DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0062
50
/CCWOGRAF///C PROCTMMAfF
rather unusual. From the shoulder to the hem there run distinctive bands formed of
doubled lines. Such bands were called poto/noi ( "sources") and distinguish the
sticharion of the bishop: in the words of the Byzantine liturgical commentary they
symbolised "the grace of instruction that resides in the bishop and, together with the
multitude of high qualities that belong to him, pours out on all"'^. Christ sitting on his
Mother's knees was shown in the bishop's sticharion as the high priest in his own
church.
This was a very ancient motif in Byzantine iconography. One of the very earliest
examples is the mosaic of the "Good Shepherd" from the Mausoleum of Galla Placidia
(5th century) in Ravenna. In the 12-13th centuries, however, this motif would
become widespread in gospel compositions, thereby intensifying the liturgical
interpretation of the scene. We find a vivid and unexpected analogue of the Akhtala
depiction in the famous "Crucifixion" mural from the main church of Studenica
(1208-9). The loin cloth of Christ was given a quite unusual interpretation and recalls
a shirt lowered and fastened around the loins. However, the doubled bands that run in
parallel from the top downwards are an unmistakable indication that the cloth was
made from a bishop's sticharion^. The suffering Christ on the cross was, at the same
time, a bishop who presented himself for sacrifice. The author of the Studenica
programme was offering an iconographic paraphrase of the liturgical prayer, "Who
offers and who is offered ..." It was the interpretation of these words, it is important to
note here, that caused the most substantial theological dispute of the second half of
the 12th century. It led to the convocation of the 1156-7 synod and to the dogmatic
decrees that then determined the development of theological thinking for an entire
epoch.
Once the meaning of Christ's garments is clear we discover yet another interesting
aspect of the Akhtala "Adoration of the Magi ". On the heads of the wise men we see
the small caps worn by Jewish high priests and a shawl fastened at the neck which was
also part of the ritual garments of the Temple. In this way the author of the
composition emphasised the unity of the Old and New Testaments: the servants of the
Temple bring their gifts to the high priest of the new Church.
The location of this scene is also symbolically specified. The throne on which the
Virgin sits has certain unusual architectural features. The imposing pedestal on which
it rests looks like the arcade or open gallery at the entrance to the temple. Behind the
throne is a basilica and adjoining it a high arch crowned with a cupola. Shown
immediately behind the Virgin, these structures seem to replace the back of the
throne. Despite their generalised features we can recognise the two most famous and
holy Christian sites in Jerusalem: the basilica and shrine from the Holy Sepulchre. The
motif of the "throne as the church ", noted earlier in the altar apse, reappears here with
renewed force. A timeless image of the Mother of God as the Church is again created
but in the "Adoration of the Magi" it has a greater narrative force and specificity. The
37 Migne.PG, t. 155, coi. 712.
33 This artistic treatment is not whoiiy originai, and gives a new interpretation to the iconographic
motif known from certain pre-iconociastic compositions of the Crucifixion (for instance, in the Church
of Sta. Maria Antiqua), where Christ is depicted in a cotobium with hierarcha) stripes.
/CCWOGRAF///C PROCTMMAfF
rather unusual. From the shoulder to the hem there run distinctive bands formed of
doubled lines. Such bands were called poto/noi ( "sources") and distinguish the
sticharion of the bishop: in the words of the Byzantine liturgical commentary they
symbolised "the grace of instruction that resides in the bishop and, together with the
multitude of high qualities that belong to him, pours out on all"'^. Christ sitting on his
Mother's knees was shown in the bishop's sticharion as the high priest in his own
church.
This was a very ancient motif in Byzantine iconography. One of the very earliest
examples is the mosaic of the "Good Shepherd" from the Mausoleum of Galla Placidia
(5th century) in Ravenna. In the 12-13th centuries, however, this motif would
become widespread in gospel compositions, thereby intensifying the liturgical
interpretation of the scene. We find a vivid and unexpected analogue of the Akhtala
depiction in the famous "Crucifixion" mural from the main church of Studenica
(1208-9). The loin cloth of Christ was given a quite unusual interpretation and recalls
a shirt lowered and fastened around the loins. However, the doubled bands that run in
parallel from the top downwards are an unmistakable indication that the cloth was
made from a bishop's sticharion^. The suffering Christ on the cross was, at the same
time, a bishop who presented himself for sacrifice. The author of the Studenica
programme was offering an iconographic paraphrase of the liturgical prayer, "Who
offers and who is offered ..." It was the interpretation of these words, it is important to
note here, that caused the most substantial theological dispute of the second half of
the 12th century. It led to the convocation of the 1156-7 synod and to the dogmatic
decrees that then determined the development of theological thinking for an entire
epoch.
Once the meaning of Christ's garments is clear we discover yet another interesting
aspect of the Akhtala "Adoration of the Magi ". On the heads of the wise men we see
the small caps worn by Jewish high priests and a shawl fastened at the neck which was
also part of the ritual garments of the Temple. In this way the author of the
composition emphasised the unity of the Old and New Testaments: the servants of the
Temple bring their gifts to the high priest of the new Church.
The location of this scene is also symbolically specified. The throne on which the
Virgin sits has certain unusual architectural features. The imposing pedestal on which
it rests looks like the arcade or open gallery at the entrance to the temple. Behind the
throne is a basilica and adjoining it a high arch crowned with a cupola. Shown
immediately behind the Virgin, these structures seem to replace the back of the
throne. Despite their generalised features we can recognise the two most famous and
holy Christian sites in Jerusalem: the basilica and shrine from the Holy Sepulchre. The
motif of the "throne as the church ", noted earlier in the altar apse, reappears here with
renewed force. A timeless image of the Mother of God as the Church is again created
but in the "Adoration of the Magi" it has a greater narrative force and specificity. The
37 Migne.PG, t. 155, coi. 712.
33 This artistic treatment is not whoiiy originai, and gives a new interpretation to the iconographic
motif known from certain pre-iconociastic compositions of the Crucifixion (for instance, in the Church
of Sta. Maria Antiqua), where Christ is depicted in a cotobium with hierarcha) stripes.