Abstract
This article explores the development of the theme of the Life-giving Spring in Byzantine iconography. The path towards its establishment was initiated at the moment when a representation rule, an original convention was set. Thereafter, because of its diffusion in time and space, the theme became enriched by particular mentalities and sensibilities of the epochs and the communities that adopted it as a form of devotion for the Virgin Theotokos. As a result, the representations we have known so far are extremely varied.Contribution: The final purpose of this approach, as well as its contribution, is to highlight the diverse unity of the iconographic tradition and illustrate both the evolution of the theme in the painting of Romanian church artists and its gradual refinement through the incorporation of diverse nuances and new perspectives.
Highlights
The theme of the Life-giving Spring was adopted at a late time in the Byzantine iconographic repertoire
It is an illustration of the homonymous feast dedicated to Virgin Mary, which is celebrated, in Orthodox churches, on the Friday of the Bright Week
A comparison of the oldest icons of the feast reveals that, in all cases, the Virgin is represented in a praying attitude and, with one exception (Ravanica), the figuration of the fountain, which allows one to admit that the production of the original iconographic model was under the influence of the representation in mosaic of the Mother of God, possibly of the Blachernitissa type, found on the vault of the crypt arranged around the basin of the Pighi Monastery, a decoration completed during the reign of Emperor Andronikos II the Palaeologus (1282–1328) (Teteriatnikov 2005:225)
Summary
The theme of the Life-giving Spring was adopted at a late time in the Byzantine iconographic repertoire.
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