East Facing West: Military Equipment in the Orthodox Frescoes in the Gothic Churches of the First Jagiellonians

Piotr Ł. Grotowski

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Chapter 6 East Facing West: Military Equipment in the Orthodox Frescoes in the Gothic Churches of the First Jagiellonians

于Arms and Armour in Byzantine Art

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Piotr Ł. Grotowski

Piotr Ł. Grotowski
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https://orcid.org/0000-0001-8710-3499

类型:: 章节

Page Range:: 141–233

DOI:: https://doi.org/10.1163/9789004737822_008

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Abstract

On the 18th February 1386, the Queen of Poland Hedwig d’Anjou married the Grand Duke of Lithuania Jogaila (henceforth known as King Ladislaus Jagiello), who had been baptized shortly before. This marked the establishment of a personal union between two Eastern European countries. Although Lithuania had been a pagan principality until that moment, at the time when it adopted the Roman-Catholic rite from Poland, the greatest part of its territories captured from Mongols were the lands that had belonged to the former Kievian Rus’ and were, accordingly, inhabited by Orthodox Ruthenians, who cultivated their tradition and religion. Furthermore, in order to demonstrate the Christian ties between his own dynasty and the new Roman-Catholic subjects, the new ruler of the united kingdom decided to engage Orthodox artists from Rus’ and Serbia to decorate Polish Gothic churches, and the same was done by his son, Casimir IV Jagiellon, in a single foundation – the Holy Cross Chapel in Cracow Cathedral. While generally following the traditional iconographic formulae and the compositional schemes typical of the Eastern Orthodox world in the frescoes commissioned by the first Jagiellons, the Orthodox painters started introducing new elements of military equipment borrowed from the Western tradition. These included full plate armours, helmets in the form of the bascinet or kettle helmet, as well as pavise shields. However, these innovations were not equally adopted across the various subjects. While soldiers in narrative topics such as the Massacre of the Innocents and the Passion cycles were depicted after Western, Gothic models, the depictions of warrior saints and angels conformed to much more conservative models that generally followed the Byzantine tradition. Differences are also observed in the approaches of various workshops. Serbian artists working in the Sandomierz collegiate church closely followed Eastern traditions, but Russian and Ruthenian local masters were much more prone to introducing some innovations. The occidentalisation of military equipment in the Orthodox art of the Polish-Lithuanian Kingdom was not limited to the royal foundations and one can encounter examples in the icon painting of this area as well. While traditional iconographic formulae were cultivated by Orthodox workshops over a relatively long period and were preserved until the beginning of the 16th century, Western innovations in military equipment were the first symptoms of changes caused by the Fall of Constantinople and diminished Byzantine influences on the Ruthenian artistic milieu.

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Arms and Armour in Byzantine Art

Studies in Military Iconography, 11th - 15th Centuries

丛编： Visualising the Middle Ages, 卷： 17

ISBN:: 9789004737822

出版社:: Brill

印刷出版日期:: 23 Oct 2025

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Chapter 6 East Facing West: Military Equipment in the Orthodox Frescoes in the Gothic Churches of the First Jagiellonians

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Arms and Armour in Byzantine Art

Studies in Military Iconography, 11th - 15th Centuries

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