THE ICONOGRAPHY OF HOLY TRINITY IN THE EASTERN AREA. CASE STUDY. THE ROMANIAN ICONS Cover Image

ICONOGRAFIA RĂSĂRITEANĂ A SFINTEI TREIMI.STUDIU DE CAZ. ICOANE ROMÂNEŞTI
THE ICONOGRAPHY OF HOLY TRINITY IN THE EASTERN AREA. CASE STUDY. THE ROMANIAN ICONS

Author(s): Marcel Gh. Muntean
Subject(s): Christian Theology and Religion
Published by: Studia Universitatis Babes-Bolyai
Keywords: Holy Trinity; Ecumenical Council; Andrei Rublev; Holy Spirit; The Dormition of the Theotokos; Last Judgment; Moldoviţa monastery; Filoxenia of Abraham; Resurrection.

Summary/Abstract: The Iconography of Holy Trinity in the Eastern Area. Case Study. The Romanian Icons. The Holy Trinity dogma was exposed to the First Ecumenical Council of Nicaea in 325, and the Christian creed was finalized in the Second Ecumenical Council of Constantinople in 381. The iconography of the Holy Trinity theme has developed in time, in the beginning the scriptural text of the Genesis (18, 1-15) was accepted. The first image represents three young men visiting Patriarch Abraham, that we can see in a catacomb in Via Latina (the Latin Road) of Rome. This theme reached its climax in the fourteenth century under the pen of Andrei Rublev, being also the first type of representation with theological meanings. Simultaneously in the twelfth century in Western Europe has developed another iconographic type that consists of the representation of the Three Divine Persons: The Father, The Son and The Holy Spirit in anthropomorphic appearance (the Holy Spirit appearing as a dove). The third type of iconographic representation of the Holy Trinity shows us God, the Father, in hierarch's clothing (with the papal marks) holding the dead body of Jesus. This representation of the Three Holy Persons can also be found in other themes such as: The Dormition of the Theotokos and the Last Judgment. In the Romanian painting this theme can be found in all the three separate areas: Valachia, Moldavia and Transylvania. Starting with the sixteenth-century in the moldavian fresco painting this theme can especially be observed on the external walls of the church of Moldoviţa monastery. The theme is also found in the narthex’s vault of the Suceviţa church, dating from the same period. Portable icons have the same characteristics mentioned before, that endured until today, therefore throughout the centuries there are two fundamental types: the Filoxenia of Abraham and the Trinity (with the distinguished figures of the Father as Patriarch, the Son after the Resurrection and the Holy Spirit as a dove).

  • Issue Year: LV/2010
  • Issue No: 2
  • Page Range: 233-246
  • Page Count: 14
  • Language: Romanian
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