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An ‘Enigmatic Man’ in the Anastasis Scene from the Lower Church in Banganarti An Attempt at Identification

100%
Łaptaś M.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
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2015
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issue 28
105–120
EN
The purpose of this paper is twofold: to identify an ‘enigmatic man’ represented on the right side of the Banganarti Anastasis painting as Abel and to exclude the identification of the figure as ‘Moses at the Burning Bush’. The ‘enigmatic man’ is young and he holds a stick in his hand, which seems to be the shepherd’s crook. Such an attribute is typical for images of Abel (a younger son of Adam and Eve killed by his brother). The absence of the Manus Dei and sandals makes the identification of the figure as ‘Moses at the Burning Bush’ a bit unlikely. In Banganarti, Abel is set in a separate field, what makes this image unusual. Solitude of Abel brings to mind an apocryphal Ethiopic Book of Enoch. In this text the lonely spirit of Abel cries and awaits for the Resurrection and condemnation of Cain’s offspring. The image from Banganarti allows to state that some apocryphal texts had an impact on Nubian painting and for this reason several murals are unique on the background of Byzantine art.
2
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Kilka uwag o wpływie hezychazmu na przedstawienie chrztu Chrystusa na przykładzie sztuki z terenów Królestwa Serbii

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Piórecka A.
Vox Patrum
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2018
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vol. 70
485-497
EN
The influence of hesychasm on representation on Christ’s baptism isn’t so obvious as in the case of transfiguration, anastasis or koimesis. On the contrary to the mentioned above, it hasn’t had its own study. We can assume, that the rise of interest in hesychasm during the kingship of Milutin is connected to Milutin’s pro­gramme of translation important theological and philosophical texts into Serbian language. In all referred images, we can see a manifestation of the mystical light of God. In the case of transfigurations, koimesis and anastasis, this light is illustra­ted by mandorla (almond-shaped aureole) around Christ. In depictions of baptism, mandorla surround the dove of the Holy Spirit. In the Serbian art mandorla takes, repeatedly, very complicated shapes. Additionally, in the baptism and koimesis scenes, above Christ’s head, appear open doors of Heaven. This can emphasise presence of God.
3
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Multi-lingual, Pluri-ethnic Orthodox Monasticism in Palestine and on Sinai, in the Light of the Liturgical Sources with Particular Reference to the Liturgical Manuscript Sinai Arabic 232 (13th Century)

84%
Wade A.
Studia Ceranea
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2022
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vol. 12
235-243
EN
The multiple similarities between the Greek and Syriac eucharistic liturgies of Antioch and its hinterland on the one hand and the Jerusalem Liturgy of Saint James on the other hand situate Jerusalem within a single cultural area as regards liturgical life. Compared with Antioch, however, we have much more early evidence for the Liturgy of the Hours in Jerusalem. Main sources, which are briefly presented in the paper, are a) the Itinerary of Egeria, who in the 380s produced extensive liturgical notes on celebrations in the Anastasis cathedral and the related stational sites;b) the Armenian Lectionary, 5th century, which gives more specific detail of the services held in Jerusalem;c) the Georgian Lectionary, 6th century, which gives a slightly later stage of the material described in the Armenian Lectionary;d) the Old Iadgari, or first Jerusalem Tropologion, entirely preserved in Georgian. It is clear from these documents that the Anastasis Cathedral was officiated by monastic communities of different ethnic origins who used their own languages for their liturgical offices. We also have considerable evidence for this period for the Lavra of Saint Sabbas in the Judaean desert, where several ethnic communities prayed separately in their own languages, coming together only for the Eucharistic synaxis (in Greek). This multi-ethnic situation continues today on Mount Athos and continued throughout the Middle Ages on Sinai. The vast library of manuscripts at Saint Catherine’s monastery is well known. It contains manuscripts in a very wide variety of Christian languages, including numerous liturgical texts. The Manuscript Sinai Arabic 232 (13th century) contains a complete Psalter, a complete Horologion and other texts. It can be shown to be of Alexandrian Melkite origin, used by Arabic-speaking monks who were part of the Sinai community. There are archaic and specifically Egyptian, and even Coptic, elements that are of special interest.
4
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Geneza i znaczenie ceremonii "Świętego Ognia" w Bazylice Bożego Grobu na podstawie źródeł liturgii jerozolimskiej do XIII wieku

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Bać T.
Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej
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2014
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issue 21
33-57
EN
The Holy Fire ceremony, also known as the Holy Fire miracle, is one of the most eminent liturgies of the Greek Orthodox Church in Jerusalem, celebrated every year on Holy Saturday early afternoon. The origins of this celebration can be found in the most ancient sources of the Jerusalem liturgy stemming from the Byzantine, Armenian, Georgian and Latin traditions. All the sources unanimously prove that the rites associated with the Holy Fire arose from the evolution of the opening rites of the Paschal Vigil celebrated inside the chapel of the Tomb of Christ in Jerusalem. The popular piety of the Jerusalem Christians considered them as supernatural and miraculous already several centuries before the Crusaders came to the Holy Land. The Orthodox Church (particularly of Greek and Russian traditions) maintains this interpretation to nowadays.
5
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Światło Paschy w liturgii jerozolimskiej pierwszych wieków

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Bać T.
Verbum Vitae
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2016
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vol. 29
321-345
PL
Artykuł opisuje znaczenie symbolu światła w paschalnej liturgii Jerozolimy pierwszego tysiąclecia chrześcijaństwa. Obrzęd zapalenia światła na początku liturgii Wigilii Wielkanocnej (zwany paschalnym Lucernarium) jest obecny we wszystkich źródłach liturgicznych liturgii jerozolimskiej. Najbardziej znaczące z nich to: Itinerarium Egerii (z końca IV w.), lekcjonarz ormiański (V w.), Wielki lekcjonarz Kościoła jerozolimskiego tradycji gruzińskiej (VI-VIII w.) oraz Typikon Kościoła Anastasis (XII w.). Rozwój obrzędu wielkanocnej liturgii światła, obejmujący zapalenie świecy lub kilku świec wewnątrz edykułu Bożego Grobu, przekazanie światła wszystkim wiernym, modlitwy, śpiew psalmów i antyfon oraz procesje, podkreśla, iż celebracja tajemnicy zmartwychwstania Chrystusa w Jerozolimie miała zawsze wymiar chrystologiczny i eklezjologiczny.
EN
This article examines the relevance and the significance of the symbol of the light in the paschal liturgy in Jerusalem in the first millennium. The rite of the lighting the candle, which opens the liturgy of the Easter Vigil (called the Easter Lucernarium), is present in all the known sources of the Jerusalem liturgy. The most significant of these are Itinerarium Egeriae (end of the 4th century), the Armenian Lectionary (5th century), the Grand Lectionary of the Church of Jerusalem from the Georgian tradition (6th-8th century) and the Typicon of the Anastasis (12th century). The development of the rite of paschal light – which includes the lighting of the candle or candles inside of the chapel of the Tomb of Christ, passing the fire to the whole congregation, prayers, psalms, antiphons and processions – reflects the profound theological significance of the Resurrection of Christ. Indeed, the celebration of Easter in Jerusalem, thanks to the very evocative symbol of light, has always been preeminent among Christological and ecclesiological event.
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