Prékopa Ágnes (szerk.): Ars Decorativa 30. (Budapest, 2016)
Szilveszter TERDIK: “Athonite” Miniature Carvings at the Museum of Applied Arts
und Akronyme als Ikonenaufschriften.’ Zeitschrift für ostkirchliche Kunst 3—4, 2002, pp. 57-64. http:// www.icon-art.info/book_contents. php?lng=de&book_id=30 (retrieved: 1 Nov 2015) (hereafter: Bentchev 2002), Kruk 2010, p. 240. The third interpretation: Kruk 2010, pp. 240-241. ΤΚΠΓ: Τοπος Κρανίου Παράδεισος Γεγονε (The Place of the Skull has become Paradise). Bentchev 2002, Kruk 2010, p. 241. 34 Length: 6.5 cm, width (closed): 4.8 cm, Museum of Applied Arts, inv. no. 69.377.1, from the collection of Istvân Fehér. 35 Above the date there is also a monogram (?) in two rows, which reads: 13 ω / H A. 36 Height: 6.3 cm, Museum of Applied Arts, inv. no. 11156. 37 Of the two leaf-shaped, metal-housed encolpia, one shows Christ as the True Vine (without the apostles), while the other shows the Mother of God with the Infant Jesus, depicted in half-length. The former is believed to be 17th-century, the latter 18th-century. There is another leaf-shaped encolpion, with the carving showing the Mother of God with the Infant Jesus, and a granulated, filigree metal frame, dated to the 17th century. IIIakota, MnpjaHa: Студеничка ризница. Београд, 1988, pp. 152,156. 38 ToDic, Branislav - Canak Medic, Milka: The Decani Monastery. Belgrade, 2013, pp. 114-115, fig. 115. 39 Boxwood, silver, beads, 3x5 cm. Hungarian National Museum, inv. no. 1960.508. 40 Height: 13 cm, Museum of Applied Arts, inv. no. 55.658.1. 41 The chain was reattached to the object by the restorer, Noémi Varga. 42 From the first line of Oikos I of the Akathist Hymn: АГГЕЛОС ПРПТОСТАТНС OT(PAN) ΟΘΕΝ (ΕΠΕΜΦΘΗ) ΕΙΠΕΙ. (An Archangel was sent from Heaven to say to the Mother of God...) 43 Width: 8 cm, length: 9.8 cm, diameter: 6.5 cm, Museum of Applied Arts, inv. no. 69.918.1-3, from the collection of Istvân Fehér. A replacement for the missing top was made by Maria Szabôné Szilâgyi. 44 The paper was supplemented by the restorer, Edit Darabos. 45 A piece dated to 1777 in the Museum of Applied Arts, Belgrade: Radojkovic 1977, p. 71. a-b, Milovanovic 2008, cat. 84. Similar pieces, joined together as a panagia, in a metal mounting, from the Simonopetra Monastery, Mount Athos: Karakatsanis 1997, p. 425. 46 Diameter: 9.3 cm, thickness: 1.2 cm, Museum of Applied Arts, inv. no. 53.1909.1. 47 Milovanovic 2008, cat. 78. 48 Vukovits, Koszta - MudrAk, Attila: The Serbian Ecclesiastical Collection, Szentendre, 2014, pp. 41-42. 49 Guminska, Bronislawa: Gallery “Orthodox Art of the Old Polish Republic”. Guidebook, The National Museum in Cracow, The Bishop Erazm Ciolek Palace. Cracow, 2008, pp. 61-62. Kruk 2008, pp. 232-33, figs. 1-3. 50 Milovanovic 2008, cat. 68. 51 Diameter: 7.8 cm, Museum of Applied Arts, inv. no. 57.600.1 52 For the history and liturgical texts of the ceremony, see: Yiannias, J. John: ‘The Elevation of the Panagia.’ Dumbarton Oaks Papers 26 (1972), pp. 227-236. 53 Drpic, Ivan: ‘Notes on Byzantine Panagiaria.’ Зограф 35 (2011), pp. 51-62. (hereafter: Drpic 2011) 54 A verse from the canon of Saint Andrew of Crete written for the Feast of Mid-Pentecost: ΓΕΓΟΝΕΝ Η ΚΟΙΛΙΑ COT ΑΓΙΑ ΤΡΑΠΕΖΑ EXOT CA TON OTPANION ΑΡΤΟΝ Χ(ΡΙΣΤΟΝ) TON Θ(ΕΟ)Ν ΗΜΩΝ ΕΞ ОТ ПАС Ο ΤΡΟΓΩΝ ОТ ONHCKEI, ΩΟ EOHCEN О TOY ΠΑΝΤΟΟ, ΘΕΟΓΕΝΝΗΤΟΡ (!), (ТРОФЕТС) (Your womb became a holy table, having the heavenly bread, Christ, our God, from which all who eat will not die, as <he> the Nourisher of all has said, О Mother of God). For the precise Greek text and English translation see: Drpic 2011, p. 58, footnote 50. 55 Of unknown origin, believed to be 18th- or 19th-century, used as a panagia. Inv. no. 663—664. 75
