{"title":"The Image of Griffin on Byzantine Seals (On the Example of the State Hermitage Museum Collection)","authors":"E. Stepanova","doi":"10.37279/2413-189x.2021.26.459-474","DOIUrl":null,"url":null,"abstract":"In the tenth-century Byzantine sigillography, along with the classical iconographic repertoire (images of the Mother of God, saints, and cross potent), there appeared images of birds, real animals and monsters, and even portraits of the owners of seals. An important place among them belongs to the seals showing griffin, an imaginary monster combining the features of an eagle and a lion. Its images on seals comprise three variants: 1) single image of a griffin, 2) griffin trampling an animal, 3) paired griffins in the flight scene of Alexander the Great. Among the lead seals in the State Hermitage Museum collection, the first variant is represented by the seals of Theophylaktos Argyros, anthypatos patrikios; Stephen, protospatharios, episkeptites and the anagrapheus of the imperial domains protected by God; Constantine, imperial spatharokandidatos and kommerkiarios of Thessalonike; Theophylaktos, patrikios, imperial protospatharios, ἐπὶ τοῦ Χρυσοτρικλίνου and chartoularios of the dromos; Demetrios, imperial spatharokandidatos and ἐπὶ τῆς μεγάλης ἑταιρείας; George; and Theophilus (?). The second variant occurs on the seals of Leo, imperial protospatharios, ἐπὶ τῆς μεγάλης ἑταιρείας, and Staurakios, imperial protospatharios, ἐπὶ τῶν οἰκειακῶν and ἐπὶ τῶν βαρβάρων. The third variant shows a unique seal from the State Hermitage Museum featuring an image of SS. Constantine and Helena on the obverse. Taking the seals from other collections along with the sigillographic monuments from the State Hermitage Museum into account, the author of this paper has run to the conclusion that the appearance of the image of a griffin in the tenth century coincided with the Macedonian Renaissance and was connected mainly with the revival of interest in the antique past. It was the time when this image retained only its apotropaic and decorative function. It was placed on the seals of secular officials, civilian and the military persons.","PeriodicalId":41183,"journal":{"name":"Materialy po Arkheologii Istorii i Etnografii Tavrii-Materials in Archaeology History and Ethnography of Tauria","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Materialy po Arkheologii Istorii i Etnografii Tavrii-Materials in Archaeology History and Ethnography of Tauria","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.37279/2413-189x.2021.26.459-474","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
In the tenth-century Byzantine sigillography, along with the classical iconographic repertoire (images of the Mother of God, saints, and cross potent), there appeared images of birds, real animals and monsters, and even portraits of the owners of seals. An important place among them belongs to the seals showing griffin, an imaginary monster combining the features of an eagle and a lion. Its images on seals comprise three variants: 1) single image of a griffin, 2) griffin trampling an animal, 3) paired griffins in the flight scene of Alexander the Great. Among the lead seals in the State Hermitage Museum collection, the first variant is represented by the seals of Theophylaktos Argyros, anthypatos patrikios; Stephen, protospatharios, episkeptites and the anagrapheus of the imperial domains protected by God; Constantine, imperial spatharokandidatos and kommerkiarios of Thessalonike; Theophylaktos, patrikios, imperial protospatharios, ἐπὶ τοῦ Χρυσοτρικλίνου and chartoularios of the dromos; Demetrios, imperial spatharokandidatos and ἐπὶ τῆς μεγάλης ἑταιρείας; George; and Theophilus (?). The second variant occurs on the seals of Leo, imperial protospatharios, ἐπὶ τῆς μεγάλης ἑταιρείας, and Staurakios, imperial protospatharios, ἐπὶ τῶν οἰκειακῶν and ἐπὶ τῶν βαρβάρων. The third variant shows a unique seal from the State Hermitage Museum featuring an image of SS. Constantine and Helena on the obverse. Taking the seals from other collections along with the sigillographic monuments from the State Hermitage Museum into account, the author of this paper has run to the conclusion that the appearance of the image of a griffin in the tenth century coincided with the Macedonian Renaissance and was connected mainly with the revival of interest in the antique past. It was the time when this image retained only its apotropaic and decorative function. It was placed on the seals of secular officials, civilian and the military persons.
在十世纪的拜占庭符号学中,伴随着经典的图像库(圣母、圣徒和十字架的图像),出现了鸟类、真正的动物和怪物的图像,甚至还有海豹主人的肖像。其中一个重要的地方是海豹表现狮鹫,一个虚构的怪物,结合了鹰和狮子的特征。它在印章上的图像有三种变体:1)单个狮鹫图像,2)狮鹫践踏动物图像,3)亚历山大大帝飞行场景中的成对狮鹫图像。在国家艾尔米塔日博物馆收藏的铅印中,第一种变体是Theophylaktos Argyros, anthypatos patrikios的印章;司提反,原精神变态者,记录者和上帝保护的帝国领域的题记;君士坦丁,塞萨洛尼基的帝国领袖候选人和商人;Theophylaktos, patrikios, imperial protospatharios, ς π丶το ο Χρυσοτρικλίνου和chartoularios of the dromos;德米特里,帝国spatharokandidatosἐπὶτῆςμεγάληςἑταιρείας;乔治;和西奥菲勒斯(?)。第二个变异发生在狮子座的海豹,帝国protospathariosἐπὶτῆςμεγάληςἑταιρείας,Staurakios,帝国protospathariosἐπὶτῶνοἰκειακῶν和ἐπὶτῶνβαρβάρων。第三种变体是艾尔米塔日国家博物馆的一枚独特的印章,正面是君士坦丁和海伦娜的形象。考虑到其他收藏的印章以及国家冬宫博物馆的象形文字纪念碑,本文作者得出结论,10世纪狮鹫形象的出现与马其顿文艺复兴时期相吻合,主要与对古代历史的兴趣的复兴有关。在那个时代,这幅画只保留了它的御寒和装饰功能。它被印在世俗官员、平民和军人的印章上。