Donor Portrait
Dublin Core
Title
Donor Portrait
Subject
Description
The donor portrait is placed on the southern half of the central blind arch, above the entrance of the Asinou church and is dated to the fourteenth century. It depicts the donor, Magistros Nikephoros Ischyrios, offering the replica of the church to his patron saint, Theotokos. Mary rests Her hand on the church and leads the founder to the enthroned Christ, surrounded by angels. Behind Nikephoros, there is a female figure, his wife or daughter, Gephyra, pictured in a smaller scale, along with her funerary inscription. In front of Mary is Nikephoros’s inscription inquiring about her protection on the day of Judgement.
Undoubtedly there was a donor portrait in the original imagery program of the church. Three features, however, do empower the notion that the subject and depiction style of the current scene is traced back to that initial imagery. Firstly, the transcription of the poem evokes those of the twelfth century. Secondly, Nikephoros’s long-nosed face, hairstyle and his chlamys-like apparel reminisces middle Byzantine courtly costume. And thirdly, the replica of the church which is offered by Nikephoros does not contain the later narthex.
Gephyra is an enigmatic figure, with regard to her name, her petite size or the conflict of the year and indiction in the date of her death. If her diminutive size corresponds to the implication that she is a child, then her mother should have been shown. On the other hand, if Gephyra is Nikephoros’s wife, then this is a Cypriot unicum of a portrait of a married couple depicting the spouse in a smaller scale. Gephyra died on 17th of December eleven o six, too late to have been included in the initial design, but too soon not be included. Thus the painter or painters designed the figure of Gephyra where there was free space but in a smaller size. Gephyra’s name is an unattested name in Byzantine sources of Cyprus. Safira, though, is a name confirmed in the list of villagers in the area of Asinou in the sixteenth century. Therefore Gephyra could be a paraphrase of the name Safira.
Undoubtedly there was a donor portrait in the original imagery program of the church. Three features, however, do empower the notion that the subject and depiction style of the current scene is traced back to that initial imagery. Firstly, the transcription of the poem evokes those of the twelfth century. Secondly, Nikephoros’s long-nosed face, hairstyle and his chlamys-like apparel reminisces middle Byzantine courtly costume. And thirdly, the replica of the church which is offered by Nikephoros does not contain the later narthex.
Gephyra is an enigmatic figure, with regard to her name, her petite size or the conflict of the year and indiction in the date of her death. If her diminutive size corresponds to the implication that she is a child, then her mother should have been shown. On the other hand, if Gephyra is Nikephoros’s wife, then this is a Cypriot unicum of a portrait of a married couple depicting the spouse in a smaller scale. Gephyra died on 17th of December eleven o six, too late to have been included in the initial design, but too soon not be included. Thus the painter or painters designed the figure of Gephyra where there was free space but in a smaller size. Gephyra’s name is an unattested name in Byzantine sources of Cyprus. Safira, though, is a name confirmed in the list of villagers in the area of Asinou in the sixteenth century. Therefore Gephyra could be a paraphrase of the name Safira.
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-038
Coverage
35.046355, 32.973431
Files
Collection
Citation
Ioannides, Marinos, “Donor Portrait,” Αψίδα, accessed May 6, 2024, https://apsida.cut.ac.cy/items/show/45252.