Abstract
This paper presents and interprets the iconographic programme of the frescoes in the lowest register of the sanctuary in the church of St Demetrios at Markov Manastir in the context of the relationship between mural decoration and the contemporary Eucharistic rite. In the first part of the paper special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of the Great Entrance, placed in the sanctuary apse. The iconographic and programmatic features of the fresco ensemble, the most pominent place among which is occupied by the representations of the deceased Saviour and Christ the Great Archpriest - are compared to various liturgical sources and visual analogies (monumetal painting and liturgical textiles) in the medieval art of Serbia and Byzantium.
Highlights
This paper presents and interprets the iconographic pro- media) rite, and the depiction of the Great Entrance, gramme of the frescoes in the lowest register of the sanctu- placed in the sanctuary apse
The prothesis rite special attention is paid to the scene in the north pastophorion, which illustrates the prothesis rite, and the depiction of
The icono- placed in the niche and it depicts the prothesis rite
Summary
This paper presents and interprets the iconographic pro- media) rite, and the depiction of the Great Entrance, gramme of the frescoes in the lowest register of the sanctu- placed in the sanctuary apse. St. A large number of monastic diataxeis (rubric books) compiled between the twelfth and fifteenth centuries, which especially lay stress on the rules related to the Athanasios is shown as an old man with short grey hair Prothesis ordo, show that the preparatory rite was develand a wide beard, divided into two parts. V. the preparatory rite the Prophet Isaiah (Is 53, 7), as well as by the text of the Prayer of Offering The elements such as the aër, asterisk resting upon Christ’s body and the censer in the hand of St Stephen the Archdeacon, 24 confirm that the painters were familiar with the final part of the rite. in Serbian fourteenth century liturgical manuscripts: Serbian Liturgical All of the three mentioned elements are the iconographic. Peculiarities of the depiction of the prothesis rite in Markov Manastir (fig. 1).
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