THE THEME OF CYRIL AND METHODIUS IN THE WALL-PAINTINGS AT THE ARAPOVO MONASTERY

Abstract

The following paper is an attempt at a complete analysis of the theme of Cyril and Methodius in the iconography at the Arapovo Monastery. In 1864 in the cella of the “St. Nedeliya” church, ten paintings, depicting the work of the Slavic teachers, were painted. They have been examined numerous times over the years, but different publications offer different interpretations of depiction for each of the scenes. The paper presents the current condition, as well as content, of said depictions. An attempt has been made to provide a background for the scenes depicted, based on available texts from the 19th century. One of the paintings depicts St. Cyril as the one who converted the Bulgarian ruler to Christianity, which contradicts the legend of Methodius, that was popular during the Bulgarian National Revival. The depiction of St. Cyril in this role could be based on “The Legend of Thessalonica” (better known in Bulgarian as “Solun”), “The Dormition of Cyril” and “The Czech Legend”, which were available in publications dating from the early 19th century. The examples lead to the conclusion that the switch of roles in the conversion scene was an intentional choice, representing the patriotic understandings of young painter Georgi Danchov regarding the fight for an independent church which was occurring during that decade. A thematically identical scene, which depicts St. Methodius in the role of baptizer, was painted in the monastery’s holy spring. The paper also provides an image with initials present, according to which, the painting was done in 1870 by Aleksi Atanasov. It depicts the Thessalonica Brothers as they are compiling the alphabet, surrounded by their pupils. There are nine people present, as opposed to the usual seven, usually referred to as the “Seven Saints”. A brochure, put out in 1857 by the bishop Polycarp, provides an explanation for that number. In publications from 1988 and 2008, there are mentions of painted figures, identified as St. Cyril and St. Methodius. These depictions serve as basis for two hypotheses for identifying them that the paper explores. The more likely of the two is the one that connects these depictions to St. Cyril and St. Athanasius of Alexandria. The monastery’s katholikon features depictions of St. Cyril and St. Methodius at the southern entrance, as well as two icons, signed by Georgi Danchov in 1866 and Nikola Danchov in 1871.