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Dino Milinović ; Filozofski fakultet Sveučilišta u Zagrebu

Puni tekst: hrvatski pdf 5.451 Kb

str. 73-88

preuzimanja: 1.032


Puni tekst: engleski pdf 5.451 Kb

str. 73-88

preuzimanja: 198



The article deals, once again, with the famous Early Christian complex in Poreč (named Euphrasiana after the bishop Euphrasius who, in the 6th century, has given the complex its present, vell preserved aspect). Euphrasius’ claim to fame, of course, are surely the exquisite mosaics that adorn the main apsis of the basilica (as well as fragments in the apses of the two side aisles). It represents Mary as Theotokos, holding Jesus in her lap, surrounded by angels, local martyrs (Maurus), bishop Euphrasius himself, the deacon and his son. The article traces back the development of this iconographical scheme in the central apse of the sanctuary, characteristic for the 6th century and the reign of Justinian, but traceable all the way to the second half of the 5th century when we encounter this type of representation in two recorded stories about Mary’s girdle, found in Palestine and brought to Constantinople where Leo I had a sanctuary built to house the precious relic. This iconography can be explained, and often was, by the gradual growth of support for the veneration of Mary, the Mother of God (Theotokos). The official Church played a major part in this respect (in particular as the result of oecumenical councils held in Chalcedon, Ephesus and Constantinople), following and respecting an existing, growing popular affection (one has to note that not all the Church Fathers were all too happy with this; i. e. John Chrysostom and Ambrose of Milan). One last influence has to be reviewed: the imperial contribution in developing and promoting the image of Theotokos as a token of orthodoxy and the holy patron of the state. By 626 it is Mary who is protecting Constantinople and it is her image which is displayed against the invading barbarians. Justinian is rather clear in stating that all of the doctrinal controversies of the period result from the efforts (his efforts !) to prove that Mary is the Mother of God (Theotokos). The iconography in Poreč reflects the endeavours of this emperor just like his other major »investments« do (Gaza, Saint Catherin’s monastery in Sinai, Ravenna). There are many details alongside the main idea that bear proof to the Christian oikoumence of the period which is under absolute control by Justinian. As such, Poreč is not only a message against heretic Arians or Monophysites, but also against the Roman Church, unwilling to accept emperor’s control over matters of Christian doctrine. Pope Vigilius is dragged away to die in Constantinople while Wuphrasius, just about the same time, celebrates the triumph of orthodoxy as promoted by the emperor, as does his contemporary Maximianus in Ravenna. Justinian is only appropriately remembered as »Herr über Kirche und Dogma«.

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