Judul: Perawan dan Anak yang Bersemayam “Lady of the Angels”
Seniman: Tidak Diketahui (lingkaran Andreas Ritzos)
Jenis: Ikon portabel
Tanggal: sekitar 1500
Dimensi: 120×77×3 cm
Bahan: Tempera telur di atas kayu dengan latar belakang emas
Lokasi: Gereja Santo Antonius, Corfu
The image of the Enthroned Virgin and Child known as “Lady of the Angels” is an excellent example of post-Byzantine art in the late 15th century. It is a majestic depiction of the Virgin seated on a wooden, intricately decorated throne, holding the young Christ in her arms. The composition is enriched by the presence of archangels and prophets, creating a whole with intense symbolic and theological content.
The work is part of the tradition of the Cretan School, which flourished from the 15th to the 17th century and is characterized by refined technique, adherence to tradition, and exceptional quality of execution. This particular image follows an iconographic type established by Andreas Ritzos, one of the most important painters of the time, but is enriched with additional elements that give it a unique character and deeper theological symbolism.
The name “Lady of the Angels” emphasizes the prominent role of the Virgin in the heavenly hierarchy, while the presence of the prophets with their emblematic symbols refers to the theme “Above the Prophets”, connecting the Old with the New Testament and highlighting the role of the Virgin in the divine economy.
1. Analisis Ikonografi dari Perawan dan Anak yang Bersemayam
The image of the Enthroned Virgin and Child presents one of the most important iconographic types of Byzantine and post-Byzantine art, with distinctive features that make it a unique case study of the Cretan School.
1.1 Komposisi Sentral dan Postur Bentuk
In the center of the composition dominates the figure of the Virgin, seated on an ornate wooden throne. Her right hand rests protectively on Christ’s shoulder, while her left gently touches his foot. This posture, full of affection and protectiveness, exudes a sense of maternal love that transcends the human level, transporting the viewer to the realm of the sacred.
The young Christ sits on his mother’s lap in an official posture, blessing with his right hand, while holding a closed scroll with his left, a symbol of divine wisdom and law. The contrast between his childlike form and his official, priestly posture creates an interesting dynamic that underscores his dual nature as God and man.
1.2 Simbolisme dari Tahta dan Detailnya
The wooden throne, straw-colored with dense golden highlights, is not just a piece of furniture but a symbol of the royal dignity of the Virgin. The back with the double curvature ending in small finials, the legs of the throne with lion heads, and the stylized plant decorations create a sense of grandeur and majesty.
Of particular interest is the red cushion on which the Virgin sits, with knots at the corners and two bands of golden pseudo-Arabic letters, an element that testifies to the influence of eastern decorative motifs on the Cretan School.
1.3 Palet Warna dan Penggunaan Latar Belakang Emas
The color palette of the image is characterized by strong contrasts that serve both aesthetic and symbolic purposes. The deep green tunic of the Virgin (which may have originally been blue) contrasts with her dark chestnut-red maphorion, while her red shoes act as a color counterbalance. This choice of colors is not accidental but follows a long tradition of symbolism. (Search for more information with the word: Byzantine color symbolism iconography)
The golden field surrounding the figures is a characteristic element of Byzantine iconography and symbolizes the uncreated light, the presence of the divine. It is not a mere decorative element but a way of depicting the transcendent, creating a space outside of time and earthly dimensions.
1.4 Penggambaran Ekspresi dan Interaksi
The faces of the Virgin and Christ are rendered with exceptional delicacy and skill. Their modeling with white lines, alternately intense and faint, creates a sense of inner illumination that imparts spirituality to the figures. The brown-green underpainting indicating the shadows is not intensely dark, allowing a soft transition from light to shadow.
The oblique position of the Virgin’s and Jesus’ feet is balanced by their gaze, which is in the opposite direction, creating a dynamic interaction that enriches the composition and adds movement to an otherwise static depiction.
1.5 Elemen Epigrafi dan Identitas Gambar
To the left and right of the head of the Theotokos are inscribed in red on the golden field the inscriptions “M(eter) T(heo)U” and “THE LADY OF THE ANGELS”. The name “Lady of the Angels” emphasizes her prominent position in the heavenly hierarchy, as queen of the angelic powers, while the presence of the archangels Michael and Gabriel at the top of the image, in bust and in a posture of respect and veneration, reinforces this symbolism.
2. The Prophets and the Theme “Above the Prophets”
In the four corners of the throne are depicted busts of prophets emerging from clouds, turned towards the Virgin and holding unfolded scrolls. Their presence integrates the image into the broader iconographic cycle known as “Above the Prophets”.
2.1 Asal Usul dan Perkembangan Tema Ikonografi
The theme “Above the Prophets” first appears in an image from the end of the 11th or early 12th century at Sinai. During the Palaiologan and post-Byzantine periods, it frequently appears in icons, frescoes, and embroideries, becoming one of the most beloved themes of Orthodox iconography.
In the image of Corfu, the presence of the prophets is extremely discreet, as they are depicted on a small scale and without a particular frame, which gives the work a balanced composition where the weight remains on the central figure of the Virgin.
2.2 Kehadiran Simbolis dari Daud dan Salomo
In the upper left part is depicted the prophet David, holding a model of a long building with a gabled roof and dome, a symbol of the Temple of Jerusalem. On his scroll, we read a passage from the Psalter: “ARISE O LORD INTO YOUR RESTING PLACE | YOU AND THE ARK | OF YOUR HOLINESS | YOUR PRIESTS”.
In the upper right part is Solomon, holding a model of a circular domed building and a scroll with the inscription: “WISDOM HAS BUILT | HERSELF A HOUSE | AND HEWN | SEVEN PILLARS”. The presence of the two royal prophets, father and son, symbolizes the royal lineage of Christ and the connection of the Virgin with the royal genealogy.
2.3 Simbolisme dari Nabi Yesaya dan Daniel
In the lower left is the prophet Isaiah, whose scroll contains a passage from his prophecies, referring to the vision of the Seraphim holding the coal with tongs. The seraphim is depicted immediately to the right of the prophet, creating a direct iconographic connection with the text of the scroll.
In the lower right corner is the prophet Daniel, holding a scroll referring to the vision of the stone that became a great mountain and covered the earth. Next to him is depicted a tiny model of a steep conical mountain, a visual rendering of his prophecy. (Search for more information with the word: Daniel’s prophecy cornerstone)
2.4 Interpretasi Teologis dari Simbol-simbol Kenabian
The symbols accompanying the prophets (temple, domed building, seraphim with tongs, conical mountain) are prefigurations of the Virgin in the Old Testament. The Virgin is likened to the Ark of the Covenant (David), the House of Wisdom (Solomon), the tongs holding the coal-Christ (Isaiah), and the mountain from which the stone-Christ was cut (Daniel).
This multi-layered symbolic reading creates a complex theological framework that connects the Old with the New Testament, presenting the Virgin as the central figure in the divine plan.
2.5 Kelangkaan Kombinasi Elemen Ikonografi
It is noteworthy that the combination of the type of the Virgin and Child established by Ritzos with the theme “Above the Prophets” is rare. It is found in only a few examples, such as on a sack of the Byzantine Museum and in an image of the Monastery of Aimyala, making the image of Corfu particularly significant for the study of the evolution of the Theotokos in post-Byzantine iconography.
3. The Image in the Context of the Cretan School
The Enthroned Virgin and Child of Corfu is a characteristic example of the artistic production of the Cretan School, one of the most important expressions of post-Byzantine art. Through the analysis of its stylistic characteristics, its connection with the tradition of the circle of Andreas Ritzos and its place in the evolutionary course of Byzantine iconography is highlighted.
3.1 Hubungan dengan Karya Andreas Ritzos
The image repeats a type established by Andreas Ritzos with his large image, which once adorned the iconostasis of the catholicon of the Monastery of Patmos. Despite the individual differences – such as the reverse turn of the Virgin and Christ in Ritzos’ image and the absence of prophets – the similarities in structure, composition, and the individual elements of the throne are decisive.
The throne of the Corfu image differs from the corresponding one in Ritzos’ image of Christ in Patmos only in the absence of the double monochrome masks on the backrest and a series of columns at the bottom. The cushion with the knots and the band with the pseudo-Arabic letters is identical to that of Ritzos’ image, while the gradual change in the tone of the green floor is also characteristic.
3.2 Karakteristik Gaya dan Eksekusi Teknis
Initially, the image was mistakenly attributed to Emmanuel Tzanes, a 17th-century painter. However, its cleaning revealed that it is an excellent work, much older, dating around 1500. The modeling of the figures does not have the hardness that characterizes Tzanes’ works: the shadows are softer, the lights juicy, and the technique aligns with that of the circle of Andreas Ritzos.
The exceptionally meticulous execution of the image, with the careful rendering of details and the high quality of the color modeling, testifies to the skill of an outstanding artist who had full knowledge of iconography and the technique of the Cretan School. (Search for more information with the word: painting technique Cretan School)
3.3 Penyebaran Tipe Ikonografi
The type of the Enthroned Virgin and Child, seated on a wooden throne, sometimes left-facing and sometimes right-facing, experienced great dissemination in the Cretan School. It also appears in Mesembria, in works of the Theban school and local island or mainland workshops, in Ionian frescoes and images, as well as in embroideries, until the early 18th century.
This fact underscores the importance of this particular iconographic type for the Orthodox tradition and the wide acceptance it received in different regions and arts, making it one of the most influential types of post-Byzantine iconography of the Virgin.
Puncak Warisan Ikonografi
Refleksi Seni dan Spiritualitas
Di penghujung tradisi ikonografi pasca-Bizantium, kita menemukan sebuah karya yang memukau: Bunda Maria dan Anak yang Bertakhta “Lady of the Angels” dari Corfu. Karya ini tidak sekadar memiliki nilai artistik yang tinggi, melainkan juga merupakan sebuah teks spiritual dan teologis yang kompleks, diungkapkan melalui sarana visual yang mendalam. Melalui keberadaan bersama sosok sentral Bunda Maria dengan para nabi dan malaikat agung, tercipta sebuah keseluruhan yang menjembatani Perjanjian Lama dengan Perjanjian Baru, dan mengekspresikan konsep-konsep teologis dengan bahasa artistik yang sangat halus.
Di dalam konteks yang lebih luas, kita dapat melihat bagaimana pengaruh mendalam ikonografi Bizantium Kreta yang diwariskan dalam seni rupa Indonesia, melalui evolusi ketidakwajaran dalam lukisan pascamodern, yang mencerminkan kekayaan budaya visual Nusantara. Seperti halnya “Lady of the Angels” yang menjadi dokumen sejarah, seni rupa Indonesia juga menyimpan narasi panjang tentang pencarian spiritual, pengejaran artistik, dan persepsi teologis dari berbagai era. Karya ini, yang diperkirakan berasal dari sekitar tahun 1500, bukan hanya objek pemujaan, tetapi juga saksi bisu perjalanan spiritual, pencapaian artistik, dan pemahaman teologis dari sebuah zaman. Sebagai contoh yang sangat baik dari seni Sekolah Kreta, ia menjadi bagian integral dari warisan budaya ruang Yunani, sama halnya dengan bagaimana seni ukir dan lukis wayang kulit di Indonesia, yang merefleksikan cerita-cerita epik dan nilai-nilai luhur, menjadi bagian tak terpisahkan dari identitas budaya bangsa. Dalam kedua konteks, seni bukan hanya tentang estetika, tetapi juga tentang menyampaikan makna yang lebih dalam, menghubungkan masa lalu dengan masa kini, dan menginspirasi generasi mendatang.
Pertanyaan yang Sering Diajukan
Apa arti sejarah dari gambar Perawan dan Anak yang Bersemayam dari Corfu?
The specific depiction of the Virgin with the child is an important document for the transition from Byzantine to post-Byzantine art. The image dates around 1500, a key period for the evolution of the Cretan School. Initially, it was mistakenly attributed to Emmanuel Tzanes (17th century), but careful cleaning revealed the genuine characteristics of a work of the circle of Andreas Ritzos, one of the most important figures of Cretan painting.
Apa yang disimbolkan oleh keempat nabi yang mengelilingi Perawan dengan anak?
The prophets David, Solomon, Isaiah, and Daniel, who appear at the corners of the throne, represent the theme “Above the Prophets”. Each prophet carries symbolic elements that prefigure the Virgin: David likens her to the Ark, Solomon to the House of Wisdom, Isaiah to the tongs holding the coal-Christ, and Daniel to the mountain from which the stone-Christ was cut. This theological connection unifies the Old with the New Testament.
Apa karakteristik teknis yang menonjol dalam gambar Perawan dan Anak yang Bersemayam dari Corfu?
The image is distinguished by the excellent modeling of the faces with white lines, alternately intense and faint, that highlight the illuminated areas and subtly outline the volumes. The flesh is light brown towards pink, with brown-green underpainting for the shadows. The color scale with the deep green tunic of the Virgin, the chestnut-red maphorion, and the golden field creates a harmonious whole with strong contrasts.
Mengapa Perawan dalam gambar dari Corfu disebut “Lady of the Angels”?
The name “Lady of the Angels” is one of the many honorary titles attributed to the Virgin and Child. It emphasizes the prominent role of the Virgin in the heavenly hierarchy, as queen of the angelic powers. In the image, this attribute is reinforced by the presence of the archangels Michael and Gabriel at the top, who are depicted in bust and in a posture of respect towards the Virgin.
Bagaimana Perawan dan Anak yang Bersemayam dimasukkan dalam tradisi Sekolah Kreta?
The image is a characteristic example of the Cretan School, which flourished from the 15th to the 17th century. It follows an iconographic type established by Andreas Ritzos, with the distinctive element of the addition of the prophets. The excellent technique, the golden field, the careful modeling of the faces, and the balanced composition reflect the high aesthetic values of this school. This type experienced great dissemination and influenced art in various regions of the Greek territory.
Bibliografi
- Beigbeder, O. (1995). Léxico de los símbolos. Madrid: Encuentro Ediciones.
- Rankavēs, A. R. (1865). Αρχαιολογια: ιστορια της αρχαιας καλλιτεχνιας. Αθήνα.
- Thomas, J. P. (1987). Private Religious Foundations in the Byzantine Empire. Washington, D.C.: Dumbarton Oaks.
- Οἱ τεσσαρες μεγαλοι Προφηται. Ἡσαϊας, Ἱερεμιας, Ἰεζεκιηλ. (1837). Αθήνα.
- Ταμειον ὀρθοδοξιας περιεχον συνοπτικως και διαλαμβανον περι. (1804). Αγγέλων.
- Archaiologikon deltion: Chronika. Meros B. (2008). Θεοτόκος. Αθήνα.
