考古学家克劳斯 · 施密特在哥贝克力遗址雕纹旁摆造型

Middle Ages Middle Ages (Medieval Period)(Medieval Period)

The Middle Ages date from the fall of the The Middle Ages date from the fall of the Western Roman Empire, from the 5th c., to tWestern Roman Empire, from the 5th c., to the 15th c. The Middle Ages are also known ahe 15th c. The Middle Ages are also known as the medieval period, from the Latin words s the medieval period, from the Latin words medium (middle) and medium (middle) and aevumaevum (age). There wa (age). There was a rich variety of periods and cultures in the s a rich variety of periods and cultures in the Middle Ages, including Byzantine (330-1453); Middle Ages, including Byzantine (330-1453); Carolingian (8th- late 9th); Ottonian (c.900-10Carolingian (8th- late 9th); Ottonian (c.900-1050); Romanesque (1050-1200); and Gothic (lat50); Romanesque (1050-1200); and Gothic (late 12th-15th).e 12th-15th).

The population of Europe is estimated to have reached a low point of about 18 million in 650, The population of Europe is estimated to have reached a low point of about 18 million in 650, doubling by 1000, and reaching over 70 million in 1340, just before the Black Death. In 1450 it doubling by 1000, and reaching over 70 million in 1340, just before the Black Death. In 1450 it was still only 50 million. was still only 50 million. (Fall of Western Roman Empire Sept 4, 476; Fall of Constantinople on May 29, 1453)(Fall of Western Roman Empire Sept 4, 476; Fall of Constantinople on May 29, 1453)

Middle AgesMiddle Ages Byzantine artByzantine art was influenced by was influenced by elements of elements of Greek and Roman artGreek and Roman art (such as an emphasis o (such as an emphasis on idealizing figures). It is a style frequently idn idealizing figures). It is a style frequently identified with early Christianity, although the lentified with early Christianity, although the latter actually developed in a range of styles in atter actually developed in a range of styles in Europe while it remained essentially the samEurope while it remained essentially the same in the East for hundreds of years. Examples e in the East for hundreds of years. Examples of Byzantine art survive in Ravenna in Italy, tof Byzantine art survive in Ravenna in Italy, the Balkans, Russia, Asian minor, etc. Artists che Balkans, Russia, Asian minor, etc. Artists created reated wall paintings, illuminated manuscripwall paintings, illuminated manuscripts, panel paintings,ts, panel paintings, and above all, mosaics.and above all, mosaics.

Middle AgesMiddle Ages Golden ages:Golden ages: 6th-7th; 9th-12th; 13th-15th. The tw 6th-7th; 9th-12th; 13th-15th. The two most important elements in Byzantine architeco most important elements in Byzantine architecture are the Roman ture are the Roman brick vaultbrick vault and the and the domedome. Th. The glory of Byzantine art expressed itself in e glory of Byzantine art expressed itself in mosaimosaicc, made of tinted glass and gold foil. , made of tinted glass and gold foil.

Germanic Art Germanic Art carving intricate devotional objectscarving intricate devotional objectsViking ArtViking Art craftsmanship, copying & illustratingcraftsmanship, copying & illustrating Hiberno-Saxon Art Hiberno-Saxon Art religious texts (manuscripts)religious texts (manuscripts)Carolingian Art: Carolingian Art: elaborate architectural sculptureselaborate architectural sculptures Ottonian Art:Ottonian Art: lavish objects of metal, glass, andlavish objects of metal, glass, and precious stprecious stones.ones.

主要雕刻有野猪、野鸭、巨蛇、小龙虾或者狮子、狩猎和娱乐的场面。石头上的雕刻图样和考古遗迹显示这里曾经是富饶的田园式地区。鱼儿在河里游来游去，野鸟到处都是；翠绿的牧场周围是葱葱树木和野果树。大约在 1 万年前，库尔德沙漠是一个“天堂般的地方”。是什么破坏了这种美丽宜人的环境？答案是人。因为我们开始耕作，我们改变了土地和气候。树木被砍伐，土壤日趋贫瘠；耕作和收割让土地遭到腐蚀和裸露。曾经美不胜收无比惬意的绿洲变成了荒芜之地。所以，天堂没了，亚当被迫离开他美丽的伊甸园，“回到他所自出之土”——《圣经》中写道。

哥贝克力遗址可能是伊甸园的一座神殿。考古学家已经挖出 45 块 T型巨石，他们透过仪器勘测确信，至少还有数百个巨石尚待挖掘，距今至少有 12000 年的历史。（英国巨石阵 3000BC ，金字塔 2500BC ）。它显示土耳其该地区古老的狩猎采集生活远比我们想象的要先进。

考古学家克劳斯·施密特在哥贝克力遗址雕纹旁摆造型很多哥贝克力巨石上雕刻着诡异、精细的图样，如爬虫类动物

有很多历史证据显示，《圣经》的作者们在谈论伊甸园的时候的确描述了库尔德土耳其的这个角落。 《创世纪》中描述伊甸园位于亚述西部。一点没错，这就是哥贝克力庙的位置。同样《圣经》中的伊甸园附近有 4条河，包括底格里斯河和幼发拉底河。哥贝克力遗址正是处于这 4条河中的 2条之间。古代亚述的课本中提到过“伯伊但”小邦——伊甸园的一处，这个小帝国距离哥贝克力遗址 50 英里。《旧约》中记载“在斯拉萨的伊甸园的儿童”，斯拉萨是叙利亚北边的一个小镇，与哥贝克力遗址相近。　　伊甸园这个词来自闪族语的“平原”，哥贝克力遗址位于哈伦平原。因此，当你把所有这些拼凑一起后会发现这一证据很有说服力。哥贝克力遗址实际上是“伊甸园的一座神殿”，由我们悠闲快乐的祖先建成，他们有时间研习艺术、建筑和复杂的典礼仪式，但是，后来从从事农业活动的苦和累毁掉了他们的生活方式，毁掉了他们的天堂。这是一个精彩而有趣的推论，只是它有一个灾难性结尾。因为天堂的毁灭似乎对人类心里产生了一种陌生而阴郁的效果。

Gallery and loculi of the Catacomb of Saint Callixtus, Rome, second century. Extensive underground galleries on five levels, the ancient burial place of the first popes.

--200 first graves dug--313 tolerance was granted to Christians, the use of catacombs declined.--400 the Church returned to bury exclusively above ground.--400-800 catacombs sacked and damaged by Goths and Longobards.--800 the Pope ordered to remove the relics of the martyrs and the saints to the city churches for security reasons, the catacombs were no longer visited.--1600 rediscovered by Antonio Bosio.1850 explored by Giovanni Battista de Rossi.--1929 as a part of the Lateran Treaty the Christian catacombs became Vatican territory

Tomb of Flavii, Rome. General view of the main gallery of the catacomb, decorated with simple, idyllic, and sacred wall paintings.

Christian Roman epitaph of Atimetus from the catacombs of St. Sebastian on the Via Appia, Rome. Inscription flanked by Christian symbols, an anchor and a fish.

Eucharistic fish and bread. Christian mosaic. Catacomb of St. Callixtus, Rome.

Catacomb of Domitilla, Rome: Christ and the 12 Apostles. Christ and the Christian as a philosopher is an important theme in Early Christian art. For example in this catacomb painting Christ as the philosopher is flanked by his disciples much like a representation of Socrates surrounded by his students.

Teacher and Pupils, Orant, and Woman and Child, wall painting in a lunette, Crypt of the veiled lady, Catacomb of Priscilla, Rome, 3rd century CE. The veiled female orant dominates the room. She is flanked by images of teacher-philosopherwith pupils on the left and a woman holding a child on her lap on the right. Although its context indicates this is a Christian site, its imagery derives from traditional classical themes.

Donna Velata (veiled lady), Catacomb of Priscilla, Rome, 3rd century CE.

Painted Ceiling of a cubiculum in the Catacomb of Sts. Peter and Marcellinus, Rome, early 4th century AD.

Jesus as a kindly shepherd, in the Catacomb of Callixtus in Rome. Mid-3rd century AD. Christ Himself does not appear regularly in this earliest Christian art. He does appear in allegorical guise as we have seen as the Philosopher. One of the most popular guises of Christ in this period was as the Good Shepherd: The "Good Shepherd" as an image of Jesus persisted in Christian art until about 500 AD.

Examination of an image like this which comes from the Catacomb of Calixtus again raises the issue of mixing Christian and Classical cultures. The Good Shepherd motif certainly calls to mind the Gospel parables of the lost sheep (Luke 15) and of the shepherd who gives his life for his sheep (John 10). Also the shepherd plays an important role in the Old Testament book of Psalms. But the shepherd was also popular as an allegorical figure in classical art and culture. It is significant to note that the style of this painting with its loose impressionistic style and suggestion of landscape space echoes a category of ancient painting called sacral-idyllic landscapes.

Marble sarcophagus relief showing Jonah and the whale, late 3rd c. (Rome: Museo Pio ex Lateranense). Consider why there is this major difference in the subject matter of the earliest Christian art from the later tradition. Also consider why these particular subjects are selected. What do they have in common? An important consideration is the status of Christianity during this pre-Constantinian period. Remember that Christianity was one of the large group of religions that were called mystery religions. As implied by the designation, at the core of the religious experience was an essential body of information that was only open to initiates.

The band above the Jonah story from left to right: 1) the Raising of Lazarus; 2) Moses strikes the rock to nourish the thirsting Israelites in the desert; 3) Peter escapes from prison (uncertain); 4) the Good Shepherd guarding his flocks before a tiny building; 5) at sleeping Jonah’s feet is a tiny box floating in the water with a figure releasing a dove --- the story of Noah and the ark; 6) on the far right edge of the sarcophagus is a rustic fisherman casts forth his line, the familiar image of Christ as the fisher of man’s soul.

Jonah Cast Up (the other piece is Jonah Swallowed) The two belong to a group from the eastern Mediterranean, probably Asia Minor, 3rd century. Marble, 51.6 x 40.6 cm. The Cleveland Museum of Art. OH

A striking contrast beteen pre-Constantinian and later Christian art is in the selection of subject matter. We find only very rarely images of the life of Christ. The standard infancy and passion scenes of Christ that we take for granted in Christian art are virtually non-existent in the earliest Christian art. We do find images like Christ performing the miracle of the loaves and fishes or Christ curing the paralytic. The typical subject matter in the earliest Christian sculpture and painting are miracle stories like Jonah and the Sea Monster.

Sarcophagus with Philosopher, orant, and Old and New Testament scenes, c. 270. Marble, 23 ¼” x 86”. Santa Maria Antiqua, Rome.

Paul's dress, the scroll in his hands, and the container with more scrolls at his feet, all identify Paul as a philosopher. A third century sarcophagus or tomb now in the church of Sta. Maria Antiqua has at its center a representation of a seated man holding a scroll and a standing woman. This is clearly based on the Classical formula of the philosopher and his muse. A sixth manuscript made in Constantinople known as the Vienna Dioscorides includes miniatures showing Dioscorides, a first century Greek physician and compiler of this medical encylopedia, accompanied by muses.

The gesture of the arm over the head is a formula derived from Greek Art for representing sleep. A Hellenistic sleeping Ariadne figure demonstrates the ancestry of this pose.

The formulas for representing figures in the earliest Christian art were clearly derived from the conventions of Classical art. Compare for example the representation of Jonah sleeping under the gourd to a reclining figure from a mythological sarcophagus as shown here.

Sarcophagus with Scenes from the Passion of Christ (probably from the Catacomb of Domitilla), mid-4th century A.D. Museo Pio Christiano (171/Inv. #31525), Vatican, Rome

From left: Christ carrying the Cross; Christ crowned with Thorns (or Laurel?) ； Cross with Chi-Rho, laurel wreath, and guards at the tomb ； Christ with Roman guard before Pilate ； Judgment of Pilate.

Alpha (A) is the first letter of the Greek alphabet and omega (ω) is the last one. They signify God as the beginning and end of all things. This symbolic device was popular from Early Christian times through the Middle Ages. Alpha and omega often flank the abbreviation IX or XP. The initials I and X are the first letters of Jesus and Christ in Greek. The initials XP are known as chi rho and were the first two letters of the word Christos, These emblems are sometimes enclosed by a circle.

"Good Shepherd" Sarcophagus: sculpted relief showing three shepherds and grape harvest, late 4th century A.D. Museo Pio Christiano (191/Inv. # 31554), Vatican, Rome

Detail of sculpted relief showing shepherd carrying sheep and grape harvest

From Rome, Marble, c. 359 A.D.

Detail: Sarcophagus of Junius Bassus

A major topic of consideration will be the development of Christian church architecture. It is important to understand that there was a profound change in conception of the Christian church after Constantine's patronage of Christianity. Christian buildings before Constantine were based on typical Roman domestic architecture. This is best exemplified by a drawing of the remains of a Christian meeting house in Dura Europos.

Archaeologists have shown that this traditional Roman house centered around an open court or atrium was built around the year 200 A.D. Around 230 the building was modified to meet the needs of the local Christian community. These changes included the elimination of a wall to form a larger oblong space to accomodate the liturgical celebrations of the community. The most significant change was the modification of a room to become a room to celebrate the sacrament of Baptism. Changes included the addition of a tub along one wall and the decoration of the walls with murals echoing the symbolism of Baptism.

Essential Features of Early Christian Basilica: a. Long nave flanked by aisles; b. Two-story colonnade;c. Clerestory windows; d. Semicircular apse at either end; e. Wooden roof;f. Forms symbolic cross; g. Altar is the central focus.

RECONSTRUCTION DRAWING OF OLD SAINT PETER’S BASILICA, Rome

Interior Reconstruction: Old St. Peter's, c. 320-27 CE

Rome, S. Paul's Basilica, view of nave

The Aula Palatina, the great audience hall of Diocletian. Probalby the best preserved Roman basilica in existence, the interior is a single, unbroken space without aisles. Dates from the early 4th century A.D., as do many of the monuments at Trier, Germany.

Interior of basilica showing apse area. 59 x 29 m

Aula Palatina (basilica-like audience hall), Trier, Germany, early 4th c. It was part of a new palace complex built by Constantine.

Rome, Sta. Sabina, 422-432 AD, exterior from rear

Interior of Santa Sabina, Rome

Rome, Santa Sabina, carved wooden doors dating for the later 4th century, includes on of the earliest crucifixion scenes extant.

Rome, Sta. Sabina door panels: Left: Jesus' Miracles          Right:  Moses

Bethlehem, Church of Nativity, 340

Hypothetical reconstruction of Holy Sepulchre, the site of Crucifixion, Jerusalem.During Costantine’s reign, it was the most hallowed martyria for pilgrimages. Tradition has it that the empress dowager Helena, C’s mother, made an extensive pilgrimage to Palestine about 326 and had memorials and churches erected over these holy places. She had excavated the ground where the very wood of the True Cross was found. Also Helena ordered structures to be built commemorating the place of Christ’s Ascension (Mount of Olives), the ground where he taught the disciples at Mambre, and the grotto of his birth in Bethlehem. A large basilica, “more beautiful than any on earth,” was erected over the place where the relics of the True Cross were discovered.

Rome, San Sebastiano, c. 313

Jerusalem, Golgotha: Original basilica

Jerusalem, Holy Sepulchre Church

Santa Costanza: exterior, view from NW., ca.350 A.D. Rome, Italy.

Site Plan: Santa Costanza, Rome, c. 338-50 CE

Plan and Section: Santa Costanza

Interior: Santa Constanza

Interior, Sta. Costanza, Rome.c. 350 A.D.

Detail of vault mosaic in the ambulatory of Santa Costanza, Rome, ca. 337-351.

Mosaic: Christ as Sol Invictus (datial of a v

ault)Mausoleum of the Julii, Rome, late 3rd cen.

CE

Santa Maria Maggiore, Rome, 432-40 CE

Nave: Santa Maria Maggiore, Rome, 432-40 CE

The mosaic cycle on the triumphal arch and nave walls at Santa maria Maggiore is the earliest comprehensive cycle of biblical scenes that is known. Originally 21 scenes covered each wall, but only 15 and 12 remain.

The parting of Lot and Abraham, mosaic in the nave of Santa Maria Maggiore, Rome, Italy, c. 432-440. A’s nephew Lot leads his family & followers to the right, to the city of Sodom, while A moving toward a building, symbolizing the Church. L is the evil choice. His two daughters as the instruments of the evil and the figure of unborn Isaac on the left as the instrument of good --- a prefiguration of Christ.

Feast of Abraham and the Three Men in the Valley of Mambre. Mosaic in the nave of Santa Maria Maggiore, Rome, c. 432-40. The feast is illustrated in three distinct scenes crowded into a landscape setting. This compression of two or more episodes within a single field is called conflation. Abraham, who is portrayed three times, is foremost the image of the priest who celebrates the Eucharist at the altar. In the upper part he kneels before the three men of the Lord, a prefiguration of the Trinity. In the City of God Gugustine wrote,”While seeing three, Abraqham worshipped but one.”

Thessalonika: Hagios Georgios, Originally built as a mausoleum for the emperor Galienus around 300, this round structure became a church dedicated to St. George, and decorated with mosaics during the fifth century.

Thessalonika: Hagios Georgios Originally built as a mausoleum for the emperor Galienus around 300, this round structure became a church dedicated to St. George, and decorated with mosaics during the fifth century.

Ss. Onesiphoros and Porphyrios Saints Cosmas & Damien

St. Apollinare Nuovo, a standard western basilica with a nave and two aisles, an apse and arcaded colonnades, was built in the 6th century originally as Theodoric's palatinate church. Perhaps the façade was originally closed by a four-sided portico, but now it is preceded by a 16th century marble portico. On the right side there is a cylindrical bell-tower of the 9th or 10th century, characteristic of the buildings of Ravenna. The magnificent mosaics depicting processions of Virgins and Martyrs represent one of the most typical examples of the Byzantine style.

Diocletian's palace at Spolato (Split) in Yugoslavia

Three tiers of mosaics (scenes from Christ Life, standing prophets, and procession of male and female martyrs identified by inscriptions.

Interior of Sant’ Apollinare Nuovo, Ravenna, Italy, dedicated 504.

Christ in Majesty. Apse mosaic in Santa Pudenziana, Rome. c. 400

The so-called Mausoleum of Gallia Placidia, Ravenna, Italy, c. 425-26 CE. This small mausoleum is just a few steps from the church of San Vitale. Just like the other buildings of Ravenna, the interior is covered with amazing mosaics. The plan is that of a Latin Cross. But the cross arms are very short. In essence, it is a central-plan structure—a fusion of the basilican and the central.

Mausoleum of Gallia Placidia, Ravenna, Italy, c. 425-26 CE, Vault and Lunette

Good Shepherd. 425 - 50. Mosaic. Mausoleum of Galla Placida, Ravenna. Imperial attributes: Halo, Purple robe, Throne, Labarum, cross-scepter (Imperial device, originally Roman military standard, became Christian symbol), Philosopher

Baptistry of the Arians:

exterior, view from E., ca.493-526 A.D., Ravenna, Italy

Baptistry of the Arians, interior, the dome mosaic of the Baptism of Christ, c. 493-526 A.D

Rebexxa and Eliezer at the well, folio 7 recto of the Vienna Genesis, early 6th. Tempera, gold, and silver on purple vellum,(fine calfskin dyed with rich purple and the text is silver ink), approx. 31 x 23.5 cm. Österreichische Nationalbibliothek, Vienna.It is the earliest well-preserved painted manuscript containing biblical scenes. It represents an uneasy transition from the scroll to the codex.

Christ before Pilate, Rossano Gospels (early 6th. closely related to the Vienna Genesis).Tempera on purple vellum.

Christ before Pilate, folio 8 verso of the Rossano Gospels, early 6th century, Tempera on purple vellum, approx. 28x26 cm. Diocesan Museum, Archepiscopal Palace, Rossano.

From Vienna Genesis. Upper row, left: Genesis 39 - Potiphar's wife tempts Joseph (although, upon close examination of Potiphar's wife, I not sure there was much temptation.). On the right: Joseph looks back, women of potiphar's household. Lower row: women of Potiphar's household in various occupations, two trees.

Priestess celebrating the rites of Bacchus, right leaf of the Diptych of the Nicomachi and the Symmachi, ca. 400. Ivory, 30 x 14 cm. Victoria and Albert Museum, London.

Saint Michael the Archangel, right leaf of a diptych, early 6th. Ivory, 43 x 14 cm. British Museum, London.

The Emperor Triumphant known as the "Barberini Ivory,” (Justinian as Conquerer?) from Constantinople. 6th (525-550). Ivory, 34 x 27 cm. Louvre.

Dyptych of Emperor Anastasius, c. 517 CE. Ivory, each leaf 36 x 13 cm. Bibliothèque Nationale, Paris.

Christ Enthroned with Saints, the Harbaville Triptych, c. 950. Ivory, central panel 14 x 24 cm. Louvre.

Anthemius of Tralles and Isidorus of Miletus. Hagia Sophia, Istanbul, Turkey. 532 -537 A.D.

One would declare that the place were not illuminated from the outside by the sun, but that the radiance originated from within, such is the abundance of light which is shed about this shrine." -Gardner's Art Through the Ages

"The historian Procopius wrote: One would declare that the place were not illuminated from the outside by the sun, but that the radiance originated from within, such is the abundance of light which is shed about this shrine." -Gardner's Art Through the Ages

Hagia Sophia interior. lithograph from the album by the Fossati brothers, Aya Sofia Constantinople, London 1852, pl. 6 (Athens Gennadeios Lib

rary).

Scaffolding used for repair of the

dome.

Hagia Sophia. The south doorway of the esonarthex. The lunette is decorated with a superb mosaic composition of the enthroned Virgin and Child flanked by Constantine the Great who presents a model of the city and Justinian who offers a model of the Church.

The mosaic was probably commissioned by Basil II (976-1025), who held in great admiration both these Emperors, whose examp!e he believed he had followed in restoring the empire to its former extent.

The Imperial Door from the Narthex. The mosaic in the lunette is a mid-9th-century Christ with Emperor Leo VI prostrate at His feet. In the medallions on either side of Christ's head are the Angel Gabriel (l.) and Mary Hodegetria (r.).

Mosaic of the Virgin and Child in the apse. The oldest surviving mosaic in Hagia Sophia. A work assignable to the second half of the 9th century, it replaced the cross of the iconoclasts in the half-dome of the sanctuary apse.

526-547 A.D.

Motto of the Byzantine Empire: "One God, one empire, one religion" -

S. Vitale, Ravenna. 526 - 47 A.D.

526-47 A.D.

Interior, S. Vitale

Interior (view from the apse into the choir), S. Vitale

Christ Enthroned and flanked by Saint Vitalis and Bishop Ecclesius, Apse mosaic in San Vitale, Ravenna: circa 546 A.D.

Theodora and Attendants, mosaic from the south wall of the apse, c. 547 A.D. S. Vitale

Empress Theodora (detail)Mosaic. c. 547 A.D. S. Vitale

Emperor Justinian and His Attendants. c. 547 A.D. Mosaic. S. Vitale.

Detail from triumphal arch, San Vitale. c. 548 AD

Sant' Apollinare in Classe, Italy, Ravenna; 53-549 AD. It was dedicated to Saint Apolinare, the first bishop of Ravenna.

Interior (view toward the apse), S. Apollinare in Classe, Ravenna. 553 - 49 A.D.

Saint Apollinaris amid sheep, apse mosaic.

Athanasius of Alexandria Cyril of Alexandria

St Demetrius with Bishop Johannes and Prefect Leontius (a dignitary), Mosaic on chancel pier in Hagios Demetrios, Thessaloniki. c. 650.

Seven Deadly SinsPride is excessive belief in one's own abilities (self-love), that interferes with the individual's recognition of the grace of God. It has been called the sin from which all others arise (the mother of all sins). Pride is also known as Vanity (broken on the wheel) (horse, violet).

Envy is the desire for others' traits, status, abilities, or situation (put in freezing water) (dog, green).

Gluttony is an inordinate desire to consume more than that which one requires (force-fed rats, toads, and snakes) (pig, orange).

Seven Deadly Sins

Lust is an inordinate craving for the pleasures of the body (smothered in fire and brimstone) (cow, blue).

Anger is manifested in the individual who spurns love and opts instead for fury. It is also known as Wrath (dismembered alive) (bear, red).

Greed is the desire for material wealth or gain, ignoring the realm of the spiritual. It is also called Avarice or Covetousness (boiled alive in oil) (frog, yellow).

Sloth is the avoidance of physical or spiritual work (thrown into snake pits) (goat, light blue).

Map of St. Catherine's

Monastery in Sinai, Egypt

Located at the foot of Mount Moses, St. Catherine's Monastery, was constructed by order of the Emperor Justinian between 527 and 565. Is built around what is thought to be Moses' Burning Bush, which has a chapel built atop it. It is a spectacular natural setting for priceless works of art, including Arab mosaics, Greek and Russian icons, Western oil paintings, paintings on wax, fine sacerdotal ornaments, marbles, enamels, chalices, reliquaries, including one donated by Czar Alexander II in the 19th century, and another by Empress Catherine of Russia in the 17th century. But of perhaps even greater significance is that it is the second largest collection of illuminated manuscripts (The Vatican has the largest). The collection consists of some 3,500 volumes in Greek, Coptic, Arabic, Armenian, Hebrew, Slavic, Syriac, Georgian and other languages.

Church of the Virgin, Monastery of St.

Catherine, with apse mosaic of

Transfiguration of Jesus. c. 565AD

Transfiguration of Jesus, apse mosaic, Church of the Virgin, monastery of Saint Catherine, Mount Sinai, Egypt, ca.

565.

Detail of Christ

Living amidst the isolation of the Sinai desert, St. Catherine's monks had plenty of time to develop their artistic talents, and no objects express their skill better than the thousands of icons they created through the centuries. For the monks, creating icons and mosaics was not only a pastime, but an integral part of expressing their devotion to God. Their efforts to this end were both beautiful and extraordinarily prolific.

St. Peter flanked by portraits of Christ, Virgin and St. John. 93 x 53 cm. Encaustic. Early 7th. St. Catherine Monastery, Sinai.

Virgin and Child Enthroned between St. Theodore, St. Geroge, and Angels. Late 6th century A.D. Encaustic on panel. 69 X 49 cm. St. Catherine Monostery, Mt. Sinai

St. Catherine Monastery, Mt. Sinai, Pantocrator, 7th c.

CHRIST PANTOCRATOR 84 X 45.5 cm. Encaustic. 6th century. Sinai. Panel heavily overpainted but recently cleaned; cut down. Deep purple mantle with shallow folding. Bejeweled book cover of leather similar to contemporaries. Halo of gold leaf and punched. Full frontal view and attitude of aloofness add to hieratic quality.

The sacred art of Iconography is also known as "visual Theology" because it can be read and understood by all believers, including the illiterate. It is both narrative and instructive and addresses not only our vision, but also our emotions and experiences. The icon stands as a work of art but more so as an object of respect and veneration in the Orthodox Church. The manifestation of the deeper meaning represented by the holy icon requires from its observer an inner enlightenment . The holy icon provides this enlightenment and allows us to penetrate its hidden meaning. According to Divine Province, each icon we paint should be unique. We are aware of the fact that numerous believers will direct their prayers and fears to them and they will be objects of piety and veneration; for holy icons "though constructed of material, are filled with Divine Grace"

CHRIST ENTHRONED 76 x 53.5 cm. Encaustic. c. 7th century. Sinai.Christ's long-sleeved undergarment, himation and tunic are all ochre with chestnut folds. Gold striations have fallen off. Right hand blesses, left hlds Gospel book with John 8:12. Mix of Ancient of Days (white hair), Emmanuel (inscription) and Pantocrator imagery.

THE ASCENSION 46 x 29.5 cm. Encaustic. 6th century. Sinai. The panel is split vertically and stapled together. Mary, representing the Church, stands directly below the rising Christ in His mandorla with supporting angels, with Paul to her right. Iconography recalls the Monza ampullae from Palestine.

 SAINTS SERGIUS and BACCHUS,   28.5 x 42 cm. Encaustic. 7th c. Kiev. The youthful 4th c. martyrs are clad in brown chitons with gold striations and wear their distinctive gold torques (maniakion). Style and technique point to origin in Constantinople.

VIRGIN AND CHILD 35.5 x 25.5 cm. Encaustic. 6th century. Kiev. Slightly contraposto Mary is clad in a purple maphorion, yellow ochre chiton and embroidered stole; Christ in purple garment. Gold leaf in striations and haloes. Panel has been cut down, perhaps considerably; possibly the original was full length.

CHAIRETE 20 x 11.5 cm. Encaustic. 7th century? Sinai. The scene is the meeting of Jesus with the women after his Resurrection. His right hand gesture is one of speech, and He holds a scroll in the left. He is clad in blue and chestnut. Mary Magdalen is at His feet, and His mother greets him directly, contrary to Scripture.

JOHN the FORERUNNER 46 x 25 cm. Encaustic. 6th century. Kiev. The badly damaged John is flanked by Christ and Mary in clipea, and he holds a scroll, Old Testament style, with John 1:29. His visage is gaunt, but his gaze clear, befitting an ascetic prophet. An early form of Deesis, John looks and points at the Christ clipeus.

The above are all early Icons from St. Catherine's, The Sinai 6th through 8th centuries