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A PROUD AND HONOURED FEATURE OF THE ISLAND.
When the apostles Paul and Barnabas arrived 45c AD in Cyprus, the Island became the first Christian community outside of Israel. Today chapels, churches and monasteries testify to some 2000 years of Christian cultural lifestyle.
Nearly every window mural or mural wall painting displayed in churches and monasteries has a relationship to an historical religious ceremony, celebration or occasion. Frescoes were created originally for the poorer community, many of whom were at one time unable to read or write. Icons hold a very religious significance, with some of the artwork believed to possess miraculous powers.
ICON HISTORY.
THE ICON SEEKS TO EVOKE SPIRTUALLY EMOTIONS OF STILLNESS AND CALMNESS.
AN ICON PORTRAYS THE OPENING OF A WINDOW THROUGH WHICH AN INDIVIDUAL CAN REFLECT FROM WITHIN A DEEPER SOULFUL MEANING OF LIFE.
Icons have formed an aspect of worship in the Christian tradition from earliest times, with the
first mention of the use of an icon appearing in the apocryphal Acts of John. Early Christian iconographers developed their images by including elements from Greek, Roman and Egyptian art. The robed figure of the bearded philosopher, with fingers raised in a “teaching” gesture, and clasping a book, was familiar throughout the ancient world, and it is not surprising
that this respected and venerated image should become equated with that of Christ – although some early images show Christ without a beard.
The earliest icon of Christ, still extant, is thought to be the Pantocrator (Ruler of All), in Saint
Catherine’s Monastery, Mount Sinai, which dates from the 6th century. The first icons were painted in encaustic (wax), which continued the practice of the Romans. Later, egg tempera paint was used. Icons were painted on wooden boards, making them easy to handle,
but also susceptible to attack by insects or damp. The practice of lighting candles near them has also resulted in loss and damage. However, the greatest loss of icons has come about through periodic, deliberate destruction (iconoclasm); huge numbers were destroyed by the Mongols in Russia, and almost all surviving Russian icons date from after the 15th century.
In England, the image has not played a prominent part in the majority of churches since the
Iconoclastic period of the Reformation, although in the Anglican tradition, the arts continued to enrich worship, with music taking the primary role. Various schools and styles of icon painting have evolved, emanating from particular national or ethnic groups. Orthodox icons from Russia differ from Greek or Macedonian forms, although certain established
poses, or icon types, seem to exist in all traditions. There is also a folk tradition in icon painting, with examples from Czechoslovakia and Ethiopia amongst the best known.
Icon painting passed to Western Europe at the time of the Italian primitives, around the 13th century. As the Renaissance developed, sacred painting moved towards a renewed Classicism, and differences from the earlier Orthodox tradition became evident. In
particular, a naturalistic portrayal was now striven for, whereas the earlier images had been stylised, and remain so in the Eastern Orthodox Church. The style in which an icon is painted may still be relevant today.
One school of thought will prefer naturalism, as it most closely resembles the created world. However, to others, the stylisation traditional in icons is helpful, as it emphasises that this is not a realistic portrayal of outer events, but an aid to inner contemplation. The same types of arguments have been used, for example, about the language used in the liturgy.
An icon seeks to evoke an experience of stillness, or unchanging moments. The gaze of the image seems directed at the viewer in an intimate and personal way. Many people find that this helps them to identify qualities, which for them, are eternal. The icon is designed to enable the viewer’s own religious practice; it is not intended to be an object
of veneration for its own sake. This issue comprises one of the principal concerns of iconoclasm, and one which has never been fully resolved in the West. In the Eastern Church the position of icons was resolved in the 9th century, following a period of iconoclasm
and debate.
The status of the icon was defined and the use of the image became generally accepted. Perhaps because of this acceptance, in Orthodox culture, icons are found as much in private homes as in the Church. Interest in the use of icons has re-emerged more
recently in the West, a development which may accompany the greater prominence being given to mystical approaches within Christianity. An icon is often compared to a window, or a door. It is as if some kind of opening appears, through which the
individual may gain a deeper understanding. Perhaps something has the chance to come out; or perhaps something new is given access to the self.
A SELECTIVE FEW MONASTERIES OF THE ISLAND.
KYKKOS MONASTERY.
The Kykkos Monastery is the most famous and richest Byzantine monastery in Cyprus. Founded in 1100 and dedicated to the Virgin Mary, possessing one of the three surviving icons, the “Virgin Mary”, which is recorded as being painted by St.Lukas. The icon, a precious religious art work, having survived several fires is now covered in silver gilt and enclosed in a shrine of tortoiseshell and mother-of-pearl, proudly displayed at the front of the iconstatasis.
The example of Byzantine art and architecture at Kykkos Monastery is a memorable sight to the eye for its intense and rich decoration and ornamentation both in the form of window mural and mural wall painting. In the museum the visitor will be informed of the history and view some of the most finest and treasured religious art work in Cyprus. Religious fairs are held at Kykkos on the 15th August and 8th September.
TROODHITISSA MONASTERY.
The Troodhitissa Monastery is a glowing example of Byzantine art and architecture. This beautiful monastery stands amid aromatic pine trees and was originally founded in the 13th century. The present church dating from 1731 contains many valuable icons including a priceless silver-plated icon of the Virgin Mary from Asia Minor. A large religious fair is held in the church grounds on 15th August.
AGIOS NEOPHYTES MONASTERY.
9km from Paphos is where the visitor can discover the true hermitage, dating back to the 12th century. St Neophytes enlarged caves that he found in the surrounding hillside with his own hands creating his own sanctuary and cell. Many miracles have been attributed to his grave in the past, which was opened in 1750. A visit will exhilarate any ardent Byzantine art and architecture enthusiast.
STAVROVOUNI MONASTERY.
The Stavrovouni Monastery is situated high at the top of a rocky 600 metre peak west of Larnaca and visible for miles around. Inside Stavrovouni’s 18th century church hangs a fragment of the holy-cross, left by Saint Helena in 327 AD, a decade after her son, Emperor Constantine, officially recognised Christianity.
AYIOS MINAS MONASTERY.
Approximately half way between Larnaca and Limassol, near the famous village of Lefkara, is the monastery of Ayios Minas. This convert has existed since 1670 and is nowadays run by nuns who paint and sell the icons.
CHRYSOROYIATISSA MONASTERY.
With the Paphos district approximately 40 kms east from the main road to Polis, this idyllic monastery is set amidst beautiful surroundings. Originally founded in the 12th century AD and dedicated to ‘Our Lady of the Golden Pomegranate’. The monastery whose present building dates back to 1770, has a collection of important icons and treasures and hosts an impressive religious ceremony and celebrations on 15th August. The old winery of the monastery produces some of the finest wines attributed to the Island.
PANAGIA TOU SINTI MONASTERY.
This is an abandoned monastery on the banks of the Xeros river near Paphos. The central nave of the monastery, dating to the 16th century is in good condition and is considered one of the most important buildings of the Venetian period. In 1977 it received the Europa Nostra award for the restoration and conservation work carried out on it.
MACHAIRAS MONASTERY.
About 40km southwest of Nicosia stands the monastery of Machairas. It was founded by two monks in 1148, when an icon of the Virgin Mary was found in a nearby cave, the monastery is set in a picturesque dip in the Machairas Mountains. The vestry is housed in the basement and has been renovated consisting of the original cells of the monks as well as stables and storage areas which have been restored. A specific room stores the monastery’s old books and manuscripts and galleries and other designated rooms contain icons and other religious artefacts. No photographs or video cameras are allowed within the monastery area.
A GEORGIAN MONASTERY DISCOVERED IN THE PAPHOS FOREST REGION.
A Georgian monastery has been discovered in Paphos forest which dates back to the 10th century AD, according to the Department of Antiquities. An archaeological expedition led by Professor Iulon Gagoshidzwe was commissioned by the Ministry of Culture in Georgia, some 25 years after another Georgian Professor; Vakhtang Jobadze had found ruins of the monastery, which is referred to in Georgian sources. The Georgian Orthodox Church also gave its blessing to the expedition. The sources indicate Georgians served in the monastery from as early as the 10th century AD, and it remained under Georgian control until the 14th century.
The oldest part of the site is a three-aisle domed church, thought to have, been built in the 10th century, which was dedicated to Virgin Mary. Another church, smaller than the first, was added towards the end of the 11th century, which was dedicated to Saint George. Queen Tamar of Georgia (1184-1210) apparently took a keen interest in the monastery, funding an extensive renovation at the beginning of the 13th century. Another restoration took place at the end of the 14th century.
During the month-long excavation period, which commenced in October 2006, fresco fragments were found dating back to the 14th century, as well as window panes, pieces of pottery, a silver coin and a bronze cross. The high quality of these finds confirms that the monastery was once very wealthy. Objects dating back to the 15th and 16th centuries have also been found. During the 16th century, the monastery was looted, the floors were dug up and it was then blown up. An area of over 500 square metres has been cleared so far, and the archaeological excavations, undertaken in conjunction with the Department of Antiquities, look set to continue.
Freelance Writer: Janice Ruffle janiceruffle2005@yahoo.co.uk
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