Jesus Hominum Salvator | |
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Greek: Ιησούς Ήμέτερος Σωτήρ, Latin: Iesus Hominum Salvator | |
Artist | Andreas Ritzos |
Year | 1436-1492 |
Medium | tempera on wood |
Movement | Cretan School |
Subject | Christogram IHS |
Dimensions | 44.5 cm× 63.5 cm(17.5 in× 25 in) |
Location | Byzantine and Christian Museum, Athens, Greece |
Owner | Byzantine and Christian Museum |
Accession | ΒΧΜ 01549 |
Website | Official Website |
Jesus Hominum Salvator (Latin for Jesus, Savior of Humankind) is a tempera painting by Andreas Ritzos. Ritzos was one of the founders of the Cretan School of painting. His teacher was Angelos Akotantos. Andreas Ritzos was active from 1436 to 1492. He painted in the traditional Greek-Italian Byzantine style combined with Italian Renaissance Venetian painting. The technique later became known as the maniera greca. Sixty of his works survived. [1]
Symbols and abbreviations have been a fundamental part of the Christian religion. Both Greek and Italian artists developed a pictorial representation of theological subjects. The Christogram is one of the earliest symbols of the faith. Roman Emperor Constantine implemented the symbol Chi Rho as part of his military insignia. The Greek letters Chi Rho are the first two letters in the Greek spelling of Christ ΧΡΙΣΤΟΣ pronounced Christos. The vertical stroke of the rho intersects the center of the chi. [2]
Another important Christogram evolved during the Byzantine Empire. The name is derived from the first three letters of Jesus's name in Greek ΙΗΣΟΥΣ pronounced Iésous. The Latinized version of the letters IHS (Iesus Hominum Salvator) were extremely popular during Byzantine times. The Latin version means Jesus Savior of Humankind. Another version was In Hoc Signo (In this sign). Ιησούς Ήμέτερος Σωτήρ (Jesus Our Savior) is another usage of the three Greek letters ΙΗΣ. [3]
Iesus Hominum Salvator became the official Christogram of the Franciscan Order during the fifteenth century. The symbol is used on the coat of arms of Pope Francis. Greek painter Andreas Ritzos used the Christogram IHS in one of his most important icons. The painter added the crucifixion and the resurrection within the letters of the Christogram. The icon was first mentioned in the will of Cretan scholar and noble Andreas Kornaros in 1611. He bequeathed the painting to an important individual in Venice. In more recent years, the painting became part of the collection of the Byzantine and Christian Museum in Athens, Greece. [4] [5]
The materials used were egg tempera paint and gold leaf on a wood panel. The height of the painting is 44.5 cm (17.5 in) and the width is 63.5 cm (25 in). The work is dated between 1440 and 1492. The painting is unique because artists rarely used Christogram symbols in fine art paintings. To the left and right of the image two spheres appear within diamond-shaped symbols. The sphere to our left is the sun and on our right, the moon appears. Both planetary figures are painted in detail. The Christogram features the crucifixion in the letters I and H. The Virgin Mary appears within the letter I. She stands on a pedestal weeping the crucifixion. The garment of the celestial figure is painted in the traditional Byzantine style. Above the Virgin appears an angel with a cup. The angel is about to collect the blood seeping out of the wounded Christ figure. A similar angel appears in Pavias's Crucifixion collecting the blood of Christ. The part of the H with the body of Christ is folded on the top edges. The figure follows Italian-Greek Byzantine prototypes. Within the same letter of the Christogram below the crucified body appears the ancient biblical figure Adam. He stands outside of a cave. In the next portion of the letter H John the Evangelist appears in his traditional position as part of the crucifixion sequence. He stands on a similar pedestal as the Virgin Mary as he looks away. [6]
Within the final letter S of the Christogram, in the lower portion of the letter, three guards are dumbfounded at the heavenly escape of the resurrected figure. The guards hold shields the guard closest to the angel also holds a sphere while he sits on a rock. The artist elegantly creates a visual space within the letter. The sarcophagus illustrates deeper space clear diagonal lines and the holy towel is weightless in a spaceless setting. An angel sits over the entire scene at the lower portion of the sarcophagus. A bright radiant aura surrounds the resurrected figure. In a scene to our right in the upper most portion of the letter S. The resurrected figure embraces a group of biblical figures. The entire icon is covered with beautiful vines. The Greek inscription below reads ΈΣΤΑΥΡΩΘΗΣ ΑΝΑΜΑΡΤΗΤΕ ΚΑΙ ΕΝ ΜΝΗΜΕΙΩ ΚΑΤΕΤΕΘΗΣ ΕΚΩΝ ΑΛΛ'ΕΞΑΝΕΣΤΗΣ ΩΣ ΘΕΟΣ ΣΥΝΕΓΕΙΡΑΣ ΤΟΝ ΠΡΟΠΑΤΟΡΑ ΜΝΗΣΘΗΤΙ ΜΟΥ ΚΡΑΖΟΝΤΑ ΟΤΑΝ ΕΛΘΗΣ ΕΝ ΤΗ ΒΑΣΙΛΕΙΑ ΣΟΥ (You were crucified without sin, you were willingly placed in a tomb but you were resurrected as God with the aid of the ancestors possibly Adam, remember me I cry, when you enter your kingdom.) [7]
A monogram is a motif made by overlapping or combining two or more letters or other graphemes to form one symbol. Monograms are often made by combining the initials of an individual or a company, used as recognizable symbols or logos. A series of uncombined initials is properly referred to as a cypher and is not a monogram.
A Christogram is a monogram or combination of letters that forms an abbreviation for the name of Jesus Christ, traditionally used as a religious symbol within the Christian Church.
The tau cross is a T-shaped cross, sometimes with all three ends of the cross expanded. It is called a “tau cross” because it is shaped like the Greek letter tau, which in its upper-case form has the same appearance as Latin letter T.
Jesus is a masculine given name derived from Iēsous the Ancient Greek form of the Hebrew name Yeshua (ישוע). As its roots lie in the name Isho in Aramaic and Yeshua in Hebrew, it is etymologically related to another biblical name, Joshua.
Christian symbolism is the use of symbols, including archetypes, acts, artwork or events, by Christianity. It invests objects or actions with an inner meaning expressing Christian ideas.
The IX monogram or XI monogram is a type of early Christian monogram looking like the spokes of a wheel, sometimes within a circle.
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
Andreas Ritzos also known as (Andreas Rico, Ricio or Rizo) was a Greek icon painter from Crete. Ritzos is considered one of the founding fathers of the Cretan School. He was affiliated with Angelos Akotantos. Most of his work stylistically follows the traditional maniera greca. His children, grandchildren, and great-grandchildren were also painters. He was one of the most influential painters of the Cretan School along with Andreas Pavias and Angelos Akotantos. He influenced the works of Georgios Klontzas, Nikolaos Tzafouris, Theophanes the Cretan, Michael Damaskinos and El Greco. According to the Institute for Neohellenic Research, sixty of his paintings have survived.
Andreas Pavias was a Greek painter and educator, one of the founding fathers of the Cretan School. His works could be found in churches and private collections throughout Italy and Greece, where they influenced countless artists. Seven of these paintings survive today, six bearing Pavias's signature. The most famous of the group is a Crucifixion.
Christ Bearing the Cross is a painting in tempera attributed to the Greek painter Nikolaos Tzafouris. Tzafouris is considered one of the founding members of the Cretan School along with Andreas Ritzos, Andreas Pavias, and Angelos Akotantos. He was influenced by Angelos Akotantos. According to the Institute of Neohellenic Research, thirteen paintings are attributed to Tzafouris. Active between 1480 and 1501, Tzafouris had a workshop in Heraklion, where he painted religious themes for local churches. His most notable works are the Madre della Consolazione and Christ Bearing the Cross.
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Christ the Vine is a tempera painting created by Greek painter Angelos. Angelos was active from 1425 to 1457. He was a teacher and protopsaltis. His students included some of the most famous painters of the early Cretan Renaissance. Andreas Pavias and Andreas Ritzos were his students and were heavily influenced by his style. Forty-nine of his works survived. Angelo’s Christ the Vine was one of his most important works.
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