St Johns Head Russian 17 c

StSt Cyril and Methodius Rome XI c

Ceramic icon of St. Theodore Stratilates

One of the few ceramic icons in existence, dated to ca. 900, shows St. Theodore. It was found 1909 near Preslav, Bulgaria. (now in National Archaeological Museum, Sofia).

Palermo mosaic 12 c

Synaxis of the Three Hierarchs: Basil the Great, Gregory the Theologian and John Chrysostom: During the eleventh century, disputes raged in Constantinople about which of the three hierarchs was the greatest. Some preferred St Basil, others honored St Gregory the Theologian, while a third group exalted St John Chrysostom. Dissension among Christians increased. Some called themselves Basilians, others referred to themselves as Gregorians, and others as Johnites. By the will of God, the three hierarchs appeared to St John the Bishop of Euchaita in the year 1084, and said that they were equal before God. "There are no divisions among us, and no opposition to one another." They ordered that the disputes should stop, and that their common commemoration should be celebrated on a single day. Bishop John chose January 30 for their joint Feast, thus ending the controversy and restoring peace.

The Palatine Chapel (or Cappella Palatina) is part of the Palazzo dei Normanni (or Palazzo Reale) in Palermo. It was the private chapel of Roger II, who also built Cefalù cathedral. The stunning mosaics include scenes from the Old Testament of the Bible, events from the lives of Saints Peter and Paul, and other saints. Unfortunately the central image of Christ over the altar, and other mosaics in the apse were hidden behind scaffolding and sheeting on this visit, on account of restoration work. There is also extensive cosmati flooring and geometric inlay. The wall outside the chapel in covered in 19th century mosaics, in fascinating contrast to the Byzantine examples inside. The artists responsible for the chapels mosaics are thought to be the same that created those at La Martorana. Many of the biblical scenes in the Palatine Chapel are also featured at Monreale.

St Athanasius Plovdiv 16-17 c

St Athanasius took part in the First Ecumenical Council when he was still a deacon. He surpassed everyone there in his zeal to uphold the teaching that Christ is consubstantial (homoousios) with the Father, and not merely a creature, as the Arians proclaimed.
This radiant beacon of Orthodoxy spent most of his life in exile from his See, because of the plotting of his enemies. He returned to his flock as he was approaching the end of his life. Like an evening star, he illumined the Orthodox faithful with his words for a little while, then reposed in 373.

Theophany. Daphne, 11 c

Мозаика в парусе церкви Успения в Дафни. Наиболее ярким и завершенным проявлением стиля конца XI столетия стали мозаики церкви Успения Богоматери в Дафни, близ Афин, представляющие уникальное явление в истории византийского искусства. Храм декорирован отчасти по классической схеме: в куполе — Пантократор с шестнадцатью пророками в простенках барабана, в апсиде — Богоматерь с поклоняющимися пророками. Однако большое количество праздничных сцен занимают здесь не только тромпы и люнеты, но располагаются даже на плоских поверхностях стен.
Мозаики Дафни создают ощущение праздничности, незамутненного спокойствия и вселенской гармонии. Из живописи полностью исчезают какие бы то ни было мрачные тона, а евангельские образы исполняются поэтической красоты (см. композицию того же ансамбля «Явление ангела Иоакиму»). Даже в сценах страстей нет и намека на страсти и пафос страдания и жертвы. В этот мир благородной и нейтральной красоты не вмещаются кровь, боль и терновый венец Распятия.
В мозаиках Дафни нарастают повествовательные тенденции: сцен становится больше, в них появляются пейзаж, элементы архитектуры, большее внимание уделено сюжету. Однако главным побуждением мастера отнюдь не является тяга к выраженному развитию рассказа. Тщательно отобранные детали, идеальный характер действия, отсутствие каких бы то ни было эмоций и, тем более, экспрессии и духовного напряжения фиксируют мир не как процесс, а как состояние. Художника скорее интересует не что происходит, а как происходит.
В Дафни получили развитие композиционные принципы византийской живописи. Композиции мозаик очень свободны, исполнены широкого дыхания не занятого формами пространства. Характерна не просто статуарность, но идеальная завершенная округлость объемов, уподобляющая фигуры росписи прекрасной круглой скульптуре. Изменилось соотношение фигур между собою и с пространством: персонажи изображены в самых разных ракурсах и разворотах, обилие трехчетвертных и профильных абрисов создает постоянное движение объемов из глубины наружу. Объемные, но легкие ткани демонстрируют пластику тел и одновременно отстают от поверхности, как бы слегка отдуваемые ветром.
В ликах поразительны особая холодноватая красота, безмятежность, бесконечное удаление от мира страстей и эмоций. Даже миловидные нежные типы (Богоматерь, ангелы) полностью отвлечены от душевной умилительности. Ощущение идеального бесстрастия уподобляет образ человека и Богочеловека бесстрастию идеально устроенного и упорядоченного космоса.
Цветовая палитра приобретает особую воздушность и внутреннее сияние. Необыкновенное богатство цветовых переливов, мгновенно преображающих основной тон, вызывает ощущение колеблющейся поверхности тканей. Все цвета взяты в едином, холодновато-серебристом ключе с преобладанием пепельных, серебристых, голубых, холодных розовых и сияющих сапфировых оттенков. Даже золотая смальта фонов выглядит неплотной и прозрачной благодаря светлому, чуть зеленоватому оттенку золота.

Theophany is the Feast which reveals the Most Holy Trinity to the world through the Baptism of the Lord (Mt.3:13-17; Mark 1:9-11; Luke 3:21-22). God the Father spoke from Heaven about the Son, the Son was baptized by the St John the Forerunner, and the Holy Spirit descended upon the Son in the form of a dove. From ancient times this Feast was called the Day of Illumination and the Feast of Lights, since God is Light and has appeared to illumine "those who sat in darkness," and "in the region of the shadow of death" (Mt.4:16), and to save the fallen race of mankind by grace. In the ancient Church it was the custom to baptize catechumens at the Vespers of Theophany, so that Baptism also is revealed as the spiritual illumination of mankind. The origin of the Feast of Theophany goes back to Apostolic times, and it is mentioned in The Apostolic Constitutions (Book V:13). From the second century we have the testimony of St Clement of Alexandria concerning the celebration of the Baptism of the Lord, and the night vigil before this Feast. There is a third century dialogue about the services for Theophany between the holy martyr Hippolytus and St Gregory the Wonderworker. In the following centuries, from the fourth to ninth century, all the great Fathers of the Church: Gregory the Theologian, John Chrysostom, Ambrose of Milan, John of Damascus, commented on the Feast of Theophany. The monks Joseph the Studite, Theophanes and Byzantios composed much liturgical music for this Feast, which is sung at Orthodox services even today. St John of Damascus said that the Lord was baptized, not because He Himself had need for cleansing, but "to bury human sin by water," to fulfill the Law, to reveal the mystery of the Holy Trinity, and finally, to sanctify "the nature of water" and to offer us the form and example of Baptism. On the Feast of the Baptism of Christ, the Holy Church proclaims our faith in the most sublime mystery, incomprehensible to human intellect, of one God in three Persons. It teaches us to confess and glorify the Holy Trinity, one in Essence and Indivisible. It exposes and overthrows the errors of ancient teachings which attempted to explain the Creator of the world by reason, and in human terms. The Church shows the necessity of Baptism for believers in Christ, and it inspires us with a sense of deep gratitude for the illumination and purification of our sinful nature. The Church teaches that our salvation and cleansing from sin is possible only by the power of the grace of the Holy Spirit, therefore it is necessary to preserve worthily these gifts of the grace of holy Baptism, keeping clean this priceless garb, for "As many as have been baptized into Christ, have put on Christ" (Gal 3:27). On the day of Theophany, all foods are permitted, even if the Feast falls on a Wednesday or Friday.

The Nativity. Sinai, 7 c

Daniel and the Lions. Rome, 2-3 c

Fresco at the Catacomb of Saints Marcellinus and Peter - Rome, Via Labicana... So, too, the story of Daniel in the Lion's Den: the wicked authorities persecuting the innocent believers whose only power was their faith in God and his promise to His people... Even the orant pose that Daniel assumes links his persecution and salvation to those of the Christians.

(http://campus.belmont.edu/honors/catacombs/catacombs.htm)

Ss. Paul, Peter, Nicholas, and John Chrysostomos 7 c

40 x 13 cm. Encaustic. Sinai.
These two outer leaves of a triptych are joined by a wooden strip at the top. The Apostles reverse the colors of their tunics and mantles; Paul carries a book, and Peter a scroll, possibly a reference to the traditio legis. Bishops Nicholas and John wear the omophorion and carry books.

St Clement of Ohrid 13 c

The existing church of St. Clement, built in 1295 and named St. Bogorodica Perivleptos, is a completely preserved medieval monument located in Ohrid, famous for its extraordinary architecture and fresco paintings. During the XIII century the Byzantine Empire was ruled by the Palaeologus dynasty, thus also the style of the church, which was erected in that period, is known as "Palaeologus".
After the conversion of the church of St. Sofia into mosque, the church of St. Clement became the cathedral church of the Ohrid Archiepiscopate. It retained that position until the discontinuation of the Archiepiscopate in 1767. Its present name originates from the time when the relics of Clement of Ohrid were transferred there from the monasterial church of St. Pantheleimon, since that one too was conversed into mosque. Many precious icons, manuscripts written in Slavonic or Greek language from the 10th century on, various relics, and religious clothes - all of these were relocated from the churches of St. Sofia and St. Pantheleimon to St. Clement. Thus this church became an unique treasury. Till the present day numerous artifacts have been preserved, primarily the ones from the renown collection of Ohrid icons exhibited in the Gallery of Icons.

The frescoes in the church of St. Clement were gradually discovered, starting from 1950. They were covered with layers of dark soot generated by centuries long burning of icon lamps and candles. The icons were cleaned up by special emulsion made up of organic chemicals according to the recipe of the esteemed painter and conserver Zdravko Blazic. The authors of the frescoes were Michael Astrapus and Eutychus, two exquisite painters from the late XIII and the first half of the XIV century. In 1295 these two fresco painters were commissioned to decorate the church by the Byzantine military commander Progon Zgur, a relative of Emperor Andronicus II Palaeologus, as inscribed on the interior wall above the entrance door. The painters skillfully incorporated their names within the clothes of St. Dimitry (Michael) and St. Procopius (Eutychus), and elsewhere.
The frescoes of the church of St. Clement denote an entirely new chapter in the medieval arts. These frescoes mark the beginning of the new artistic aspirations in the Byzantine arts, known as the Palaeologus Renaissance.
Moreover, the St. Clement's church frescoes are the earliest known and dated works of Michael and Euthychus, later the court painters of King Milutin. Their creative activities can be traced for almost three decades: from the church of St. Clement (1295), through the church of St. Nikitie (1307), to the one in Staro Nagoricani (1318), as well as in other churches.

http://www.soros.org.mk/konkurs/076/angver/bogorodica_svkliment.html

Emperor Justinian 556 A.D.

Mosaic detail showing the Emperor Justinian, 556 A.D. Although Justinian was alive when this mosaic was made, he nevertheless gets a nimbus (with Sassanid beads, reflecting the orgin of the symbol), which suggests his role as God's direct agent on earth. The effect of Justinian's take-over of Italy was not positive. Not only were the Gothic wars terribly destructive, but the powerful landowners continue to resist being governed. While the Lombard arrival did not affect Ravenna directly, it tended to isolate the area. We therefore do not see in Ravenna the neo-classicism then in fashion at the court of Constantinople.

Archangel Michael 12 c

The Archangel Michael with the prostrate figure of a dedicated monk at his feet. This portable icon dates to the 12th century.