DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0439
436 I THE WALL PAINTINGS OF AKHTALA MONASTERY
Babic, Les chapelles annexes,
187 See
pp. 117-118.
188 On this theme in Byzantine icono-
graphic programmes, see Radojcic S.
Una poenitentium of Mary of Egypt in
Serbian art of the XIV century // Pro-
ceedings of the Popular Museum, IV
(1964), pp. 255-264; Stylianou A. The
Communion of St. Mary of Egypt and
her death in the painted churches of.
Cyprus // Actes du XIV Congres inter-
national des etudes byzantines. Vol. III.
Bucarest, 1976,1976, pp. 455-441.
In St Sophia in Ochrid the theme was also located in the prothesis chap-
el and directly linked with the ritual of proscomidia187. The Eucharistic
meaning of the Akhtala composition is intensified by the «Communion
of Mary the Egyptian» which is located on both sides of the round win-
dow between the «Forty martyrs» and the «Liturgy at the invention».
To the right can be distinguished the figure of a woman hermit who is
stretching out her bare arms to St Zosima: the latter, depicted to the left
of the window, is giving communion. This image with its organic com-
bination of asceticism and the Eucharist was especially revered in mo-
nastic circles. It was often depicted in iconographic programmes either
in the sanctuary or near to the «Last Judgement» where it recalled the
two most important conditions for attaining the life eternal188.
The other scenes depicted in the south-west compartment are also
linked by complex symbolic ties to form a whole with the «Forty mar-
tyrs». The location of the composition on the wall adjoining the «Joshua
before the Archangel Michael» may be considered traditional. We find
a similar treatment in the Cappadocian church of Niciphoros Phocios in
Cavucin where these scenes are placed beside the donors’ portraits of the
emperor and the military commanders189. The holy soldiers of Sebaste are
depicted behind two historical military commanders and thereby create
an image of the forces of righteousness which help Christians in their
struggle against the infidels. The Archangel Michael shown above the em-
peror should be understood as the archistrategos of the heavenly hosts of
angels and saints. This symbolism we have uncovered is also relevant in
the Akhtala murals although there it is not expressed in such clear form.
The idea of triumph as expressed in the image of the crowning Christ
links the «Forty martyrs» and the series of royal saints, beginning with the
scene of coronation on the jambs of the south-
ern entrance190. The kings and queens seem to
be leading the holy defenders of the Christian
faith. The heavenly host reproduces the organi-
zation of the earthly army. The motif of corona-
tion, moreover, embodies the idea of the descent
of grace and of a higher unity in a spiritual mar-
riage of the righteous with Christ.
Here we encounter the theme of theophany
which is the most important for the «Forty mar-
tyrs» and is symbolized there by Christ in the
Babic, Les chapelles annexes,
187 See
pp. 117-118.
188 On this theme in Byzantine icono-
graphic programmes, see Radojcic S.
Una poenitentium of Mary of Egypt in
Serbian art of the XIV century // Pro-
ceedings of the Popular Museum, IV
(1964), pp. 255-264; Stylianou A. The
Communion of St. Mary of Egypt and
her death in the painted churches of.
Cyprus // Actes du XIV Congres inter-
national des etudes byzantines. Vol. III.
Bucarest, 1976,1976, pp. 455-441.
In St Sophia in Ochrid the theme was also located in the prothesis chap-
el and directly linked with the ritual of proscomidia187. The Eucharistic
meaning of the Akhtala composition is intensified by the «Communion
of Mary the Egyptian» which is located on both sides of the round win-
dow between the «Forty martyrs» and the «Liturgy at the invention».
To the right can be distinguished the figure of a woman hermit who is
stretching out her bare arms to St Zosima: the latter, depicted to the left
of the window, is giving communion. This image with its organic com-
bination of asceticism and the Eucharist was especially revered in mo-
nastic circles. It was often depicted in iconographic programmes either
in the sanctuary or near to the «Last Judgement» where it recalled the
two most important conditions for attaining the life eternal188.
The other scenes depicted in the south-west compartment are also
linked by complex symbolic ties to form a whole with the «Forty mar-
tyrs». The location of the composition on the wall adjoining the «Joshua
before the Archangel Michael» may be considered traditional. We find
a similar treatment in the Cappadocian church of Niciphoros Phocios in
Cavucin where these scenes are placed beside the donors’ portraits of the
emperor and the military commanders189. The holy soldiers of Sebaste are
depicted behind two historical military commanders and thereby create
an image of the forces of righteousness which help Christians in their
struggle against the infidels. The Archangel Michael shown above the em-
peror should be understood as the archistrategos of the heavenly hosts of
angels and saints. This symbolism we have uncovered is also relevant in
the Akhtala murals although there it is not expressed in such clear form.
The idea of triumph as expressed in the image of the crowning Christ
links the «Forty martyrs» and the series of royal saints, beginning with the
scene of coronation on the jambs of the south-
ern entrance190. The kings and queens seem to
be leading the holy defenders of the Christian
faith. The heavenly host reproduces the organi-
zation of the earthly army. The motif of corona-
tion, moreover, embodies the idea of the descent
of grace and of a higher unity in a spiritual mar-
riage of the righteous with Christ.
Here we encounter the theme of theophany
which is the most important for the «Forty mar-
tyrs» and is symbolized there by Christ in the