AESTHETICS (The Japanese Society for Aesthetics), vol.6, 1994
Iconographic comparison of illustrations for the opening section of John's Gospel (1:1-18) in the... more Iconographic comparison of illustrations for the opening section of John's Gospel (1:1-18) in the Four Gospels and Lectionaries produced in Constantinople in the late 11th century is made here.
ORIENT (The Society for Near Eastern Studies in Japan), vol.41, 2006
The Dionysiou Lectionary (Cod.587 in the Dionysiou Monastery on Mount Athos) possesses not only... more The Dionysiou Lectionary (Cod.587 in the Dionysiou Monastery on Mount Athos) possesses not only the largest illustrations among the seventeen manuscripts with the narrative cycle of Christ's life, but also the greatest variety of pictorial forms according to the importance of the texts and feasts. To grasp the characteristics of its iconographic program, I discuss on the illustrations for Holy Week. The miniature depicting Christ's Prayer at Gethsemane is placed at the top of the Twelve Evangelia for the Passion of Holy Thursday. Why is Christ depicted three times in different motions? Why the miniature of the Conference of the Chief Priests before Caiaphas for the Liturgy of Holy Thursday has the same composition as the Conference of the Chief Priests before Pilate for the Orthros of Holy Saturday? Why the Betrayal of Judas is selectcd for the Holy Friday Liturgy? To solve these questions, we have to interpret whole texts of the church services for the Passion and surviving illustrated lectionaries. Our painter depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law, to emphasize Christ as New Moses and to visualize the typological correspondence between the Old and the New Testament. The Conference of the Chief Priests, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference of the Chief Priests with the same composition as the Psalter illustrations of the conference of the kings, in spite of the Gethsemane scene originally suitable for the place. Though the Betrayal is suitable for the twelve Evangelia, being pushed out by the Gethsemane, it is moved to the next position of the Holy Friday Liturgy. The main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence with the text. The program of Holy Week in the Dionysiou Lectionary is deliberated carefully.
In eleventh-century Byzantium, depicting the Virgin Orans in the apse of the churches was preva... more In eleventh-century Byzantium, depicting the Virgin Orans in the apse of the churches was prevalent. Among them, Nea Moni on the island of Chios is particularly renowned. This study argues that in Nea Moni, the Pantocrator in the dome and the Virgin Orans in the apse, simultaneously at the metalevel, are a representation of the Ascension of Christ. Archangels Michael and Gabriel in the subsidiary apses also serve as angels of the Ascension (Act 1:10). Nea Moni’s dome and apse, together with the entirety of the naos space, speaks of eschatological Christology, or Christ’s Ascension and the Second Coming. Nea Moni’s decorative program was not conceived on Chios but was probably influenced by the now lost Virgin’s Chapel of Pharos in the Capital (Photios’ Homily). On the Byzantine frontier, such as Cappadocia, southern Italy, and Georgia, churches that depict the Ascension in the apse still remain. On Crete, there is an example that represents the Virgin Orans under the Pantocrator of the dome. In Eski Baca in Cappadocia, the Pantocrator in medallion form is placed above the head of the Virgin Orans in the apse. Such examples would corroborate Nea Moni’s interpretation.
Bulletin of the Graduate School of Literature of Waseda University, vol. 67, 2022
In Byzantine art, a remarkable treatment of the life of the Virgin Mary involves regarding the Je... more In Byzantine art, a remarkable treatment of the life of the Virgin Mary involves regarding the Jewish priest who refused the offering by Joachim and Anna as Zacharias, the future father of St. John the Baptist, and not as Ruben as in most textual recensions. In the Scrovegni Chapel in Padua, Giotto depicted Ruben’s act refusing the offering of Joachim as spiteful and against God’s will. Contrastingly, in the sphere of Byzantine art, Zacharias consistently watches Mary’s growth through scenes such as Refusal of the Offering; Reception of the Offering; Three-Years-Old Mary’s Presentation to the Temple (Hagia ton Hagion); Mary Entrusted to Joseph (Marriage); and Trial of the Water.……
Bulletin of the Graduate School of Literature of Waseda University, vol. 66, 2020
In the former article, I insisted on the importance of the encaenia (ἐγκαίνια, dedication of the ... more In the former article, I insisted on the importance of the encaenia (ἐγκαίνια, dedication of the church) for research on the Byzantine Gospel Lectionary. There are groups of manuscripts, including the encaenia of famous Constantinopolitan churches such as Chalkoprateia, Blachernai, Nea Ekklesia, St. Theodore in Sphorakiou, Theotokos in Pege, and others. Here, I introduce some manuscripts with single encaenia. In this case, the manuscript should have been created for the church or monastery where the dedication was taking place. As a typical example, this current study examines the Iviron Lectionary Cod. 1 in detail.
This article proposes a new definition of the Patriarchal lectionaries of Constantinople. First... more This article proposes a new definition of the Patriarchal lectionaries of Constantinople. First, the manuscript contains the text titled “Taxis kai Akolouthia” between the synaxarion and menologion parts as noted by J. Lowden and R.S. Nelson. Second, its menologion part adopts the following encaenia (dedication of church/ monastery): 21 Sep. “Hyperagia Theotokos en te Petra”; 31 Oct. “Egkainia tou eukteriou tes hyperagias Theotokou tou en to Patriarcheio”; 4 Nov. “Hyperagia Theotokos en tois Kyrou”; 5 Nov. “Egkainia tou Theodorou en tois Sphorakiou”; 1 Dec. “Egkainia tou naou tou Palatiou”; 18 Dec. “Egkainia ton Chalkoprateion”; 1 May. “Egkainia tes Neas Basilikes Ekklesias” (21 Sep. and 4 Nov. without the word encaenia). These churches have been under the control of the Patriarchate at that time, and some manuscripts of the Patriarchal lectionaries would have been used in these churches. The author has surveyed approximately 400 lectionary manuscripts and found entries of encaenia for specific churches or monasteries, except Hagia Sophia in Constantinople and Holy Sepulcher in Jerusalem, in 70 manuscripts. These new materials will be efficacious for research on the scriptoria and patrons in eleventh-century Constantinople. Furthermore, this article hypothesizes that the dense illustration cycle of the prodigal son in the richly-illustrated Patriarchal lectionary, Venice IE gr.2, is, together with that in the Vatopedi lectionary, Sacristy Cod.3, the Patriarchal claim against the Roman Church after the Great Schism.
This book is the result of the symposium on Byzantine Cappadocia, held in Tokyo in 2016, to which... more This book is the result of the symposium on Byzantine Cappadocia, held in Tokyo in 2016, to which Prof. C. Jolivet-Lévy, a leading expert of Cappadocian studies, was a prominent invitee. Through her analysis of graffiti inscribed in the rock-cut churches, Prof. Jolivet-Lévy presented new research possibilities on how the murals were accepted by the Byzantines in later periods. As for the middle and later Cappadocian history, the careers and family relationships of Nikephoros Diogenes, the Laskaris brothers, Manuel and Michael, and Melias the Armenian are discussed in detail. However, the majority of the articles in the book are concerned with the iconography and the decoration program of Cappadocian churches, the arranging of the various themes in the complex threedimensional space of the churches; the Byzantines express complex connotations that cannot be achieved with a single image. In the New Church of Tokalı Kilise in Göreme, for instance, why is the Virgin Eleousa placed in the niche between the Prothesis and the main apse? In its Narthex, why is the Ascension of Christ combined with Christ and the Twelve Apostles in an unnatural way? Why are the figures of the 40 Martyrs of Sebaste surrounding the high walls of the Naos? Why is it that in the scene of the Wedding at Cana, only Christ’s right hand is depicted on the vertically adjacent wall? Answers to these questions are given within the three-dimensional space of the New Church of Tokalı Kilise. Although Cappadocian wall paintings have traditionally been treated as archaeological material, this is the first study to focus on the issue of the decoration program. This publication contains the largest number of color photographs available today on Cappadocian fresco paintings. CONTENTS: Preface. ART. 1. CATHERINE JOLIVET-LÉVY, Paintings and Inscriptions in Cappadocia as a Source on the Audience. 2. SHIGEBUMI TSUJI, Sahoko Tsuji in laudatio: From Early Christian Art to the Mural Paintings in Cappadocia. 3. TOMOYUKI MASUDA, Christ and the Twelve Apostles in Cappadocian Churches. 4. TOMOYUKI MASUDA, The Hypapante in the Tokalı Old Church and the Byzantine Apse Decoration. 5. HIROFUMI SUGAWARA, The Function of the Virgin Eleousa in New Tokalı Kilise, Göreme. 6. HIROFUMI SUGAWARA, Çarıklı Kilise Reconsidered: Its Iconographic Program and the Liturgy. 7. MIKA TAKIGUCHI, Can Identical Iconography Connote Different Meanings? Examples of Fresco Decoration in Cappadocia. 8. YOKO TANIGUCHI, Painting Techniques and Vandalism of the Wall Paintings of Üzümlü Kilise (Chapel of St. Niketas the Stylite) in the Red Valley, Cappadocia. 9. YURIKO SAKURAI, The Decoration Program of New Church of Tokalı Kilise, Cappadocia: The Iconography of the Sts. Constantine and Helena and the Forty Martyrs of Sebaste. 10. ERIKO TSUJI, The Communion of the Marys: The Program of the Prothesis in the New Church of theTokali Kilise, Göreme No.7. 11. KAZUFUMI TAKEDA, On the Compositions of the Dormition of the Virgin in Church Decorations in Cappadocia. 12. SEONG-JUN KO, The Decorative Program of the Church of Ağaçaltı Kilisesi in Cappadocia. 13. YASUSHI NAGATSUKA, Essai sur les programmes iconographiques des Églises rupestres en Cappadoce. HISTORY. 14. YUKIO NEZU, The Fall of the Last Cappadocian Hero: Revisiting the Complot of Nikephoros Diogenes. 15. KOJI MURATA, Between Byzantium and the Sultanate of Rūm: Manuel and Michael Laskaris and the Origin of the Tzamantouroi. 16. KOSUKE NAKADA, Revisiting the Role of the Armenians in the Creation of the Theme of Lykandos. Bibliography and Abbreviations, List of Illustrations, Photo Credits, Index, Illustrations 1.1-12.10. Byzantine Cappadocia, ed. by Tomoyuki Masuda, 2022, ISBN: 978-94-90387-10-5, Bound, 24x17 cm., 472 pp. (336 pp. text plus 190 illustrations mostly in full colour).
BYZANTIUM: Identity, Image, Influence. XIX International Congress of Byzantine Studies, University of Copenhagen, 18-24 August, 1996. Abstracts of Communications., 1996
AESTHETICS (The Japanese Society for Aesthetics), vol.6, 1994
Iconographic comparison of illustrations for the opening section of John's Gospel (1:1-18) in the... more Iconographic comparison of illustrations for the opening section of John's Gospel (1:1-18) in the Four Gospels and Lectionaries produced in Constantinople in the late 11th century is made here.
ORIENT (The Society for Near Eastern Studies in Japan), vol.41, 2006
The Dionysiou Lectionary (Cod.587 in the Dionysiou Monastery on Mount Athos) possesses not only... more The Dionysiou Lectionary (Cod.587 in the Dionysiou Monastery on Mount Athos) possesses not only the largest illustrations among the seventeen manuscripts with the narrative cycle of Christ's life, but also the greatest variety of pictorial forms according to the importance of the texts and feasts. To grasp the characteristics of its iconographic program, I discuss on the illustrations for Holy Week. The miniature depicting Christ's Prayer at Gethsemane is placed at the top of the Twelve Evangelia for the Passion of Holy Thursday. Why is Christ depicted three times in different motions? Why the miniature of the Conference of the Chief Priests before Caiaphas for the Liturgy of Holy Thursday has the same composition as the Conference of the Chief Priests before Pilate for the Orthros of Holy Saturday? Why the Betrayal of Judas is selectcd for the Holy Friday Liturgy? To solve these questions, we have to interpret whole texts of the church services for the Passion and surviving illustrated lectionaries. Our painter depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law, to emphasize Christ as New Moses and to visualize the typological correspondence between the Old and the New Testament. The Conference of the Chief Priests, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference of the Chief Priests with the same composition as the Psalter illustrations of the conference of the kings, in spite of the Gethsemane scene originally suitable for the place. Though the Betrayal is suitable for the twelve Evangelia, being pushed out by the Gethsemane, it is moved to the next position of the Holy Friday Liturgy. The main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence with the text. The program of Holy Week in the Dionysiou Lectionary is deliberated carefully.
In eleventh-century Byzantium, depicting the Virgin Orans in the apse of the churches was preva... more In eleventh-century Byzantium, depicting the Virgin Orans in the apse of the churches was prevalent. Among them, Nea Moni on the island of Chios is particularly renowned. This study argues that in Nea Moni, the Pantocrator in the dome and the Virgin Orans in the apse, simultaneously at the metalevel, are a representation of the Ascension of Christ. Archangels Michael and Gabriel in the subsidiary apses also serve as angels of the Ascension (Act 1:10). Nea Moni’s dome and apse, together with the entirety of the naos space, speaks of eschatological Christology, or Christ’s Ascension and the Second Coming. Nea Moni’s decorative program was not conceived on Chios but was probably influenced by the now lost Virgin’s Chapel of Pharos in the Capital (Photios’ Homily). On the Byzantine frontier, such as Cappadocia, southern Italy, and Georgia, churches that depict the Ascension in the apse still remain. On Crete, there is an example that represents the Virgin Orans under the Pantocrator of the dome. In Eski Baca in Cappadocia, the Pantocrator in medallion form is placed above the head of the Virgin Orans in the apse. Such examples would corroborate Nea Moni’s interpretation.
Bulletin of the Graduate School of Literature of Waseda University, vol. 67, 2022
In Byzantine art, a remarkable treatment of the life of the Virgin Mary involves regarding the Je... more In Byzantine art, a remarkable treatment of the life of the Virgin Mary involves regarding the Jewish priest who refused the offering by Joachim and Anna as Zacharias, the future father of St. John the Baptist, and not as Ruben as in most textual recensions. In the Scrovegni Chapel in Padua, Giotto depicted Ruben’s act refusing the offering of Joachim as spiteful and against God’s will. Contrastingly, in the sphere of Byzantine art, Zacharias consistently watches Mary’s growth through scenes such as Refusal of the Offering; Reception of the Offering; Three-Years-Old Mary’s Presentation to the Temple (Hagia ton Hagion); Mary Entrusted to Joseph (Marriage); and Trial of the Water.……
Bulletin of the Graduate School of Literature of Waseda University, vol. 66, 2020
In the former article, I insisted on the importance of the encaenia (ἐγκαίνια, dedication of the ... more In the former article, I insisted on the importance of the encaenia (ἐγκαίνια, dedication of the church) for research on the Byzantine Gospel Lectionary. There are groups of manuscripts, including the encaenia of famous Constantinopolitan churches such as Chalkoprateia, Blachernai, Nea Ekklesia, St. Theodore in Sphorakiou, Theotokos in Pege, and others. Here, I introduce some manuscripts with single encaenia. In this case, the manuscript should have been created for the church or monastery where the dedication was taking place. As a typical example, this current study examines the Iviron Lectionary Cod. 1 in detail.
This article proposes a new definition of the Patriarchal lectionaries of Constantinople. First... more This article proposes a new definition of the Patriarchal lectionaries of Constantinople. First, the manuscript contains the text titled “Taxis kai Akolouthia” between the synaxarion and menologion parts as noted by J. Lowden and R.S. Nelson. Second, its menologion part adopts the following encaenia (dedication of church/ monastery): 21 Sep. “Hyperagia Theotokos en te Petra”; 31 Oct. “Egkainia tou eukteriou tes hyperagias Theotokou tou en to Patriarcheio”; 4 Nov. “Hyperagia Theotokos en tois Kyrou”; 5 Nov. “Egkainia tou Theodorou en tois Sphorakiou”; 1 Dec. “Egkainia tou naou tou Palatiou”; 18 Dec. “Egkainia ton Chalkoprateion”; 1 May. “Egkainia tes Neas Basilikes Ekklesias” (21 Sep. and 4 Nov. without the word encaenia). These churches have been under the control of the Patriarchate at that time, and some manuscripts of the Patriarchal lectionaries would have been used in these churches. The author has surveyed approximately 400 lectionary manuscripts and found entries of encaenia for specific churches or monasteries, except Hagia Sophia in Constantinople and Holy Sepulcher in Jerusalem, in 70 manuscripts. These new materials will be efficacious for research on the scriptoria and patrons in eleventh-century Constantinople. Furthermore, this article hypothesizes that the dense illustration cycle of the prodigal son in the richly-illustrated Patriarchal lectionary, Venice IE gr.2, is, together with that in the Vatopedi lectionary, Sacristy Cod.3, the Patriarchal claim against the Roman Church after the Great Schism.
This book is the result of the symposium on Byzantine Cappadocia, held in Tokyo in 2016, to which... more This book is the result of the symposium on Byzantine Cappadocia, held in Tokyo in 2016, to which Prof. C. Jolivet-Lévy, a leading expert of Cappadocian studies, was a prominent invitee. Through her analysis of graffiti inscribed in the rock-cut churches, Prof. Jolivet-Lévy presented new research possibilities on how the murals were accepted by the Byzantines in later periods. As for the middle and later Cappadocian history, the careers and family relationships of Nikephoros Diogenes, the Laskaris brothers, Manuel and Michael, and Melias the Armenian are discussed in detail. However, the majority of the articles in the book are concerned with the iconography and the decoration program of Cappadocian churches, the arranging of the various themes in the complex threedimensional space of the churches; the Byzantines express complex connotations that cannot be achieved with a single image. In the New Church of Tokalı Kilise in Göreme, for instance, why is the Virgin Eleousa placed in the niche between the Prothesis and the main apse? In its Narthex, why is the Ascension of Christ combined with Christ and the Twelve Apostles in an unnatural way? Why are the figures of the 40 Martyrs of Sebaste surrounding the high walls of the Naos? Why is it that in the scene of the Wedding at Cana, only Christ’s right hand is depicted on the vertically adjacent wall? Answers to these questions are given within the three-dimensional space of the New Church of Tokalı Kilise. Although Cappadocian wall paintings have traditionally been treated as archaeological material, this is the first study to focus on the issue of the decoration program. This publication contains the largest number of color photographs available today on Cappadocian fresco paintings. CONTENTS: Preface. ART. 1. CATHERINE JOLIVET-LÉVY, Paintings and Inscriptions in Cappadocia as a Source on the Audience. 2. SHIGEBUMI TSUJI, Sahoko Tsuji in laudatio: From Early Christian Art to the Mural Paintings in Cappadocia. 3. TOMOYUKI MASUDA, Christ and the Twelve Apostles in Cappadocian Churches. 4. TOMOYUKI MASUDA, The Hypapante in the Tokalı Old Church and the Byzantine Apse Decoration. 5. HIROFUMI SUGAWARA, The Function of the Virgin Eleousa in New Tokalı Kilise, Göreme. 6. HIROFUMI SUGAWARA, Çarıklı Kilise Reconsidered: Its Iconographic Program and the Liturgy. 7. MIKA TAKIGUCHI, Can Identical Iconography Connote Different Meanings? Examples of Fresco Decoration in Cappadocia. 8. YOKO TANIGUCHI, Painting Techniques and Vandalism of the Wall Paintings of Üzümlü Kilise (Chapel of St. Niketas the Stylite) in the Red Valley, Cappadocia. 9. YURIKO SAKURAI, The Decoration Program of New Church of Tokalı Kilise, Cappadocia: The Iconography of the Sts. Constantine and Helena and the Forty Martyrs of Sebaste. 10. ERIKO TSUJI, The Communion of the Marys: The Program of the Prothesis in the New Church of theTokali Kilise, Göreme No.7. 11. KAZUFUMI TAKEDA, On the Compositions of the Dormition of the Virgin in Church Decorations in Cappadocia. 12. SEONG-JUN KO, The Decorative Program of the Church of Ağaçaltı Kilisesi in Cappadocia. 13. YASUSHI NAGATSUKA, Essai sur les programmes iconographiques des Églises rupestres en Cappadoce. HISTORY. 14. YUKIO NEZU, The Fall of the Last Cappadocian Hero: Revisiting the Complot of Nikephoros Diogenes. 15. KOJI MURATA, Between Byzantium and the Sultanate of Rūm: Manuel and Michael Laskaris and the Origin of the Tzamantouroi. 16. KOSUKE NAKADA, Revisiting the Role of the Armenians in the Creation of the Theme of Lykandos. Bibliography and Abbreviations, List of Illustrations, Photo Credits, Index, Illustrations 1.1-12.10. Byzantine Cappadocia, ed. by Tomoyuki Masuda, 2022, ISBN: 978-94-90387-10-5, Bound, 24x17 cm., 472 pp. (336 pp. text plus 190 illustrations mostly in full colour).
BYZANTIUM: Identity, Image, Influence. XIX International Congress of Byzantine Studies, University of Copenhagen, 18-24 August, 1996. Abstracts of Communications., 1996
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The miniature depicting Christ's Prayer at Gethsemane is placed at the top of the Twelve Evangelia for the Passion of Holy Thursday. Why is Christ depicted three times in different motions? Why the miniature of the Conference of the Chief Priests before Caiaphas for the Liturgy of Holy Thursday has the same composition as the Conference of the Chief Priests before Pilate for the Orthros of Holy Saturday? Why the Betrayal of Judas is selectcd for the Holy Friday Liturgy? To solve these questions, we have to interpret whole texts of the church services for the Passion and surviving illustrated lectionaries.
Our painter depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law, to emphasize Christ as New Moses and to visualize the typological correspondence between the Old and the New Testament.
The Conference of the Chief Priests, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference of
the Chief Priests with the same composition as the Psalter illustrations of the conference of the kings, in spite of the Gethsemane scene originally suitable for the place.
Though the Betrayal is suitable for the twelve Evangelia, being pushed out by the Gethsemane, it is moved to the next position of the Holy Friday Liturgy. The main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence with the text. The program of Holy Week in the Dionysiou Lectionary is deliberated carefully.
Nea Moni’s decorative program was not conceived on Chios but was probably influenced by the now lost Virgin’s Chapel of Pharos in the Capital (Photios’ Homily). On the Byzantine frontier, such as Cappadocia, southern Italy, and Georgia, churches that depict the Ascension in the apse still remain. On Crete, there is an example that represents the Virgin Orans under the Pantocrator of the dome. In Eski Baca in Cappadocia, the Pantocrator in medallion form is placed above the head of the Virgin Orans in the apse. Such examples would corroborate Nea Moni’s interpretation.
(Marriage); and Trial of the Water.……
Nea Ekklesia, St. Theodore in Sphorakiou, Theotokos in Pege, and others. Here, I introduce some manuscripts with single encaenia. In this case, the manuscript should have been created for the church or monastery where the dedication was taking place. As a typical example, this current study examines the Iviron Lectionary Cod. 1 in detail.
Lowden and R.S. Nelson. Second, its menologion part adopts the following encaenia (dedication of church/ monastery):
21 Sep. “Hyperagia Theotokos en te Petra”; 31 Oct. “Egkainia tou eukteriou tes hyperagias Theotokou tou en to Patriarcheio”; 4 Nov. “Hyperagia Theotokos en tois Kyrou”; 5 Nov. “Egkainia tou Theodorou en tois Sphorakiou”; 1 Dec. “Egkainia tou naou tou Palatiou”; 18 Dec. “Egkainia ton Chalkoprateion”; 1 May. “Egkainia tes Neas Basilikes Ekklesias” (21 Sep. and 4 Nov. without the word encaenia). These churches have been under the control of the Patriarchate at that time, and some manuscripts of the Patriarchal lectionaries would have been used in these churches.
The author has surveyed approximately 400 lectionary manuscripts and found entries of encaenia for specific churches or monasteries, except Hagia Sophia in Constantinople and Holy Sepulcher in Jerusalem, in 70 manuscripts. These new materials will be efficacious for research on the scriptoria and patrons in eleventh-century Constantinople.
Furthermore, this article hypothesizes that the dense illustration cycle of the prodigal son in the richly-illustrated Patriarchal lectionary, Venice IE gr.2, is, together with that in the Vatopedi lectionary, Sacristy Cod.3, the
Patriarchal claim against the Roman Church after the Great Schism.
The miniature depicting Christ's Prayer at Gethsemane is placed at the top of the Twelve Evangelia for the Passion of Holy Thursday. Why is Christ depicted three times in different motions? Why the miniature of the Conference of the Chief Priests before Caiaphas for the Liturgy of Holy Thursday has the same composition as the Conference of the Chief Priests before Pilate for the Orthros of Holy Saturday? Why the Betrayal of Judas is selectcd for the Holy Friday Liturgy? To solve these questions, we have to interpret whole texts of the church services for the Passion and surviving illustrated lectionaries.
Our painter depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law, to emphasize Christ as New Moses and to visualize the typological correspondence between the Old and the New Testament.
The Conference of the Chief Priests, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference of
the Chief Priests with the same composition as the Psalter illustrations of the conference of the kings, in spite of the Gethsemane scene originally suitable for the place.
Though the Betrayal is suitable for the twelve Evangelia, being pushed out by the Gethsemane, it is moved to the next position of the Holy Friday Liturgy. The main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence with the text. The program of Holy Week in the Dionysiou Lectionary is deliberated carefully.
Nea Moni’s decorative program was not conceived on Chios but was probably influenced by the now lost Virgin’s Chapel of Pharos in the Capital (Photios’ Homily). On the Byzantine frontier, such as Cappadocia, southern Italy, and Georgia, churches that depict the Ascension in the apse still remain. On Crete, there is an example that represents the Virgin Orans under the Pantocrator of the dome. In Eski Baca in Cappadocia, the Pantocrator in medallion form is placed above the head of the Virgin Orans in the apse. Such examples would corroborate Nea Moni’s interpretation.
(Marriage); and Trial of the Water.……
Nea Ekklesia, St. Theodore in Sphorakiou, Theotokos in Pege, and others. Here, I introduce some manuscripts with single encaenia. In this case, the manuscript should have been created for the church or monastery where the dedication was taking place. As a typical example, this current study examines the Iviron Lectionary Cod. 1 in detail.
Lowden and R.S. Nelson. Second, its menologion part adopts the following encaenia (dedication of church/ monastery):
21 Sep. “Hyperagia Theotokos en te Petra”; 31 Oct. “Egkainia tou eukteriou tes hyperagias Theotokou tou en to Patriarcheio”; 4 Nov. “Hyperagia Theotokos en tois Kyrou”; 5 Nov. “Egkainia tou Theodorou en tois Sphorakiou”; 1 Dec. “Egkainia tou naou tou Palatiou”; 18 Dec. “Egkainia ton Chalkoprateion”; 1 May. “Egkainia tes Neas Basilikes Ekklesias” (21 Sep. and 4 Nov. without the word encaenia). These churches have been under the control of the Patriarchate at that time, and some manuscripts of the Patriarchal lectionaries would have been used in these churches.
The author has surveyed approximately 400 lectionary manuscripts and found entries of encaenia for specific churches or monasteries, except Hagia Sophia in Constantinople and Holy Sepulcher in Jerusalem, in 70 manuscripts. These new materials will be efficacious for research on the scriptoria and patrons in eleventh-century Constantinople.
Furthermore, this article hypothesizes that the dense illustration cycle of the prodigal son in the richly-illustrated Patriarchal lectionary, Venice IE gr.2, is, together with that in the Vatopedi lectionary, Sacristy Cod.3, the
Patriarchal claim against the Roman Church after the Great Schism.