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「辉煌的启示 (贰)：十一世纪至十八世纪的亚美尼亚基督宗教手稿」集合一批精选典藏，包括合订本，祈祷书卷轴，及来自东地中海地区的基督教福音书彩绘手抄本叶册。

　　亚美尼亚彩绘手抄本是中东基督教教会一些装饰最为奢华的范例。福音书彩绘手抄本为其中之集大成者，这主要是因为亚美尼亚会衆极为尊崇圣经文本，其程度就如同希腊和俄罗斯东正教徒对于圣像的尊崇。这些手抄本经常被亚美尼亚的统治者们携入战场，一些福音书的复制单品也常常被赋予圣名，被认为具有神奇的力量。

　　奇里乞亚时期（公元十二至十四世纪）是亚美尼亚彩绘手抄本的黄金时代。奇里乞亚是当时最主要缮写室的聚集区，它们包括赫罗马克拉（位于严格意义上的奇里乞亚地区之外），迦纳，西斯（首都），达扎克，以及斯克威莱；此地也汇集了杰出的艺术家们，罗斯林．索罗斯就是其中之一。到了十四世纪末期，奇里乞亚彩绘手抄本很大程度上受到了扩张中的穆斯林的影响。公元一三七五年，王朝被埃及的伊斯兰统治者摧毁。成百上千的手抄本遗失或损毁，仅有少量存世。艺术家们逃离奇里乞亚，来到亚美尼亚其他中心地区，在那里，尽管也会采用新环境的艺术形式，他们依然将奇里乞亚的彩绘手抄本传统承递下去。

　　彩绘手抄本作为亚美尼亚文化的承载，其重要性难以言尽。这些彩绘手抄本──特别是其中的福音书──作为最富有意义的文化产品，展现了她们所处的历史，以及文化和传统的力道。彩绘福音书手抄本通常包含了四类图像：十页为册的圣经经文对照表（四福音书中经文类比的索引）；以耶稣基督短暂一生的不同事工场景为主题绘制的导引；分置于四福音书每一卷伊始的四福音书作者的肖像画（圣马太，圣马可，圣路加，以及圣约翰）；最后还有可选页，通常是献给委托制作每一卷福音书的赞助人，其中，按照常规，赞助人的名字镌写在扉页，与之一起的还有艺术家和抄写师的名字，以及其他历史信息，这些都是来确保委托制作神圣抄本的这一虔诚举动，能够稳获救恩。

　　Illustrious Illuminations II: Armenian Christian Manuscripts from the Eleventh to the Eighteenth Century assembles a fine selection of bound volumes, prayer scrolls and illuminated leaves illustrating the Christian Gospel from the Eastern Mediterranean.

　　Armenian illustrated manuscripts are some of the most lavishly decorated codices of the Christian churches from the Middle East. The Gospels are paramount among these, primarily because of the Armenian community’s respect for the sacred texts, revering them in the same way that Greek and Russian Christians regard holy icons. Such texts were often carried into war by Armenian rulers and individual copies of the Gospels were given sacred names and believed to hold miraculous powers.

　　The golden age of Armenian illuminated manuscripts was in the Cilician period (12th–14th centuries). Cilicia was home to important scriptoria—the workshops of Hromkla (actually beyond Cilicia proper), Grner, Sis (the Capital), Drazark and Skevra, where there were many outstanding artists such as Thoros Roslin. Cilician illumination at the end of the fourteenth century was severely affected by the advance of the Muslims. The kingdom was destroyed by the Mamluks, the Islamic rulers of Egypt, in 1375. Manuscripts by the hundreds were lost, mutilated or destroyed; only a few survived. Many artists escaped from Cilicia to other Armenian centres—where they continued the tradition of Cilician illumination—while others chose to adopt the art forms of their new environments.

　　The importance of the book as a vehicle for the transmission of Armenian culture cannot be over stated. The illuminated manuscript—and in particular, the Gospel book—is the most significant cultural artefact, revealing both the history and strength of its traditions and heritage. Illuminated Gospel books typically include four types of images: a ten-page set of canon tables (indexes for comparing similar passages in the four Gospels); an introductory cycle of illustrations depicting various scenes from the ministry of Jesus; portraits of the four Evangelists (St Matthew, St Mark, St Luke and St John) each placed at the beginning of his Gospel; and optional dedications to the donor of the individual Gospel book, in which the donor’s name was routinely inscribed in the colophon, along with names of the artist and scribe—and other historical information—thus ensuring salvation for the pious act of commissioning a sacred book.
 

前言 / 罗诺德博士   6
前言 / 展品藏家   8
亚美尼亚微绘及彩绘手抄本－对近东地区基督信仰与实践的描绘   10
辉煌的启示(贰)   17

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辉煌的启示(贰)：十一世纪至十八世纪的亚美尼亚基督宗教手稿 (中英对照) 电子书 下载 mobi epub pdf txt 2024

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