Se il centurione parla arabo. Arte e propaganda a Bisanzio tra X e XI secolo

Abstract

This paper focuses on the mosaic of the Crucifixion in the Church of Nea Monì, Chios, providing an iconographic reading of the Centurion. As has been repeatedly pointed out, with his dark hair and his turban, the Centurion has the distinctive looks of an Arab. Although the turban is often confused with the scarf soldiers used to wear under their helmet, or else with the Jewish tallit, the centurion’s turban seems to be actually inspired by Arabic fashion, as the comparison with the Madrid Skylitzes shows well enough. Connections with eastern costume are further reinforced by the preudo-cufic ornaments embellishing the Centurion’s socks, as well as and by his round shield, which shows the same decoration as the σκουτάρια ραπτά commonly used by the Byzantine army during the Macedonian and Comnenian empire. Thus, the Centurion can be construed as an alter ego of the non-Christians who embraced the orthodox religion after acknowledging the divine identity of Christ. He conveys the same message as the Arab aristocrat depicted under the column of Saint Symeon the Elder in the Menologion of Basil II in the Vatican Library. Macedonian art, I argue, aimed to translate into images the imperial policy directed to the Arabs settled in Constantinople and on the eastern borders, who had been “byzantinized” by the power of law. Not only were they baptized and given Christian names; what is more, they also became part of Byzantine iconography, as shown by our Crucifixion scene.