DOI Heft:
Lebanon
DOI Artikel:Hélou, Nada; Immerzeel, Mat: Kaftoun 2004: the wall paintings
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.42090#0460
KAFTOUN
LEBANON
stantinople by the crusaders in 1204, the
art of the capital was dispersed over dif-
ferent regions of the Byzantine Orthodox
world, and also spread to present Serbia,
where the Middle Byzantine tradition reach-
ed its peak. Here, 13th-century Byzantine
art is characterized by its monumentality.
The artists had a strong preference for
wealthy shapes, large surfaces, massive and
heavy figures with faces not only typified
by a profound spirituality, but also by
a strong physical strength. Incontestably,
the apostles of Kaftoun resemble the per-
sons of these cycles, in particular those of
Mileshevo, dating from the 1230s.10 Like
in Mileshevo, through their massiveness
and monumentality, these figures display
an intensive dramatic expression. In both
cases, the wealthy touch emphasizes the
volumes and color contrasts, while the
faces, rendered with liberty, are drawn with
intense green shadows and highlighted
with fine white lines, underlining the
internal dynamism. The movements of the
figures develop in space and are often
angular. The Communion of the Apostles in
Kaftoun may date from the same period as
the wall paintings of Mileshevo, or were
painted a few years later.
It is remarkable to find such a striking
influence of Serbian-Byzantine art in murals
situated in the remote mountains of Mount
Lebanon. This 'Serbian' style certainly is re-
lated to the art of Constantinople, because
in more than one case paintings have been
attributed to artists from the capital, or to
local painters co-operating with them.11
This could also have been the situation in
Kaftoun. After the Latin conquest of Con-
stantinople, artists who, for one reason or
another, fled from occupation, may have
found refuge in other areas with Byzantine
Orthodox communities, even as far as Mount
Lebanon.
In view of these observations, the estima-
ted chronology of the murals in Kaftoun is
the second quarter of the 13 th century for
the nave decoration, and the third quarter
of that century or somewhat later for that
of the apse. These conclusions are, of course,
preliminary. A more profound study after
the entire restoration of the paintings will
undoubtedly help us in drawing more elab-
orated and precise conclusions.
10 V.J. Djuric, "La peintre murale serbe au XHIe siecle", in: L'art byzantin du XHIe siecle, Symposium de Sopocani
(Belgrad 1967), 148.
11 Id., 153.
458
LEBANON
stantinople by the crusaders in 1204, the
art of the capital was dispersed over dif-
ferent regions of the Byzantine Orthodox
world, and also spread to present Serbia,
where the Middle Byzantine tradition reach-
ed its peak. Here, 13th-century Byzantine
art is characterized by its monumentality.
The artists had a strong preference for
wealthy shapes, large surfaces, massive and
heavy figures with faces not only typified
by a profound spirituality, but also by
a strong physical strength. Incontestably,
the apostles of Kaftoun resemble the per-
sons of these cycles, in particular those of
Mileshevo, dating from the 1230s.10 Like
in Mileshevo, through their massiveness
and monumentality, these figures display
an intensive dramatic expression. In both
cases, the wealthy touch emphasizes the
volumes and color contrasts, while the
faces, rendered with liberty, are drawn with
intense green shadows and highlighted
with fine white lines, underlining the
internal dynamism. The movements of the
figures develop in space and are often
angular. The Communion of the Apostles in
Kaftoun may date from the same period as
the wall paintings of Mileshevo, or were
painted a few years later.
It is remarkable to find such a striking
influence of Serbian-Byzantine art in murals
situated in the remote mountains of Mount
Lebanon. This 'Serbian' style certainly is re-
lated to the art of Constantinople, because
in more than one case paintings have been
attributed to artists from the capital, or to
local painters co-operating with them.11
This could also have been the situation in
Kaftoun. After the Latin conquest of Con-
stantinople, artists who, for one reason or
another, fled from occupation, may have
found refuge in other areas with Byzantine
Orthodox communities, even as far as Mount
Lebanon.
In view of these observations, the estima-
ted chronology of the murals in Kaftoun is
the second quarter of the 13 th century for
the nave decoration, and the third quarter
of that century or somewhat later for that
of the apse. These conclusions are, of course,
preliminary. A more profound study after
the entire restoration of the paintings will
undoubtedly help us in drawing more elab-
orated and precise conclusions.
10 V.J. Djuric, "La peintre murale serbe au XHIe siecle", in: L'art byzantin du XHIe siecle, Symposium de Sopocani
(Belgrad 1967), 148.
11 Id., 153.
458