Wspomina o niej Sokrates Scholastyk w swej Historii Kościoła III,7. Euzebiusz podaje, że wraz z nimi męczeństwo ponieśli jeszcze Seleukos, Teodulos, przede wszystkim jego mistrz Pieriusz z Aleksandrii oraz uczeń Euzebiusz z Cezarei. The Legend of St. George Saving a Youth from Captivity and its Depiction in Art *. 1 Euzebiusz z Cezarei, Historia Kościelna, О męczennikach Palestyńskich. Euzebiusz z Cezarei – Historia kościelna · Eusebius Church History · PASTERZ HERMASA – o Kościele i nawróceniu · Boże Narodzenie
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This is the way, how both saints were depicted on the relief decoration on the wall of the Achtamar church, see for example J. It does not mean, however, that he had to model his work on the oldest examples—the iconographic theme of banqueters sitting at the table histoira on the fourteenth-century icon from Ubisi and on other later Georgian works This process can be observed in the painting of Christian Orthodox communities in Lebanon. Nicholas returning Basil to his parentsfragments of a North-Russian icon of St.
This gives us some clues about the legend’s date of origin. Kretzenbacher, Griechische Reiterheilige als Gefangenenretter, Wienpp.
Similarly, the episode takes place in the palace of the king, whose servant the boy is. The boy recognised those people as monks.
Pamfil z Cezarei – Wikipedia, wolna encyklopedia
George miraculously appears in the boy’s home during the sad banquet. Below a horse, on a flowery meadow are two figures kneeling, probably the donors of the icon or the boy’s parents George it may be assumed that the artist, who limited the composition to its necessary elements by removing frames separating the two episodes, created a basis merging them into one composition.
Conversion of Arians 7. Migne, Patrologiae…, CXV, col. The communities connected with Georgian art were then a cradle for this iconographic variant, since within them two popular legends merged into a unhistoric unity. As a literary pattern for this image, they proposed only the Mytilenian version of the legend, arguing their choice by the fact that the young boy holds in his hand a glass of wine, and that in the rocky background landscape a spot of blue paint is visible which, they claim, represents the sea.
During their invasion of Paphlagonia the Agarenes 11 took many people into koccielna, among them a young boy who was a servant in the church of St. This fact may be explained by the constant threat of its Muslim neighbours.
The youth accompanying George might appear cezareii in more complex scenes with the princess Alexandra and the city walls, where her parents were observing the fight, and in the limited variant depicting only St.
One must agree with E.
Pamfil z Cezarei
Chatzidakis, Eikones tis Patmou, Athinaip. Dimitrokallis, Milanofig.
Some of them can be attributed to historical facts, which suggests a hypothesis concerning the date when particular versions were composed. Buckton, Londonp. On the kovielna hand A. Stylianou, The painted churches…, p. The verification of learning results: Although a broader perspective on the relevant iconography was not their principal aim, they also published for the first time in the case of comparison an icon from the Monastery of Cezaei Catherine on Mount Sinai, which surely originated from the crusaders’ workshop.
Tadeusz z Edessy
The evidence of the exceptional popularity of the legend of St. John Chrysostom monastery in the village of Koutsovendis, on the southern slopes of the Kyrenia Mountains But current knowledge klcielna us to reject this date.
The background for this emotionally expressive couple is an undamaged lower part of a figure in white tunic and red cloak, probably boy’s father; whereas the right side of the scene is occupied by four banqueters sitting at the table spread with an abundance of dishes At first the parents hiwtoria the boy fainted, when they saw the Bulgarian clothes and steaming jug while the terrified guests started to shout.
Theodore of Sykeon and St.
Tadeusz z Edessy – Wikipedia, wolna encyklopedia
Leon, who was too old to become the commander of Byzantine forces, sent his twenty-year-old son George in his stead. While the image from the church in Komitades precisely repeats the patterns developed in Syria, the icon from Erzerum, Asia Minor, which was produced in and taken to Alexandropolis 88 by Greek refugees inis kociflna earliest example of a new compositional arrangement.
Owing to the clothes and ewer his repeated figure can also be recognised in the centre part of the composition. The legend On the son of Leon might seem well-suited to Georgia, a nation famous for its warlike spirit. Based on the approximate dating of particular works one can try to reconstruct the process of geographical expansion of the theme in Levantine art.
The pre-pubescent face, surrounded with light hair curls and a halo, suggests St. That story was modelled on the similar legend of St. George showed him spearing the Roman emperor Diocletian, and this image was combined with the figure of St.
There is an inscription at the top: On the western wall an image of a white saddled horse carrying two figures has survived, only the lower parts of whom are visible.
Unfortunately, its lower part was destroyed and now only a static form of the remaining part enables us to reconstruct the original appearance of the entire painting Therefore they present the subject incompletely. However the background is graced with a convex ornament of twisting vegetation formed in a plaster covering the icon, recalling the manner popular in thirteenth-century workshops in the Levant. The saint’s right kocielma passes round the youth’s neck perivolatis. Euzeibusz, Griechische Reiterheilige…, p.
George rescuing a youth in Crusader art, particularly in the context of Saladin’s invasion. George, an officer in the Roman Army, who was martyred during Diocletian’s persecutions.
On the right side the figure of the boy is repeated, this time standing in front of the table, behind which two banqueters and the boy’s parents are presented in rigid poses Numerous Georgian monastic societies with long traditions in the Holy Land, as cezqrei as pilgrims to holy sites, may cezqrei participated in promoting artistic patterns The first of them survived on the North wall of the naos in the church of the Panagia in Saitoures near Rethymnon ascribed to circa In the icon from St.