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DOI Artikel:Dobrzeniecki, Tadeusz; Muzeum Narodowe w Warszawie [Mitarb.]: St. Anne from Faras in the National Museum in Warsaw
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18903#0082
In the following representations of the Annunciation to the Virgin Mary varying dependence
on the sources can be traced: a Syrian miniaturę closing the Evangeliary of 989 shows Mary
standing frontally with her right hand raised to her chin, listening attentively to the archangeFs
words (Fig. 19)55. In Parenzo, a mosaic in the apse of the basilica of c. 540 shows the Archangel
addressing Mary, who, enthroned, listens to the Salutation with her forefinger raised to her
lips66.
Mary makes the same pensive gesture in the Annunciation scenę in a cycle of frescoes in S. Maria
di Castelseprio57 (Fig. 20). The gesture is typical of Classical Antiąuity. Dynamis, who inspires
David in his fight with Goliath in the Paris Psalter, makes the same gesture, and so does Metanoia
in the scenę of David's repentance58.
The most important exemples for the image of St. Anne of Faras represent the iconography
of the Annunciation, that uses double formuła:
1. Wall painting in the apse of El Adra Church: Mary is shown standing as she listens to the
Annunciation, making the traditional „gesture of meditation "(Fig. 21)59;
2. Miniaturę in a hagiographic manuscript (synaxarium) of 914 (Fig. 22): Mary is seated
frontally on an ornamental throne with a purple cushion. In her right hand, she holds a spindle;
her left hand is raised higher than her right, and her index finger points at her ear. The Archangel
is likewise shown standing frontally without directing his eyes at the Theotokos; only his raised
hand points at her. An inscription in Coptic running above both figures says: „Holy Mary the
Virgin Gabriel brings good message". Beside the throne runs an inscription in Greek from the
Gospel according to Lukę, I. 28: Ave gratia plena Dominus tecum"0.
The differentiated gesture of Mary may be explained on the basis of the twofold interpretation
of the Conception. This idea was known in the Coptic and Nubian milieu, as is testified by the
two above-described versions of the Annunciation. This was also notified by the publisher of
Coptic Biblical manuscripts and ones devoted to the cult of the Virgin Mary. He conveyed an
important detail occurring in a Bohair tcxt, that he did not specify: during the Annunciation,
the Holy Spirit entered Mary's body through her mouth. He added the information, that in the
Saida fragment of the apocryphal Gospel Mary conceived by the ears61.
Another evidence for this opinion is to be found in Ethiopian hymns to the Virgin Mary:
„Without Father by hearing the word from the voice of your Archangel Gabriel, whose coun-
tenance is joyful (the Virgin conceived)". „The Angel descended in a dense brilliant cloud.
When Gabriel's message had reached Mary's ear, the word (Logos), the vine Flower, Beauty
entered her womb"62.
55. J. Strzygowski, Das Etschmiadzin-Eoangeliar, Wicn, 1891, p. 68—69, pl. V2; L. A. Dournovo, Miniatures Armeniennes,
op. cit,. Fig. on p. 35 of the Gospel of 989, exccuted in the Monastery Noravank a Sunik, Matendaran No 2374; D. V. Aina-
lov, The Hellenislic Origins of Byzanline Art, New Brunswick, 1961, p. 100, Fig. 51.
56. C. R. Morey, Early Christian Art, op. cit., p. 291, fig. 187; G. Schiller, Ikonographie der chrisllichen Kunst, I, Giittersloch,
1966, Fig. 72.
57. K. Weitzmann, The Fresco Cycle of Sta. Maria di Castelseprio, Princeton, 1951, p. 36—37, Fig. 1.
58. H. Edmonds, „Begriffsgeschichtliches zu METANOIA (Paenitcntia)", Reallexikon fiir Anlike und Christentum, II, Stutt-
gart, 1954, col. 802—805; K. Weitzmann, Illustrations in Roli and Codex. A Study of the Origin and Melhod of Text-Il-
lustration, Princeton, 1970, Fig. 93: Paris, Bibl. Nat. Cod. Gr. 139, fol. 136v — Pcnitence of David (Metanoia).
59. P. Du Bourguet, La peinture murale copte, op. cii., p. 303—308, fig. 306; J. Leroy, Les peintures des couoents du Quadi Na-
troin, Le Caire, 1982, Fig. 111, 112.
60. M. Cramer, „Koptische Buchmalerei. Illuminationen in Manuscripten des christlich-koptischen Agypten vom 4. bis 19.
Jahrhundcrt", Beitrdge sur Kunst der chrisllichen Ostens, CXXI, Rccklinghausen, 1964, p. 65, Fig. 69.
61. J. Leitpold, Theotogische Literaturzeitung, LIII, 1928, col. 499—500, review of The Monasteries of the Wadi'n Natrun.
Part I, New Coptic Texts from the Monastery of Saint Macarius. Ed. with an Introduction on the Library at the Monastery
of Saint Macarius by H. E. White, New York, The Metropolitan Muscum of Art, 1926.
62. A. Grohmann, „Atiopische Marienhymnen, Leipzig, 1919, p. 238.
72
on the sources can be traced: a Syrian miniaturę closing the Evangeliary of 989 shows Mary
standing frontally with her right hand raised to her chin, listening attentively to the archangeFs
words (Fig. 19)55. In Parenzo, a mosaic in the apse of the basilica of c. 540 shows the Archangel
addressing Mary, who, enthroned, listens to the Salutation with her forefinger raised to her
lips66.
Mary makes the same pensive gesture in the Annunciation scenę in a cycle of frescoes in S. Maria
di Castelseprio57 (Fig. 20). The gesture is typical of Classical Antiąuity. Dynamis, who inspires
David in his fight with Goliath in the Paris Psalter, makes the same gesture, and so does Metanoia
in the scenę of David's repentance58.
The most important exemples for the image of St. Anne of Faras represent the iconography
of the Annunciation, that uses double formuła:
1. Wall painting in the apse of El Adra Church: Mary is shown standing as she listens to the
Annunciation, making the traditional „gesture of meditation "(Fig. 21)59;
2. Miniaturę in a hagiographic manuscript (synaxarium) of 914 (Fig. 22): Mary is seated
frontally on an ornamental throne with a purple cushion. In her right hand, she holds a spindle;
her left hand is raised higher than her right, and her index finger points at her ear. The Archangel
is likewise shown standing frontally without directing his eyes at the Theotokos; only his raised
hand points at her. An inscription in Coptic running above both figures says: „Holy Mary the
Virgin Gabriel brings good message". Beside the throne runs an inscription in Greek from the
Gospel according to Lukę, I. 28: Ave gratia plena Dominus tecum"0.
The differentiated gesture of Mary may be explained on the basis of the twofold interpretation
of the Conception. This idea was known in the Coptic and Nubian milieu, as is testified by the
two above-described versions of the Annunciation. This was also notified by the publisher of
Coptic Biblical manuscripts and ones devoted to the cult of the Virgin Mary. He conveyed an
important detail occurring in a Bohair tcxt, that he did not specify: during the Annunciation,
the Holy Spirit entered Mary's body through her mouth. He added the information, that in the
Saida fragment of the apocryphal Gospel Mary conceived by the ears61.
Another evidence for this opinion is to be found in Ethiopian hymns to the Virgin Mary:
„Without Father by hearing the word from the voice of your Archangel Gabriel, whose coun-
tenance is joyful (the Virgin conceived)". „The Angel descended in a dense brilliant cloud.
When Gabriel's message had reached Mary's ear, the word (Logos), the vine Flower, Beauty
entered her womb"62.
55. J. Strzygowski, Das Etschmiadzin-Eoangeliar, Wicn, 1891, p. 68—69, pl. V2; L. A. Dournovo, Miniatures Armeniennes,
op. cit,. Fig. on p. 35 of the Gospel of 989, exccuted in the Monastery Noravank a Sunik, Matendaran No 2374; D. V. Aina-
lov, The Hellenislic Origins of Byzanline Art, New Brunswick, 1961, p. 100, Fig. 51.
56. C. R. Morey, Early Christian Art, op. cit., p. 291, fig. 187; G. Schiller, Ikonographie der chrisllichen Kunst, I, Giittersloch,
1966, Fig. 72.
57. K. Weitzmann, The Fresco Cycle of Sta. Maria di Castelseprio, Princeton, 1951, p. 36—37, Fig. 1.
58. H. Edmonds, „Begriffsgeschichtliches zu METANOIA (Paenitcntia)", Reallexikon fiir Anlike und Christentum, II, Stutt-
gart, 1954, col. 802—805; K. Weitzmann, Illustrations in Roli and Codex. A Study of the Origin and Melhod of Text-Il-
lustration, Princeton, 1970, Fig. 93: Paris, Bibl. Nat. Cod. Gr. 139, fol. 136v — Pcnitence of David (Metanoia).
59. P. Du Bourguet, La peinture murale copte, op. cii., p. 303—308, fig. 306; J. Leroy, Les peintures des couoents du Quadi Na-
troin, Le Caire, 1982, Fig. 111, 112.
60. M. Cramer, „Koptische Buchmalerei. Illuminationen in Manuscripten des christlich-koptischen Agypten vom 4. bis 19.
Jahrhundcrt", Beitrdge sur Kunst der chrisllichen Ostens, CXXI, Rccklinghausen, 1964, p. 65, Fig. 69.
61. J. Leitpold, Theotogische Literaturzeitung, LIII, 1928, col. 499—500, review of The Monasteries of the Wadi'n Natrun.
Part I, New Coptic Texts from the Monastery of Saint Macarius. Ed. with an Introduction on the Library at the Monastery
of Saint Macarius by H. E. White, New York, The Metropolitan Muscum of Art, 1926.
62. A. Grohmann, „Atiopische Marienhymnen, Leipzig, 1919, p. 238.
72