DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27365#0078
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embodied the theoiogicai concept of resurrection and replaced the "Descent into Heii"
or "Anastasis" which represented this theme in certain other variants of the "Last
Judgement'^ The fundamentai simiiarity between the Novgorod and Caucasian
monuments permits us to suggest that here we have a common Byzantine tradition
that might be observed in other depictions of the "Last Judgement ".
Another probabiy just as ancient though not universaiiy accepted Byzantine
tradition, was the iocation of the "Descent of the Hoiy Spirit" next to the "Last
Judgement". The pooriy preserved but originaiiy very iarge composition of the
"Descent of the Hoiy Spirit " in Akhtaia is located on the southern wall of the west arm
and directly adjoins the procession of the righteous from the "Last Judgement". Both
dogmatic ideas and a similarity in iconographic motifs form a symbolic connection
between the two compositions. The descent of the Holy Spirit was the most important
event after the Ascension, and it prepared the way for the Second Coming. In the
history of salvation it was interpreted as the final act in the creation of God's church
on earth. From that moment onwards began the apostolic witness and the spread of
the Christian faith throughout the world: the way to salvation was opened to mankind,
and to life eternal after the Last Judgement. The shared meaning of the "Last
Judgement" and the "Descent of the Holy Spirit" found its reflection in similar pictorial
approaches^. In both compositions an important role is played by the theme of the
appearance of God or Theophany which was embodied through the common
iconographic motif of the the purifying flame, and the apostles seated on
their thrones.
In early 9-10th-century Cappadocian depictions of. the "Last Judgement" we
encounter a striking contamination of two compositions^. The most vivid example is
provided by the murals of Kokar Kilise in Ikhlara^: tongues of flame descend on the
apostles ranged to either side of the enthroned Christ in the "Last Judgement",
although these referred to the gift of mystical omniscience acquired at the moment
that the Holy Spirit descended. We can also note a combination of the interest in this
theme with the Second Coming in later Byzantine iconographic programmes. In the
murals of Kurbinovo (1191), for example, the scenes of the "Last Judgement " on the
west wall were replaced by a depiction of the "Great Theophany " or "Appearance of
the Ancient of Days surrounded by the Heavenly Hosts". These were based on
prophetic visions and liturgical texts and created an unusual image of the Second
M.F. Muryanov, "On the symbolism of the Nereditsa Frescoes", Rtd'tnra rrednevekovo;' Rizn
(Mediaeva! Russian Cuiture), Leningrad, 1974, pp. 168-70.
127 On the iconography of the "Descent of the Hoiy Spirit", see Grabar, E'er?, Voi 1, pp. 616-21
and L. Ouspensky, "Iconography of the Descent of the Hoiy Spirit", 5t Fladtntt'r'r gnarterfy, 31 (1987),
pp. 309-47. For a new view on the source of this iconographic type, see G. Stricevic, "Byzantine
Iconography of Pentecost". Eievendt zinnnat Byzantine .S'tndt'es- Con/ercnce, Abstracts of Papers, Toronto,
1985, pp. 46-7.
128 -ptie extant exanipies of such contamination are enumerated in Thierry, As Ji/gemenf dernier, p.
164.
121 See N. & M. Thierry, Novelier egfirer rn/tertrer de Cappadoee, Paris, 1963, pi. 63-4, pp. 128-33.
/COM3G/MPH/C PROGRAMME
embodied the theoiogicai concept of resurrection and replaced the "Descent into Heii"
or "Anastasis" which represented this theme in certain other variants of the "Last
Judgement'^ The fundamentai simiiarity between the Novgorod and Caucasian
monuments permits us to suggest that here we have a common Byzantine tradition
that might be observed in other depictions of the "Last Judgement ".
Another probabiy just as ancient though not universaiiy accepted Byzantine
tradition, was the iocation of the "Descent of the Hoiy Spirit" next to the "Last
Judgement". The pooriy preserved but originaiiy very iarge composition of the
"Descent of the Hoiy Spirit " in Akhtaia is located on the southern wall of the west arm
and directly adjoins the procession of the righteous from the "Last Judgement". Both
dogmatic ideas and a similarity in iconographic motifs form a symbolic connection
between the two compositions. The descent of the Holy Spirit was the most important
event after the Ascension, and it prepared the way for the Second Coming. In the
history of salvation it was interpreted as the final act in the creation of God's church
on earth. From that moment onwards began the apostolic witness and the spread of
the Christian faith throughout the world: the way to salvation was opened to mankind,
and to life eternal after the Last Judgement. The shared meaning of the "Last
Judgement" and the "Descent of the Holy Spirit" found its reflection in similar pictorial
approaches^. In both compositions an important role is played by the theme of the
appearance of God or Theophany which was embodied through the common
iconographic motif of the the purifying flame, and the apostles seated on
their thrones.
In early 9-10th-century Cappadocian depictions of. the "Last Judgement" we
encounter a striking contamination of two compositions^. The most vivid example is
provided by the murals of Kokar Kilise in Ikhlara^: tongues of flame descend on the
apostles ranged to either side of the enthroned Christ in the "Last Judgement",
although these referred to the gift of mystical omniscience acquired at the moment
that the Holy Spirit descended. We can also note a combination of the interest in this
theme with the Second Coming in later Byzantine iconographic programmes. In the
murals of Kurbinovo (1191), for example, the scenes of the "Last Judgement " on the
west wall were replaced by a depiction of the "Great Theophany " or "Appearance of
the Ancient of Days surrounded by the Heavenly Hosts". These were based on
prophetic visions and liturgical texts and created an unusual image of the Second
M.F. Muryanov, "On the symbolism of the Nereditsa Frescoes", Rtd'tnra rrednevekovo;' Rizn
(Mediaeva! Russian Cuiture), Leningrad, 1974, pp. 168-70.
127 On the iconography of the "Descent of the Hoiy Spirit", see Grabar, E'er?, Voi 1, pp. 616-21
and L. Ouspensky, "Iconography of the Descent of the Hoiy Spirit", 5t Fladtntt'r'r gnarterfy, 31 (1987),
pp. 309-47. For a new view on the source of this iconographic type, see G. Stricevic, "Byzantine
Iconography of Pentecost". Eievendt zinnnat Byzantine .S'tndt'es- Con/ercnce, Abstracts of Papers, Toronto,
1985, pp. 46-7.
128 -ptie extant exanipies of such contamination are enumerated in Thierry, As Ji/gemenf dernier, p.
164.
121 See N. & M. Thierry, Novelier egfirer rn/tertrer de Cappadoee, Paris, 1963, pi. 63-4, pp. 128-33.