The icon of the Anastasis kept in the Antalya Museum (inventory number 34.2.82) measures approximately 36.7 × 48.4 cm. This icon can be compared to a sixteenth-century representation of the Anastasis by the well-known Cretan painter Michael Damaskenos. Such comparisons are important because they help scholars understand artistic influences and the transmission of iconographic models across time and regions. The similarities in composition suggest that later artists often followed earlier and respected prototypes when creating their works. This practice helped maintain continuity in Orthodox icon painting General Overview of the Iconographic Program.
Dimensions and Source of the Iconography
Another icon discussed here has the dimensions of 59.7 cm in width and 78.2 cm in height, with a frame width of 5.4 cm. An important detail is that the back of the panel contains an older painting, which shows that the wooden support was reused. This was not uncommon in later periods, especially when older sacred images were still valued and preserved.
The iconography of this icon is mainly based on the narrative found in the Protoevangelium of James (Protoevangelium Jacobi 8:1; 7:2). This apocryphal text describes the early life of the Virgin Mary, including her presentation in the Temple at a very young age. Such texts played a significant role in shaping visual traditions, even though they are not part of the official biblical canon.
General Iconographic Formula of the Scene
The icon follows the traditional iconographic formula for the Presentation of the Virgin Mary in the Temple. In the composition, the three-year-old Mary is shown walking up the steps of the Temple. Her small size emphasizes her young age and innocence. At the top of the steps, the priest Zacharias is depicted as a half figure who welcomes her. He is shown with long white hair and a long white beard, wearing a green outer garment, which symbolizes his authority and wisdom Private Tour Sofia.
The scene also includes five virgins who carry lit candles and witness the sacred event. They are divided into two groups. Three of them stand closer to Joachim and Anna in the foreground, while the other two are positioned on the right side, near Zacharias. Their presence highlights the ceremonial and sacred nature of Mary’s entrance into the Temple.
Symbolic Details and Secondary Representation
A very interesting detail appears in the upper right part of the icon. There, Mary is already depicted inside the Temple, standing with outstretched hands under a ciborium. This secondary image represents her life of dedication to God after her entrance. Next to her stands the archangel Gabriel, who brings her food, symbolizing divine care and spiritual nourishment. Both figures have red inscriptions: “A r” indicating Gabriel and “MHP ΘY,” which refers to the Mother of God.
The inscription along the upper edge of the icon is now barely legible. However, it most likely once read: “EIC TON NAON EICOΔIA THC ΘEOTOKOY,” meaning “The Entrance of the Theotokos into the Temple.” All the figures in the composition are depicted with haloes, which clearly identify their holiness and spiritual importance.
Color Scheme and Artistic Style
The dominant colors of the icon are red and green. These colors create visual harmony and also carry symbolic meaning. Red often represents divine love and sacrifice, while green may symbolize life and renewal. On the left side of the foreground, Joachim and Anna, the parents of Mary, are shown observing the event. Their presence emphasizes the familial and devotional context of the scene.
Although the painter seems to attempt realistic and expressive facial features, the faces appear rather rigid and lacking strong emotion. This gives the figures a frozen and somewhat static appearance. Such stylistic qualities suggest that the icon may have been produced in a provincial workshop rather than in a major artistic center.
The Special Feature The Hodegetria on the Reverse
One of the most remarkable aspects of this icon is the older painting of the Virgin Hodegetria on the reverse side, which now functions as the back of the panel. The Hodegetria type, showing the Virgin pointing to Christ as the “Way,” was highly venerated in Byzantine and post-Byzantine tradition. The reuse of a panel with an earlier sacred image demonstrates both practical reuse of materials and deep respect for older iconographic traditions. This feature adds historical and artistic value to the object, as it preserves two different layers of devotional imagery within a single artifact.
