DOI Artikel:
Zaprzalska, Dorota: Ikona tzw. kompozytowa w klasztorze Wlatadon w Salonikach – zagadnienie formuły ikonograficzno-kompozycyjnej i funkcji ideowo-dewocyjnej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51255#0035
the thirteenth-century Hodegetria icon that originated therefrom was included
in the new representation - just like the architecture of the older building was
incorporated in the new.75 If these assumptions are correct, then perhaps it is
possible that the composite icon, which is the subject of our reflection, was
also associated with the beginnings of the monastery, and the act of insertion
is a repetition of the process that took place in the case of the Hodegetria icon,
the latter treated like a relic. In this sense, the term “relic” in itself should be un-
derstood morę broadly than the classical division into primary, secondary and
tertiary relics.76 When analysing the definitions of the relic and the reliquary,
Julia M.H. Smith demonstrated that, when studying relics, instead of hierarchi-
cal division, one should look at that somewhat morę broadly, and try to perceive
the relic as a concept; therefore, she proposes understanding relics as materiał,
sacred things, whose existence and importance results from memory and choice,
and not from their materiał value.77 In theory, theologians separated cult of icons
from that of relics, but some researchers insist that in private devotion, the re-
lationship between the two was never broken, which was caused by miracles
performed by or through the icon, endowing it with the power of deliberate ac-
tion.78 Perhaps the icon from Vlatadon was associated with an important event
in the history of the monastery (like in the example from Amirou), or else it was
seen as a valuable acquisition (like the icon from Vatopedi). Unfortunately, due
to the lack of sources regarding the history of the image, it is impossible to tracę
back its precise connection with the monastery. An additional difficulty is the fact
that it is now kept in a museum, therefore many potential interpretations, also
those in the form of the legends told by the congregation, have been lost.
Understanding the motives for enlarging the Vlatadon icon is extremely difficult
due to the lack of information about its history. Perhaps this might have been
a way of protecting the older representation in order to preserve it in the best
condition, but it should be noted that the result of this operation, above all, was
to emphasize the inserted element. This fact, as well as the evident effort that
went into harmonizing the complex iconographic themes, gives us grounds for
the supposition that the smaller image was perceived as a valuable relic, while
the later image was treated as a reliquary, and used for its effective presentation.
It seems that icons with other icons inserted within them constitute an example
of a broader phenomenon. The present study proposes a Polish name for this
icon type (ikony kompozytowe as in “composite icons”), as a potential contribu-
tion for researchers interested in this fascinating issue, which requires further
research based on a broader comparative materiał. •
75 A. Tońpra, Eikóveq, p. 181.
76 M. Sauer, Relics, in: Encyclopedia of Medieval Pilgrimage, edited by L.J. Taylor, Leiden 2010,
PP- 597-599-
77 J.M.H. Smith, Relics. An Evolving Tradition in Latin Christianity, in: Saints and Sacred
PP- 43-45 •
78 R. Cormack,Miraculous Icons in Byzantium and Their Powers,“Arte Cristiana”, 76,1988, pp. 55-60;
L. Brubaker, The Sacred Image, p. 6; K.C. Innemee, Some Notes on Icons and Relics, in: Byzantine
East, Latin West: Art-historical Studies in Honor of Kurt Weitzmann, D. Mouriki, Ch. Moss,
K. Kiefer, Princeton 1995, pp. 520-521.
34
ARTICLES
Dorota Zaprzalska
in the new representation - just like the architecture of the older building was
incorporated in the new.75 If these assumptions are correct, then perhaps it is
possible that the composite icon, which is the subject of our reflection, was
also associated with the beginnings of the monastery, and the act of insertion
is a repetition of the process that took place in the case of the Hodegetria icon,
the latter treated like a relic. In this sense, the term “relic” in itself should be un-
derstood morę broadly than the classical division into primary, secondary and
tertiary relics.76 When analysing the definitions of the relic and the reliquary,
Julia M.H. Smith demonstrated that, when studying relics, instead of hierarchi-
cal division, one should look at that somewhat morę broadly, and try to perceive
the relic as a concept; therefore, she proposes understanding relics as materiał,
sacred things, whose existence and importance results from memory and choice,
and not from their materiał value.77 In theory, theologians separated cult of icons
from that of relics, but some researchers insist that in private devotion, the re-
lationship between the two was never broken, which was caused by miracles
performed by or through the icon, endowing it with the power of deliberate ac-
tion.78 Perhaps the icon from Vlatadon was associated with an important event
in the history of the monastery (like in the example from Amirou), or else it was
seen as a valuable acquisition (like the icon from Vatopedi). Unfortunately, due
to the lack of sources regarding the history of the image, it is impossible to tracę
back its precise connection with the monastery. An additional difficulty is the fact
that it is now kept in a museum, therefore many potential interpretations, also
those in the form of the legends told by the congregation, have been lost.
Understanding the motives for enlarging the Vlatadon icon is extremely difficult
due to the lack of information about its history. Perhaps this might have been
a way of protecting the older representation in order to preserve it in the best
condition, but it should be noted that the result of this operation, above all, was
to emphasize the inserted element. This fact, as well as the evident effort that
went into harmonizing the complex iconographic themes, gives us grounds for
the supposition that the smaller image was perceived as a valuable relic, while
the later image was treated as a reliquary, and used for its effective presentation.
It seems that icons with other icons inserted within them constitute an example
of a broader phenomenon. The present study proposes a Polish name for this
icon type (ikony kompozytowe as in “composite icons”), as a potential contribu-
tion for researchers interested in this fascinating issue, which requires further
research based on a broader comparative materiał. •
75 A. Tońpra, Eikóveq, p. 181.
76 M. Sauer, Relics, in: Encyclopedia of Medieval Pilgrimage, edited by L.J. Taylor, Leiden 2010,
PP- 597-599-
77 J.M.H. Smith, Relics. An Evolving Tradition in Latin Christianity, in: Saints and Sacred
PP- 43-45 •
78 R. Cormack,Miraculous Icons in Byzantium and Their Powers,“Arte Cristiana”, 76,1988, pp. 55-60;
L. Brubaker, The Sacred Image, p. 6; K.C. Innemee, Some Notes on Icons and Relics, in: Byzantine
East, Latin West: Art-historical Studies in Honor of Kurt Weitzmann, D. Mouriki, Ch. Moss,
K. Kiefer, Princeton 1995, pp. 520-521.
34
ARTICLES
Dorota Zaprzalska