Page 59 - Studia Universitatis Hereditati, vol 12(2) (2024)

beloved Christ. Their postures and expressions of the crucifixion. The combination of human
are deeply evocative, capturing the raw emotion- figures and cosmic allegories is a well-established
al weight of the moment. On the right side of motif in medieval iconography, symbolizing cos-
the composition, a group consisting of soldiers, mic upheaval and universal mourning at the mo-
priests, and other onlookers is shown. ment of Christ’s suffering and death. Sensory
Among them are two significant figures experience in this composition is manifested in
for this scene: the soldier holding the spear that a complex manner, mainly through the depic-
pierced Christ’s side (Longinus) and the centu- tion of Christ’s crucifixion, which is central to
rion with a halo, recognizing the Son of God understanding this artistic scene. Christ’s cruci-
(fig. 8). There has been considerable debate over fixion is not only a representation of his physi-
the depiction of these two figures in the histo- cal suffering but also a profound symbol of the
ry of medieval fresco painting. Matthew, Mark, redemption of humankind. Exhausted and tor-
and Luke mention the centurion, not the soldier mented, his body is portrayed with a unique ar- 59
with the spear, while John’s account is the re- tistic expression that captures the grandeur and
verse (Marković 1995, 111). In the lower-left cor- depth of the event through minimalistic details
ner, the scene of soldiers casting lots for Christ’s and the symbolism of blood. Through this de-
garments (the tunic) is vividly illustrated, de- piction, the artists convey the physical pain and
scribed in detail by John, and frequently appears the spiritual dimension of the suffering, high-
in Byzantine iconography (Jn 19:23–24). This el- lighting the universal significance of Christ’s
ement underscores the brutal reality of the cru- sacrifice.
cifixion, and the dehumanization Christ suf- Additionally, the absence of sensory ele-
fered. A detail in the lower right corner depicts ments in the personified representations of the
human figures rising from their graves, a sche- sun and moon, which, according to the Gospel
matic element that aligns with the verses from of Luke, further adds to the dramatic intensity
Matthew (Mt 27:52). This inclusion highlights of the moment. This darkening signifies a phys-
the theological implications of Christ’s death, ical eclipse and symbolizes the sombre atmos-
representing the resurrection of the dead and phere surrounding Christ’s death, foreshad-
the victory over sin and death. In addition to owing the dramatic events. This artistic choice
the standard synoptic iconographic elements, intensifies the scene’s emotional impact, focus- Analysis of the Sense Perception in the Fresco Painting of the Dečani Monastery
traditional motifs such as the skull beneath the ing on the internal anguish and spiritual di-
cross are included. These elements are inspired mension. The tearful faces of the Virgin Mary,
by apocryphal texts and the writings of the early the onlookers, and the angels in this depiction
Church Fathers, which speak of Adam’s grave at further emphasize the intensity of the emo-
3
Golgotha. In liturgical poetry, Christ’s sacrifice tions provoked by Christ’s physical suffering.
is depicted as liberating Adam, representing all Their sorrow is not just an emotional reaction
humanity (Marković 1995, 111). In the upper sec- to the moment of crucifixion but also serves
tions of the composition, four angels are painted as a prelude to the climax of Christian faith –
weeping over the crucified Christ, alongside per- the Resurrection of the body. This profound
sonifications of the Sun and Moon (Lk 23:44– and heavy sorrow is a precursor to the joy and
45). The Sun and Moon are represented as min- celebration of the Resurrection, representing
iature human figures within unusual, rounded the pinnacle of Christian hope and faith. The
shapes emitting rays, seemingly fleeing the scene Dečani painters authentically portrayed this
transition from suffering to celebration, thus
3 Church Fathers who wrote about Adam’s tomb beneath emphasizing not only the tragic aspects of the
Golgotha are: St. Jerome (c. 347-420), St. Augustine (354- event but also their eschatological and spiritual
430), St. Epiphanius (c. 315-403), St. Paul of Trebizond (c.
1300-c. 1360), and St. Helena (c. 250-330). dimensions.