TABLE OF CONTENTS. Preface... 1

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1 TABLE OF CONTENTS Preface Context is Everything. Identifying Identity in the Art of the Syrian Orthodox The Study of Medieval Christian Art from the Middle East Aim of the Present Research Theoretical Framework Community and Communal Identity Ethnogenesis Theory Art and Identity Possible Identity Markers A) Iconography B) Style C) Inscriptions Delimitation of the Research Material Summary The Syrian Orthodox in their Historical and Artistic Settings Northern Mesopotamia and Mosul The Establishment of the Syrian Orthodox Church in Northern Mesopotamia The Syrian Orthodox Church in the Mosul Area Deir Mar Mattai versus Takrit The Syrian Renaissance Medieval Syrian Orthodox Church Decoration in Syria and Lebanon A) Deir Mar Musa al-habashi near Nebk, Syria.. 75 B) Church of Mar Tadros in Bahdeidat, Lebanon Artistic Developments in Northern Mesopotamia and Related Areas A Common Christian-Muslim Visual Culture Mixed Workshops and Christian-Muslim Collaboration Religious Convergence and Joint Christian-Muslim Veneration The Golden Age of Mosul

2 VIII TABLE OF CONTENTS 3. Metalwork: The Liturgical Fan from Deir al-surian Introduction General Description Iconography and Style The Enthroned Virgin Hodegetria in Vatican Syr. 559 and British Library Add The Enthroned Virgin Hodegetria at the Church of the Virgin in Mosul The Enthroned Virgin Hodegetria on the Freer Canteen Stylistic Analogies with a Group of Manuscripts from Northern Mesopotamia A Comparison with Mosul Metalwork Language of the Inscriptions and Religious Background of the Artist Cultural Contacts between Deir al-surian and Mesopotamia Moses of Nisibis: Cultural Contacts in the Ninth and Tenth Century Monks from Deir Mar Mattai: Cultural Contacts in the Twelfth and Thirteenth Century Conclusion Manuscript Illustration: Vatican Syr. 559 and British Library Add Introduction Illustrated Islamic Manuscripts and the Contribution of Local Christians General Description of Vat. Syr. 559 and BL Add Style General Observations The Production of Illustrated Syrian Orthodox Manuscripts during the Syrian Renaissance The Production of Vat. Syr. 559 and BL Add Iconography The Byzantine Contribution The Middle-Eastern Contribution Remarks about the Iconographic Programme of Vat. Syr Function and Practical Purposes Possible Propagandistic Intentions Questions of Identity

3 TABLE OF CONTENTS IX A) The Portraits of the Evangelists B) The Forty Martyrs of Sebaste C) Four Monastic Saints D) Constantine and Helena Conclusion Wall Painting: The Church of Mar Giworgis in Qaraqosh Introduction General Description Description of the Church and History of the Building Description of the Wall Painting Iconography The Baptism of Christ Frequently Recurring Subsidiary Figures Baptism and Resurrection of Christ An Accumulation of Resurrectional Symbolism Baptismal Themes in the Syrian Orthodox Tradition Style Wider Historical and Artistic Context Written Evidence for Medieval Wall Paintings in the Syrian Orthodox Church A) Wall Paintings in Syrian Orthodox Churches in Central Mesopotamia B) Wall Paintings at Deir Mar Barsauma near Melitene C) Wall Paintings at Deir Mar Yuhanon bar Naggare near Bartelli Conclusion Sculptural Decoration in a Monastic Context: Deir Mar Behnam near Qaraqosh Introduction History of the Monastery: External and Internal Evidence The Legend of Mar Behnam Historical Sources and Inscriptions Style General Observations Gates Niches Domes

4 X TABLE OF CONTENTS Inscriptions Iconography Animal Motifs A) Dragons B) Lions C) Birds Human Figures and Narrative Scenes A) Equestrian Saints: Mar Behnam and St George. 301 B) The First and Second Baptism of Mar Behnam. 305 C) Six Monastic Saints D) St Peter and St Paul E) Veneration of the Cross by Angels The Iconographic Programme and Its Meaning A) Victory of the Cross and the Triumph of Christianity over its Enemies B) A Genealogy of Syrian Orthodox Monasticism in the Mosul Area Conclusion Sculptural Decoration in a Parish Context: The Church of Mar Ahudemmeh in Mosul and the Church of Mart Shmuni in Qaraqosh Introduction The Architecture of Syrian Orthodox Churches in the Mosul Area The Symbolic Meaning of Liturgical Space in the Syrian Orthodox Tradition The Church of Mar Ahudemmeh in Mosul Style and Iconography of the Royal Gate at the Church of Mar Ahudemmeh The Cross-Legged Seated Prince Holding a Cup Mounted Falconers Lion s Head and Dragon-Tailed Lions Arabic Inscriptions The Church of Mart Shmuni in Qaraqosh Style and Iconography of the Royal Gate at the Church of Mart Shmuni Style and Original Appearance of the Royal Gate Cult and Iconography of Mart Shmuni and Her Sons The Cross-Legged Seated Prince Dominating Lions 369

5 TABLE OF CONTENTS XI Military Attendants The Royal Gate: Re-use, Specific Commission, or Stock Made? The Turkish Ruler and his Military Attendants: Symbols of Christ and his Heavenly Army? Conclusion Inscriptions: Language and Dating Systems Introduction Language Deir al-surian and Deir Mar Musa Illustrated Syrian Orthodox Manuscripts Deir Mar Behnam and the Church of Mar Ahudemmeh Dating Systems Conclusion Epilogue: Art as an Expression of Syrian Orthodox Identity? Introduction The Profile and Character of Syrian Orthodox Art Regionalism Artistic Interaction and the Relationship between Christian and Islamic Art Monastic Context versus Parish Context Identity in Word and Image: Future Avenues of Research 424 Figures and Plates Abbreviations Bibliography List of Figures and Plates Appendices Appendix A Description of Deir Mar Behnam Appendix B Twelfth- and Thirteenth-Century Inscriptions at Deir Mar Behnam Select Index