DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0061
yt/CW.S' OF 7W; DOMFD CA'O.S'.S
49
The "Nativity" at Akhtaia, painted about fifty years fater, is filled with the same
pathos as the Nerezi fresco. But here the components of its ambivafent "birth-death"
theme have changed pfaces. The Akhtafa "Nativity" points to the coming sacrifice whife
the Nerezi "Lamentation" recaffs how the Word became ffesh. In fate 12th-century
iconographic programmes, it is interesting to note, the two compositions were
consciously compared. In the murals of St George at Kurbinovo (1191), as Maguire
has shown, the "Nativity" scene in the centre of the south waff, was demonstratively
contrasted to the "Lamentation" in the centre of the north waffS^. The symbolic
connection between the compositions is emphasised by the treatment of the
background where the cave motif acquires particular significance. The comparison
between the cave in which Christ was born and that in which He was buried is well
known in fiturgicaf poetry. The same consistent finking of these two contrasting
episodes in His earthly iife, with its inner drama, also underlies the iconographic
treatment in Nerezi and Akhtaia.
A striving to emphasise the liturgical character of this image can be found not only
in the central depiction of the Virgin on the couch but also in the other scenes that
make up the "Nativity" composition. In the annunciation to the shepherds, for
instance, the angel who descends from heaven and blesses them holds in his left hand
a staff which recalls the fr/kmon of the liturgy. He thus appears before the shepherds
as a hierarch during the service. The angels depicted above the cave of the Nativity
have ritual cuffs and wear priestly phelonions over which lie imperial
loros. These special garments recall that they are the guards of the King of Heaven
and, at the same time, are like priests participating in the Liturgy. The three central
angelic figures, shown exactly above the Mother and Child, clearly evoke association
with the composition of the "Trinity". This conveys the idea that the incarnation was
the action of the Holy Trinity and that in the "Nativity of Christ" the Trinity had
carried out its monumental plan for man's salvation. The hv'k/r/'o/; in the hands of the
angel bringing the good news to the shepherds therefore acquires a further meaning:
for the appearance of this object in the liturgy immediately after the Trisagion has
been recited points to the role of the Holy Trinity in the mystery of the Incarnation.
The "Adoration of the Magi", a scene separated by a special frame to the left of the
"Nativity", also reveals rare liturgical motifs. The Virgin sits like a queen on a richly
decorated throne while the three wise men bring the Infant gifts of gold, frankincense
and myrrh, referring respectively to the kingship, divinity and sacrifice of Christ. Led
by an angel descending from the heavens, they are shown as a youth, a middle-aged
man and an old man. The three ages of the magi, theologians thought, symbolised the
eternity of the royal infant^^.
The introduction of the "Adoration of the Magi" as a separate scene of the
"Nativity" emphasised the liturgical content of the composition as a whole. The gifts of
the three wise men were traditionally interpreted as a prefiguring of the ritual offerings
which lie at the heart of the eucharistic mystery. Here we should pay attention to the
garments of the Infant who is seated on his Mother's knees. The chiton he wears is
^ Maguire. F/oyMence, p. 103.
^ See Mathews. "Gospel', pp. 207-20S.
49
The "Nativity" at Akhtaia, painted about fifty years fater, is filled with the same
pathos as the Nerezi fresco. But here the components of its ambivafent "birth-death"
theme have changed pfaces. The Akhtafa "Nativity" points to the coming sacrifice whife
the Nerezi "Lamentation" recaffs how the Word became ffesh. In fate 12th-century
iconographic programmes, it is interesting to note, the two compositions were
consciously compared. In the murals of St George at Kurbinovo (1191), as Maguire
has shown, the "Nativity" scene in the centre of the south waff, was demonstratively
contrasted to the "Lamentation" in the centre of the north waffS^. The symbolic
connection between the compositions is emphasised by the treatment of the
background where the cave motif acquires particular significance. The comparison
between the cave in which Christ was born and that in which He was buried is well
known in fiturgicaf poetry. The same consistent finking of these two contrasting
episodes in His earthly iife, with its inner drama, also underlies the iconographic
treatment in Nerezi and Akhtaia.
A striving to emphasise the liturgical character of this image can be found not only
in the central depiction of the Virgin on the couch but also in the other scenes that
make up the "Nativity" composition. In the annunciation to the shepherds, for
instance, the angel who descends from heaven and blesses them holds in his left hand
a staff which recalls the fr/kmon of the liturgy. He thus appears before the shepherds
as a hierarch during the service. The angels depicted above the cave of the Nativity
have ritual cuffs and wear priestly phelonions over which lie imperial
loros. These special garments recall that they are the guards of the King of Heaven
and, at the same time, are like priests participating in the Liturgy. The three central
angelic figures, shown exactly above the Mother and Child, clearly evoke association
with the composition of the "Trinity". This conveys the idea that the incarnation was
the action of the Holy Trinity and that in the "Nativity of Christ" the Trinity had
carried out its monumental plan for man's salvation. The hv'k/r/'o/; in the hands of the
angel bringing the good news to the shepherds therefore acquires a further meaning:
for the appearance of this object in the liturgy immediately after the Trisagion has
been recited points to the role of the Holy Trinity in the mystery of the Incarnation.
The "Adoration of the Magi", a scene separated by a special frame to the left of the
"Nativity", also reveals rare liturgical motifs. The Virgin sits like a queen on a richly
decorated throne while the three wise men bring the Infant gifts of gold, frankincense
and myrrh, referring respectively to the kingship, divinity and sacrifice of Christ. Led
by an angel descending from the heavens, they are shown as a youth, a middle-aged
man and an old man. The three ages of the magi, theologians thought, symbolised the
eternity of the royal infant^^.
The introduction of the "Adoration of the Magi" as a separate scene of the
"Nativity" emphasised the liturgical content of the composition as a whole. The gifts of
the three wise men were traditionally interpreted as a prefiguring of the ritual offerings
which lie at the heart of the eucharistic mystery. Here we should pay attention to the
garments of the Infant who is seated on his Mother's knees. The chiton he wears is
^ Maguire. F/oyMence, p. 103.
^ See Mathews. "Gospel', pp. 207-20S.