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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Obviously the messages conveyed by both events are alike, but one cannot identify the fight against the transcendental evil symbolised by the dragon with the protection of Christians from infidels. Migne, Patrologiae…, CXV, col. While discussing the icon of St.
Pamfil z Cezarei – Wikipedia, wolna encyklopedia
George appears as a heavenly defender of faithful against the infidel persecutors A hit later is the representation from St. Liva-Xanthaki, Athensp. In this George, wearing the traditional garb of his martyrdom, after liberating the boy and bringing him to the monastery, offers him to the care of priests Henderson, Edinburghpp.
With time, George was recognised as a patron saint of the country. Numerous Georgian monastic societies with long traditions in the Holy Land, as well as pilgrims to holy sites, may have participated in promoting artistic patterns This fact may be explained by the constant threat of its Muslim neighbours. The Italian-Cretan trend in iconography is represented by an icon painted in by the hierodiacon Joseph, now in the Museum of Art and History in Geneva: George rescuing a youth is permited by the reconstruction of the next two early examples of this subject, which survived in fragments.
The theme of the boy’s parents sitting at the table appears also in other Balkan works, namely on one side-field of the seventeenth-century icon of St. Aufhauser has established a basis for further investigations on the topic of St. The last element of the Moldavian cycle seems to illustrate the legend On the son of Leon, and this is how J.
Grotowski P., The Legend of St. George Saving a Youth from Captivity and its Depiction in Art
Apart from the four above-mentioned scenes, a small fragment of painting remained in hixtoria church at Zemo-Arcevi near Gori, in the middle of Georgia. As he rejected the offer to become a Muslim, he was sent to work in the kitchen.
Behind him a boy sits in a long tunic and a calpack on his head, holding a ewer with a spherical base. An article was devoted to this problem by the German kkocielna Thomas Raff who, having analysed a large group of representations, distinguished two iconographic subtypes. George killing a dragonand the icon in St. In order to resolve the issue of the Eski-Kermena image of St.
Taking all these factors into account one should not be surprised at the popular kocilna of St.
Pamfil z Cezarei
George’s Orthodox church in the village of Struga, near Ohrid Behind them are small figures of accompanying riders. A disproportionately small figure sits sideways behind George’s back, with a jug in his right hand and holding on to historis saint’s back. On the other hand the fact that the choice of episode from the legend was different from elsewhere could have been affected by the political situation in late fifteenth-century and early sixteenth-century Russia.
However, as far as the technique is concerned they are a part of local artistic tradition. On the icon there is a following inscription: Eeuzebiusz this painting is not in its original condition, it is still possible to identify the sea with swimming fish under the belly of the horse and a historka sitting behind St. George who wore a breastplate in the previous scene is now shown without any attributes of knighthood.
They wear red cloaks and euzebusz decorative tunics and are located at the opposite side of the scene. The bottom part of the icon is divided into twelve panels and illustrates the cycle of the saint’s martyrdom enlarged by two miracles. The boy was of such beauty that he was chosen as a servant for the Arabian ruler.
The following two examples may illustrate this tendency: The wall in the background of the composition suggests that the events take place in a house. The saint is sitting on a horse unusually painted in ochre colour, whose forelegs are raised.
However, sadness reigned during the supper, as everybody remembered the fate of the host’s son. It is highly cezafei that the iconographic type of a rider accompanied by a boy, existing in Georgia, Asia Minor, the Balkans and the Caucasus, was unfamiliar to the artists from northern Rus’, who had to create their own formula to illustrate the legend.