Depicted in the wall painting in the Prothesis room of the recently discovered Nubian church, Mary emerges as both a devotional image and an iconographic innovation reflecting regional African theological developments. The iconography and associated inscriptions suggest a complex semiotic framework in which Mary assumes attributes typically reserved for martyrs, bishops, or theologians: the cross…
Les peintures murales de Nubie, découvertes sur le territoire de l’actuel Soudan, émerveillent les historiens de l’art, et les chercheurs tentent d’analyser les résultats des fouilles archéologiques menées depuis plus de cent ans. Les archéologues ont proposé des datations et des interprétations, mais elles n’ont pas été suffisamment analysées par les historiens de l’art. Seules,…
Two icons of the Annunciation preserved in Sinai Peninsula monasteries share the uncommon feature of a small image of Christ painted in grisaille onto the folds of Mary’s garment. The first is the well-known icon from the late twelfth century in the Holy Monastery of St. Catherine and the second is a fragment of an…
The hitherto undescribed Jain workshops working in 15th-16th century historical Ethiopia, parallel to other workshops such as those of the Veneto-Cretan artist Niccolò Brancaleon and Armenian and/or Coptic artist Fre Tseyon, shed new light on the intercultural and interreligious structures of early local icon production. In addition to the Latin West and Byzantine links, it…