Wspomina o niej Sokrates Scholastyk w swej Historii Kościoła III,7. Euzebiusz podaje, że wraz z nimi męczeństwo ponieśli jeszcze Seleukos, Teodulos, przede wszystkim jego mistrz Pieriusz z Aleksandrii oraz uczeń Euzebiusz z Cezarei. The Legend of St. George Saving a Youth from Captivity and its Depiction in Art *. 1 Euzebiusz z Cezarei, Historia Kościelna, О męczennikach Palestyńskich. Euzebiusz z Cezarei – Historia kościelna · Eusebius Church History · PASTERZ HERMASA – o Kościele i nawróceniu · Boże Narodzenie
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Grotowski P., The Legend of St. George Saving a Youth from Captivity and its Depiction in Art
Paphlagonian and On the son of Leon. Howell, who tried to explain the presence of the second rider by transferring the Muslim legend about Al-Khadr who accompanied Moses or even kociena story about a cook from the Romance of Alexander the Great to the Christian tradition.
The episode on the fresco shows the young stratiot George coming back to his home. Treasures of Byzantine Art and Culture, ed. But he was the first to notice that the popularity of this subject in Christian societies under Muslim control results from the symbolic understanding of the legend in which St. Some difference is also visible when comparing the manner in which the hixtoria and trappings are represented.
However, there is an example of ezuebiusz the same pictorial formula to illustrate another version of the legend. Interestingly it seems that representation of the legend was not customary in the Byzantine Empire, since no examples from there are preserved. The emperor Selinus holds keys in his hands, signifying that he entrusts the rule over the city to the victorious warrior and confirming its conversion to Christianity, which was a condition of the saint’s help. A soldier lived there, named Leon.
The pre-pubescent face, surrounded with light hair curls and a halo, suggests St.
Similarly, the episode takes place in the palace of the king, whose servant the boy is. Henderson, Edinburghpp. That is why it is worth summarizing all three versions here It must have been transmitted from works created in Syria and Palestine to Cypriot kkcielna. This also includes a bibliography on the subject. As opposed to D. But current knowledge allows us to reject this date. George with an accompanying figure.
Saint George with the young man mounted behind him kills the dragonfresco in the church of St. The third scene was divided into two fields by the line of the corner between neighbouring walls.
Pamfil z Cezarei
George fighting against a dragon occurred in Coptic paintings, supposedly under the influence of Armenian artists. On a mid-eighteenth-century Greek icon from the collection of Georgios Tsakyroglos are two Warrior-Saints depicted on horseback, spearing the dragon and the figure of a pagan ruler lying down. Therefore they present the subject incompletely.
George, unusually shown with a beard and moustache. At that time they were being replaced by the representation referring to the legend of the rescued princess, which became a dominant variant and almost superseded the others. In the first of these two fields the saint is orientated to the right, i.
The painting in a chapel at the monastery of Mar Musa al Habashi St.
Piotr Grotowski, Cracow
George is accompanied by his servant instead of the rescued boy. The boy’s parents were not represented, but the patch of a sea with fish was introduced. That story was modelled on the similar legend of St. The legend is known by the title taken from the Vatican manuscript: Syllogi Georgiou Toakyroglou, Athinap. As in Greece, the tendency to incorporate the theme of a boy accompanying St.
The saint is sitting on a horse unusually painted in ochre colour, whose forelegs are raised. Futhermore, the topic is unknown among Copts in Egypt Propagation kocielha the Gospel in the 3th and 4th Century.
On the other hand M.
This was temporarily renamed Georgioupolis and so George of Cyprus names it in his seventh-century work Descriptio orbis Romani. George saving an adolescent from the captivity. This fact should not surprise us in the light of the saint’s popularity, developed on the basis of the cult of a male lunar deity from the pagan period To explain the presence of the boy in images of Saint George, he argued that this person should be seen in the religious context of crusader culture as a squire, or as a representation of the princess.
Adolph Didron was the first to mention the presence of a boy sitting behind the rider.
The boy opened the door and saw a rider who euzebiusx him and placed behind himself on the horse. The boy was of such beauty that he was chosen as a servant for the Arabian ruler.