Hosios Loukas Monastery
During the past two years, we've visited several very old Orthodox monasteries in Greece. The most famous of them all, Mt Athos, is closed to women, so that was not a possibility, but we went to the mind-blowing clifftop monasteries at Meteora, which I'll write about here someday, and the Vlatadon monastery in Thessaloniki, founded on the site where St. Paul is thought to have preached. During this past trip, we visited the abandoned Byzantine city of Mystras in the Peleponnese, near Sparta, which contains a number of no-longer-used churches and monasteries, and the still-viable 10th century walled monastery of Hosios Loukas, located not far from Delphi on a remote mountainside north of the Gulf of Corinth. Our interest is not only in Byzantine art, but the fact that much of it was made during a brief but extraordinary period of cross-cultural flowering, when Greeks, Arabs, Italians and Normans co-mingled in this part of the Mediterranean. Much of Greece feels like it is still looking east, toward Constantinople and the early seat of the Eastern Church. Arab craftsmen often built parts of these structures, and it's not unusual to see Arabic calligraphy alongside Christian mosaics, or eastern domes, vaults, and arches, pierced-stone windows and elaborate tilework in Christian sanctuaries.
That's Peter on the left, and Paul on the right. Where the mosaics come alive the most is in portraiture -- saints, apostles, martyrs, monks, abbots, and church benefactors are shown in roundels or full-length portraits, with unique faces: you can always identify Peter, or Paul, for instance. The most dramatic portrait in many churches is the immense Christ Pantocrator, usually in the central dome or the half-dome over the apse: a depiction of Christ "the All-powerful" in a particular gesture and attitude that, in the most compelling renditions, appears to be looking straight into your soul. This one is on a wall and seems less striking.
My Christmas print this year was inspired by a mosaic from this monastery. That mosaic (upper picture, top right) was golden and glittery, but I was taken by the archangel's hairstyle and the clever way the artist had fit the portrait into the circle, and thought it could be simplified for a linocut. I gave the angel a longer face and made her gender definitely female, changed the staff into more of a wand with stars, and added floral corner motifs inspired by another ceiling, shown below.
The amount of decoration in these Byzantine monasteries and churches defies description. Every surface is decorated in some way, giving the visitor and monk alike endless things to look at, but somehow a harmonious whole is often created. In this church we were intrigued by the amount of faux painting, imitating patterned marble blocks of alternating color -- maybe a Medieval cost-saving measure.
A mosaic floor.
More faux painting, with very free, almost calligraphic brushwork.
I've come to appreciate the tilework on the floors, the painted, inlaid, or carved decorations on walls and pillars, the stylized, often naive depictions of scenes from the Old Testament and the lives of Christ and the apostles, and the technical achievement of creating these stories in the medium of mosaic.
I was quite taken with the one above, showing Jesus being baptized by John in the Jordan River. Isn't the water great? The inscription above reads "H βαπτη", "the Baptist".
And here's Jesus washing Peter's feet at the Last Supper.
These churches are filled with the smell of beeswax from the long handmade tapers that are always burning, and available in graduated sizes for you to light and place in large bowls or trays of fine sand, and the scent of myrrh, the holiest of incenses, which is burned in copious amounts, but also said to exude from the bodies of buried martyrs and saints, or from the springs of water that flow near them. And the churches always have martyrs and founding saints buried in them, their skulls often removed and placed in silver reliquaries, and devout worshippers kneeling in prayer beside the tombs, or affectionately brushing them with their fingers as they pass by, crossing themselves. Ancient icons behind glass or plexi show the marks of thousands of kisses by the faithful, who make the rounds of each sanctuary, kissing and praying before each icon in turn, as a cantor intones hours of chant.
The tomb of the monastery's founder, Luke (not the evangelist), was originally in the crypt, but his bones now lie in the tiny glass-topped coffin shown above, in a passage between the two churches on the site. Luke, known as a great healer, levitator, and worker of miracles, died in February 953, and for centuries afterward, pilgrims came to be healed by "incubation," which meant that they slept in the main church building (katholikon) or in the crypt near his tomb, breathing the scent of the myrrh, being exposed to the oil from the lamp above, and experiencing dreams in which the saint would appear and tell them what they needed to do to be healed. I found this practice particularly fascinating, because earlier in the trip we had also been to the 5th century BC Shrine of Asclepias at Epidaurus, where pilgrims did pretty much the same thing -- sleeping in the katholikon, among holy snakes that slithered on the floor, and experiencing dreams whose healing instructions were interpreted by pagan priests.
Most of the monasteries are much quieter than the Orthodox churches in the cities; in order to stay viable, they are open a few days per week to tourists, but the monks stay mostly out of sight. It's possible to see into their lives a bit, though -- there are herb and vegetable gardens and pens where chickens cluck and peacocks cry; goats and other small animals like rabbits; fruit trees; grape arbors, and, of course, a large grove or even a hillside of olive trees. The monk's cells are located in a particular building, along with a refectory (dining area) that can sometimes be glimpsed and more often not. In a corridor or cloistered walkway, there is usually a rustic iron gong or bell that summons the monks to prayer. Here we entered a former stable (now an art gallery), saw the ancient cider- and wine-presses, and a cemetery with the tombs of recent abbots. In the small shop visitors can buy food products made by the monks as well as icons, candles, incense, local herbs and ointments.
And everywhere we went, there were cats. As Hosias Loukas, near the ancient cider press, these yellow feral cats hid under a pomegranate tree, but were curious enough to let me take their picture. I sometimes felt like the ever-present cats, which seems quite well-fed, contented, and used to humans, were stand-ins for the invisible monks, showing us that daily life continues among these ancient stones.
It's great to find out what inspired the beautiful angel. I feel very privileged!
Posted by: Martine | January 14, 2020 at 07:02 PM
I wish I had had time to print more, but I just did a limited edition of 25. And I'm so glad you like yours! Hope you liked the pomegranate-dwelling cats too!
Posted by: Beth | January 14, 2020 at 07:16 PM
We love our print also Beth - thank you!!! Love hearing about your travels.
K&H
Posted by: Kathy Hughes | January 14, 2020 at 07:25 PM
Greece is out these days for the Robinsons. Too much walking up steep gradients on rough treacherous surfaces, VR is not up to it. But I was able to flick through your wonderfully clear photos, and vicariously live the terrain. Would that I were able to chuck in little jewels like "St Paul may have preached there." Monks and monasteries are fascinating even to non-believers.
As I re-flicked through the pix it occurred to me you must have a very expensive camera. Is this the case?
Posted by: Roderick Robinson | January 15, 2020 at 03:43 AM
Thanks, K&H!!
Robbie, believe it or not, I take all these pictures with my phone. Phone cameras have gotten so good that even my professional photographer husband sometimes uses his rather than the fancy cameras he does have
Posted by: Beth | January 15, 2020 at 11:54 AM
Your print is lovely, Beth (it arrived yesterday) and I'm thrilled to have it, thanks so much. As you know I love Byzantine art. My favourite of the many Christ Pantocrator images is a 10th Century fresco in a church in Boyana, Bulgaria which I would love to visit one day. This Christ is less about power, more a kind of divine humanity, seeing into the soul,as you said. How do I attach a photo here?
https://en.wikipedia.org/wiki/Boyana_Church
Posted by: Natalie | January 16, 2020 at 01:10 PM