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                  <text>Church of Panagia of Asinou</text>
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                <text>Saint Eustathios</text>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>On the eastern face of the southern strengthened respond, Saint Eustathios is depicted.&#13;
Even though corrosion prints occur, they do not indicate any traces of the twelfth century layer. Actually these abrasions were overpainted, during the 1960s restoration programme.&#13;
Regarding of which saint occupied the same panel in the original scheme is a debate.  As in the north side, a courtly martyr could be a possible representation but who exactly? Eustathios was depicted frequently as a martyr but this would not be the occupation which was based on for his inclusion. Rather for his identification as a warrior as many of the saints of the naos were .</text>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-039</text>
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            <description>A name given to the resource</description>
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                <text>Donor Portrait</text>
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            <description>The topic of the resource</description>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>Icons--post-Byzantine--Cyprus</text>
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                <text>Εικόνες--Μεταβυζαντινές--Κύπρος</text>
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                <text>Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)</text>
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                <text>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.&#13;
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.&#13;
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.</text>
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                <text>Ioannides, Marinos</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Library of Cyprus University of Technology</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2006</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-038</text>
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            <description>A name given to the resource</description>
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                <text>Saint George</text>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>The portrait of the military par excellence Saint George occupies the panel on the western side of the southern door of the naos, and is included in the fourteenth century mural programme of the church.&#13;
Its depiction here does not equally communicates the notability given to his portrait in the narthex.  Even though dated to the late Byzantine period with the maniakion, the jewelled ring, Saint George wears a short tunic, a distinctive garment of his Komnenan-era representation form. Therefore his representation reflects his traditional figure.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2006</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="832142">
                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>en</text>
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            <name>Rights</name>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <description>A language of the resource</description>
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            <description>The nature or genre of the resource</description>
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            <description>A name given to the resource</description>
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            <description>The topic of the resource</description>
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                <text>On the east jamb of the southern door of the naos, apotropaic cross with a waived crown of thorns and cryptograms are depicted.&#13;
The cross is brown-coloured and the letters black. Both are painted on a white background.&#13;
The sixth line of the cryptograms of the east jamb refer to Saint Helena, depicted on the jamb of the Holy Door. The cryptograms associate Helena to the cross, and in turn she operates as an apotropaic symbol on the doorway of the Holy Door.</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Library of Cyprus University of Technology</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-034(5-5)</text>
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            <description>A name given to the resource</description>
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                <text>A chevron design, decorates the west portal of the south door of the central bay. The motif consists of superimposed wavy red and black lines in turn, on a white setting.</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Library of Cyprus University of Technology</text>
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            <description>An entity responsible for making contributions to the resource</description>
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            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <description>The nature or genre of the resource</description>
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Their depiction on the soffit of the south wall was intentional and promoted their protective role, not only for the worshippers but the donor too.&#13;
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                <text>Figure-033(5-5)</text>
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                <text>The busts of the Martyrs of Edessa and Saint Thalelaios, are depicted in the four medallions on the western face of the soffit of the southern wall.&#13;
Additionally to the fact that they share the same day of commemoration, as the other three clusters of Saints in medallions on the soffits of the south and north wall the Martyrs have also the same place of origin, Edessa. From left to right, they are recognised as Saint Abibos, Saint Gourias, Saint Samonas and Saint Thalelaios.&#13;
Underneath the current layer of the fourteenth century, it is supposed that again the same saints were depicted, as they were a favourable theme during the middle Byzantine period in the whole empire. This emerges the multicultural influence of Asinu’s iconographic programme.&#13;
As all other saints attested on the soffits of the south and north wall of the central bay, they are considered as healers in the manner of miracle workers. In this aspect, a protective mantle over the worshippers and the donor was hypothetically covering the church.&#13;
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            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-033(6-6)</text>
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                <text>Christ the Merciful is depicted on the left side of the templon and is part of the Paraklesis composition, along with His mother and John the Baptist depicted across. This representation corresponds to the Deesis depicted on either side of the eastern wall of the narthex and in turn establishes a visual analogy between the two. This duplication was not unusual within the late Byzantine monastic mural programmes. According to scholars, their depictions in these two parts of the church operate as gradual thresholds of holiness.&#13;
&#13;
It bears no doubt that Christ the Merciful was part of the original programme of the Paraklesis as he was the receiver of Mary’s praise for showing mercy to the humankind. But the fourteenth-century fresco must have undergone a few stylistic modifications. The Christ in the bema imitates the posture, gestures and colour palette of His figure in the narthex but in a more lifelike manner, in order him to be evenly depicted on the available space of the panel.&#13;
&#13;
The depiction of Christ holding the book and the inscription on it taken from John (13:34):&#13;
&#13;
'A new commandment I give to you, that you&#13;
&#13;
love one another; even as I have loved you'. &#13;
&#13;
It seems not being part of the original programme as depictions of the Paraklesis before the 1105/6 cycle did not include Him holding a book. Therefore they thought to be innovative entries of the fourteenth century.&#13;
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="831997">
                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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