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36

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37

BOJANA STEVANOVI THE DEPICTIONS OF JESUS CHRISTS ANCESTORSIN THE CHURCH OF ST GEORGE AT REANE

The church of St George at Reane was a noblemans endowment adorned with mural paintings dating back to about 1370. The church was destroyed by min-ing in 1999. In the body of research on this subject, no attention was paid to the identi cation of the standing gures depicted in the second zone on the pilasters. Standing gures could be seen in the second tier of mural painting, namely on the west face of the northeastern pilaster and the east face of the western pair of pilasters. Preserved photographs offer a more detailed insight into the iconography of these depictions, though they were considerably dam-aged at the time when the photos were taken. Three standing gures were shown in chitons and himations. The remains of the title above the halo of the gure on the west face of the northeast pilaster indicate that the depicted per-son belonged to righteous men. The visible outlines of dark wavy hair suggest that this was an image of a young person. The position of the legs shows that it was turned towards its counterpart, which could once be seen on the west face of the southeast pilaster. Similar means the position of the body and arms reaching out on one side were used to suggest communication between the two facing gures depicted in the second tier on the east side of the west pair of pilasters. The depiction on the northwest pilaster was fairly well preserved, though its face framed by tousled hair reaching the shoulders was damaged. Only the lower part of its counterpart on the southwest pilaster was preserved.

The remains of an inscription preserved next to one of the gures designate it as a righteous man. By analogy, the remaining three gures should also be interpreted as righteous men, i.e. Jesus Christs ancestors in esh. The fact that they were depicted in the same tier and the identical dress of the three preserved gures are fully in accord with the way in which members of the same group of saints were represented in Byzantine art. As far as the shifting of the images of Christs ancestors to the middle zone of mural decoration is concerned, the church in Reane was no exception. The fact that the depictions of righteous men were placed in the second zone of the east pair of pilasters enables us to guess the position of the Annunciation. Having in mind that the Annunciation must have been depicted in the third zone of the east pair of pi-lasters, we nd it reasonable to identify the righteous man with dark curly hair as the holy Joachim, while his wife Anne was depicted on the west face of the southeast pilaster. The practice of placing the images of the righteous Joachim and Anne close to the sanctuary was a part of an established tradition in the Orthodox Christian monumental art. It is also right to say that the practice of placing the images of the holy Joachim and Anne close to the sanctuary was a distinct feature of the iconographic programmes in the 13th and 14th century churches of the Byzantine world. By placing the ancestors of Jesus Christ be-low the Annunciation, the Incarnation of Christ was highlighted.

38

BOJANA STEVANOVIUnfortunately it is not possible to offer a more precise identi cation of the per-sons depicted in the second zone of the west pair of pilasters. The hypothesis that more than four of Christs ancestors in esh were shown in the church of St George at Reane should not be dismissed. By grouping the ancestors of Christ, the idea of Gods Incarnation was emphasized; without it, the Economy of the Salvation of humankind would not be possible.