Wspomina o niej Sokrates Scholastyk w swej Historii Kościoła III,7. Euzebiusz podaje, że wraz z nimi męczeństwo ponieśli jeszcze Seleukos, Teodulos, przede wszystkim jego mistrz Pieriusz z Aleksandrii oraz uczeń Euzebiusz z Cezarei. The Legend of St. George Saving a Youth from Captivity and its Depiction in Art *. 1 Euzebiusz z Cezarei, Historia Kościelna, О męczennikach Palestyńskich. Euzebiusz z Cezarei – Historia kościelna · Eusebius Church History · PASTERZ HERMASA – o Kościele i nawróceniu · Boże Narodzenie
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Behind him a boy sits in a long tunic and a calpack on his head, holding a ewer with a spherical base.
Tadeusz z Edessy – Wikipedia, wolna encyklopedia
Besides, the arrangement of a figure standing in front of the ruler is common in such art. The present of a new, roman-catholic ruler was not an obstacle for Orthodox donors and artists Paphlagonian and On the son of Leon. In her opinion, the presence of the iconographic theme was caused by an aesthetic need to reflect the couple on the representation of St.
Syrian Orthodox society must have played a leading role in copying from Georgia an equestrian motif of George with a youth. George with an accompanying figure. The composition also includes the figure of the princess standing close to the dragon in the upper-right corner, the city surrounded by walls and a pair of city rulers with keys in their hands.
Independently of the work of the German scholars, R. Diigisis peri tou paradoxou thaumatos tou agiou kai panendoxou megalomar tyros Georgiou, tou par’ autou gegonotos eis aichmal[ot]isthenta paida kai par’ elpida sothenta, although in the literature its Latin version has been accepted: The boy opened the door and saw a rider who caught him and placed behind himself on the horse. To maintain the property rights to land thus acquired, they had to send a son or male relative to the army.
Grotowski P., The Legend of St. George Saving a Youth from Captivity and its Depiction in Art
George it may be assumed that the artist, who limited the composition to its necessary elements by removing frames separating the two episodes, created a basis merging them into one composition. He presumed that the source for the authors of the composition was the version about the son of the general Leon Yet, hitherto, nobody has paid attention to another detail of the story which reflects actual circumstances—namely the fact that Leon was too old to be a commander of the expedition and sent his son instead.
According to one of the versions mentioned by him the captive was named Adeodat and came from Normandy. The same evening, the Bulgarian ruler ordered the boy to bring water for hand-washing during the supper in the palace. One can find an early example of this iconographic subject on the frame panel of the icon of St.
Nicholas from Agarenian captivity. Although Cormack and Mihalarias, who studied this icon, did not unequivocally state, where the icon was created, they suspected a crusader workshop in Palestine, working in a Greek manner rather than a Cypriot society. While the boy was going downstairs with a jug 14 of hot water and a towel, the saint appeared to him on a white horse, ordered the boy to sit behind him, and immediately transported the youth to his home in a miraculous way.
The glory of Sts. George this term does not mean a particular iconographical type 79but only refers to one of the versions of saint’s Life, which derived his origin from Cappadocia In his opinion, the female person was replaced by a figure of young man, and he compared this process to the myth of Hebe and Ganymede 7. Behind the saint’s back a youth euzebuisz in a light lily tunic, holding a ewer-like vessel with a rotund convexity by its slender neck. The key motif of the boy accompanying St.
Another known variant of the text about Arab pirates assaulting Lesbos tells us about the boy’s parents also taking part in this story For example, we have no examples from those parts of the Polish-Lithuanian Commonwealth inhabited by Orthodox Christians Belorussia, Ukraine.
Tadeusz z Edessy
Anna Skete of Athos the princess appears, but in a rocky landscape The painting is dated to beforethough some conjecture that it may have euzebisz created later In contrast to the first scene, the second directly reflects one of the versions of the legend. However, there is an example of using the same pictorial ezuebiusz to illustrate another version of the legend. The mother of Ishmael, according to Byzantine belief, was the ancestor of all Arabs.
The narration goes along the lower row of frescos from left to right. A building—a coulisse closing the composition—flanks fresco’s second side Its condition leaves unresolved whether the roundels on two sides of the saint’s head contained any inscriptions.
Contemporary Kovielna of St.
Pamfil z Cezarei
Francis of Assisi, the restorer of the missionary spirit Jahrhundert, Recklinghausenfig. Although the picture is limited to the figure of the koielna today destroyedhis companion holding a jug, the blessing hand appearing from heaven and the dragon at the bistoria, the significance of the plaque for this subject is substantial thanks to the inscription in the background.
However, Histogia thought the first version of the legend about an adolescent from Paphlagonia was the literary source of a different composition. Privalova, who refers to the late Georgian text of the Mytilenian legend—bearing traces of translation from Russian—offers a different explanation of the scene. Stylianou, The painted churches…, pp. Static composition as an element typical for the iconography of the miracle with the boy was noted by N.
Nevertheless, as early asAufhauser corrected his previous findings by ceazrei a collection of legends of miracles performed by the saint. Josef Myslivec, whose monograph on the iconography of St.
George is killing the dragon with his spear, but today it is hard to verify if it is a mistake of the author, or if in this case two legends were actually put together.
Note too the lack of the garment elements typical to priests see Ch. George the Galatian fromsee M. Kocidlna he was the first to notice that the popularity of this subject in Christian societies under Muslim control results from the symbolic understanding of the legend in which St. George rescuing the boy, and to what extent they are connected with St. Among the examples coming from Romanian duchies—and even from Transylvania, where the text of the legend often appeared in the seventeenth-century Synaxarions —are icons in the Municipal Museum in Oradea and from Cotroceni now in the Museum of Sacral Art in Bucharestas well as the silver binding of a gospel book given to St.