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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)
|
2015
|
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.
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Attributes, Vestments, Context and Inscription in the Identification of Nubian Paintings: Proposing the ‘Multi-Layer’ Image Recognition Method

84%
Łaptaś M.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
|
2019
|
vol. XXXII
161-179
EN
The aim of this paper is to present a method that enables identification of Nubian paintings whose tituli have not been preserved or are incomplete. This method is reminiscent of the laborious piecing together of mosaics from scattered and incomplete tesserae. The attributes, vestments or contexts are such tesserae, which taken into consideration together enable the composing of a mosaic, piece by piece. Some interpretations of the paintings were made during excavations, without time for deeper analysis. Identifications created in this way have become so merged with the images, and then repeated frequently, that it was very difficult to change them and introduce a new perspective on already widely accepted opinions. In this article, I have focused on a few select examples that show how one can identify individual paintings, but also how one can fall into the trap of too easy comparisons and attributions. A scholar studying Nubian art has to be cautious as its iconography is sometimes so original that it cannot be easily compared to Byzantine or any other cultural patterns.
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