Wall paintings in Syria and Lebanon
Wall paintings in Syria and Lebanon
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Wall paintings in Syria and Lebanon
叙利亚 (Syria) 和黎巴嫩 (Lebanon) 的壁画
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Syriac-speaking Christians painted their churches throughout their long history. In the Early Christian period, these paintings closely followed the style and iconography of painting in Constantinople. In the city of Resafa, Syria, built by Justinian in the 6th cent., remains of wall paintings are well preserved in the soffits of the windows of the Cathedral and a large cross was painted in the apse of a side chapel. The remains of an Adoration of the Magi from the 6th cent. are visible in the Cathedral of Bostra , in the Ḥawrān (S. Syria). A remarkable painting of the Enthroned Christ with angels still adorns the Temple of Bel in Palmyra, which was used as a Christian church. There are many other examples not so well preserved.
讲叙利亚语的基督徒 (Syriac-speaking Christians) 在其漫长的历史中一直为其教堂绘制壁画。在早期基督教时期 (Early Christian period)，这些绘画紧密遵循君士坦丁堡 (Constantinople) 绘画的风格与图像学。在叙利亚 (Syria) 的雷萨法 (Resafa) 城（由查士丁尼 (Justinian) 于 6 世纪 (6th cent.) 建造），大教堂 (Cathedral) 窗户拱腹内的壁画遗迹保存完好，且一侧礼拜堂的后殿绘有一个巨大的十字架。6 世纪 (6th cent.) 的《博士朝拜》(Adoration of the Magi) 遗迹可见于豪兰 (Ḥawrān)（叙利亚南部 (S. Syria)）的波斯拉大教堂 (Cathedral of Bostra)。一幅描绘《宝座上的基督与天使》(Enthroned Christ with angels) 的杰出绘画仍然装饰着帕尔米拉 (Palmyra) 的贝尔神庙 (Temple of Bel)，该建筑曾被用作基督教教堂。还有许多其他保存状况不佳的例子。
Following the Arab conquests, Christians continued to paint their churches and these paintings were reportedly much admired, even by Muslims. When Jerusalem fell to the Crusaders in 1099, eastern Christians, both within the occupied lands and outside of them, experienced what Leroy calls a ‘Renaissance’ in all aspects of their religious and cultural life (see Renaissance, Syriac). This growth is evident in their painted churches.
阿拉伯征服 (Arab conquests) 之后，基督徒继续绘制他们的教堂壁画，据报道，这些画作甚至受到穆斯林的高度赞赏。当耶路撒冷 (Jerusalem) 于 1099 年陷落于十字军 (Crusaders) 之手时，东方基督徒 (Eastern Christians)，无论身处被占领土之内还是之外，都经历了勒罗伊 (Leroy) 所称的宗教和文化生活各方面的“文艺复兴”(Renaissance)（参见“文艺复兴，叙利亚”(Renaissance, Syriac)）。这种发展在他们绘有壁画的教堂中显而易见。
Fine paintings from the late 12th cent. adorn the walls of the Church of Sts. Sergios and Bacchos in Qara , Syria, and in the nearby Dayro d-Mor Yaʿqub. The little church of Mar Elian in Ḥimṣ still preserves paintings that have been damaged by recent restoration. There is an account of painters from the monastery of Mar Elian, in Qaryatayn, who came to paint churches in Lebanon and paintings have been restored in the chapel of Maʿarrat Ṣaydnāyā, near Damascus . Wall paintings from the 13th cent. also remain in the castles of Marqab and Crac des Chevaliers. Although the paintings in the castles were commissioned by the Crusaders, there is every indication that they were painted by local painters, trained in the Syr. tradition. The best preserved of the paintings in Syria are in Dayr Mār Mūsā al-Ḥabashī , near Nabk (Syr. Orth.), where the walls of the chapel were elaborately painted on at least four different occasions in the 11th and 12th/13th cent.
12 世纪 (12th cent.) 晚期的精美画作装饰着叙利亚 (Syria) 卡拉 (Qara) 的圣塞尔吉奥斯和巴科斯教堂 (Church of Sts. Sergios and Bacchos) 的墙壁，以及附近的圣雅各布修道院 (Dayro d-Mor Yaʿqub)。霍姆斯 (Ḥimṣ) 的马尔埃利安 (Mar Elian) 小教堂仍保存着一些画作，但这些画作在最近的一次修复中受到了损坏。有记载称，来自卡里亚坦 (Qaryatayn) 马尔埃利安 (Mar Elian) 修道院的画家曾前往黎巴嫩 (Lebanon) 绘制教堂壁画，且大马士革 (Damascus) 附近的迈阿拉特赛德纳亚 (Maʿarrat Ṣaydnāyā) 小教堂中的画作已得到修复。13 世纪 (13th cent.) 的壁画也留存于马尔卡布 (Marqab) 和骑士堡 (Crac des Chevaliers) 的城堡中。尽管城堡中的画作是由十字军 (Crusaders) 委托制作的，但所有迹象表明，它们是由受过叙利亚 (Syr.) 传统训练的当地画家绘制的。叙利亚 (Syria) 保存最完好的画作位于纳布克 (Nabk) 附近的马尔穆萨 - 哈巴希修道院 (Dayr Mār Mūsā al-Ḥabashī)（叙利亚正教 (Syr. Orth.)），那里小教堂的墙壁曾在 11 世纪和 12/13 世纪 (11th and 12th/13th cent.) 至少四次进行过精心绘制。
By the end of the 12th cent., Christians of different communities, Syr. Orth., Ch. of E., Maron., Chald., Syr. Cath., Melk., and even Abyssinians and Copts had moved into Lebanon to profit from new opportunities in trade and commerce offered by the Crusader states. The liturgies of many of these churches in Lebanon were in Syriac. Fragments of church painting from the late 12th and 13th cent. in the mountains of Lebanon witness to a continuing tradition of church decoration during this period. In both Syria and Lebanon, the earlier paintings are inscribed in Greek, whereas by the 13th cent. the common language for the inscriptions was Syriac (mostly in Esṭrangela), Arabic (often in Garshuni), or a combination of both.
到 12 世纪 (cent.) 末，不同社群的基督徒，包括叙利亚正统教会 (Syr. Orth.)、东方教会 (Ch. of E.)、马龙派 (Maron.)、加色丁教会 (Chald.)、叙利亚天主教会 (Syr. Cath.)、默基特教会 (Melk.)，甚至阿比西尼亚人 (Abyssinians) 和科普特人 (Copts)，都迁入了黎巴嫩 (Lebanon)，以利用十字军国家 (Crusader states) 提供的贸易和商业新机会。黎巴嫩 (Lebanon) 许多这些教会的礼仪均使用叙利亚语 (Syriac)。黎巴嫩 (Lebanon) 山区出土的 12 世纪 (cent.) 末和 13 世纪 (cent.) 的教堂绘画碎片，见证了这一时期教堂装饰传统的延续。在叙利亚 (Syria) 和黎巴嫩 (Lebanon)，早期的绘画题铭使用希腊语 (Greek)，而到了 13 世纪 (cent.)，题铭的通用语言变为叙利亚语 (Syriac)（主要为斯特兰格拉体 (Esṭrangela)）、阿拉伯语 (Arabic)（常为加尔舒尼体 (Garshuni)），或两者兼用。
Churches decorated with outstanding paintings in Lebanon are the Church of Mar Phocas in Amyūn , Mar Saba in Eddé , Mar Tadros in Bahdeidat , Mar Charbel in Maʿad , and Sts. Sergios and Bacchos in Kaftun . In addition, there are more than two dozen churches with fragmentary remains of painting on the walls. These paintings are all in the north of Lebanon, centered around the rich commercial area of Tripoli, in the Holy Valley of the Qadisha in the Lebanon range and in the lower foothills around Byblos and Batrun. Some of these paintings were hidden for many years under a coating of whitewash. Others remain untouched in the hermit caves by the river and under the cliffs of the Qadisha Gorge. Taken all together, they present an overview of the varied painterly tradition during the Crusader occupation, a tradition that survived into the Mamluk period. Paintings still exist also from the 16th and — until very recently — the 17th cent. Some of these paintings were destroyed in the last few years but have been recorded. The remainder are in precarious condition.
黎巴嫩 (Lebanon) 装饰有杰出画作的教堂包括阿米尤恩 (Amyūn) 的马尔·福卡斯教堂 (Church of Mar Phocas)、埃德 (Eddé) 的马尔·萨巴教堂 (Mar Saba)、巴赫代达特 (Bahdeidat) 的马尔·塔德罗斯教堂 (Mar Tadros)、马阿德 (Maʿad) 的马尔·沙贝尔教堂 (Mar Charbel)，以及卡夫通 (Kaftun) 的圣塞尔吉奥斯和巴科斯教堂 (Sts. Sergios and Bacchos)。此外，还有二十多座教堂的墙壁上留有残存的绘画片段。这些绘画均位于黎巴嫩 (Lebanon) 北部，以的黎波里 (Tripoli) 富裕的商业区为中心，分布在黎巴嫩山脉 (Lebanon range) 中的卡迪沙圣谷 (Holy Valley of the Qadisha) 以及比布鲁斯 (Byblos) 和巴特伦 (Batrun) 周围的较低山麓地带。其中一些绘画多年来被一层石灰水覆盖而隐藏。另一些则完好无损地保留在河边的隐士洞穴中和卡迪沙峡谷 (Qadisha Gorge) 的悬崖下。综合来看，它们展示了十字军占领时期 (Crusader occupation) 多样化的绘画传统概貌，这一传统一直延续到马穆鲁克时期 (Mamluk period)。现存绘画还包括 16 世纪 (16th cent.) 以及——直到最近——17 世纪 (17th cent.) 的作品。其中一些绘画在过去几年中被毁，但已留有记录。其余的则状况岌岌可危。
In Syria, this tradition of Christian painting was continued during Muslim rule. In Lebanon, the paintings indicate the rich and continuing tradition of Christian art in lands dominated by Crusaders. Both traditions are evidence of a flourishing Christian society that acted as liaison between Arabs and Franks. In this cultural ‘Renaissance’, the Syr. Orth. were especially prominent. In the 12th and 13th cent. they moved into Lebanon from the outlying areas of Damascus, Mardin , Diyarbakır ( Amid ), and Mosul , in order to occupy the monasteries behind Tripoli, taking over many Maronite establishments. The Mamluks allowed them to prosper in Lebanon, and they were joined by a further influx of monks from lands as distant as Abyssinia. By the end of the 15th cent., especially after 1488, the Maronites had assumed control of the Qadisha Valley and the adjacent mountainous areas. These areas remain largely Maronite today.
在叙利亚 (Syria)，这一基督教绘画传统在穆斯林 (Muslim) 统治期间得以延续。在黎巴嫩 (Lebanon)，这些绘画表明了十字军 (Crusaders) 主导的土地上丰富且持续的基督教艺术传统。这两种传统都是一个繁荣的基督教社会的证据，该社会充当了阿拉伯人 (Arabs) 与法兰克人 (Franks) 之间的中介。在这场文化“文艺复兴 (Renaissance)“中，叙利亚正教 (Syr. Orth.) 尤为突出。在 12 和 13 世纪 (12th and 13th cent.)，他们从大马士革 (Damascus)、马尔丁 (Mardin)、迪亚巴克尔 (Diyarbakır)（阿米德，Amid）和摩苏尔 (Mosul) 的周边地区迁入黎巴嫩 (Lebanon)，以占据的黎波里 (Tripoli) 背后的修道院，接管了许多马龙派 (Maronite) 机构。马穆鲁克 (Mamluks) 允许他们在黎巴嫩 (Lebanon) 繁荣发展，并且来自远至阿比西尼亚 (Abyssinia) 等地的僧侣进一步涌入加入他们。到 15 世纪 (15th cent.) 末，特别是 1488 年之后，马龙派 (Maronite) 已控制了卡迪沙河谷 (Qadisha Valley) 及相邻的山区。这些地区今天仍主要为马龙派 (Maronite) 所居。
See also Art and architecture.
另见艺术与建筑。
See Fig. 15, 17, 62, 63, 86, 87, 88c, and 101.
参见图 15、17、62、63、86、87、88c 及 101。
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Citation
Erica Cruikshank Dodd. 2011. “Wall paintings in Syria and Lebanon.” In Gorgias Encyclopedic Dictionary of the Syriac Heritage. Beth Mardutho. https://gedsh.bethmardutho.org/Wall-paintings-in-Syria-and-Lebanon.