279:, 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.)
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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
257:
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
239:. 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.
247:
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
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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
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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
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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
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186:
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
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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.
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below the crucified body appears the ancient biblical figure Adam. He stands outside of a cave. In the next portion of the letter H
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as part of his military insignia. The Greek letters Chi Rho are the first two letters in the Greek spelling of Christ
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in one of his most important icons. The painter added the crucifixion and the resurrection within the letters of the
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evolved during the
Byzantine Empire. The name is derived from the first three letters of Jesus's name in Greek
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of the
Franciscan Order during the fifteenth century. The symbol is used on the coat of arms of
339:]. Athens: Center for Modern Greek Studies, National Research Foundation. pp. 324–332.
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Greek
Painters after the Fall of Constantinople (1450-1830). Volume 2: Kavallaros - Psathopoulos
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collect the blood seeping out of the wounded Christ figure. A similar angel appears in Pavias's
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is one of the earliest symbols of the faith. Roman
Emperor Constantine implemented the symbol
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pronounced
Christos. The vertical stroke of the rho intersects the center of the chi.
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332:Έλληνες Ζωγράφοι μετά την Άλωση (1450-1830). Τόμος 2: Καβαλλάρος - Ψαθόπουλος
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44.5 cm × 63.5 cm (17.5 in × 25 in)
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Richardson, Carol M.; Woods, Kim W.; Lymberopoulou, Angeliki (2007).
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413:. New York, NY: Yale University Press. p. 171-173.
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329:Hatzidakis, Manolis; Drakopoulou, Evgenia (1997).
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374:. New York, NY: Continuum. pp. 59–60.
223:Iesus Hominum Salvator became the official
807:Beheading of John the Baptist (Damaskinos)
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167:. Ritzos was one of the founders of the
434:Eugenia Drakopoulou (January 16, 2022).
231:. Greek painter Andreas Ritzos used the
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799:The Last Judgement Triptych (Klontzas)
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436:"Abbreviation Jesus Hominum Salvator"
371:The Continuum Encyclopedia of Symbols
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438:. Institute for Neohellenic Research
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776:Adoration of the Kings (Damaskinos)
296:Greek-Italian Byzantine Crucifixion
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752:Dormition of the Virgin (El Greco)
457:Staff Writers (January 16, 2022).
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867:Institute of Neohellenic Research
831:Vision of the Apocalypse (Bathas)
275:Within the final letter S of the
744:Adoration of the Magi (El Greco)
461:. Byzantine and Christian Museum
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183:. Sixty of his works survived.
823:Stoning of Stephen (Damaskinos)
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171:of painting. His teacher was
125:Byzantine and Christian Museum
110:Byzantine and Christian Museum
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898:Cretan Renaissance paintings
791:The Last Supper (Damaskinos)
768:In Thee Rejoiceth (Klontzas)
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839:Portrait of Gabriel Severus
163:) is a tempera painting by
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664:Saint Anne with the Virgin
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161:Jesus, Savior of Humankind
16:Painting by Andreas Ritzos
857:Hellenic Institute Venice
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736:Madonna of Constantinople
727:Nursing Madonna and Child
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220:three Greek letters ΙΗΣ.
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719:Madre della Consolazione
711:Christ Bearing the Cross
696:The Crucifixion (Pavias)
639:Nikolaos Philanthropinos
459:"Jesus Hominum Salvator"
410:Viewing Renaissance Art
888:15th-century paintings
688:Jesus Hominum Salvator
152:Jesus Hominum Salvator
35:Iesus Hominum Salvator
22:Jesus Hominum Salvator
680:The Virgin Pantanassa
619:Antonios Papadopoulos
594:Theophanes the Cretan
310:Piero della Francesca
29:Ιησούς Ήμέτερος Σωτήρ
526:Principal proponents
368:Becker, Udo (2000).
893:Paintings in Greece
604:Ioannis Permeniates
270:John the Evangelist
862:Manolis Hatzidakis
656:The Virgin Eleousa
614:Nikolaos Lampoudis
609:Angelos Pitzamanos
563:Nikolaos Tzafouris
543:Michael Damaskinos
519:Cretan Renaissance
206:Another important
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599:Frangos Katelanos
553:Angelos Akotantos
538:Georgios Klontzas
173:Angelos Akotantos
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815:Virgin Nikopoios
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784: 1587–1591
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704: 1440–1512
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143:Official Website
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233:Christogram IHS
92:Christogram IHS
71:tempera on wood
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589:Markos Bathas
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584:Thomas Bathas
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577:Other artists
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568:Michael Fokas
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308:Resurrection
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181:maniera greca
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82:Cretan School
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463:. Retrieved
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440:. Retrieved
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395:Becker, 2000
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229:Pope Francis
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842:(1577–1599)
794:(1587–1591)
771:(1560–1608)
755:(1565–1566)
747:(1565–1567)
731:(1520–1530)
714:(1487–1501)
691:(1436–1492)
683:(1436–1492)
675:(1425–1457)
667:(1425–1457)
659:(1425–1457)
648:Major works
629:Euphrosynos
482:, p 171-173
465:January 16,
442:January 16,
345:10442/14088
277:Christogram
266:Christogram
261:Crucifixion
255:Christogram
250:Christogram
243:Description
237:Christogram
225:Christogram
208:Christogram
188:Christogram
882:Categories
381:0826412211
317:References
98:Dimensions
802:1560–1608
134:ΒΧΜ 01549
131:Accession
63:1436-1492
533:El Greco
116:, Greece
106:Location
77:Movement
850:Related
397:, p 154
283:Gallery
192:Chi Rho
139:Website
88:Subject
33:Latin:
27:Greek:
834:(1596)
826:(1591)
818:(1594)
810:(1590)
763:(1568)
739:(1530)
722:(1490)
417:
378:
351:
114:Athens
68:Medium
50:Artist
335:[
200:ΙΣΤΟΣ
157:Latin
121:Owner
467:2022
444:2022
415:ISBN
376:ISBN
349:ISBN
159:for
60:Year
341:hdl
216:ΟΥΣ
214:ΙΗΣ
884::
781:c.
701:c.
347:.
198:ΧΡ
175:.
112:,
31:,
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155:(
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