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Christ Pantocrator (Sinai)

January 01, 1970

Christ Pantocrator of Saint Catherine's Monastery is one of the oldest Byzantine religious icons, dating from the 6th century AD.[1] The earliest known surviving depiction of Jesus Christ as Pantocrator (literally ruler of all), it is regarded by historians and scholars among the most important and recognizable works in the study of Byzantine art as well as Eastern Orthodox and Eastern Catholic Christianity.[2]

Christ Pantocrator from Saint Catherine's Monastery in Sinai

Background edit

For a time, the icon was thought to have been dated from the thirteenth century, since it had been almost completely painted over at that time. It was concluded in 1962 that it is from the mid-sixth century, although the exact date of production is still unknown.[3] When Saint Catherine's Monastery was founded by the Byzantine emperor Justinian I, late in his reign, between 548 and 565,[4] it enjoyed imperial patronage and donations from Justinian and his court, with the Christ Pantocrator icon having been one of the many possible imperial gifts.[5] Because of this, it is generally believed to have been produced in the Byzantine capital of Constantinople.[6]

Interpretation and meaning edit

See also: Christ Pantocrator
 
Mirrored composites of the left and right sides of image

Many agree that the icon represents the dual nature of Christ, illustrating traits of both man and God,[7] perhaps influenced by the aftermath of the ecumenical councils of the previous century at Ephesus and Chalcedon.[8] Christ's features on his right side (the viewer's left) are supposed to represent the qualities of his human nature, while his left side (the viewer's right) represents his divinity.[9] His right hand is shown opening outward, signifying his gift of blessing, while the left hand and arm are clutching a thick Gospel book.[10]

Some scholars have suggested the icon at Sinai could have been a possible representation of the Kamouliana icon of Christ[11] or of the famous icon of Christ of the Chalke Gate,[12] an image which was destroyed twice during the first and second waves of Byzantine Iconoclasm—first in 726, and again in 814—and thus its connection with the Christ Pantocrator is difficult to confirm.[13]

Description and production edit

With a height of 84 cm, width of 45.5 cm, and a thickness of 1.2 cm, the icon was originally taller and wider before its top and sides were cut.[14] Otherwise, there is only one spot with major damage, a large portion of Christ's hair on his left side, including his left ear and shoulder.[14] The original encaustic surface has continually been preserved in excellent condition overall.[14]

As with many of the early icons from Sinai, the Christ Pantocrator was created by using the technique, known as encaustic—a medium using hot wax paint—that was rarely used in the Byzantine world after the iconoclastic controversies of the eighth and ninth centuries.[15] The monastery at Sinai is the only place in the world where a substantial number of encaustic icons, particularly those dating from as early as the sixth century, have been preserved.[16] During the period of Byzantine Iconoclasm, the production of Orthodox icons continued at Sinai, whereas they were being destroyed in Constantinople.[17]

Survival from Byzantine Iconoclasm and aftermath edit

The Muslim Arabs quickly took control of the Levant south of the Taurus Mountains of modern day Turkey, including Egypt and Sinai, cutting the monastery's ties with Constantinople in the year 640.[18] Therefore, by the time the era of iconoclasm had been initiated by Emperor Leo III in 726, the Monastery of Saint Catherine had already been protected under Muslim rule for nearly a century and was able to survive the destruction of iconoclasm.[19] Furthermore, the location of the monastery in the rocky desert of Sinai, far away from any major trade or military route, kept the contents within St. Catherine's safe from raiders as well as conquering armies.[20] Today, the monastery houses more than 2,000 icons, dating from the sixth century to modern times.[21]

Notes edit

  1. ^ John Galey, George Forsyth, and Kurt Weitzmann, Sinai and the Monastery of St. Catherine (Givatayim, Israel: Massada, 1980), p. 99.
  2. ^ Galey, Forsyth, Weitzmann, Sinai, p. 92.
  3. ^ Kurt Weitzmann, The Monastery of Saint Catherine at Mount Sinai, the Icons (Princeton, New Jersey: Princeton University Press, 1976), p. 13.
  4. ^ Galey, Forsyth, Weitzmann, Sinai, p. 13.
  5. ^ Galey, Forsyth, Weitzmann, Sinai, 92; Kōnstantinos A. Manaphēs, Sinai: Treasures of the Monastery of Saint Catherine (Athens: Ekdotike Athenon, 1990), p. 93.
  6. ^ Galey, Forsyth, Weitzmann, Sinai, p. 92.
  7. ^ Manolis Chatzidakis and Gerry Walters, "An Encaustic Icon of Christ at Sinai", The Art Bulletin 49, No. 3 (1967): 201; Galey, Forsyth, Weitzmann, Sinai, p. 92; Manaphēs, p. 93; Weitzmann, Sinai, the Icons, p. 15.
  8. ^ Manaphēs, Sinai: Treasures, p. 84; Robin Cormack, Oxford History of Art: Byzantine Art (Oxford: Oxford University Press, 2000), p. 66.
  9. ^ Weitzmann, Sinai, the Icons, p. 15.
  10. ^ Chatzidakis and Walters, "An Encaustic Icon", p. 201.
  11. ^ Cormack, Byzantine Art, pp. 78–79; Manaphēs, Sinai: Treasures, p. 93.
  12. ^ Chatzidakis and Walters, "An Encaustic Icon", p. 202.
  13. ^ Weitzmann, Sinai, the Icons, p. 14.
  14. ^ a b c Weitzmann, Sinai, the Icons, p. 13.
  15. ^ Cormack, Byzantine Art, pp. 111–112.
  16. ^ Galey, Forsyth, Weitzmann, Sinai, p. 91.
  17. ^ Galey, Forsyth, Weitzmann, Sinai, pp. 92–93.
  18. ^ Galey, Forsyth, Weitzmann, Sinai, p. 92.
  19. ^ Kurt Weitzmann, "The Mosaic in St. Catherine's Monastery on Mount Sinai", Proceedings of the American Philosophical Society 110, No. 6 (Dec. 1966): 405; Galey, Forsyth, Weitzmann, Sinai, p. 92; Manaphēs, Sinai: Treasures, p. 92.
  20. ^ Weitzmann, "Mosaic in St. Catherine's", p. 392; Galey, Forsyth, Weitzmann, Sinai, p. 49.
  21. ^ Galey, Forsyth, Weitzmann, Sinai, p. 99.

Bibliography edit

  • Chatzidakis, Manolis and Walters, Gerry. "An Encaustic Icon of Christ at Sinai." The Art Bulletin 49, No. 3 (1967): 197–208.
  • Cormack, Robin. Oxford History of Art: Byzantine Art. Oxford: Oxford University Press, 2000.
  • Galey, John, Forsyth, George, and Weitzmann, Kurt. Sinai and the Monastery of St. Catherine, Doubleday, New York, 1980, ISBN 0385171102
  • Manaphēs, Kōnstantinos A. Sinai: Treasures of the Monastery of Saint Catherine. Athens: Ekdotike Athenon, 1990.
  • Weitzmann, Kurt. "The Mosaic in St. Catherine's Monastery on Mount Sinai." Proceedings of the American Philosophical Society 110, No. 6 (Dec. 1966): 392–405.
  • Weitzmann, Kurt. The Monastery of Saint Catherine at Mount Sinai, the Icons. Princeton, New Jersey: Princeton University Press, 1976.

Further reading edit

  • Coleman, Simon; Elsner, John. "The Pilgrim's Progress: Art, Architecture and Ritual Movement at Sinai". World Archaeology 26, No. 1 (1994): 73–89.
  • Nelson, Robert S.; Collins, Kristen M.; J. Paul Getty Museum. Holy Image, Hallowed Ground: Icons from Sinai. Los Angeles: J. Paul Getty Museum, 2006.

January 01, 1970
christ, pantocrator, sinai, christ, pantocrator, saint, catherine, monastery, oldest, byzantine, religious, icons, dating, from, century, earliest, known, surviving, depiction, jesus, christ, pantocrator, literally, ruler, regarded, historians, scholars, among. Christ Pantocrator of Saint Catherine s Monastery is one of the oldest Byzantine religious icons dating from the 6th century AD 1 The earliest known surviving depiction of Jesus Christ as Pantocrator literally ruler of all it is regarded by historians and scholars among the most important and recognizable works in the study of Byzantine art as well as Eastern Orthodox and Eastern Catholic Christianity 2 Christ Pantocrator from Saint Catherine s Monastery in Sinai Contents 1 Background 2 Interpretation and meaning 3 Description and production 4 Survival from Byzantine Iconoclasm and aftermath 5 Notes 6 Bibliography 7 Further readingBackground editFor a time the icon was thought to have been dated from the thirteenth century since it had been almost completely painted over at that time It was concluded in 1962 that it is from the mid sixth century although the exact date of production is still unknown 3 When Saint Catherine s Monastery was founded by the Byzantine emperor Justinian I late in his reign between 548 and 565 4 it enjoyed imperial patronage and donations from Justinian and his court with the Christ Pantocrator icon having been one of the many possible imperial gifts 5 Because of this it is generally believed to have been produced in the Byzantine capital of Constantinople 6 Interpretation and meaning editSee also Christ Pantocrator nbsp Mirrored composites of the left and right sides of image Many agree that the icon represents the dual nature of Christ illustrating traits of both man and God 7 perhaps influenced by the aftermath of the ecumenical councils of the previous century at Ephesus and Chalcedon 8 Christ s features on his right side the viewer s left are supposed to represent the qualities of his human nature while his left side the viewer s right represents his divinity 9 His right hand is shown opening outward signifying his gift of blessing while the left hand and arm are clutching a thick Gospel book 10 Some scholars have suggested the icon at Sinai could have been a possible representation of the Kamouliana icon of Christ 11 or of the famous icon of Christ of the Chalke Gate 12 an image which was destroyed twice during the first and second waves of Byzantine Iconoclasm first in 726 and again in 814 and thus its connection with the Christ Pantocrator is difficult to confirm 13 Description and production editWith a height of 84 cm width of 45 5 cm and a thickness of 1 2 cm the icon was originally taller and wider before its top and sides were cut 14 Otherwise there is only one spot with major damage a large portion of Christ s hair on his left side including his left ear and shoulder 14 The original encaustic surface has continually been preserved in excellent condition overall 14 As with many of the early icons from Sinai the Christ Pantocrator was created by using the technique known as encaustic a medium using hot wax paint that was rarely used in the Byzantine world after the iconoclastic controversies of the eighth and ninth centuries 15 The monastery at Sinai is the only place in the world where a substantial number of encaustic icons particularly those dating from as early as the sixth century have been preserved 16 During the period of Byzantine Iconoclasm the production of Orthodox icons continued at Sinai whereas they were being destroyed in Constantinople 17 Survival from Byzantine Iconoclasm and aftermath editThe Muslim Arabs quickly took control of the Levant south of the Taurus Mountains of modern day Turkey including Egypt and Sinai cutting the monastery s ties with Constantinople in the year 640 18 Therefore by the time the era of iconoclasm had been initiated by Emperor Leo III in 726 the Monastery of Saint Catherine had already been protected under Muslim rule for nearly a century and was able to survive the destruction of iconoclasm 19 Furthermore the location of the monastery in the rocky desert of Sinai far away from any major trade or military route kept the contents within St Catherine s safe from raiders as well as conquering armies 20 Today the monastery houses more than 2 000 icons dating from the sixth century to modern times 21 Notes edit John Galey George Forsyth and Kurt Weitzmann Sinai and the Monastery of St Catherine Givatayim Israel Massada 1980 p 99 Galey Forsyth Weitzmann Sinai p 92 Kurt Weitzmann The Monastery of Saint Catherine at Mount Sinai the Icons Princeton New Jersey Princeton University Press 1976 p 13 Galey Forsyth Weitzmann Sinai p 13 Galey Forsyth Weitzmann Sinai 92 Kōnstantinos A Manaphes Sinai Treasures of the Monastery of Saint Catherine Athens Ekdotike Athenon 1990 p 93 Galey Forsyth Weitzmann Sinai p 92 Manolis Chatzidakis and Gerry Walters An Encaustic Icon of Christ at Sinai The Art Bulletin 49 No 3 1967 201 Galey Forsyth Weitzmann Sinai p 92 Manaphes p 93 Weitzmann Sinai the Icons p 15 Manaphes Sinai Treasures p 84 Robin Cormack Oxford History of Art Byzantine Art Oxford Oxford University Press 2000 p 66 Weitzmann Sinai the Icons p 15 Chatzidakis and Walters An Encaustic Icon p 201 Cormack Byzantine Art pp 78 79 Manaphes Sinai Treasures p 93 Chatzidakis and Walters An Encaustic Icon p 202 Weitzmann Sinai the Icons p 14 a b c Weitzmann Sinai the Icons p 13 Cormack Byzantine Art pp 111 112 Galey Forsyth Weitzmann Sinai p 91 Galey Forsyth Weitzmann Sinai pp 92 93 Galey Forsyth Weitzmann Sinai p 92 Kurt Weitzmann The Mosaic in St Catherine s Monastery on Mount Sinai Proceedings of the American Philosophical Society 110 No 6 Dec 1966 405 Galey Forsyth Weitzmann Sinai p 92 Manaphes Sinai Treasures p 92 Weitzmann Mosaic in St Catherine s p 392 Galey Forsyth Weitzmann Sinai p 49 Galey Forsyth Weitzmann Sinai p 99 Bibliography editChatzidakis Manolis and Walters Gerry An Encaustic Icon of Christ at Sinai The Art Bulletin 49 No 3 1967 197 208 Cormack Robin Oxford History of Art Byzantine Art Oxford Oxford University Press 2000 Galey John Forsyth George and Weitzmann Kurt Sinai and the Monastery of St Catherine Doubleday New York 1980 ISBN 0385171102 Manaphes Kōnstantinos A Sinai Treasures of the Monastery of Saint Catherine Athens Ekdotike Athenon 1990 Weitzmann Kurt The Mosaic in St Catherine s Monastery on Mount Sinai Proceedings of the American Philosophical Society 110 No 6 Dec 1966 392 405 Weitzmann Kurt The Monastery of Saint Catherine at Mount Sinai the Icons Princeton New Jersey Princeton University Press 1976 Further reading editColeman Simon Elsner John The Pilgrim s Progress Art Architecture and Ritual Movement at Sinai World Archaeology 26 No 1 1994 73 89 Nelson Robert S Collins Kristen M J Paul Getty Museum Holy Image Hallowed Ground Icons from Sinai Los Angeles J Paul Getty Museum 2006 Retrieved from https en wikipedia org w index php title Christ Pantocrator Sinai amp oldid 1218616349, wikipedia, wiki, book, books, library,

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