Visual Arts

The paper aims to present in broad outline the iconography of St. Reverend Mary of
Egypt. The Hagiographical sources of information about the life and spiritual exploit of St.
Mary will be discussed, as a basis for developing the Eastern and Western iconography of her.
Formation and developing of the main iconographic patterns, used for depicting St. Mary, will
be traced out. Moreover, their influence upon the Eastern and Western cultural traditions will be
elucidated in brief.

Present paper deals with the iconographical patterns in which mandorla, colored in red is used as a visual symbol of the Glory of God. In broad outlines will be described the visual device of mandorla in the Christian iconography, its functions and symbolic meaning. Special attention will be paid to the red mandorlas in the Orthodox iconography - development and spreading of the patterns with red mandorlas in Byzantine and Post Byzantine Orthodox image tradition. Special place will be given to the Bulgarian icons from the 17th-19th c. AD, where usage of red mandorlas became a common practice. Some patterns from the Varna and Veliki Preslav Eparchy will be shown as examples on that account. Conclusions of the present paper will try to connect the usage
of red colour in drawing the mandorla with the theological core of the phenomenon of God’s presence revealed in front of humans.

Симболичка разноврсност, уграђена у верску доктрину и истанчан филозофскисистем хришћанства, је огромна. Значење неких од хришћанских симбола као што сусв. Крст и крстни знак например, јасно је дефинисано и никада се није мењало токомдвадесетједновековне црковне традиције. Међутим, постоје и хришћански симболикоји из низа разлога остају у „задњем плану“ и немају исту јасноћу, зато што за њих недостаје недвосмислено тумачење њиховог значења. Сличне потешкоће нарочито инхерентне код симбола, који имају своје порекло у предхришћанском језичком веровању,филозофским системима и култури. Један од тих симбола, који је нашао своју употребуу православној иконографији као израз „славе Божије“ – карактеристичан Божји израз,како у старозаветним тако и у новозаветним временима, Бог у намери да разоткријесуштину пред људима, је тако названу „мандорла” – овалне форме, овално заоштренеили округле форме, која је у одређеним иконографским тематским текстовима описанаоко фигуре Господа Исуса Христа, св. Тројства, свете Богородице и у веома реткимслучајевима око фигура неких светаца.Израстање хришћанства у срж јудеизма, као и постепена промена статуса одзабране до званичне државне религије током IV в. сл. Р. Хр., налажу и промену у сис-IV в. сл. Р. Хр., налажу и промену у систему визуелних знакова које користи. Коришћење мандорле у ранохришћанској уметности се без преувеличавања може назвати преседаном, који је у директној вези сапроменом у религијском поимању света и одговарајућим преосмишљавањем коцептуалне средине током првих векова сл. Р. Хр. Нова уметничка тенденција испуњује се новим садржајем и преузима у употребу антички знак за представљање јединства измеђудуховног и материјалног - “vesica piscis”, тако што је трансформише у хришћанскумандорлу.У раду се истражује формирање два основна типа хришћанске мандорле (кружне и овалне) и њихова употреба у византијском и поствизантијском традиционалномприказу. Пажња је усмерена не само на тражење језичких корена овог визуелног знака,већ и на његово контекстуално значење.Да би се пронашло правилно тумачење овог јерархијско семантичког централногелемента у хришћанској иконографији, поставља се питање да ли је мандорла ликовнизнак светлонсног или просторног феномена, уско повезан са изражавањем суштине„славе Божије“. Акценат се ставља на развој и промењивост семантичке тежине дватипа мандорле кроз векове, започињући од првих сачуваних образаца из IV-V в. сл. Р.Хр. у Санта Марија Мађоре у Риму, до настанка „исихастке мандорле” током XIV в.у Византији и њеним поствизантијским варијантама у пре појединачно пронађенимправославним иконографским традицијама.Упркос њеном настојећем и приоритетном прихватању као вида нимба, или као јерархијског самосталног визуелног израза превасходно Божанских енергија (деловања), проучавање проблема доводи до закључка (извода), да мандорла у православној иконографији задржава, до великог степена своје древно значење једино могучегметода паралелног представљања сакралних догађаја, који прожимају једновремено иматеријални и духовни свет.
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Present paper aims to trace out in broad outlines the process of "migration"of the ancient symbol of "Vesica piscis" across the centuries and religions. Special attention
will be paid on transition of the symbol in the Early Christianity and its further development as a 'Christian mandorla'. In the Christian iconography mandorla has two
main shapes - oval and round, with notable diversity of meanings. Therefore, the accent will be putted on the elucidation of different sense of each form and on the
variety in the artistic usage of them in the Eastern and Western Christian Art. The main emphasis will be laid on the evolution of the philosophical and religious meaning
of the symbol of "vesica piscis" during the centuries.

The paper aims to trace out in broad outline the idea of usage the mandorla within the framework of Christian art, its further growth and changes in its semantic meaning. During the different stages of development of the East Orthodox iconography, mandorla changes its priority significance as a visual sign of the spiritual space to the symbol of the Light of Thabor, which after the Hesychasm has been considered as the only adequate material sign for expressing the uncreated energies of God.

The visual culture of Byzantium was profoundly religious in its character and was intended to serve as “theology in images” equal to theology in words. The gradual development of the Orthodox theology over the centuries has caused noticeable changes in the visual paradigm of Byzantine art. Therefore, all Byzantine visual models can be seen as visual interpretations or “translations” of the then contemporary theological thought, and it is possible to "read” them through the theological writings and religious mainstreams of the time. One of the best examples in this regard is the mandorla as a visual sign of the indescribable phenomenon of God’s Glory, mentioned in the Old and the New Testaments. Byzantine art had established two main types of mandorla representing the spatio-temporal and resplendent manifestations of the Glory of God. These visual
models have been reflecting every alteration of the theological milieu concerning the current concept of how God reveals Himself to humankind. More and more elaborated notions about the Vision of God resulted in more and more elaborated visual paradigms of the Glory of God and moulded various patterns in its iconographic expression - the mandorla.

Orthodox iconography is focused on the idea of representing the cosmos, the essence of God’s creatio ex nihilo, thus serving as a visual cosmology and thence - as cosmography of all being. Icons depict the image of the archetypal world in its integrity, unachievable for the limited human abilities, and are ontologically inseparable from this archetype. Therefore, although not identical with cartography, iconography has been always related with the idea of representing the world trough symbolic images. In this context, it becomes a visual cosmology, and hence - a kind of cosmography of all being. Although not identical to cartography, Orthodox iconography creates symbolic images that can be interpreted as an image of the whole world – oikoumene.
One particular example in this respect relates with the semantics and usage of mandorla symbol. In the Orthodox iconography, the mandorla has its function as a vision of Divine. It can be called even Imago Dei, expressing invisible to the eyes and incomprehensible to the mind essence of God. However, in a number of iconographic scenes the image of God is related theologically and artistically with the cosmological perceptions of Christianity about the theocentricity of cosmos. Thus, mandorla as Imago Dei often plays the role of a symbolic Imago Mundi.
In this regard, present paper will examine several iconographic scenes, where mandorla symbolizes the entire Universe: early mosaics from Rome, Naples and Ravenna, depicting  Christ as sitting on a globe mandorla in accordance with the biblical verse “Heaven is My throne, and earth My footstool” /”Is. 66:1”/; /”Acts 7:49”/ as well as /”Ps. 11:4”/ and /”Mat. 5:34-35”/; independent representations of cosmic mandorla with the Holy Cross or with Dextera Domini; cosmic mandorla in the iconography of God Κοσμοκράτωρος, the Crusifiction and the Exaltation of the Cross. Special attention will be paid on the current research trend, connecting Hesychastic mandorla symbol with medieval mappaemundi. Sacral cartographic character of the Hesychastic mandorla has been explained is two ways - trough the religious symbolism of geometric figures and trough its visual resemblance with medieval maps and compass rosettes.
Regardless of how close or how far Orthodox icons are standing from our personal understanding of the maps of the world, their universal cosmographical character cannot be denied. Besides of their liturgical function, Orthodox icons play the role of means that help men to overcome the objective limitations of human nature and to see the world in its entireness, unachievable for the eyes. Thus, semantically complicated sign of Christian mandorla reveals its multifold meaning as Imago Dei and orbis terrarum in the same time – a metaphysical symbol of the “glory of God” that penetrates the entire Creation.

Although a comparison between Orthodox icons and geographic maps sounds like an extravagant idea, if we set them in a broader context, we will see that they are actually akin. Both, the Orthodox εικών and the medieval mappamundi are symbolic images that represent cosmological concepts, showing the essence and character of the Universe in images. They enable people to overcome their natural limitations and see what is invisible to their eyes.

Based on the complex interrelations between word and image, present paper aims to elucidate penetrating correlation of the theological thought of the time with the art of a specific epoch. Accent is putted on the Hesychasm and its influence over Byzantine iconography in the fourteenth century AD, especially what concerns the formation of a new, unusual form of mandorla, called “hesychastic”. In order to explain its rise and further development in Byzantine and Post Byzantine iconography, we will discuss the earliest few patterns of “hesychastic mandorla” from the very beginning of the century and will compare them with several subsequent examples. Central point of our research will be to find out which one is the earliest known “hesychastic mandorla”, and where this type of mandorla has emerged. Generally shared view claims that the new form has been produced firstly in Thessaloniki, in the partially survived Transfiguration mosaic of the Holy Apostles Church. Here we will proceed from the assumption that the prime model originates from Constantinople, caused by the theological and artistic milieu in the metropolis and probably found its place first in the wall paintings of the Chora Church. In order to support this hypothesis we will pay special attention to the relationships between the first and the second city in the Empire, we will discuss intervisuality between the iconographic models in both churches and will try to propound a new interpretation of the timing of the wall decorations in the Holy Apostles Church.

Key words: Hesychasm, Hesychastic mandorla, Transfiguration, Holy Apostles Church, Chora Church

An unpublished until now icon of SS. Cyril and Methodius from the Holy Ascension Church in Shumen, painted in 1896 by the local iconographer Nikola Vassilev, has preserved an unusual representation of the old Bulgarian capital Veliki Preslav. Instead of the fictitious landscape of the Great city of St. Tsar Boris Mikhail in its majesty from the ninth century, typical for the iconography of the saints during the second half of nineteenth century, the iconographer has depicted on the background a contemporary view of the city, complemented with several imaginary historical elements.     
Nikola Vassilev made a substantial contribution to the development of the iconography of the Equal to Apostles SS. Cyril and Methodius Teachers of Slavs, by interpreting in a unique way the most popular at that time Viennese model of their icons. In 1885, he was the first Bulgarian iconographer who placed scene with the Baptism of St. Tsar Boris in the midst of the iconographic composition. Over the next decade, he continued to develop the story in his own artistic way; while in 1896, he made it even further, portraying the old capital Veliki Preslav through a realistic urban landscape, combined with curious details.   
Here we suggest that most likely this unique artistic manner of representation was a result of an apparent ambition of the local author in the last decades of his life to build up and establish his name as a modern artist and painter. Elaborating a style of his own, Nikola Vassilev seemed to us like telling the story of the Great city of Preslav from the ninth to the nineteenth century, and his icon from the Holy Ascension Church can be rightfully referred as the crown of his distinctive way of reading the story of life and deeds of SS. Cyril and Methodius.

Present paper aims to describe an unpublished icon of an unknown until this moment member of the Shumen iconographic school during the National Revival period – zograph David from Marash village. The icon represents St. Triphon the Martyr with six scenes of his life, arranged in an unusual way. What is most intriguing, however, is the full name of the iconographer, written in the donor inscription on the lowest part of the icon. The existence of zograph David had remained unknown until recently, when a thorough restoration of the icon discovered his name on it. The inscription indicates that David was an active iconographer in the seventies of the nineteenth century, and marks his artistic areal, because it names the church that icon was ordered for. The most important elements here are the forename and surname of the painter, as well as his birthplace, discovered for the first time.

The present paper aims to describe in broad outlines the artistic style of the painters from the Shumen iconographical school in representing the Nativity of Christ. The study focuses on the work of Vassil Hr. Bedelev, whose obvious predilection to the subject leads him to create a few remarkable for Bulgarian art during the National Revival period pieces. Two of his icons have been compared with four similar patterns of Nikola Vassilev, however, due to the lack of reliable identification, the analysis does not focus on the works of the newly discovered third member of the school – zograph David Georgiev from Marash village. The conclusions show that the artistic heritage of the three local iconographers has got an important place in the history of Bulgarian Revival period art where the work of Vassil Bedelev has to be considered in different way.

В историята на българското възрожденско изкуство са записани само двама зографи от Шумен – Никола Василев и Васил Христов Беделев. Биографичните данни за тях не са много, а творчеството и на двамата никога не е било систематично изследвано. През последните две години, обаче, стана ясно, че съществуват неизследвани и непубликувани икони на Василев и Беделев, които са по-ранни от вече известните и задават нова хронологична рамка на тяхното творчество, както и нова насока за изследване на неговото разпространение и за оценяване на неговия мащаб. В допълнение, през 2015 г. беше открита и първата подписана икона на трети, неизвестен до момента зограф от Шуменско – Давид Георгиев от Мараш, които е работил в същите храмове и по същото време като Василев и Беделев. Всички това, заедно с установеното наличие на голям брой все още неизследвани произведения на тримата местни иконописци, създава необходимост от провеждане на задълбочено изкуствоведческо проучване на творчество им, чиято първа задача е да изследва техните най-ранни запазени сигурни произведения. Ето защо, във фокуса на настоящия доклад са поставени иконите на шуменските зографи, изписани в периода 1857-1858 г. за храма „Успение Пресветия Богородици” в Търговище.

The present paper aims to discuss the conception of the sacred space in which God dwells and its visual representation in Christian iconography. It deals with the problem of the origins of the mandorla symbol that appears on the intersection of the metaphysical and the material space. The idea of the protective luminous cloud in which gods live and act among people is one of the most stable concepts in the ancient art. Enriched by the mystical meaning of the Pythagorean vesica piscis it forms the visual symbol of mandorla as a visual representation of the
divine space in which God dwells. On this ground, Christian art has developed two basic types of mandorla as a means for expression of the Glory of God in its splendour and spatial character. Here we are not going through the whole process of developing of the Christian mandorla and its variations according the theological alterations of the time. Pointing at a few extant patterns from the Balkan Peninsula and its neighbouring areas from the first centuries of Early Christian and Byzantine art, we are aiming to illustrate only the long-lasting ancient notion of representing the sacred space of gods, the dwelling place of the divine by the vesica piscis symbol and its successors.

Orthodox iconography is focused on the idea of representing the cosmos, the essence of God's creatio ex nihilo, thus serving as a visual cosmology and thence-as a cosmography of all being. Icons depict the image of the archetypal world in its integrity, unachievable for the limited human abilities, and are ontologically inseparable from this archetype. Therefore, iconography has been always related with the idea of representing the world trough symbolic images. In this context, it becomes a visual cosmology, and hence-a kind of cosmography of all being. Although not identical to cartography, Orthodox iconography creates symbolic images that can be interpreted as an image of the whole world – oikoumene. One particular example in this respect relates with the semantics and usage of mandorla symbol. In the Orthodox iconography, the mandorla has its function as a vision of Divine. It can be called even Imago Dei, expressing the invisible to the eyes and incomprehensible to the mind essence of God. However, in a number of iconographic scenes the image of God is related theologically and artistically with the cosmological perceptions of Christianity about the theocentricity of cosmos. Thus, mandorla as Imago Dei often plays the role of a symbolic Imago Mundi.

This paper presents a new interpretation of biographical data about the three known iconographers from Shumen – Nikola Vasilev, Vasil Hristov Bedelev, and David Georgiev. It is built on some recent information obtained in a research on the local painters' work, conducted in the last two years. The scientific communication aims to trace more accurately the potential generational link between the three, as well as to clarify the structure of the small local iconographic school existed in Shumen during the second half of the nineteenth century AD.

This research aims to identify the unique model of representation of St. St. Cyril and Methodius Equal to the Apostles in the artistic work of Nikola Vasilev – the most famous iconographer from Shumen during the Bulgarian National Revival Period. The chronological evolution of his interpretation of the subject is revealed trough a comparative study of twelve icons made between 1869 and 1896 AD. Special attention is paid to the setting of the scene with Baptism of the Bulgarian Tsar by St. Methodius in the midst of the composition as a means of emphasizing the personal relationship between the Bulgarian royal court and the Holy Brothers’ deeds. It is also noted that Nikola Vasilev preferred to name the two saints “Bulgarian Enlighteners” instead of “Slavic Enlighteners”, and had never stopped adding more and more typical Bulgarian elements into the icons’ iconographic scheme. The text examines the probable connection between some historical events and social conditions in Bulgaria, and the gradual evolution of the Nikola Vasilev’s model. Altogether, these features demonstrate the artistic value of the work of the zographer from Shumen, his extremely high national and local patriotism, and his public commitment and sensitivity to one of the most important cultural concepts for the Bulgarian national self-consciousness at that time – the Bulgarian roots of the Christianization and Enlightenment of the whole Slavic world.

This paper presents an unpublished bilateral icon written by a previously unknown icon painter from Shumen region – Radush (Dimitrov). Small sized and in very bad condition the obverse side of the icon bears the face of the most revered Bulgarian saint – St. John of Rila the Miracle Worker. On the reverse unprimed side there is a pencil drawing of an unidentified figure in a dynamic pose. The paper aims to report the presence of a new iconographer who worked at Shumen and its surroundings between nineteenth and twentieth centuries and to make an attempt to identify the character on the reverse side of the icon.