In Anatolia, many post-Byzantine icons show clear references to traditional Byzantine painting. At the same time, they reflect wider artistic trends of the time when they were made. Artists often used models or patterns from earlier centuries, as well as printed collections of paper icons that were widely circulated. These resources provided inspiration, but the main goal of the painters was always to communicate an Orthodox religious message Iconographic Details of the “Unfading Rose”.
Even when painters included new iconographic details or motifs that were not conventional in Byzantine art, they did so in a way that was harmonious and integrated into the overall composition. This blending of old and new created a distinctive style that is characteristic of post-Byzantine iconography in Anatolia. These icons were not simple copies of older works; they were reinterpretations that respected tradition while responding to contemporary tastes and spiritual needs.
In this section, three specific examples are examined in detail. Other devotional objects are also mentioned to provide a broader view of the artistic and historical context. By studying these cases, scholars can better understand both the iconography and stylistic developments in Anatolia during the post-Byzantine period.
Example 1: Virgin Mary as “The Unfading Rose”
The first case study is an icon of the Virgin Mary known as “The Unfading Rose” (Greek: To Rothon to Amaranton). This is a late Byzantine type of Marian iconography created around 1700. It illustrates verses from the Akathistos hymn, a key text in Orthodox devotion Ephesus Guides.
This type of icon became very popular during the eighteenth century. It appeared not only in paintings but also on printed paper icons and small triptychs, which helped spread the image widely. By the post-Byzantine period, a stable iconography had been established for “The Unfading Rose,” with standard features that were widely recognized by worshippers.
The specific example discussed here is housed in the Tokat Archaeological Museum (inventory number 515/48.8.30). It measures 58 by 105 cm and is dated March 27, 1823. This icon combines the traditional Byzantine representation of the Virgin Mary with stylistic elements from the contemporary period. While it retains the spiritual and symbolic meaning of the original type, it also incorporates individual details that give it a unique character.
Integration of Tradition and Innovation
Icons like “The Unfading Rose” demonstrate how Anatolian painters balanced tradition with innovation. They preserved the familiar symbols and compositions of Byzantine art while introducing subtle variations in figures, gestures, or decorative details. This approach allowed the icons to maintain their sacred purpose while engaging viewers with fresh visual elements.
Overall, the study of these icons shows how post-Byzantine painters created a living artistic tradition. They honored the past while responding to contemporary religious, cultural, and aesthetic influences. By examining examples like this, scholars can better understand the richness and diversity of Orthodox iconography in Anatolia after the fall of Byzantium.
