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Due to this exhibition some of the most important icons from the occupied part of Cyprus on display today were saved. The Byzantine Museum houses about icons from the 9th until the 19th century, detached murals from the 10th century, as well as representative items of byzantine micro art of Cyprus, such as holly relics, utensils and vestments which are displayed in three large rooms on the first floor of the Spiritual and cultural centre of the Archbishop Makarios III Foundation.
These works of art belong to the well-known collector Niko Dikeo, the ambassador of Cyprus in Leon France and which contain subjects concerning Greece in its later years as well as the independence fight and subjects from the Bible, mythology, places and portraits.
The collection which covers the period from the 15th century, mainly deals with art of the 19th century and presents the most important Schools of western European art such as Italian, French, Flemish, German and Spanish. The library was founded as an offer to the Greeks of Cyprus especially the research audience, realizing one of the grand visions of the late Archbishop Makarios for spiritual cultivation and cultural advancement of his people. During the heyday of the Byzantine Empire, smalt mosaics plainly set with contoured figures became the central element in decorating church architecture.
The majority of mosaic panels depicted biblical and Christian scenes. Later, however, due to the high cost of the material and execution of the work itself, mosaics were gradually replaced with fresco paintings. Together with carved works wood carving , the Byzantine people simultaneously managed to reach a high level of mastery in processing metals, which were used to mint and cast items. Alongside this, master artisans were also considered exceptionally skilful in the art of enamelling simple and filigree enamel.
At its core, Byzantine art was theological. Empress Helena founded the monastery of Stavrovouni on the Hill of Crosses on the site of a former pagan sanctuary. Over the 4th century, the island was tormented by cataclysms: the main cities were utterly destroyed by strong earthquakes but were rebuilt, at a later period, on the same sites.
New basilicas and numerous chapels were also erected. By this time, Constantia IV-V had become the capital city. After the discovery of the tomb of St. Barnabas in , Emperor Zeno granted full autonomy to the Cypriot church and several privileges to its Archbishop.
Thus, from , Byzantine art was officially present on the island. Due to the iconoclasm VIII , however, the most significant relic, which has survived to this day, is an ornament of the eastern arch on the five-domed church of St. Paraskevi in Geroskipou. By rights, the fresco painting from the church of St. Anthony in Kellia, is considered another valuable relic. Examples of early-Byzantine art in Cyprus are scarce, but some can be found on wall mosaics inside the churches of Panagia Aggeloktisti in Kiti, Panagia Kyra in Livadia and Panagia Kanakaria in Lythrangomi.
They are also present on the frescos of the temples in Khrysokava Kyrenia region. With the reinstated reverence for icons at the 6th Ecumenical council , Nicaea , the spiritual essence of Orthodoxy was preserved. After deliverance from the Arab conquerors in , Byzantine rule in the country strengthened. A layer of paint from an early 10th-century work was uncovered relatively recently in the church of Agios Nikolaos-tis-Stegis Kakopetria.
The infiltration of Turkish Seljuks from the eastern outskirts and Romans from the West spawned a complicated external political situation. As such, regular visits to Cyprus by high ranking individuals from Constantinople, in addition to the construction of the most important monasteries Kykkos, Machairas, St. Ioannis Chrysotomos, Our Lady of Arakos and Panagia Phorbiotissa , resulted in the arrival of craftsmen to the island and the means to support various forms of art.
Right until the fall of Constantinople in , Byzantine art produced a series of extraordinary events and beautiful works: frescos and mosaics in churches and monasteries, as well as magnificent samples of short literary works. It must be stressed that under foreign rule, Cyprus continued to remain, in the centuries that followed, a part of the cultural field of Byzantium, as its heir. Naturally, icon painting, mosaic crafting and fresco painting, continued to later develop when the island was seized, at first by the Crusaders and then by Turkish invaders.
In later ages, the Byzantine tradition steadily continued to hold itself in religious art. All of this is exemplified today, at the Nicosia Museum of Byzantine Art, as well as in many other small, albeit, no less significant collections across Cyprus. Thanks to this exhibition, valuable icon paintings originating from the now occupied lands of Cyprus, were saved from pillaging and destruction after becoming museum exhibits. We visited the hall to see the permanent display dedicated to cultural treasures and Christian relics which have returned and are now in the collection of the Makarios III Cultural Foundation.
The exhibition has been constructed in chronological order: from the heyday of Byzantine art in the 12th century, right up to the somewhat recent, in our case, 20th century. Something which struck me: the condition of a significant number of pieces will surprise those used to a set standard in many modern exhibitions of ancient relics.
It will also shock those accustomed to the demand for a gentle hand when in their presence. The picture layer and primer are in a relatively acceptable condition, however, many of the icon panels have been damaged in corners by beetles or scorched in fires. In the eyes of experienced museum workers, this presents a threat to the preserved state of the exhibits — a sad fact, of course. All that remains is to hope that the management and Museum employees still devote sufficient attention and care to the collection.
In fact, many underlaid icons have long been damaged, but differently, as marauders have stripped the gold and silver framing. Meanwhile, copper framings have survived, most likely due to their lesser cost in comparison with that of precious metals: expertly minted sheets, which have darkened over time, cover the backgrounds of images, as well as halos and fragments of attire. There are even panels on permanent display where only small fragments of their images have survived, while time not so much the sole culprit in this has erased the faces on them forever.
To the right of the entrance, you will see the exceptional, magnificently crafted and well-preserved icon of Agios Nikolaos Stegis from the end of the 13th century the measurements of the figures, as a rule, depended on the size of the church.
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