ОТ СЛОВО КЪМ ОБРАЗ: КОЯ Е ПЪРВАТА ИСИХАСТКА МАНДОРЛА?
FROM WORD TO IMAGE: WHICH ONE IS THE FIRST HESYCHASTIC MANDORLA?

Summary/Abstract: Based on the complex interrelations between word and image, present paper aims to elucidate penetrating correlation of the theological thought of the time with the art of a specific epoch. Accent is putted on the Hesychasm and its influence over Byzantine iconography in the fourteenth century AD, especially what concerns the formation of a new, unusual form of mandorla, called “hesychastic”. In order to explain its rise and further development in Byzantine and Post Byzantine iconography, we will discuss the earliest few patterns of “hesychastic mandorla” from the very beginning of the century and will compare them with several subsequent examples. Central point of our research will be to find out which one is the earliest known “hesychastic mandorla”, and where this type of mandorla has emerged. Generally shared view claims that the new form has been produced firstly in Thessaloniki, in the partially survived Transfiguration mosaic of the Holy Apostles Church. Here we will proceed from the assumption that the prime model originates from Constantinople, caused by the theological and artistic milieu in the metropolis and probably found its place first in the wall paintings of the Chora Church. In order to support this hypothesis we will pay special attention to the relationships between the first and the second city in the Empire, we will discuss intervisuality between the iconographic models in both churches and will try to propound a new interpretation of the timing of the wall decorations in the Holy Apostles Church.

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