Gomelias of James of Kokkinovaf: stylistic features of the design of the Parisian and Vatican manuscripts.

The book miniature of the Komnenian period, in which the tendencies of the Comnenian mannerism further arose and developed, is notable for its particular expressiveness and decorativeness. This range of manuscripts includes the manuscripts of the Homilia of James of Kokiinovath, in which the original properties of this stylistic decision played a huge role in the formation and execution of subsequent manuscripts of this historical period. The manuscripts have been preserved in the Vatican (Vat. gr. 1162) and Parisian (Paris gr. 1208) lists.

From numerous sources, it is worth believing that the Vatican manuscript precedes the Parisian one and was its prototype model. It excels both in size and number of miniatures, their special way of execution and compositional solution. It may also be noted that the later manuscript was not fully completed, as evidenced by the many unfinished details in the development of the scenes and their texts. It is also possible to trace a number of errors made by scribes in the course of their work. There is an assumption that the Parisian manuscript was created for the personal use of Jacob Kokiinovafsky, his personal copy (the portrait is present only in the Parisian manuscript) and, in addition, both works were developed during his lifetime. The transformation of the artistic embodiment of a certain number of scenes is followed by a new transmission of well-known plots, such as the murder of Abel by Cain.

Yet, however different the two manuscripts may be, one can trace an extraordinary similarity between them. So, I. Hatter, dealing with the issue of dating manuscripts, conducting a detailed stylistic analysis, made a hypothesis about the existence of a third manuscript, which served as a prototype for the Parisian and Vatican.

The manuscript consists of six homily, each of which was created as part of the exposition of the life of the Most Holy Theotokos, includes the apocryphal narrative of James the Protoevangelium and six sermons on the "Conception" and "Introduction" by George, Bishop of Nicomedia. The text here has a special narrative structure, all sermons are continuously connected and appear as one complete biographical work dedicated to the Blessed Mary.

Each of the gomelias begins with a new notebook, the text and miniatures are structured according to a similar principle of organization, which we will consider using the example of these manuscripts.

The first scene is illustrated on a full page, the image itself precedes the architectonic plastic solution, the figures are not abstracted from each other, but consist in an inseparable dialogue, preserving the contrasting expression of the face. The miniature named “Ascension” includes two gospel stories of the Ascension and the Descent of the Holy Spirit (Vat. gr. 1162. Fol. 2v)

Compositional construction involves the creation of a special space where all elements exist in a single semantic and context “whole”. The illustration is picturesque, and the artistic language of Komnenos' Mannerism sets a new starting and semantic point - the creation of a landscape, observing the traditions of antiquitic linearity.

Here, the Church of the Holy Apostles appears as a background and decorative decoration. The general character of the decorative solution as excessive ornamentality is represented on the walls and by the arcade of the narthex of the church. This motif of dense and bright hues, two poles of red and blue and a towering floral theme can be traced through the entire corpus of monuments of this period, but after that it loses its meaning.

The model of the “Ascension” event, which is reproduced in the interior of the church, echoes the iconography of that time and retains a single composition: the Mother of God is in the center, both angels point to Christ ascending in glory, the twelve disciples praise Him, David and Solomon are represented on both sides in arched spans. The figures are in motion, the volume is not completely lost, but it is still impossible to note the general compositional dynamic tension. The folds that exceed the tone and pattern are modeled according to a special new type, they set the volume and color of the image. The gesticulation of the characters, the increased tension refers us to the desire to create and illustrate an individualized portrait.

The next page is close in artistic design, has a floral print and carpet decoration, magnificent precise patterns, ornamental weaving, marks a heavenly, abstract beginning, thematically set on the page with the Ascension scene. It is important to note that the sophisticated Comnenos calligraphy in this manuscript is already fading into the background, the brevity component is not so important in this group of miniatures.

Another group of miniatures related to the subjects of the Fall (Vat. gr. 1162. Fol. 35-37v) are extremely expressive. The palette of variegated shades is respected, the interpretation of the body and the face remains to continuously interact with the landscape around them. The landscape is also decoratively divided into several registers, linearly emphasizing the sharpness of the rows. But the miniatures do not at all appear rough or difficult to perceive, moreover, the “fabulous” coloring sets and creates unusual, but already familiar conditions for the viewer to interpret the scenes and, most importantly, the style that will subsequently become leading for the entire empire.

So, the compositions and stylistic features of the miniatures of the Vatican manuscript convey a similar artistic taste: a golden background, no contrasting chiaroscuro, the figures directly interact with the dynamics of the world around them, their space. The color of ornamentation and a clear emphasis on shades are continuous, creating an imitation of spots. Non-exclusively and unnaturalness in poses, images that do not correspond to anatomically holistic ideas about parts of the human body. The interpretation of faces still retains its classical preface, retaining the oriental type of face execution.

As mentioned earlier, the Paris Manuscript is considered to be a copy of the Vatican, or the third manuscript that has not come down to us. This is a later work by a different master. Of course, it is worth expressing the stylistic similarity and iconographic unity of the manuscripts. However, there are also specific principles of implementation and writing of the face and body, which allows us to compare the manuscripts and their stylistic diversity.

The time span of ten years helps us to highlight the main distinguishing feature of the miniatures of the Parisian manuscript, namely the increased expressiveness. Consider the title opening page with the Ascension episode (Paris. gr. 1208. Fol. 3v). Yes, restraint is maintained, but the faces are more free and no longer pursues the goal of conveying a classic oriental image, everything is also respected and artistic unity is manifested. The concentration of the viewer's attention remains on the abundance of colors and shades with which the master freely works. Ornamentation works more persistently and more confidently, conventionality takes on a new meaning. The space and interior of the church is less compressed, there is a feeling that the characters have more freedom in their actions, as they were not illustrated in a simplified way.

Thus, paying detailed attention to the splendor and expressive mood of the manuscripts of Gomelia by Jacob Kokkinowafsky, one cannot fail to note the harmonious synthesis of the texts and miniatures themselves. Analyzing them, the intertextual relationship reveals and takes on a new form, where the miniatures not only illustrate what is happening, but also complement the story, in several fragments becoming to some extent a level higher than the songs themselves. The viewer makes the way from the conscious interpretation of the manuscript to the study, continuously echoing the dogmatic thinking of the master. Linearly and rhythmically, all images are one, which expands our understanding of Comnenos' mannerism.