ICONOGRAPHY OF THE RESURRECTION: THE QUESTION OF DATES OF ORIGIN AND ANCIENT MONUMENTS

The article deals with the problem of occurrence and dating of the iconography of Easter — the ima­ge of the Resurrection of Christ (Anastasis). This topic is relevant, because scientists cannot come to a consensus on the time of formation of this iconography. Russian and foreign art studies designate different time intervals, with Western scientists’ general tendency to date Anastasis to an earlier period. The opinion of its late (the 9th—12th centuries) origin distorts the view of the history of this ima­ge and leaves its mark on the hypotheses about its possible sources (for example, its connection with late apocrypha or its emergence as a polemical weapon against he­retics — monophysites or iconoclasts). The article analy­zes the time attribution of the works on which this image is presented. The author focu­ses on the fact that the a prio­ri conviction of resear­chers in the later da­ting of the iconography has changed not once the dating of reliquaries and crosses, on which among other objects Anastasis is represented. It is exemplified by the history of re-dating of the Fieschi-Morgan reliquary or the time attribution of the cross from Pliska. This problem is complicated by lacunas, which remained in the Byzantine art as a result of the destructions caused by the iconoclasm era, and the irreconcilable attitude towards the ima­ge of the Resurrection, which was characteristic of that era. The article carries out a detailed historiographical review of the topic under consideration and shows that the results of modern studies of extant monuments allow us to draw new conclusions. The results of the study by Th. Weigel of the ciborium co­lumns from St. Mark’s Cathedral in Venice prove their ancient origin and the possibility of attributing them to Late Antiquity. Only the presence of the image of Anas­tasis among other bas-reliefs on these columns compels the researcher to shift their dating to the 6th century. Such elements of icono­graphy as trampling enemies and “grasping of the wrist”, which are permanent for the iconography of Anastasis, are also inherent to the ancient art. All this makes it possible to talk about a rather early origin of the image of the Resurrection.

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