial iconographic program at Asinou, as early as the early twelfth century, would preserve a distinguished example.
Depending on a missing patch of the fourteenth century fresco layer, we can assume that in the original scene again Mary was depicted on the same that position but far more left from the current figure, closer to the north wall. Moreover if we assume that again Mary was holding a scroll based on the respective composition at Apsinthiotissa, then this would be much narrower than the present. Therefore the Paraklesis in the bema at Asinou seems to serve as one of the earliest examples of the synthesis and stresses the church’s ground-breaking mural programme.
Concerning John the Baptist, he is depicted in khaki chiton, holding a shaft with a cross on its top and a scarf knotted in front. He must not be included behind Mary in the programme of 1105/6 as there was not enough space. However, during the course of the period between the original fresco programme and the fourteenth century layer, the inclusion of John in the Paraklesis composition in contemporaneous churches became the norm. Therefore it was inevitable him not to be included.
Creator
Source
Digital Heritage Research Lab of Cyprus University of Technology
Publisher
Digital Heritage Research Lab of Cyprus University of Technology
Library of Cyprus University of Technology
Date
Contributor
Digital Heritage Research Lab of Cyprus University of Technology
Rights
Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.
Relation
https://apsida.cut.ac.cy/items/show/45036
Format
JPG, MP3
Language
en
Type
Identifier
Figure-026
Coverage
35.046355, 32.973431
Files
Collection
Citation
Ioannides, Marinos, “Paraklesis (Theotokos And John The Forerunner),” Αψίδα, accessed May 3, 2024, https://apsida.cut.ac.cy/items/show/45238.