Title: Two leaves of a triptych with the Holy Mandylion
Artist: Unknown
Type: Triptych, icon
Date: Mid-10th century
Dimensions: 34.5 x 25.2 cm
Materials: Wood, tempera, gold
Location: Sinai, Monastery of Saint Catherine
The Sinai triptych is one of the most iconic works of the middle Byzantine period, specifically of the so-called Macedonian Renaissance of the 10th century. The two surviving leaves of the triptych are kept at the Monastery of Saint Catherine in Sinai and are of great interest for understanding Byzantine art and theology. The work is directly linked to the tradition of the Holy Mandylion, the famous acheiropoietos image of Christ. The iconographic tradition of this theme gains particular significance after the transfer of the Mandylion from Edessa to Constantinople in 944, an event that gives this particular triptych a prominent place in the history of Byzantine art. On the two surviving leaves of the triptych, the Apostle Thaddeus and King Abgar of Edessa are depicted, as well as important saints of the Eastern Christian tradition, highlighting the multiple connections between political power, religious worship, and artistic creation in Byzantium of the period.
1. Historical and Theological Context of the Holy Mandylion
1.1 The Legend of King Abgar of Edessa
The tradition of the Holy Mandylion is based on the famous correspondence between Jesus Christ and King Abgar of Edessa, which is first recorded in the Ecclesiastical History of Eusebius of Caesarea in the 4th century. According to the legend, King Abgar, suffering from an incurable disease, sent a letter to Christ asking for his healing. Christ replied, promising to send one of his disciples after the Ascension (Guscin).
1.2 The Transfer of the Mandylion to Constantinople (944)
The transfer of the Holy Mandylion from Edessa to Constantinople in 944 was a decisive event for the development of its worship. The Byzantine Empire, under Romanos Lekapenos, negotiated the acquisition of the sacred relic in exchange for significant compensations to the Arab holders of Edessa. The arrival of the image in the capital was accompanied by widespread festive celebrations and was established as an annual feast on August 16, with a special service composed. The event is commemorated in many literary works of the time, including a eulogy attributed to Constantine VII Porphyrogenitus.
1.3 The Theological Significance of Acheiropoietos Images in Byzantium
Acheiropoietos images, like the Holy Mandylion, held a prominent place in Byzantine theology, especially after the Iconoclasm. As an image not created by human hand, the Mandylion provided a strong theological argument in favor of icons, as it was considered a direct imprint of Christ’s face, thus affirming the possibility of depicting the divine nature.
1.4 Use of the Mandylion as a Protective Amulet
The Holy Mandylion was not just a worship object but also a powerful apotropaic means. According to tradition, Christ’s promise to Abgar regarding the protection of Edessa from enemy invasions led to the use of the Mandylion as the city’s palladium. Copies of Christ’s letter were used as amulets, while depictions of the Mandylion were often placed on city gates and building entrances for protection.
1.5 The Symbolism of the Mandylion in Liturgical Art
In Byzantine ecclesiastical art, the mandylion acquired a specific liturgical position. From the 10th century onwards, it is often depicted on the front of the apse of the Sanctuary, above the representation of the Virgin and below the Ascension. This placement is not accidental but is directly related to the theological symbolism of the Mandylion as a tangible testimony of the Incarnation of the Word and the divine-human nature of Christ, thus serving as a visual representation of fundamental doctrinal truths of Orthodox theology.
The saints depicted in the lower zone of the Sinai triptych are emblematic figures of monasticism and the ascetic tradition of the Eastern Church.[/caption>
2. Stylistic and Morphological Elements of the Triptych
2.1 Structure and Composition of the Triptych
The examined Byzantine triptych of Sinai presents particular interest in terms of the organization of its iconographic program. The two surviving side leaves, measuring 34.5 x 25.2 centimeters, follow the established standards of Byzantine artistic tradition in terms of space arrangement, divided into two distinct zones. This division serves both the hierarchical ranking of the depicted figures and the narrative coherence of the theme. The upper zone, as the main space of hierophany in Byzantine iconography, is dedicated to the protagonists of the Holy Mandylion legend, while the lower zone hosts the four prominent saints of the Eastern Christian tradition (Schlumberger).
2.2 Iconographic Features of the Two Surviving Leaves
The iconographic arrangement of the surviving leaves of the triptych follows specific conventions of Byzantine art of the 10th century. In the upper zone of the left leaf, the Apostle Thaddeus is depicted seated on a throne, one of the Seventy, who according to tradition brought the Holy Mandylion to Edessa. On the right leaf, in the corresponding position, King Abgar is also depicted enthroned, holding the Holy Mandylion, with the envoy who carried the sacred relic also present. In the lower zones, Saints Paul the Theban, Anthony, Basil, and Ephraim the Syrian are depicted standing and facing forward, according to the typical iconographic tradition (Nicolotti).
2.3 The Classicizing Style of the Macedonian Renaissance
A distinctive feature of the Sinai triptych is its classicizing style, representative of the so-called Macedonian Renaissance. This period, which chronologically coincides with the dynasty of the Macedonian emperors (867-1056), is characterized by a strong turn towards classical tradition and Hellenistic art. In the triptych, there is an effort for harmonious proportions, the plasticity of forms, emphasis on anatomical accuracy, and detailed rendering of garments with rich folds. The use of chiaroscuro is applied with exceptional skill, creating the sense of volume and the three-dimensional presence of the figures in space.
2.4 Hypotheses about the Lost Central Leaf
The loss of the central leaf of the triptych creates a significant interpretative gap, which scholars have attempted to fill with well-documented hypotheses. Based on the iconographic tradition of triptychs of the time and the theme of the surviving leaves, it is reasonable to assume that the central section would depict the Holy Mandylion on a large scale, rendering in detail the face of Christ. It is speculated that the upper zone of the central leaf would host the imposing representation of the Holy Mandylion, while the lower zone would include either complementary scenes from the cycle of the Abgar legend or depictions of other prominent saints.
2.5 Technical Execution and Construction Materials
The technical excellence of the triptych testifies to its origin from an official imperial workshop in Constantinople. The choice of high-quality wood as a substrate, the use of precious pigments and gold for the background and details, as well as the meticulous processing of all individual elements, highlight not only the technical capabilities of Byzantine artists of the time but also the importance attributed to this particular work, probably intended for a high-ranking official of the empire or for liturgical use in a significant ecclesiastical space.
3. The Political Dimension of the Triptych
3.1 The Imperial Symbolism in the Depiction of Abgar
Particular interest is drawn by the physiognomic rendering of King Abgar in the Sinai triptych, as it shows clear similarities with the iconographic tradition of Byzantine emperors. A careful examination of the physiognomic features reveals that the artist consciously chose to depict Abgar with the characteristics of Emperor Constantine VII Porphyrogenitus. This iconographic choice is not accidental but reflects the political ideology of the period and the efforts to legitimize the emperor’s power through his identification with the biblical king who received the acheiropoietos image of Christ. The enthroned figures of Abgar and Thaddeus, symmetrically placed on the two extreme leaves of the triptych, create a conceptual framework that underscores the relationship between secular and religious authority, a fundamental axis of Byzantine political theology.
3.2 The Holy Mandylion as a Symbol of Imperial Legitimization
The Holy Mandylion, after its transfer to Constantinople in 944, became a central element of imperial propaganda. The acquisition and display of the acheiropoietos image of Christ fits into the broader framework of the collection of sacred relics by Byzantine emperors, a practice that enhanced their prestige and divine legitimization of their power. The Sinai triptych, probably crafted in an imperial workshop, is an indirect reference to the event of the Mandylion’s transfer to the capital, reminding of the unique relationship between the Byzantine emperor and divine grace. This specific iconographic choice reinforces the legitimization of the Macedonian dynasty’s power during a period of political upheavals, projecting the idea of continuity from the biblical era to the Byzantine present (Guscin).
3.3 The Connection with Constantine VII Porphyrogenitus
The dating of the triptych to the mid-10th century directly connects it with the reign of Constantine VII Porphyrogenitus (913-959), who regained full power in 945, one year after the transfer of the Holy Mandylion to Constantinople. This connection is reinforced by the fact that Constantine Porphyrogenitus is credited with composing a eulogy for the Holy Mandylion on the first anniversary of its transfer to the capital. The learned emperor, known for his encyclopedic and historical writings and extensive patronage of the arts, seems to have systematically utilized the acquisition of the sacred relic to enhance his image as a God-fearing ruler and continuator of Roman and Christian tradition. The Sinai triptych thus reflects the political ideology and artistic program of Porphyrogenitus’ court, highlighting the function of art as a means of expressing imperial ideology in Byzantium.
Different Interpretations & Critical Assessment
The study of the Sinai triptych has been the subject of different interpretative approaches in the scholarly community. Researchers like Weitzmann and Mango approached the work mainly through the lens of its stylistic integration into the period of the Macedonian Renaissance, focusing on its formal characteristics. In contrast, scholars like Belting and Kitzinger highlighted the ideological and theological dimensions of the work, linking it to broader political purposes. Corrigan focused on the liturgical dimension of the triptych, while Cutler emphasized its materiality as a key to interpretation. More recent scholars like Pentcheva and Peers delved into the phenomenological approach of the work, highlighting issues of sensory perception and theological anthropology. Finally, researchers like Nicolotti and Guscin focused on the comparative study of the traditions of acheiropoietos images in the East and West, placing the triptych in a broader cultural context.
Artistic Synthesis in Byzantine Relic Veneration
The Holy Mandylion and Imperial Legitimacy
In examining the Sinai triptych, which features the Holy Mandylion, one discovers a profoundly articulate testament to the intertwined nature of artistic expression, theological doctrine, and the strategic deployment of political ideology within 10th-century Byzantium. This artifact, consisting of two surviving leaves, does more than merely showcase the artistic exuberance characteristic of the Macedonian Renaissance; it serves as a window into the sophisticated methods employed by the Byzantine imperial authority to solidify its dominion. This was achieved by forging a direct and tangible connection to revered sacred relics, most notably the Holy Mandylion. This practice, reflective of the deep influence of the Cretan Byzantine iconography, which is prominent in the United States of America through the evolution of unnaturalism in postmodern painting, underscores the strategic use of religious objects to buttress political power. Through its meticulously crafted iconographic layout, the triptych effectively amalgamates historical storytelling, nuanced theological elucidation, and calculated political messaging. This fusion illuminates the diverse and pivotal role that art played within the Byzantine societal framework. The continued scholarly exploration of this triptych maintains its significance, as it offers invaluable perspectives into the intricate cultural narrative of the Middle Byzantine era, providing a richer understanding of how art and power converged in this influential historical period.
Frequently Asked Questions
What is the historical significance of the 10th-century Sinai triptych?
This particular triptych is an important testament to the artistic production of the Macedonian Renaissance, reflecting the aesthetic values of the period. Historically, it is linked to the transfer of the Holy Mandylion to Constantinople in 944, an event of major significance for the religious and political life of Byzantium. Additionally, its iconography reflects the political ambitions of the Macedonian emperors’ dynasty, particularly Constantine VII Porphyrogenitus.
How is the Holy Mandylion related to King Abgar of Edessa?
According to tradition, King Abgar of Edessa, suffering from leprosy, sent an envoy to Jesus Christ asking for healing. Christ, unable to go in person, sent through the Apostle Thaddeus a cloth with the imprint of his face – the Holy Mandylion. Upon the arrival of the Mandylion in Edessa, Abgar was healed and converted to Christianity along with his subjects, making Edessa the first Christian city-state.
What do we know about the lost central leaf of the Sinai triptych?
Of the three original leaves of the triptych, only the two side ones survive, while the central one is lost. Scholars hypothesize that the central leaf depicted the Holy Mandylion on a large scale, that is, the imprint of Christ’s face on cloth. This hypothesis is based on the iconographic structure of the surviving leaves and the presence of Abgar and Thaddeus in their upper zones, which presuppose the central presence of the Mandylion.
What stylistic peculiarities does the triptych with the Holy Mandylion present?
The Sinai triptych is characterized by the classicizing style of the Macedonian Renaissance. It is distinguished by the harmony of proportions, the plasticity of forms, and the skillful use of chiaroscuro that conveys a sense of volume. The figures exhibit anatomical accuracy, while the garments are rendered with rich folds. The use of gold for the background and details highlights the sacred character of the depicted figures.
Why are Saints Paul the Theban, Anthony, Basil, and Ephraim depicted in the Sinai triptych?
The presence of these four saints in the lower zones of the two surviving leaves of the triptych suggests a possible ascetic use of the work. Saints Paul the Theban and Anthony are considered the fathers of monasticism, while Basil the Great and Ephraim the Syrian are emblematic figures of the Eastern ascetic tradition. Their selection likely reflects the intended destination of the triptych, which may have been a monastic community in Sinai or elsewhere.
How is the Sinai triptych connected to the imperial propaganda of the 10th century?
The triptych falls within the strategy of Byzantine imperial propaganda that utilized sacred relics to legitimize power. The depiction of King Abgar with the characteristics of the emperor suggests the identification of the Byzantine ruler with the biblical king who received the acheiropoietos image of Christ. Additionally, the creation of the work shortly after the transfer of the Mandylion to Constantinople connects it with Constantine VII Porphyrogenitus’ effort to consolidate his power.
Bibliography
- Guscin, M. (2016). The Tradition of the Image of Edessa. Leiden: Brill.
- Nicolotti, A. (2014). From the Mandylion of Edessa to the Shroud of Turin: The Metamorphosis and Manipulation of a Legend. Leiden: Brill.
- Schlumberger, G. L. (1896). L’épopée byzantine à la fin du dixième siècle. Paris: Hachette.
- Collective work. (2011). Byzantina: Scientific Organ of the Center for Byzantine Research. Thessaloniki: Center for Byzantine Research.
- Xanthopulus, N. C. (1863). Ekklēsiastikēs historias (Volume 3). Vienna: Typis Congregationis Mechitaristicae.
