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Six notes principales sur la contribution de I organisation

chromatique se rapportant au caractere bi - dimensionel

de Iiconographie byzanl ine

G G Kontaoaklbullbull

LG trai le suivant qui se refcre a Iiconographie byzantine exam ina excl usivemenl une d l ties regions celle des icones po rlaLivc~ a fond dore Celle recherche rondco sur des critercs artisliques conccrne splclalernent la maniere

dapr~8 Jaquelle ronct~ofn~ la com~iJJ aison chro matiqu6 de mlmtl que sa conLrlbuLiOli au rele vement du ~ty Je InshydimeusioncJ de Iiconographic cn qUls lion Rn IJrincipe cest ce caractl rc qui atlrihue a eelgt iconc)-I) Is valeur artistiquc Les six nolas resultat du ne vision direc Le dun no mbre cO lsj d ~rabl e docuvrcs des Mus~es (Mu~ec

bull lJ el l n~ a Ath~nt$ en III ) Arthll ec l u-[nnt-lI lclIr DlplOme en 1960 A partir de 196 1 II ~ lrou ve 1I 1onlaquou~ E n HHil-llJ 6$ 41fch itecte de la co mmune de ~1J(rnlq Ll ~ I U H66- 0 IrthJlr( lc t OUldller de la Fo il c Inlcrna UQna le u( S(lo nIQue II amp cnlrclils ] ituilll d ln lClralan LS lltvaux puiJI h el ptlVllI

A partir de 11UIl nt l) bullJIl a ll] rJ e ]al gtUcr 1rltlIHcd ure dc ]J nl~r lellr 1 1 d e 1middot )J l]l( ti lulmiddot lnd U$Lrl c-Uc (I lt n h middottnll e a t SDIOIlUIlL e (H) Il llocshylu ~ ur10 lJ l dfanmiddot(jlcN tul d u r)ne LJ -ull nrltl(u l ll tt CO Il l ~l rs cl lllla ies (I tln l-a dlI rt Ulill qu( 4 11 Iflllll l d( 11-0 r~ 11 ITrll f ~ m Ill lO ml)lis Llan l1P5 Lra aux Llflr(- I II i ( I Jlu rl l)u 1 dnl~J l 1r lfA I)our Ie dUllOri t bullII U lnonlc ill coulurlgt Il l t alt tU mem mf nllca u I1 s tnorc de

1ellIl tJa p1 cr a ra~ j)Ofr lr let llcux Int Uitu ~ t t t Lerlcun da us ies OftJ middot Vh1 d lt r l OptlqU8 ecp use t d a ne d~ Sali Mi rC I IOIJlI1I~N d lIhmlque d Atbt ntl fll lo nrlrlt 1II 31t ll nSli l d a ns tJ t ml8c~ tnlttlh a u t h llUr c (f E tat iJc Sntonlqu e et ~lU lbll 1 r e lI brt

l ltn 1 97C1-il M An rclcur rt (L Ononn Unl vr~I t ) n-h As50c a Uno) rlln Jtll ht(A cad llII la d l UC lI fr Ar ll Jo iIOil l ((I A rIJlt c llura d f V(shylIse H es t n tr e Ill eullahora tlOn 1tC r1t1IJjj~ I iJlt t fl 1)1llf - rt(hllr shyt Ilt ou roncllomWnll lIL dfmiddot lo ul tl1r8 II plr rld Plrt IM nUl Hud l I lJ (o r t bullrle a u grmiddotOU llp de la rtmiddottmiddoth crd te Iu nl l1 icu 0jtI(11If (II Vln is lI oora shyolll~ par rlJ nlHJ ~Jla tIl lcrHazio n ale dcll l Art c ~dl (II V lIl1clI Ll) pJUI 1 Hn n ile HI71middot72

173 AnplLOC 1972

Byzanlin dAthenes Musee Benaki eLc) et des colJe middot ctions priv ~es proviennenL deS textes fondamenlaux de Dionysios dorigine Fourna laquocommentaire de peinturcraquo et de P yenichelis ~vision esth~tique de Iart byzantinli ainsi que ele caractere instrucLif de la peinture byzantishyne bull Lelude de HANS WALLACH THE PERCEPTION OF NEUTRAL COLORS bull ele profilable

~ous devons aussi des precieuses observations aux proshyfOi--3eurs de lUniversite de Thessaloniki N Moutsopou shylos Har Bouras e D Fatouros

Premiere Note

On se sert surtout des couleurs primitives des ombres de Leurs teinles et de la couleur doree Lordre de Iimporshytance de ces couleurs (quant a leur place dans loeuvre e t a la grandeur de la surface qu elles eouvrent) est habiluellement Ie suivant 1 dore 2) rouge 3) vert bleu et 4) couleur de la terre Deux Remarques 11 Lordre de l imporlaIlce pent ~tre djrr~rent lorsque Ie Rituel de Ihashygiographie byzantine ne permet pas des deviations syntheshytiques et symboliques 12 D habitude les couleurs con tienshynent dans leur melange de Ioc re des ~ enduits~ de coushyleur docre-jaune qui representent les surfaces eclairees font ressortir les couleurs

Deuxieme Nole

L utilisation exclusive de la couleur dor~-ocre-jaune qui constitue Ie caracterislique principal des ic6nes examishyn~es dans ce trai1~-la donne lexplication du caraclere bi-dimensionel des icOnes qui r~su1te de lorganisation chromatique Laction nltit urelle de la eouleur jaune est telle que eette cou leur de la place du rond ~merge au premier plan visuel et elle suspend la perspective Dans ce cas Ieclat de la mati~re dor assiste ceUe action de Ia couleur jaune Le [emplacement reussi du fon d dare dans les autregt manieres de I iconographie sop~[e par une couleur aussi brillante exa liconographi p russe la rand se colorie en rouge eclatan 1

Troisieme note

Le m~lange des couleurs primitives a Ioae apporte une harmonie oil la couleur jau ne domi ne et il relie les coushyleurs entrmiddote-elles Une harmonie des couleurs en contraste (chaudes fro ides) unie Ie reste des elements chromaUshyques a partie fond Cest a dire deux harmonies successimiddot ves copxislent une harmonie des couleurs en eontraste et une harmonie de la couleur ocre-jaune qui prevaut sur 1a p remi~re

Quatrieme note

Chaque groupe de formes constitue une harmonie autoshynome qui met en contraste les qualiles chromatiq ues Ie plus sou vent que les tons e1 les tensions chromatiqu es A Iusage de ces harmonies dont I application exige parshyrois quon depasse les coloration naturelles se tablie lequilibre en1re les parties de la su rface de )ic~ne ainsi que ce caractere bi-dlmensionel recherch e en iconographie

Cwquieme fl ore

Lusage des couleurs achromaliques blanc et noir est rare Des tons tres fonc~s des couleurs chromatiques rem piashycent Ie noir tan dis que leurs tons attenues remplacent Ie blanc Mais lorsque Ie Rituel de hagiographie llmpose on utilise Je blanc par exceplion Par Iabsence des achroshymatiques noir et blanc on evite 51 Les _ouvertureso et les lelevations de la surface bi-dimensionelle de lic~ne et surtou t la vute gradation du ton des couleurs

52 Labaissement de la couleur doree de la premi~re place de splendeur queJle occupe entre les couleurs comshyposees CetLe place pourrait ~tre revendiquee par la presence du blanc

Sixieme note

Enfin on peut souligner deux operations chromatiques suppl~mentaires

61 Un cadre rouge se place a 1a surface de I ic~ne On se sert de cette couleur rouge 611 nux rouges de lieOne les plus virs 612 auJ( epigrammes qui sont inscrites sur Ie rond dor~ 613 a la couche de la couleur dor~e Lushysage frequent de ce rouge qui contient de locre met en accord les deux couleurs des compositions les plus vives en vue Ie rouge et Ie dare

62 Lemploi dun grand nombre de sources d~clairage (au lieu dune source) dont chacune eclaire particushylierement les (ormes de licOne es t une operation indimiddot reetement chromatique puisque lle delinit les vrueuJ8 toshyniques des couleurs Les divers noyaux d eclal rage proshyduisent des lumieres et des ombres qui se dlspersent sur toute la surface de lieOne et qui renrorcent Ie caractere bi-dimensionel de celle peinture

Ces six notes qui ne complMent eertainement pas une vishysion chromatique minutleuse elles dMinissent des doshymaines qui peuven1 tre examines arin de preciser les meshythodes de lexpression chromatique et symboHque des icoshynographes