Abstract
This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Skrpjela (Our Lady of the Reef) from the Bay of Kotor. Although part of two different, albeit historically intertwined and perpetually connected cultural and liturgical spheres, icon veneration in both the Orthodox and the Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is particularly true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles.
Highlights
This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Škrpjela (Our Lady of the Reef) from the Bay of Kotor
Mediterranean world and the Balkans in medieval and Early adorned with enamel and precious stones or carved in Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration
The present state of research of the cult of icons and icon painting as significant part of the visual culture of part of two different, albeit historically the Balkans is focused mainly on historical, stylistic and intertwined and perpetually connected cultural and litur- iconographic analysis and has so far shed little light on gical spheres, icon veneration in both the Orthodox and the role and impact of sensory experience in icon devothe Catholic community of the broader Mediterranean world and the Balkans in medieval and Early Modern times shares the same source
Summary
This paper discusses sensory experience in the practice of devotion of two highly venerated icons in medieval and Early Modern Balkans: the mosaic icon of the Virgin Hodegetria from the monastery of Chilandar and the icon of Gospa of Škrpjela (Our Lady of the Reef) from the Bay of Kotor. Mediterranean world and the Balkans in medieval and Early adorned with enamel and precious stones or carved in Modern times shares the same source. It relies on the traditional Byzantine manner of icon veneration. This is true of highly venerated and often miracle working images of the Mother of God, identity markers of political, social and religious entities, objects of private devotion as well as performative objects around which are centered public rituals of liturgical processions and ephemeral spectacles The tactile visuality or the haptic and visual experience of the holy produced a feeling of true communion with the divine and partaking in Christian mysteries.
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