UNIVERSITATEA DE ARTE GEORGE ENESCU IAI

FACULTATEA DE ARTE VIZUALE I DESIGN

STUDII UNIVERSITARE DE DOCTORAT

DOMENIUL ARTE PLASTICE
I DECORATIVE

ICONOGRAFIA PRONAOSURILOR DE LA BISERICILE

DIN MUNTELE ATHOS, SERBIA I MOLDOVA
N SECOLELE XIII - XVI

TEZ DE DOCTORAT

Conductor tiinific:
Prof. Univ. Dr. Tereza Sinigalia
Doctorand:
Petru Sofragiu

2013

CUPRINS
ARGUMENT.................................................................................................................1
CAPITOLUL I - CONTEXTUL ISTORIC I INFLUENA SA ASUPRA
FENOMENULUI ARTISTIC
I.1. Contextul istoric, politic, social i cultural din cadrul Imperiului Bizantin i
influenele acestuia asupra fenomenului artistic.............................................................6
I.2. Micro-contextul istoric, politic, social i cultural de la Muntele Athos, din Serbia
i din Moldova n secolele XIII-XVI...........................................................................19
CAPITOLUL II - SOLUII ARHITECTONICE I PLASTICE N SPAIUL
PRONAOSULUI
II.1 Evoluia arhitecturii pronaosului din secolul al V-lea pn n perioada sec.
XV-XVI n spaiul Balcanic (Constantinopol, Tesalonic, Athos, Serbia i
Moldova).......................................................................................................................47
II.1.2 Spaiul pronaosului n arhitectura bisericilor medievale de la Muntele
Athos.............................................................................................................................62
II.1.3 Spaiul pronaosului n arhitectura bisericilor medievale din Serbia..................74
II. 1.4 Spaiul pronaosului n arhitectura bisericilor medievale din Moldova..............90
II.2 Analiza istoric i teologico-dogmatic a programelor iconografice ale
pronaosurilor catolicoanelor de la Muntele Athos......................................................122
II.2.1 Mnstirea Marea Lavr....................................................................................125
II.2.2 Biserica Protaton................................................................................................131
II.2.3 Mnstirea Vatoped...........................................................................................139
II.2.4 Mnstirea Hilandar..........................................................................................153
II.2.5 Mnstirea Dionisiu...........................................................................................167
II.2.6 Mnstirea Cutlumu.........................................................................................183
II.2.7 Mnstirea Stavronikita.....................................................................................197
II.2.8 Analiza teologic-dogmatic a iconografiei pronaosurilor din Serbia
medieval....................................................................................................................202
II.2.9 Mnstirea Sopoani..........................................................................................205
II.2.10 Mnstirea Deani...........................................................................................214
II.2.11 Mnstirea Gracania......................................................................................209
II.2.12.
Analiza
teologic-dogmatic
a
iconografiei
pronaosurilor
din
Moldova......................................................................................................................218

II.3. Decoraia pronaosurilor de la origini pn n secolul al XIV-lea (Sf. Sofia din

Constantinopol, Sf. Luca din Focida, Nea Moni din Chios i Chora) .......................238
II.3.1 Decoraia pronaosului de la Mnstirea Sf. Luca din Focida...........................246
II.3.2 Decoraia pronaosului de la Mnstirea Nea Moni din Chios..........................255
II.3.3. Decoraia pronaosului de la Mnstirea Daphni...............................................270
II.3.4. Decoraia pronaosului Mnstirii Chora...........................................................276
CAPITOLUL
III
ANALIZA
COMPARATIV
PLASTIC
PRINCIPALELOR TEME ICONOGRAFICE ALE PRONAOSURILOR

III.1 Tema I: Scene din viaa patronului Bisericii

Grecia - Biserica Sfntul Nicolae Orfanos din Tesalonic...........................................304
Serbia - Biserica Deani Sf. Gheorghe................. ..................................................312
Moldova - Biserica Blineti Sf. Nicolae.................................................................316
Biserica Arbore Sf. Ioan Boteztorul.....................................................324
III.2 Tema II: Sinoadele ecumenice
Serbia Mnstirea Sopoani ...................................................................................330
Moldova Sfntul Nicolae Domnesc din Botoani , Biserica Arbore i Mnstirea
Probota........................................................................................................................337
Muntele Athos Mnstirea Stavronikita...................................................................358
III.3 Tema III: Sinaxarul sau Menologul....................................................................364
Serbia Mnstirea Deani.........................................................................................367
Moldova Biserica Sf. Gheorghe din Suceava...........................................................377
Mnstirea Probota....................................................................................385
Mnstirea Sucevia...................................................................................395
Muntele Athos Mnstirea Dionisiu........................................................................403
CAPITOLUL IV - TEHNICI MURALE TRADIIONALE N SPAIUL
PRONAOSULUI
4.1 Tehnici i materiale folosite la realizarea decoraiilor pronaosurilor...................416
Concluzii.............................................................................................................423
Bibliografie.................................................................................................................429
Lista ilustraiilor..............438
Anexa Imagini i relevee

Cuvinte cheie:
istoria artei, arhitectur, iconografie, iconologie, simbol, pronaos, elemente de limbaj
plastic, biseric, Athos, Serbia, Moldova

REZUMAT

Cercetarea i analiza unor monumente de art medieval nu se poate face fr ajutorul

iconografiei, fr nelegerea sensurilor i legturilor profunde dintre art i teologie sau a
altor discipline din sfera spiritualitii precum i a celor conexe ca istoria artei i estetica sau a
altor domenii fie n sens complementar, fie interdisciplinar.
Lucrarea de fa, Iconografia pronaosurilor de la bisericile din Muntele Athos, Serbia
i Moldova n secolele XIII - XVI, dorete a fi analiza scopului pe care acest spaiu l-a avut n
arhitectura bisericilor din zonele studiate, dar i a decoraiei sale murale. Alegerea i
cercetarea programului iconografic al pronaosului ca parte independent poate prea arbitrar
i nerelevant, tiut fiind faptul c, programul iconografic al unei biserici de tip bizantin era
conceput ca un sistem strict ierarhizat, n care fiecare reprezentare i mplinea nelesul n
funcie de context i localizare. Pronaosul nefiind o ncpere nc obligatorie a edificiului de
cult, aa cum sunt altarul i naosul, are, ca i consecin fireasc, tocmai relativa sa
iconografie n raport cu decoraia fix a spaiilor principale. ns n perioada trzie de care
ne ocupm, ncepnd cu secolele XIII-XVI mai ales, la bisericile de mnstire, pronaosul este
deja o ncpere cu scop liturgic - i ca atare necesar unor desfurri ale cultului. Motivul
alegerii celor trei zone geografice diferite ca spaiu i timp a fost acela al nevoii de utilizare a
metodelor de cercetare i analiz istoric comparativ plastic, care ne ofer posibilitatea unor
verificri ale soluiilor de interpretare prin descoperirea unor similitudini, distincii sau
particulariti, dar i a urmririi unei evoluii n timp a decorului acestor spaii.
Muntele Athos este un loc al pstrrii tradiiei i al continuitii modelului bizantin.
Prezena n acest loc a unor vechi monumente de art bizantin decorate de pictorii celor mai
renumite coli de pictur bizantin (macedonean, srbeasc, cretan) cu programe
iconografice coerente cu o interaciune activ ntre elementele de arhitectur i pictur, ne-au
determinat s studiem bisericile: Marea Lavr, Protaton, Vatoped, Hilandar, Cutlumu,
Dionisiu. Relaiile strnse ale rilor Romne n general i ale Moldovei n particular cu
Muntele Athos, prin numeroase danii fcute de-a lungul timpului, i a ctitoriilor (Vladislav I

Cutlumu, Petru Rare - Dionisiu) au ridicat ntrebri referitoare la Moldova; dac s-au
preluat elemente de arhitectur i iconografie n bisericile de aici sau nu.
Frumuseea picturii i arhitecturii srbeti de la bisericile mnstireti: Studenia, ia,
Gradac, Sopoani, Deani i Graanica ne-au determinat s alegem i Serbia ca regiune de
studiu istoric, geografic i artistic. Motivul acestei alegeri (Serbia) a fost acela al cutrii de
fapt a unor origini ale colii moldoveneti de pictur, ultima mare coala naional de tradiie
bizantin1 cum o numete Sorin Ulea, care s-a format prin prezena i activitatea unor
meteri srbi, odat cu introducerea planului triconc al colii morave n Moldova - aa cum
arat biserica Sf. Treime din Siret (la sfritul secolului al XIV-lea), i cu sosirea confrailor
zugravi2.
Un alt motiv care a stat la baza formrii colii de pictur moldoveneasc i a prelurii
artei bizantine prin intermediul srbilor, ntr-o form mai voalat, erau strnsele relaii cu
Patriarhia de la Pe, aa cum Academicianul Rzvan Theodorescu a demonstrat c la
nceputul formrii tnrului stat moldovean, relaiile cu Patriarhia de la Constantinopol nu
erau cordiale, datorit refuzului de a-l nu primi n fruntea bisericii pe mitropolitul grec
Ieremia trimis de Patriarhia Ecumenic, ci de a-l menine n scaun pe Iosif, un ierarh autonom,
rud cu familia domneasc3. Relaiile cu Patriarhia de la Constantinopol se mbuntesc n
timpul domniei lui Alexandru cel Bun (1400-1432), care stabilete strnse legturi culturale i
artistice. n aceast perioad, sunt atestai documentar doi zugravi, Dobre i Nichita care
primesc de la domnitorul Alexandru cel Bun drept rsplat pentru zugrvirea a dou biserici,
dou sate. Numele de Dobre al unuia dintre cei doi meteri sun ca o confirmare n plus a
originii lor sud-slave4.
Prin familiarizarea la nceput cu formele picturii srbeti artitii moldoveni au fost
capabili s-i nsueasc ulterior limbajul subtil i rafinat al picturii paleologe bizantine i s-l
dezvolte ntr-o manier proprie, crend o original sintez care st mrturie i astzi.
Programele iconografice din Moldova impresioneaz att prin coerena lor dar i prin
complexitatea ideilor teologice care le-au stat la baz i care s-au transformat ntr-un adevrat

Sorin Ulea, Gavriil Uric, primul artist romn cunoscut, n SCIA, tomul II, nr. 2, 1964, p. 241.
Ibidem.
3
Rzvan Theodorescu, Roumains et Balkaniques dans la civilisation sud-est europenne, n capitolul
Implications balkaniques aux dbuts de la Mtropole de Moldavie. Une hypothse, p. 227-252.
4
Ibidem, p. 243.
2

manifest mobilizator n lupta mpotriva otomanilor i a ereziilor reformiste, luteran i apoi

antitrinitar, care puneau n pericol nvtura ortodox.
Bogia i complexitatea decoraiei bisericilor din Moldova medieval, puse n lumin
de recentele restaurri, fr ndoial c ne pot oferi rspunsuri la vechile dileme, lansate de
generaiile de cercettori sau istorici de art, i pot da natere la noi provocri.
Teza este structurat pe

patru capitole, dezvoltate pe subcapitole, finalizate prin

Concluzii, completate de o Bibliografie; textul este nsoit de imaginile aferente dar i de

releveele principalelor monumente analizate.
Primul capitol al tezei, intitulat Contextul istoric i influena sa asupra fenomenului
artistic, prezint cadrul istoric general al formrii Imperiului Bizantin, limitele teritoriale,
principalele perioade istorice ale acestuia, mpraii din dinastiile conductoare, cultul
mpratului i influena acestuia, precum i factorii politici, sociali, economici care au
influenat arta bizantin att din interiorul imperiului dar i din afara sa. De asemenea,
capitolul cuprinde o analiz a cauzelor care au dus la cderea imperiului, a consecinelor
rsfrnte asupra statelor medievale ortodoxe ca Serbia i Moldova.
Al doilea subcapitol analizeaz contextul istoric, politic, social i cultural separat, pe cele
trei zone studiate - Grecia, respectiv Muntele Athos, Serbia i Moldova. Sunt surprinse cele
mai importante aspecte din istoria Greciei ca parte integrant a Imperiului Bizantin, se
amintete de aportul culturii clasice greceti adus imperiului bizantin i influenele acesteia
asupra artei bizantine, rentoarcerea la clasicismul grecesc ce a stat la baza crerii unei sinteze
originale al celei mai importante coli de pictur bizantin - coala macedonean, care a
realizat importante decoraii n Muntele Athos la Protaton n Karyes, centrul administrativ al
Sf. Munte, la catoliconul Mnstirii Vatoped i la catoliconul mnstirii srbeti Hilandar,
biserica Sf. Nicolae Orfanos i Capela Sf. Eftimie din cadrul bazilicii Sf. Dimitrie, ultimele
dou din Tesalonic etc. Cderea Imperiului Bizantin ntr-o prim etap sub latini (1204) a dus
la ocuparea multor teritorii greceti de ctre latini, inclusiv a Sf. Munte, care a crui nflorire
iniial a stagnat; imperiul bizantin divizndu-se, nscndu-se astfel statele: Epir, Niceea
iTrebizonda (Trapezunt azi Trabzon n Turcia). Cderea Imperiului Bizantin n a doua faz
i definitiv sub turci care au acaparat noile teritorii controlnd Balcanii, dar, fiind cordiali n
ceea ce privete respectarea religiei i a obiceiurilor religiei bisericii cretine, ns nu total,
doar n zonele neadministrate direct de ei. Sub noii lor stpni, grecii au trit mai mult sau mai
puin la fel ca nainte; autonomia totui nu a eliminat oprimarea, Sf. Munte bucurndu-se ca i

nainte de unele drepturi, dar mnstirile fiind nevoite s plteasc biruri i taxe
mpovrtoare, populaia monahal scznd dramatic.
Spre deosebire de greci, srbii s-au unificat sub dinastia Nemanja, ntemeind un stat
puternic, reuind s devin o for n Balcani, ca o form de fuziune ntre Rsrit i Apus ntre
lumea latin i cea greac, o supunere forat deseori fa de Bizan ca n cele din urm s
capituleze n faa suveranitii otomane. Aceast pendulare a culturii srbeti ntre Occident i
Bizan a dus n art la crearea unor sinteze uimitoare mai ales n arhitectur prin preluarea n
mod creator a elementelor romanice, gotice i bizantine crendu-se coli naionale - coala de
la Raka, coala srbo-bizantin, coala morav etc. De asemenea, n pictur n dezvoltarea
colii srbeti un rol important l-au avut artitii venii din capitala bizantin dar mai ales din
Tesalonic, ns rolul cel mai definitoriu l-au avut artitii autohtoni care au tiut s-i pun
amprenta proprie crend un autentic stil naional.
n contextul istoric, politic, social, cultural al Moldovei am analizat legturile i relaiile
care le-a avut Moldova cu Bizanul, motenirea cultural artistic preluat de la acetia ntr-o
prim faz prin filier srbeasc i apoi prin legtur nemijlocit i direct cu arta paleolog
datorit bunelor relaii din timpul lui Alexandru cel Bun (1400-1432). Aceast perioad
marcheaz prima epoc de nflorire a artei din Moldova care pregtete perioada epocii de
maturitate din timpul lui tefan cel Mare (1457-1504) i cea a succesorului acestuia Petru
Rare (1527-1539; 1541-1546), finalizndu-se cu arta din perioada Moviletilor (sfritul
secolului al XVI-lea).
Capitolul al II-lea, intitulat Soluii arhitectonice i plastice prezente n iconografia
pronaosurilor, abordeaz o analiz teologic-dogmatic a principalelor teme iconografice care
alctuiesc iconografia pronaosului ca: Maica Domnului Vlahernitissa, Sinoadele Ecumenice,
Viaa patronului bisericii i Menologul. Sunt urmrite scopul i semnificaia spaiului
pronaosului de la nceputul cretinismului pn la rostul liturgic de mai trziu pe care l va
cpta acesta n cadrul bisericilor de mnstire.
Tot n acest capitol propunem o analiz arhitectural a edificiilor religioase din zonele
studiate, accentund elementele eseniale fiecrei coli de arhitectur, felul cum suprafeele
arhitecturale au influenat sau nu programul iconografic al pronaosului.
Un alt obiectiv al acestui capitol l constituie analiza decoraiei pronaosului de la origini
i pn n secolul al XIV-lea, de la decoraiile nonfigurative pn la programele iconografice

coerente ale decoraiei n mozaic de la bisericile de mnstire ca: Sf. Luca din Focida, Nea
Moni din Chios, Daphni i Chora (Istanbul). Un alt aspect important al acestui capitol e legat
de principalii artiti cunoscui care au decorat monumentele analizate, de teologii sau
iconografii care au stat n spatele alctuirii celor mai complexe programe iconografice,
relevndu-se particularitile de stil, influen i scoal.
Capitolul al III-lea intitulat - Analiza comparativ plastic a principalelor teme din
iconografia pronaosurilor - prezint, dup cum reiese din titlul, o analiz a elementelor de
limbaj plastic i a mijloacelor de expresie prezente n compoziiile care alctuiesc principalele
teme ale pronaosului de la bisericile din Moldova: Tema I - Scene din viaa patronului
bisericii la Biserica Sf. Nicolae Orphanos din Tesalonic, bisericile din Moldova ca: Blineti
Sf. Nicolae, Biserica Arbore Sf. Ioan Boteztorul; n Serbia Biserica Deani Sf.
Gheorghe. Tema II: Sinoadele ecumenice n Serbia la biserica mnstirii Sopoani, n
Moldova - Biserica Arbore i Sf. Nicolae Domnesc din Botoani i la Muntele Athos la
catoliconul mnstirii Stavronikita. Tema III: Sinaxarul sau Menologul: n Serbia la biserica
mnstirii Deani, n Moldova la biserica Sf. Gheorghe din Suceava, Mnstirea Probota,
Mnstirea Sucevia i la Muntele Athos catoliconul mnstirii Dionisiu.
Capitolul al IV-lea, intitulat Tehnici murale tradiionale n spaiul pronaosului, face
o scurt istorie a picturii murale i prezint principalele materiale tradiionale folosite n
tehnica al fresco utilizat la decorarea pronaosurilor din zonele studiate.
n concluzie, considerm c iconografia pronaosurilor din cele trei zone studiate este
n acord att cu scopul funcional, liturgic al acestui spaiu (lithi), ct i cu cel de necropol (al
suveranilor srbi), care s reflecte n egal msur cultul conductorului, i nu n ultimul rnd
ca scop didactic, moralizator (scenele din viaa sfntului de hram, scenele de martiriu din
Menolog i Sf. Monahi), ca spaiu pregtitor, de purificare nainte de a intra n spaiul
naosului i nu n ultimul rnd cu coninut militant (Cavalcada Sf. Cruci de la Ptrui i cea
din biserica de la Arbore).
n ansamblu, prezentul studiu constituie un posibil rspuns al problemelor legate de
originile, dezvoltarea i nelegerea iconografiei pronaosurilor din Athos, Serbia i Moldova,
oferind un demers realizat att din perspectiv tiinific obiectiv ct i din una artisticsubiectiv. Prezenta lucrare nu i propune s abordeze n mod exhaustiv subiectul, nici s
prezinte integral toate programele iconografice ale pronaosurilor, caracterul amplu al temei i
probabilitatea de a nu fi atins n ntregime referinele acestui subiect, ne face contieni de

faptul c lucrarea poate fi perceput dintr-o multitudine de puncte de vedere potrivit unor
argumente subiective sau obiective.
Loc al pstrrii tradiiei i al continuitii monahismului bizantin, Muntele Athos i-a
format n arhitectur un stil autohton, cel athonit, care prin dezvoltarea dublului narthex - lithi,
acesta devine un spaiu liturgic n care la praznicele mai importante se face o procesiune n
pronaos nsoit de rugciuni numit Litie5. Dup analiza celor apte catolicoane athonite Marea Lavr, Protaton, Vatoped, Hilandar, Dionisiu, Cutlumu i Stavronikita (decorate de
pictorii celor mai renumite coli de pictur bizantin - macedonean, srbeasc, cretan),
putem concluziona c doar la cinci monumente se mai pstreaz pictura din perioada secolelor
XIV-XVI n pronaos. Att narthex-ul ct i exonarthex-ul Marei Lavre au fost adugate i
pictate ulterior (secolul al XVIII-lea); de asemenea Biserica Protaton de la Karyes nu a avut
iniial un pronaos, narthex-ul actual a fost adugat mai trziu n anul 1507-1508, acesta fiind
ulterior pictat. Picturile din exonarthex-ul de la Vatoped sunt legate stilistic cu cele din naosul
Protatonului, pictorul de la Protaton, Manuel Panselinos a pictat alturi de ali doi pictori la
Vatoped. Programul iconografic din exonarthex-ul de la Vatoped este singurul din toate
pronaosurile catolicoanelor Sfntului Munte care prezint Ciclul Patimilor. Singurele
pronaosuri care mai conin scene cu patimile Mntuitorului sunt cele de la Hosios Lukas din
Focida, Nea Moni din Chios i Daphni, care reprezint cele mai bune exemple ale artei
mozaicale din Grecia, fiind atribuite meterilor din Constantinopol. Aceste episoade din
patimile Mntuitorului de la Vatoped accentueaz ideea teologic a ntruprii (Anapeson), a
suferinei lui Hristos care a luat trup prin Fecioara Maria i a ptimit cu adevrat pentru
rscumprarea pcatului strmoesc. Aa cum am vzut, aceeai idee teologic a ntruprii
reiese i din iconografia peretelui estic al narthex-ului de la Stavronikita, chiar dac temele
iconografice sunt diferite - (prin prezena Sinodului I Ecumenic de la Niceea din anul 325 i
Sinodul VII Ecumenic de la Niceea din 787 de o partea i de alta a scenei Deisis).
Programele iconografice din pronaosurile de la Dionisiu i Cutlumu sugereaz prin

n serviciul Litiei se disting dou pri sau dou momente. Primul e Litia propriu-zis (rugciunea de implorare)
care const din procesiunea n pronaos i din rugciunile prin care se implor aici mila i ndurarea divin, pentru
rugciunile sfinilor, care sunt menionai nominal. Aceste litanii (rugciuni) constituie nota caracteristic a
serviciului Litiei i de la ele i vine denumirea. Partea aceasta reprezint, n cadrul serviciului divin din biseric,
nu numai o datin ndeprtat, ci i o form comprimat a litaniilor ce se organizau n Biserica veche nc de prin
veacurile al IV-lea i al V-lea, cu ocazia calamitilor publice (epidemii, cutremure, ploi excesive etc), cnd
clerul i poporul ieeau din sfntul loca mergnd n procesiune solemn n mijlocul oraului, sau chiar afar din
el, unde fceau rugciuni de implorare a milei divine. De aceast idee este inspirat procesiunea Litiei pn n
mijlocul narticei, adic locul destinat odinioar catehumenilor i penitenilor, nsumndu-se prin aceasta c prin
smerenie, pocin i rugciuni struitoare se poate ndjdui dobndirea ndurrii lui Dumnezeu (Pr. Petre
Vintilescu, Liturghierul explicat, Ed. Institutului Biblic i de Misiune Ortodox, Bucureti, 1972, p. 55-56.)

martiriile sfinilor reprezentai n cele patru luni din Menolog (Septembrie, Octombrie,
Noiembrie i Decembrie), i sfinii cuvioi - ideea exemplaritii, narthex-ul fiind un spaiul
introductiv al bisericii, conine teme iconografice de pregtire. Patruzeci de scene din Viaa
Pustnicilor Macarie Egipteanul, Antonie cel Mare, Isidor, Pavel din Tebaida, Pafnutie,
Pahomie, Eufrosin Sihastrul, Auxenie, Dorotei, Natanael au fost reprezentate n pronaosul de
la Hilandar. Reprezentarea sfinilor monahi, eremii i pustnici n iconografia pronaosurilor e
specific bisericilor de mnstire, acetia constituie un model de trire ascetic i
duhovniceasc cu rol moralizator asupra monahilor din mnstire.
Programul iconografic al pronaosurilor athonite analizate exprim clar dogma
ntruprii i poate fi considerat uneori ca o continuare sau o ntregire a celui din naos (ex.
Scenele Patimilor de la Vatoped sunt prezente n exonarthex, nu n naos, acestea fiind ca o
completare).
Concluzionnd la programele iconografice ale pronaosurilor srbeti putem afirma c,
construirea unui stat independent srbesc de dinastia Nemanji la sfritul secolului al XII-lea
i nceputul secolului al XIII-lea a fost nsoit de conceperea i elaborarea unui program
ideologic. Autorul acestui program nu a fost altul dect Sf. Sava al Serbiei, fiul lui tefan
Nemanja, clugr athonit devenit ulterior primul arhiepiscop al Bisericii Ortodoxe Srbeti. O
autoritate incontestabil n dogmele teologice i cele hagiografice (ale cultului sfinilor), mai
puin contient de efectul su politic, el a creat un model complex de sfnt, care a ntrunit
calitile acceptate de cretinism pe de o parte,

iar pe de alta axat pe nevoile i

cerinelepoporului srb6. Sava a conceput un cult al tatlui su, Sf. Simeon Nemanja,
fondatorul dinastiei, folosindu-se de elementele eseniale ale teologiei, i liturghiei7.
Descendena divin a regalitii srbeti, originea divin a puterii (Unsul lui Dumnezeu
ideea filiaiei regale preluat din perioada regilor David i Solomon din Vechiului Testament)
s-a dezvoltat pe principiul conform cruia mntuirea poporului este organic legat de cea a
conductorului su. Aceasta s-a datorat puternicei amprente pe care a lsat-o memoria
evlaviosului

ntemeietor

al

dinastiei

srbeti,

tefan-SimeonNemanja,

supranumit

Mirotoivog (izvortorul de mir). Regii erau numii sfini, considerai de neam sfnt
direci descendeni ai Sfntului Simeon (tefan Nemanja) canonizat de biseric. Spre
deosebire de Bizan, noua Rom srbii i-au ntemeiat cultul conductorului pe evenimentul

Danica Popovi, Under the auspices of Sanctity, in vol. The Cult of Holy Rulers and Relics in Medieval
Serbia, Serbian Academy of Sciences and Arts. Istitute for Balkan Studies, Beograd, 2006, p. 332.
7
Ibidem.

crucial al cretinrii poporului su. Modelul srbesc de biseric a fost creat de la nceput ca
necropol.

Cultul conductorului srb canonizat se desfoar n jurul mormntului su,

care era de obicei n pronaos, iconografia acestuia trebuia s ilustreze n egal msur o
soteriologie dar i o ideologie dinastic. Aceast ideologie a stat la baza elaborrii temelor
iconografice din pronaosurile srbeti ca Arborele lui Iesei de la Sopoani, Arborele
genealogic al dinastiei Nemanji de la Gracania sau de la Deani, Menologul de la Gracania
i Deani, temele biblice i hagiografice - ciclul extins alvieii dreptului patriarh Iosif, fiul lui
Iacob-Israel, aluzie la via regal, binecuvntat a neamului Nemanji, aa cum stareul
Dometijan al mnstirii Sopoani i hagiograful Sf. Sava l compara pe acesta cu
preafrumosul Iosif iar pe tatl su, Sf. Simeon printele poporului srb cretin, cu patriarhul
Iacov, printele poporului lui iudeilor i strmo a dup trup al lui Hristos8. O alt tem
iconografic n care se reflect cultul pietii cretine medievale fa de conductorii srbi e
cea a cortegiilor funerare, n acest sens Cortegiul funerar al Anei Dandolo, mama ctitorului
tefan Uro I de pe peretele de nord al pronaosului de la Sopoani figurat ntr-un mod
similar, iconografic, temei Adormirii Maicii Domnului, model considerat adecvat numai n
reprezentrile scenelor de procesiune funerar ale unor sfini ierarhi i starei. Cultul
suveranilor srbi a stat i la baza elaborrii reprezentrii Mutrii moatelor sfntului Simeon
Nemanja de la Hilandar pentru a fi depuse n ctitoria sa de la Studenica, (care devine astfel
prima necropol a conductorilor srbi) de pe peretele capelei lui Simeon Nemanja de lng
pronaosul de la Sopoani . Odat cu utilizarea acestui model iconografic pentru redarea unor
procesiuni funerare a persoanelor din familia Nemanja se declara implicit i sfinenia acestora.
Autoritatea bisericii srbeti care era condus de Sf. Sava s-a manifestat iconografic i n tema
Sinoadelor ecumenice; o inovaie apare n iconografia pronaosului de la Sopoani, alturi de
Sinoadele ecumenice apar alte trei sinoade locale9, printre care i cel al lui Simeon Nemanja
organizat mpotriva ereziei bogomililor. C pronaosurile srbeti aveau de la nceput funcie
de necropol o indic dincolo de iconografia specific acestui spaiu slujbele de pomenirea
morilor (deci un spaiu liturgic), cu att mai mult cu ct multitudinea de scene din Menologul
de la Graanica i Deani, ctitorie a lui tefan Uro al III-lea , marcheaz zilele de
comemorare a martirilor cretini ilustrate prin scenele morii lor ce echivala simbolic, cu
propria lor natere n Hristos, ei stnd n contemplarea etern a unei viziuni mistice a
divinitii.
8

Radivoje Ljubinkovi, Sur le symbolisme de l`histoire de Joseph du narthex de Sopoani, in L`art byzantine du
XIIIe sicle. Symposium de Sopoani, Belgrad n. 2, 1967, p. 207.
9
Radomir Nikoli, Notes sur le fresques de Sopoani, Office of the Republic Protection of Cultural Monuments
Belgrade, p. 115.

n acest sens academicianul Rzvan Theodorescu face o anumit legtur ntre

mormintele suveranilor-ctitori din Serbia i ncperea liturgic n care acestea se aflau. O
cercetare temeinic asupra subiectului a evideniat deja o interesant constant a practicilor
funerare din Raska i de pe Valea Moravei, unind peste timp Studenica sfritului de secol
XII cu Resava nceputului de veac XV: este vorba despre mprejurarea c ntotdeauna, fr
vreo excepie, potrivit unei tradiii create de ntemeietorul dinastiei nemanide, tefan Simeon,
sarcofagele regale, imperiale i cneziale au fost aezate - n microcosmosul liturgic care este
spaiul eclezial - numai i numai n sud-vestul naosului, acesta devenind locul unui cult
dinastic unic n evul mediu european, cel al exprimrii unei ideologii regale i ea cu totul
specifice, mpletite, cum am spus deja, cu o trire monastic efectiv. Prototip a fost, in acest
sens dup 1186, n biserica Maicii Domnului din mnstirea Studenica, locul mormntului lui
tefan Nemanja- cel adus aici din clugria sa athonit i devenit primul sfnt srb -, loc ales
chiar de el n vestul naosului, pe latura de sud. Au urmat, n exact aceeai poziie n naos,
mormntul regelui Vladislav n biserica nlrii de la mnstirea Mileseva, la nceputul
secolului al XlII-lea - prim necropol separat de mausoleul nemanid de la Studenica,
observndu-se c, odat cu a treia generaie a neamului, fiecare suveran i fcea propriul
lca pentru ngropciune (ceea ce amintete, ntructva, de cazurile romneti, muntenesc i
moldovenesc) -, mai apoi mormntul lui Uro I de la biserica Sf. Treimi din mnstirea de la
Sopoani dup mijlocul veacului al XIII-lea, cel al reginei Elena, din biserica Bunei Vestiri
de la Gradac, mormintele lui tefan Uro al III-lea i al soiei sale bizantine de la biserica
Pantocratorului din mnstirea Deani n prima jumtate a secolului al XIV-lea unde, pentru
prima dat, ca o influen apusean, sarcofagele nu mai sunt lng zid, ci spre mijlocul
naosului. Urmeaz, spre a ne apropia de timpul Coziei, mormntul mpratului tefan Duan
acoperit cu gisant occidental - din biserica Sf. Arhangheli de lng Prizren, ndat dup
mijlocul veacului al XIV-lea, mormntul cneazului Lazr, contemporanul lui Mircea cel
Btrni primul suveran srb czut n aprarea credinei cretine, devenit ca atare, sfntmartir - n biserica nlrii din mnstirea Ravanica, cel al vduvei sale, cneaghina Milica,
la bisericii Adormirii Maicii Domnului de la Ljubostinja, n fine, cel al fiului su, despotul
tefan Lazarevi, din biserica Sf. Treimi de la Resava. Dac locul fix al ngroprilor
monarhice fusese acolo, timp de dou sute de ani, sud-vestul naosului - pronaosul fiind
rezervat fie reginelor (la Studenica Ana Anastasia, soia primului Nemanja, la Sopoani

Ana Dandolo, soia lui tefan I), fie, ncepnd cu epoca de dup 1300 i cu Deani, chiar
membrilor aristocraiei (Djorde Pecpal)10.
Urmrind evoluia programelor iconografice ale pronaosurilor din Moldova, att de la
bisericile din secolul al XV-lea, dar i la cele din secolul al XVI-lea, putem afirma c ideea
teologic a ntruprii lui Hristos din Fecioar a stat la baza poziionrii primei teme majore
cea a Maicii Domnului Vlahernitissa din calota pronaosurilor la Vorone, Sf. Ilie de la
Suceava, Blineti (cele Trei Materniti), Dobrov, Sf. Gheorghe - Hrlu, Probota (dou
calote, pe cea estic se afl Maica Domnului Vlahernitissa, pe cea vestic Sf. Ana cu Fecioara
prunc), Humor i Moldovia.
O a doua tem major a iconografiei pronaosurilor moldoveneti este legat de viaa
patronului bisericii sau a hramului bisericii. Astfel, la Ptrui, temele ilustrate fac referire la
Viaa Sf. mprat Constantin cel Mare i indirect la simbolul Crucii; la Miliui Viaa
Sfntului Procopie; la Vorone, n pronaos sunt ilustrate scene din Viaa Sf. Gheorghe; la Sf.
Ilie de la Suceava - scene din Viaa Sf. Ilie, la Blineti i Popui - scene din Viaa Sf.
Nicolae i la biserica Arbore - scene din Viaa Sf. Ioan Boteztorul.
A treia tem major a pronaosurilor moldoveneti este cea a Sinoadelor ecumenice,
prezente n pronaosurile bisericilor Sf. Nicolae Popui, Blineti, Arbore, Dobrov, biserica
Sf. Gheorghe de la Hrlu, Sf. Nicolae Probota, Sf. Gheorghe de la Suceava (din actuala
mnstire Sf. Ioan cel Nou de la Suceava), Humor, Moldovia i mnstirea Sucevia. Aceast
tem care reprezint o expresie a adeziunii la dreapta credin prin hotrrile sinodale luate de
ctre Sfinii Prini, are i un puternic caracter antireformist, fiind prezent i n pictura
bisericilor de la Athos (Stavronikita), i Serbia (Sopoani), dar i n ara Romneasc (Sf.
Nicolae Domnesc, Cozia, Snagov).
Ultima tem care a cptat cea mai mare amploare n spaiul pronaosurilor din
Moldova este cea a Sinaxarelor sau a Menoloagelor, care prin caracterul su didactic a
cptat n Moldova o mare popularitate la monumentele din sec. al XVI-lea. Cel mai complet
Menolog (pe toate cele 12 luni din calendarul bisericesc) se gsete la bisericile din Moldova
din perioada menionat: n gropnia de la Dobrov (primele 6 luni), apoi la Probota (primele
6 luni n gropni, ultimele 6 luni n pronaos ), n pronaosul de la Sf. Gheorghe de la Suceava
(primele 6 luni se afl n pronaos iar a doua jumtate se gsete n pridvor) i n pronaosul de

10

Rzvan Theodorescu, Cele dou Europe, Ed. Enciclopedic, Bucureti, 2013, p. 233-234.

la Sucevia, unde se afl ntreg Menologul. Aprut mai nti n gropnia de la Dobrov,
aceast tem se va extinde i asupra pronaosului ncepnd cu Probota (1532), nlocuind
vechea decoraie a pronaosului, privitoare la hramul bisericii i devenind astfel, alturi de
Sinoadele Ecumenice, care vor continua s decoreze timpanele, o caracteristic a tuturor
ansamblurilor din secolul al XVI-lea.
Att prin arhitectur ct i prin iconografie arta din Moldova se prezint ca o sintez
original unic, care este cea mai desvrit marc de originalitate a bisericilor din
Moldova11. Cercetarea ar putea continua, iar interpretrile favorizate de descoperirea practic
prin restaurare, prin investigaiile arheologice i de arhitectur a unor elemente noi, uneori
bnuite de antecesori, alteori total necunoscute, deschid o cale nou domeniului istoriei artei
medievale.

11

Tereza Sinigalia, Arta din Moldova din a doua jumtate a secolului al XIV-lea pn la nceputul secolului al
XVI-lea n context european, n Revista Monumentul, Ed. IX, p. 19.

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III. SURSE INTERNET

1. http://www.academia.edu/ - platforma pentru mediul academic cu studii i articole de specialitate
2. http://www.eikonografos.gr - Studio of Byzantine Icons "Theophanis the Cretan" - arhiva imagini
de la bisericile i mnstirile din arealul ortodox
3. http://dexonline.ro - Dicionare ale limbii romne
4. http://www.heritage.gov.rs - Republic Institute for Protection of Cultural Monuments - Belgrade
5. http://www.scribd.com - librrie digital online
6. http://sfantulioancelnou.ro/ - site-ul oficial al Mnstirii Sf. Ioan cel Nou
7. http://www.wikipedia.org/ - Enciclopedia online

SUMMARY
ARGUMENT.................................................................................................................1
CHAPTER I THE HISTORICAL CONTEXT AND ITS INFLUENCE ON
THE ARTISTIC PHENOMENON
I.1. The historical, political, social and cultural within Byzantine Empire and its
influences on the artistic phenomenon............................................................................6
I.2. The historical, political, social and cultural micro-context from Mount Athos,
Serbia
and
Moldavia
during
XIII-XVI
centuries........................................................................................................................19
CHAPTER II ARCHITECTONIC AND PLASTIC SOLUTIONS IN THE
NARTHEX SPACE
II.1 The evolution of narthex architecture from 5th century until XV-XVI
centuries in the Balkan space (Constantinople, Thessaloniki, Mount Athos, Serbia and
Moldavia)......................................................................................................................47
II.1.2 The narthex space in the medieval churches architecture from Mount
Athos.............................................................................................................................62
II.1.3 The narthex space in the medieval churches architecture from
Serbia.............................................................................................................................74
II. 1.4 The narthex space in the medieval churches architecture from
Moldavia........................................................................................................................90
II.2 Historical and theological-dogmatic analysis of the iconographical programs from
the
katholikons
narthexes
from
Mount
Athos...........................................................................................................................122
II.2.1 The Monastery of Great Lavra .........................................................................125
II.2.2 The Protaton Monastery ...................................................................................131
II.2.3 The Vatoped Monastery....................................................................................139
II.2.4 The Hilandar Monastery....................................................................................153
II.2.5 The Dyonisiu Monastery...................................................................................167
II.2.6 The Cutlumu Monastery..................................................................................183
II.2.7 The Stavronikita Monastery..............................................................................197
II.2.8 The theological-dogmatic analysis of the narthexes iconography from medieval
Serbia...........................................................................................................................202
II.2.9 The Sopoani Monastery...................................................................................205
II.2.10 The Deani Monastery.....................................................................................214
II.2.11 The Gracania Monatery.................................................................................209

II.2.12. The theological-dogmatic analysis of narthexes iconography from

Moldavia......................................................................................................................218
II.3. The narthex decoration from origins until XIV century (Hagia Sophia from
Constantinople, Saint Luke from Phocis, Nea Moni from Chios and Chora)
.....................................................................................................................................238
II.3.1 Narthex decoration in Saint Luke from Phocis................................................246
II.3.2 Narthex decoration in Nea Moni Monastery from Chios.................................255
II.3.3. Narthex decoration from Daphni Monastery....................................................270
II.3.4. Narthex decoration from Chora Monastery......................................................276
CHAPTER III THE COMPARATIVE PLASTIC ANALYSIS OF MAIN
ICONOGRAPHICAL THEMES OF THE NARTHEXES
III.1 Theme I: Scenes from Church patrons life
Greece Saint Nicholas Orfanos from Thessaloniki..................................................304
Serbia - Deani Church Saint George................. ...................................................312
Moldavia Blineti Church Saint Nicholas...........................................................316
Arbore Church Saint John the Baptist......................................................................324
III.2 Theme II: Ecumenical councils
Serbia The Sopoani Monastery ........................................................................330
Moldavia Saint Lordly Nicholas from Botoani, the Arbore Church and Probota
Monastery....................................................................................................................337
Mount Athos The Stavronikita Monastery...............................................................358
III.3 Theme III: Synaxis or Menologe........................................................................364
Serbia Deani Monastery.........................................................................................367
Moldavia Saint George Monastery from Suceava.................................................377
Probota Monastery......................................................................................................385
Sucevia Monastery.....................................................................................................395
Mount Athos Dyonisiu Monastery...........................................................................403
CHAPTER IV TRADITIONAL MURAL TECHNIQUES IN THE NARTHEX
SPACE
4.1 Techniques and materials used in narthex decoration...........................................416
Conclusions........................................................................................................423
Bibliography..............................................................................................................429

List of illustrations ..............438

Annex Images and surveys

Key words:
Art history, architecture, iconography, iconology, symbol, narthex, elements of visual
language, church, Athos, Serbia, Moldavia

SUMMARY
The research and analysis of medieval art monuments cannot be undertaken without
the help of iconography, without understanding the meanings and profound connections
between art and theology or other disciplines outside the spirituality cannon and those related
such as art history or aesthetics or others, be it interdisciplinary or complementary. This study,
entitled The iconography of narthexes from churches from Mount Athos, Serbia and Moldavia
between XIII-XVI centuries, aims to analyse the purpose of space in the architecture of
churches from the studied areas, as well as their mural decoration. Choosing and researching
the iconographic program of narthex as an independent element might seem arbitrary and
irrelevant as it is known that the iconographic program of a Byzantine church was conceived,
as a strictly hierarchical system, with each representation having its meaning depending on
the context and location. The narthex was not necessarily a space of the cult, such as the altar
and the nave, which means that its decoration was optional, compared to the fixed
decoration of the main spaces. In the late period, which represents the focus of our research,
beginning with XIII-XVI centuries, the churches belonging to monasteries especially, had the
narthex as a space for liturgical purposes therefore it was necessary for cult activities. The
reason for selecting these three geographical areas, different in space and time, resided in the
need to use research and historical visual comparative analysis methods, which provide
possibilities for proving interpretation solutions through unearthing similarities or
particularities, but also tracing the time evolution of the decorations.
Mount Athos is a place where Byzantine model is kept and continued. The presence
here of ancient monuments of Byzantine art decorated by most famous schools of Byzantine
painting (macedonian, serbian, cretan) with coherent iconographical programs that boast an
active interaction between the architecture and painting elements, led us to study the
following churches: The Great Lavra, Protaton,Vatoped, Hilandar, Cutlumu, Dyonisiu. The

tight connections between Wallachia and especially Moldavia with Mount Athos, though the
numerous gifts made over time and also foundings (Vladislav I Cutlumu, Petru Rare Dyonisiu) posed questions related to Moldavia; if architecture and iconography elements were
reflected in the churces located there or not.
The beauty of Serbian painting and architecture from the church monasteries from
Studenia, ia, Gradac, Sopoani, Deani and Graanicane determined us to choose also
Serbia as a historical, geographical and artistic region. Choosing Serbia also was influenced
by finding an origin for the Moldavian painting school the last great national school in the
Byzantine tradition as it is called by Sorin Ulea, which came to life through the presence and
activity of Serbian masters, once the triconc plane of the Moravian school was introduced in
Moldavia as made obvious by the Saint Trinity church from Siret (end of XIV century) and
the arrival of the fellow masons12.
Another reasons that influenced the shaping of Moldavian painting school and assume
the Byzantine art through the medium of Serbian masters were represented, in a nuanced
manner, by the strong relations with the Patriarchate from Pe, as the Academician Rzvan
Theodorescu showed, even from the beginning of the young Moldavian state, as the relations
with the Patriarchate from Constantinople were colder, due to the refusal of recognizing the
Greek metropolitan Jeremiah, send by the Ecumenical Patriarchate, but instead keeping
Joseph, a local hierarch, relative of the ruling family13. The relations with Constantinople
improved during the reign of Alexander the Good (1400-1432), with him establishing cultural
and artistic connections. Also during this period, two masons are documented, Dobre and
Nichita; they received two villages from Alexander the Good as reward for painting two
churches. The name Dobre re-confirms their South-Slavic origin14.
The Moldavian artists became familiar with the elements of Serbian painting and were
able to acquire later the subtle and refined style of the Byzantine Palaiologos painting and
develop it in their own manner, creating an original synthesis that endures to this day.
The Moldavian iconographic programs impresses through their coherence and the
complexity of theological ideas that represented their foundation and evolved into a

12

Idem.
Rzvan Theodorescu, Roumains et Balkaniques dans la civilisation sud-est europenne in the chapter
Implications Balkaniques aux dbuts de la Mtropole de Moldavie. Une Hypothse, p.p. 227-252.
14
Ibidem,p. 243.
13

mobilizing manifesto in the fight against the Ottomans and the trinitarian heresies brought
about by the calvinist reformism that threatened the orthodox doctrine.
The beauty and complexity of church decoration from medieval Moldavia, emphasised
by the recent restorations, can, without a doubt, provide answers to old dilemmas that were
circulated by generations of researchers or art historians and pose new challenges.
The thesis is structured in four chapters, developed in subchapters, finalized
Conclusions, completed by a vast Bibliography; the text is accompanied by inherent images
and also by surveys of the main studied monuments.
First chapter of the thesis, The historical context and its influence on the artistic
phenomenon, presents the general historical frame of Byzantine Empire formations, its
territorial limitations, its main historical periods, the emperors of the ruling dynasties, the
emperors cult and its influence, as well as the political, social, economical factors that
influenced the Byzantine art from within the empire and ultimately led to its downfall,
consequences that were also felt in the medieval orthodox states such as Serbia and Moldavia.
The second subchapter analyzes separately the historical, political, social and cultural
context, divided on the three studied areas Greece, Mount Athos respectively, Serbia,
Moldavia. The most important aspect in Greece history as part of the Byzantine Empire are
underlined; also the contribution of Greek classical culture to the Byzantine Empire and its
influences on the Byzantine art, the return to the Classical Greek values that laid the
foundation for an original synthesis of one of the most important school of Byzantine painting
- the Macedonian school that realized the important decorations at Mount Athos, at Protaton
in Karyes, the administrative center of the Holy Mountain, at the katholikon of the Serbian
monastery Hilandar, the Saint Nicholas Orfanos church and Saint Eftimius Chappel from the
Saint Demestrius basilica, the last two from Thessaloniki, etc. The fall of the Byzantine
Empire, first under latins (1204) led to many Greek territories falling to latins, including the
Holy Mountain, putting an end to its initial flourish; the empire was divided, and states
appeared instead: Epirus, Niceea, Trebizond (Trapesund today Trabson in Turkey). In the
second, final stage of fall, the Turkish forces conquered new territories, controlling the
Balkans but keeping a relative cordiality regarding the respect of religion and the Christian
church religious customs, although not entirely, only in the areas that were not directly
controlled by them. Under their new masters, the Greeks lived more or less as they did before;
their autonomy didnt eliminated opression, the Holy Mountain maintaining some of the

rights, but the monasteries had to pay burdensome tribute and taxes and the monachal
population decreased dramatically.
Unlike the Greeks, the Serbians were unified under the Nemanja dynasty, establishing a
powerful state and becoming a force to be reckon in the Balkans, as a form of diffusion
between East and West, between the Latin and Greek world, an often forced submission
towards Byzantium and finally bowing to the Ottoman power. This oscillation of the Serbian
culture between West and Byzantium led in art to amazing synthesis, especially in
architecture by assuming, in a creative way the Romanic, Goth and Byzantine influences,
which ultimately led to national schools the school from Raka, the Serbian-Byzantine
school, the Moravian school, etc. Also, in the development of Serbian school an important
role was played by artists from the Byzantine capital but mainly from Thessaloniki, while the
definitive role was played by local artists that were able to put their own print, creating an
authentic national style.
In the historical, political, social, cultural context of Moldavia, we analysed the
connections and relations with Byzantium, the artistic legacy assumed from it, in a first stage
through the Serbian channel and then through the direct and undisturbed connection with the
Palaiologos art, due to the good relations during the reign of Alexander the Good (14001432). This period also marks the first period of development of art in Moldavia that led way
to the maturity period during the reigns of Stephen the Great (1457-1504) and his successor,
Petru Rare (1527-1539; 1541-1546), and ending during the Movileti (end of XVI century).
Chapter II, entitled Architectonic and plastic solutions in the narthex iconography,
presents a theological-dogmatic analysis of the main iconographic themes that make up the
narthex iconography, such as: The Mother of Christ Vlahernitissa, The Ecumenical Councils,
The life of Church patron and Menologe. The goal and meaning of the narthex space are
researched, from the beginning of Christianity until the later liturgical meaning in the church
monasteries.
Also in this chapter, we are proposing an architectural analysis of the religious buildings
from the studied areas, underlining the essential elements of each school of architecture, the
way in which the architectural surfaces influenced or not the iconographic program of the
narthex.

Another major goal of the chapter resides in the analysis of the narthex decoration from its
origins to XIV century, from the non-figurative decorations to the coherent iconographic
program of the mosaic decoration from monasteries churches such as: Saint Luke from
Phocis, Nea Moni from Chios, Daphni and Chora (Istambul). Another important aspect is
related to the main known artists that decorated the studied monuments, the theologians and
iconographers that were behind the establishing of the more complex iconographic programs,
with their style, influence and school particularities.
Chapter III, entitled The plastic comparative analysis of the main iconographical themes
of narthexes, presents, as the title suggests, an analysis of the visual elements and expression
manners in the compositions of the main themes of narthexes from Moldavian churches:
Theme I Scenes from church patrons life at the Saint Nicholas Orfanos church from
Thessaloniki and Moldavian churches: Blineti Saint Nicholas, Arbore church Saint John
the Baptist; in Serbia, Deani church Saint George. Theme II: The Ecumenical Councils, in
Serbia at the church of Sopoani monastery, in Moldavia Arbore church and Saint Lordly
Nicholas from Botoani and at Mount Athos, at the katholikon of the Stavronikita monastery.
Theme III: Synaxis or Menologe: in Serbia, at the church of Deani monastery, in Moldavia
at Saint George church from Suceava, Probota monastery, Sucevia monastery and at Mount
Athos the katholikon of the Dyonisiu monastery.
Chapter IV, entitled Traditional mural techniques in the narthex space, presents a
short history of the mural painting and also presents the main traditional materials used in the
al fresco technique that was used at narthex decoration in the studied areas.
As a conclusion, we consider that the narthex iconography from the three studied areas
are in accordance with the functional goal and liturgical goal of the space (lithi), as well as
with the necropolis (the Serbian sovereigns), that has to reflect in equal measure the cult of
leader and be didactic, moralising (the scenes from the patron saint, the martyrdom scenes
from Menologe and Saints Monachs), and to be a preparation space, a purification space
before entering the nave and also a militant one (Cavalcade of Saint Cross from Ptrui,
Arbore).
The present study can represent a possible answer to problems related to the origins,
development and understanding of the narthex iconography from Athos, Serbia and Moldavia,
with an objective scientifical approach and a subjective, artistic approach; it is not an
exhaustive attempt to treat the subject, nor to present in its entirety all the narthex

iconographical programs, as the ample nature of the subject and references allows a subjective
or objective argumentation.
Mount Athos, being a place that keeps and continues the byzantine monachism,
created a local style, the athonite style, through developing of the double narthex - lithi, which
becomes at the important feasts, a litugical place, where a procession accompanied by prayers
is made, called Litie15. After analyzing the seven athonite katholikons The Great Lavra,
Protaton, Vatoped, Hilandar, Dyonisiu, Cutlumu and Stavronikita (decorated by the painters
belonging to the most famous Byzantine schools macedonian, Serbian, cretan), we can
conclude that at five monuments, the painting from XIV-XVI centuries is preserved in the
narthex. Both the narthex and the exonarthex of the Great Lavra were added and painted later
(XVIII century); also the Protaton church from Karyes didnt had initially a narthex, which
was added later, in 1507-1508, and then painted. The narthex paintings from Vatoped are
stylistically related to those from Protaton narthex, as the painter, Manuel Panselinos painted
with two other painters from Vatoped. The iconographic program from Vatoped narthex is the
only one from the katholikons from the Holy Mountain that contains scenes with the Passion
Cycle. The only similar narthexes are from Hosios Lukas in Phocis, Nea Moni from Chios
and Daphni, that are also the best examples of mosaic art from Greece, being attributed to
Constantinople masters. These episodes with the Christ Passions from Vatoped emphasizes
the theological idea of Incarnation (Anapeson), of Christ suffering after he received a body
through Virgin Mary and suffered in order to redeem the original sin. As it was obvious, the
same theological idea of incarnation is clear also from the East wall of the narthex from
Stavronikita, even if the themes are different - (with the First Ecumenical Council from
Niceea in 325 and the VII Ecumenical Council from Niceea in 787, on each side of the Deisis
scene).
The programs in the narthexes from Dyonisiu and Cutlumu suggest that through the
martyrdoms of the illustrated saints in the four months from Menologe (September, October,
15

In the Litia service there are two parts or two moments. The first one is the actual Litia (the supplication
prayer) that consists in the procession from the narthex and the prayers for mercy and divine clemency, for the
saints prayers, which are mentioned by name. These litanies (prayers) are specific for Litia and name it. This part
represents within the divine service in the church, not only an ancient custom, but also a condensation of litanies
that were organized in the times of the old church, from 4th and 5th centuries, on the occasion of public
catastrophies (epidemics, earthquakes, floods, etc.), when the clergy and the people went to the church walking
in a solemn procession in the middle of the city, or even outside, where supplication prayers were made,
imploring divine mercy. This idea inspired Litia to the middle of the narthex, meaning the place where in old
times the cathecumens and penitents stayed, to illustrate the fact that, through humility, repentance and steady
prayers Gods mercifulness can be obtained (Pr. Petre Vintilescu, Liturghierul Explicat, Ed. Institutului Biblic i
de Misiune Ortodox, Bucureti, 1972, p.p. 55-56.)

November and December), and the saint devouts the idea of exemplarity is also obvious; the
narthex is an introductory space of the church and contains preparatory iconographic scenes.
Forty scenes from the hermits life Macarius of Egypt, Anthony the Great, Isidorus, Paul
from Tebaid, Pafnutius, Pahomius, Eufrosin the Hermit, Auxentius, Doroteus, Nathanael were
depicted in the narthex from Hilandar. The depiction of saint monks or hermits in the narthex
iconography shows that they represent an ascetic and clerical model, with moralising role for
the monastery monks.
The athonite iconographic programs of the narthexes clearly expresses the incarnation
dogma and can be considered sometimes as a continuation or completion of the one from
narthex (for example, the Passion scenes from Vatoped are presented in the exonarthex, not in
the narthex, where they are just a completion).
The Serbian iconographic programs in the narthexes were a part of the elaboration and
development of an ideological program that accompanied the foundation of an independent
state by the Nemanji dynasty at the end of XII century. The author was none other than Saint
Sava of Serbia, son of Stephen Nemanja, athonite monk that became the first arch-bishop of
the Serbian Orthodox Church. An indisputable authority in the theological dogmas and
hagiography (the cult of saints), and less conscious of the political effect, he created a
complex model of saint, that gathered all the accepted Christian qualities on one hand and
focused on the needs and requests of the Serbian people16. Sava conceived a cult of his
father, Saint Simeon Nemanja, the founder of the dynasty, using the essential elements from
theology and liturgy17. The divine lineage of the Serbian royalty, the divine origin of the
power (Gods anointed, the idea of royal lineage taken from the times of King David and
Solomon from the Old Testament) developed based on the principle stating that the peoples
salvation is organically linked to that of its leader. This was due to the powerful impression
made by the pious founder of the Serbian dynasty, tefan-Simeon Nemanja, called
Mirotoivog (myrrhs arising). The kings were called saints, considered to be from sacred
lineage, direct descendents of Saint Simeon (Stephen Nemanja), canonized by church.
Unlike Byzantium, the new Rome, the Serbians established the cult of their leader on the
crucial event represented by the Christianisation of its people. The Serbian church model was
created from the beginning as a necropolis. The cult of the canonized Serbian leader took

16

Danica Popovi, Under the auspices of Sanctity, The Cult of Holy Rulers and Relics in Medieval Serbia,
Serbian Academy of Sciences and Arts Istitute for Balkan Studies, Beograd, 2006, p. 332.
17
Ibidem.

place around his grave, which was usually in the narthex, therefore the iconography had to
illustrate both the soteriology and a dynastic ideology. These ideology is the basis for the
iconographic themes from Serbian narthexes such as The Iesei Tree from Sopoani, The
Nemanji dynasty genealogical tree Gracania or from Deani, The Menologe from Gracania
and Deani, the biblical and hagiographical themes the extended cycle of Joseph the
patriach, son of Jacob-Israel, alluding to the blesses, royal blood of Nemanji lineage, just as
abbot Dometijan from Sopoani monastery and Saint Savas hagiographer compared him with
the beautiful Joseph and his father, Saint Simeon, the father of Serbian people, with Jacob the
patriarch, the parent of Jewish people and ancestor, in body, of Jesus.18 Another iconographic
theme that reflects the cult of Christian medieval piety towards Serbian leaders is that of
funeral processions; for example, The funeral procession of Ana Dandolo, the mother of the
founder tefanUro I from the northern wall of the narthex from Sopoani is depicted in a
similar manner with the theme of Virgin Marys Assumption, a model considered proper only
for the funeral processions of saints or abbots. The Serbian sovereigns cult was also the basis
for representation of Moving of Simeon Nemanja relics from Hilandar in order to be deposed
in his founding at Studenia, (that became the first necropolis of Serbian rulers) from the wall
of Simeon Nemanja chappel, near the narthex from Sopoani. Along with using this
iconographic model for depicting funeral procession in the Nemanja family, their holiness
was inherently declared. se declara implicit i sfinenia acestora. The authority held by the
Serbian church led by Saint Sava also iconographically manifested in the theme of
Ecumenical Councils; an innovation appears in the iconography of the narthex from Sopoani
along with the Ecumenical Councils, three other local councils can be seen19, among which
the one organized by Simeon Nemanja against the bogomils. That the Serbian narthexes had
form the beginning a necropolis functionality is indicated also by the liturgies for the dead,
and by the numerous scens from the Menologe from Graanica and Deani, foundings of
Stephen the Third, marking the commemoration days of the Christian martyrs, illustrated with
scenes of their deaths, which symbolises their own birth in Christ the eternal contemplation
of a mystical vision of the divinity.
Following the evolution of the iconographic programs from Moldavian narthexes,
from churches dating in XV century, but also in XVI century, we can state that the theological
18

Radivoje Ljubinkovi, Sur le symbolisme de l`histoire de Jospeh du narthex de Sopoani, in L`art byzantine du
XIIIe sicle. Symposium de Sopoani, Belgrad n. 2, 1967, p. 207.
19
Radomir Nikoli, Notes sur le fresques de Sopoani, Office of the RepublicProtection of Cultural Monuments
Belgrade, p. 115.

ideea of Incarnation of Christ from the Virgin Mary was the basis the first major theme of the
Mother of Christ Vlahernitissa from the narthexes in Vorone, Saint Elijah from Suceava,
Blineti (Three Maternities), Dobrov, Saint George - Hrlu, Probota (two calottes, on the
eastern side the Mother of Christ Vlahernitissa, on the westerm side Saint Ann with the child
Virgin Mary), Humor and Moldovia.
A second major theme of the Moldavian narthexes is related to the church patrons life. At
Ptrui, the themes referr to the Cross; at Miliui life of Saint Procopius; at Vorone, in
narthex are scens from Saint George life; at Saint Elijah from Suceava - scenes in the life of
Sain Elijah; at Blineti and Popui scenes in the life of Saint Nicholas and at Arbore
scenes in the life of Saint John the Baptist.
The third major theme is represented by the Ecumenical Councils, in narthexes from
churches of Saint Nicholas at Popui, Blineti, Arbore, Dobrov, Saint George church from
Hrlu, Saint Nicholas from Probota, Saint George from Suceava (from the present monastery
Saint John the New from Suceava) and Sucevia monastery. This theme represents an
expression of adhering to the right faith through the council decisions by the Holy Fathers; it
also has an anti-reformist nature, as seen in the church painting from Athos (Stavronikita),
and Serbia (Sopoani) but also in Wallachia (Saint Lordly Nicholas, Cozia, Snagov).
The last theme that became often used in the Moldavian narthexes was the Synaxis or
Menologe, quite popular, due to its didactic character, in Moldavia in the XVI century. The
most complet Menologe (for all the 12 months of the church calendar) can be found in
churches from Moldavia in the above mentioned interval: in the crypt from Dobrov (first 6
months) then at Probota (first 6 months in the crypt, last 6 months in the narthex), in the
narthex of Saint George from Suceava (first 6 months in the crypt, the next on the veranda)
and in the narthex from Sucevia, where the whole Menologe is found. First appeared in the
crypt from Dobrov and later the theme extended also on the narthex starting with Probota
(1532), replacing the old decoration of the narthex, regarding the church patron and
becoming, together with The Ecumenical Councils, that will continue to ornate the tympanum,
a feature for all the complexes from XVI century.
Trough architecture and iconography, the art from Moldavia is a original and unique
synthesis, the complete mark of originality of the Moldavian churches20. The research can
20

Tereza Sinigalia, Arta din Moldova din a doua jumtate a secolului al XIV-lea pn la nceputul secolului al
XVI-lea n context european, in Revista Monumentul, Ed. IX, p. 19.

continue, while the interpretations based on restoration, archaeological investigations and

architectural investigation, which are hinted or sometimes totally unknown, can broaden a
new way of research on the medieval art history.