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JULIA REVERET – L’espace liturgique en Bulgarie médiévale. Lieu de rencontre entre un art officiel et un art des fidèles

L’espace liturgique en Bulgarie médiévale aux IVe-XIe siècles – Lieu de rencontre entre un art officiel et un art des fidèles.
Julia Reveret, Université de Clermont-Ferrand II

La Bulgarie médiévale (sous entendant pour notre étude la Bulgarie dans ses frontières actuelles et la Macédoine), pays aux frontières fluctuantes durant cette période est d’un grand intérêt par sa situation géographique de carrefour où depuis l’époque thrace se croisent et fusionnent différentes ethnies et civilisations. C’est un point de confluence et de rencontres entre les cultures des empires romains d’Occident et d’Orient, des ethnies venant du Nord, du monde méditerranéen et des régions d’Asie centrale. L’adoption et l’officialisation de la religion chrétienne en tant que religion d’état sous le règne de Boris-Michel Ier en 864 conduit à nous interroger sur les productions artistiques chrétiennes face à cet héritage multi-ethnique et multi-culturel, plus précisément sur les liens existant entre ces populations emprunts de traditions et de croyances et l’art chrétien officiel, tout en tentant de définir les rapports entretenus entre la construction de ce 1er royaume et la religion chrétienne. Par ailleurs, la proximité de ce territoire avec la capitale impériale, Constantinople présente un autre intérêt et suscite d’analyser le poids et le rôle de la puissance byzantine sur le développement et l’évolution de l’art chrétien produit sur ces terres balkaniques depuis l’installation d’Asparouch en 680 mais surtout lors de la prise de Preslav par les Byzantins en 1018. Cet art « bulgare » arrive-t-il en effet à s’émanciper, à créer sa propre personnalité en présence des deux aspects de la puissance byzantine : l’un fascinant à leur yeux, l’autre oppressant ? Et s’il y parvient comment le fait-il et avec quel degré d’indépendance stylistique ou technique par rapport à cet écrasant mentor ?

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MARIA GRINBERG – Les illustrations du Stichéraire GIM Muz. 3674

Les illustrations du Stichéraire GIM Muz. 3674 du XIIIe siècle.
Maria Grinberg, Université Lomonossov de Moscou

Le stichéraire est un type du livre liturgique qui contient les chants officiels suivant l’ordre de l’année religieuse, y compris les Menées, le Triodion, le Pentikostarion et l’Octoéchos. Peu de Stichéraires enluminés sont parvenus à nos jours. Parmi les exemples les plus remarquables on peut citer Koutloumousiou n° 412 et Sinai cod. 1216. Ces manuscrits furent brièvement examinés par Kurt Weitzmann dans son article « The Selection of Texts for Cyclic Illustration in Byzantine Manuscripts », dans Byzantine Books and Bookmen. Ces manuscrits furent datés du début du XIIIe siècle et leur origine fut localisée à la région palestinienne. Il est néanmoins plus probablement de voir apparaître les manuscrits enluminés de ce genre à partir du XIIIe siècle.

Le manuscrit coté GIM Muz.3674 est décoré avec vingt-cinq miniatures placées sur les pages sans encadrement, chaque d’eux étant précédé par le passage de texte qu’elle illustre. Les particularités paléographiques et stylistiques permettent de dater ce manuscrit vers le XIIIe siècle, mais la date précise reste à établir.

Mon intervention présentera une analyse iconographique des miniatures du Stichéraire. Il s’agit, notamment, d’identifier ses sources iconographiques et de spécifier les critères du choix des sujets, qui contribuent à enrichir le sens du texte. La plupart des miniatures, soit vingt-et-une est placée dans la partie des Menées, trois dans le Triodion et une dans le Pentikostarion. Cet ensemble est, en effet, un mélange des scènes de l’Evangile, des images des Fêtes et des représentations des saints. Ces dernières ne correspondent pas forcément au texte qui les suit. L’iconographie de cette partie du Stichéraire était fondée principalement sur les illustrations des Ménologes du XIe siècle mais, le choix du sujet reste original et réalisé en fonction du programme iconographique particulière du manuscrit.

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NIKITAS PASSARIS – The scene of the communion of the Apostles on Syrian, Armenian and Coptic manuscripts

The scene of the communion of the Apostles on Syrian, Armenian and Coptic manuscripts.
Nikitas Passaris, Université d’Athènes

The subject of the Communion of the Apostles is based on the evangelic narration of the Last Supper. In this presentation, based on my PhD research, we will present scenes from Syrian, Armenian and Coptic manuscripts and compare them to the Liturgical Typikon, in order to determine to which extent the representation of the scene has been influenced by the differences of the Liturgical Typikon.

The older scenes with this subject date to the second half of the 6th century and come from the aerea of Syria. Two types dominate according to the representation of Christ. In the first one, Christ is represented once, as in the Raboula manuscript, whereas in the second, who is more common, Christ is represented twice behind the altar offering bread and wine to two Apostles. In these representations, contemporary practices of the Liturgy are depicted. The model for these scenes could be found in monumental painting and particularly in the Church of the Last Supper, on Mount Sion in Jerusalem, which we know of from written sources. In addition, the oldest scenes are represented on Coptic frescoes of the 7th and 8th century, in the sanctuary, confirming the hypothesis of a model in monumental art. Representations are rare in monumental art, and these scenes are indeed important for this matter as they are the only pre-iconoclastic representations. The scene is found in the Coptic manuscript Par.Nat.Copt.13, of the 12th cent., in which the Apostles are depicted in different movements. In the Syrian manuscripts Brit.Mus.add.1170 and Vat.Syr.559, beginning of the 13th cent., Christ is represented on a throne, whereas in the manuscript Deir Zafaran (mid 13th cent.), the Apostles are represented on two levels. The Communion of the Apostles has also been represented in four Armenian manuscripts of the 13th and 14th cent., in which one can find differences in the representation of the subject. Do these scenes represent the differences in the Liturgical Typika or are these differences simply due to the evolution of the consecrated type of the 6th century?

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SOFOKLIS KOTSOPOULOS – The post Byzantine temple of Saint-Dimitrios in Monastiri

The post Byzantine temple of Saint-Dimitrios in Monastiri.
Sofoklis Kotsopoulos, Université Aristote de Thessalonique

In this paper, a part of the doctoral research that I elaborate at the department of History of Architecture and Art (Faculty of Architecture, Polytechnic School, Aristotle University of Thessaloniki – Greece), is presented. The title of the PhD study is “The Architecture of the city of Monastiri and the whole area of Pelagonia”. Supervisor of the thesis is Prof. Maria Kampouri–Vamvoukou. The paper is presented in English.

The city of Monastiri (which nowadays belongs to FYROM), was based in Northwest Macedonia and during the 19th century was still subdued by the Ottoman Empire. Despite the hard political and national situation of Greece in this century, Greek community, which was characterized by its education, civilization and commerce, made this city the second most important centre of the North Greece, after Thessaloniki.

In 1830-1831, the Greek Christians built the largest church of the city. The permission for the construction was given by the authorities, through difficult procedures. The guilds and the Christians of the city, contributed in church’s construction, with money, stock and work. The role of the members of the Christian community was really important, considering the circumstances of that era.

Church’s dimensions are ~41×36 meters, and is a great sample of a three nave, wood-roofing basilica of the post-byzantine period. The inside roofing is a woody arch and the naves are separated by seven woody columns. The main church is surrounded by a gallery and on the second floor there is a women loft. There was also a Christian curt and hidden room for confession. The main construction by stone and bricks is typical for the period but the decoration from marble, woodcut, ivory, gold leaves reveal the power of the community. The woodcut temple and the icons depict the high level of Christian art during the 19th century in this area.

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BILGE AR – Reconsidering Hagia Eirene through Ottoman Era Documents

Reconsidering Hagia Eirene through Ottoman Era Documents.
Bilge Ar, Université technique d’Istanbul

Hagia Eirene Church represents an important step in the formation of a unique Byzantine architectural style. It is one of the main stages proceeded with another Constantinople church Polyeuktos, reaching to the most explicit outcome; Hagia Sophia, for the efflorescence of the Early Byzantine architectural style. It comes forth in the city history as the most important church of the capital till the construction of Hagia Sophia. The church had been refunctioned and reused throughout the years it had been under Ottoman rule. It had been embraced by the outer walls of the newly built Topkapı Palace and had been transformed into an ammunition store short after 1453. Holy relics originally kept in the church and spoils of the conquering were housed here besides the weapons of the depot. It had then been expanded in 1726 and taking the name Daru’l-esleha (House of Weapons), having the valuable material in it reorganized into an observable collection. After being used as a house for the collection and an armory depot for many years it had been transformed into the first Imperial Museum (Muze-i Humayun) in 1869. The Ottoman history of the building has only been mentioned by important dates and major function changes in earlier sources. This paper aims to tell the story of this monument during Ottoman era handling all the applications for repairing and those realized due to function changes and the later additions. Besides the physical additions and applications the administration of the building, important figures, other establishments functioning together with it and construction activities within the built environment around it are also among the subjects handled. A retrospective evaluation of Ottoman and Byzantine history of the building may also help to answer unanswered questions of the Byzantine monuments through Ottoman era documents including documents from Ottoman archives, images from miniatures, gravures, photographs in the 19th century and travelers notes.