This extraordinary miniature, which comes from a Gospel manuscript of the Syriac version dated to around 1219-1220, now kept in the Biblioteca Apostolica Vaticana in Rome, offers a densely packed visual narrative of two crucial moments just after Christ’s Passion. On the left, we see the Myrrhbearing women arriving at the empty tomb, and, to the right, we witness the resurrected Christ making His appearance to Mary Magdalene. Hardly a treasure of religious artistry could be more potent in narrating these events, transporting us not just back to the times depicted but also to the vibrant heart of the Syriac Christian tradition. And the language used in this telling, while it shares kinship with the artistic conventions of the Byzantines, pulses with a distinct, localized character. If it doesn’t exactly have human figures to rival the characters portrayed in the art of the Italian Renaissance, then it has a serious spirituality that in some ways is a hallmark of similar works encountered from this era. Indeed, the density of this composition, achieved in part through what is seemingly an unlimited stock of the color gold, invokes the sacredness of the events depicted with almost the same intensity that a Russian icon does.
The Vigil at Dawn: Syriac Depictions of the Myrrh-Bearing Women at Christ’s Sepulcher
The solemn drama of the Myrrhbearers pulls us into the left part of this intricate miniature. We see three female figures approaching the tomb and carrying the spices and perfumes intended for Christ’s burial rites. Who are these women? Most scholars believe they are the figures most often associated with this scene: Mary Magdalene, Mary the mother of James, and Salome. Their posture is reverent but, at the same time, conveys a mixture of sorrow and apprehensive anticipation that we might expect from women on the way to, as they think, anoint the body of their dead friend. Yet, what’s this? An angel, robed in brilliant white and seated upon the stone that has been rolled away from the tomb’s entrance, is addressing the Myrrhbearers. This scene is a dramatic foretelling of the Resurrection, lit up at the climax of the anointing with the tidings of a risen Christ.
“Touch Me Not”: The Risen Lord, Mary Magdalene, and the Guards in Syriac Manuscript Art
Moving to the right side of the miniature, the narrative reaches its emotional and theological climax with the appearance of the Risen Christ to Mary Magdalene. Portrayed as a large, standing figure, and an imposing, dignified presence, His nature as the divine is underscored by a halo, as He turns to face Mary Magdalene, who is basking in the presence of the just-Resurrected One with the awe and reverence of any mere mortal before this kind of sight. His gesture, often taken as the comparable and very telling “Noli me tangere” (“Do not touch me”) during the hand of God sequence, imports major theological freight. It signifies the utterly new, totally transformed, and strikingly spiritual relationship between the Risen Redeemer and His now liberated and spiritually set free followers. The situation is rich with implications for every individual believer then and now and for us in this very moment who are witnessing the scene as such. All renditions of this scene communicate Mary’s overpowering sense inspired by what has just occurred, and all equally capture the sheer thrill and delight of whatever kind of physical (that is, non-spiritual) contact Mary might have made in the face of such an astounding event.
Experiencing these miniatures always hits me in the feels. I can’t help but think of the dedication and sheer genius that it must have taken to create these intricate pieces of art under what I’m sure were challenging conditions. Every detail seems to contribute to a larger story, whether it’s a potent message of tradition or a simple sight gag that’s meant to be funny (and in some cases, it is). They make you wonder what kind of humor these people had back in the day. Seriously, though—it’s almost as if the artists were trying to create for the viewer a comic book that was meant to be taken seriously, but also not so seriously that the stories within were unbearable to access on an emotional level. These images are edifying in the best possible way.
Epilogue
The miniature from the Syriac Gospel of c. 1219-1220, with its compelling depiction of the Myrrhbearers at the Tomb and Christ’s appearance to Mary Magdalene, stands as an invaluable exemplar of the rich Christian artistic heritage of the East. Through its concise yet profoundly expressive visual language, this illumination masterfully conveys the theological depth and emotional intensity of the Resurrection events. It serves as a timeless reminder of art’s unique power to act as a conduit between the seen and the unseen, the historical and the transcendent. Studying such works, including those from traditions like Armenian Gospel Iconography, allows us to gain a deeper appreciation not only for the evolution of religious iconography but also for the profound spiritual concerns of the people who created and venerated these images (Mathews and Sanjian). These artworks possess an enduring relevance, continuing to inspire awe and contemplation across the centuries, speaking to the core tenets of faith through a visual language that remains remarkably potent.
Frequently Asked Questions
What does the miniature from the Syriac Gospel depict?
This early 13th-century Syriac Gospel illumination portrays two crucial post-Resurrection scenes: the Myrrhbearing women (Myrrhbearers) arriving at Christ’s empty tomb to find an angel, and subsequently, the Risen Christ appearing to Mary Magdalene. These Syriac Gospel scenes are fundamental to Christian resurrection narratives.
Who are the Myrrhbearers and what is their significance in this Syriac illumination?
The Myrrhbearers are the women disciples who, according to the Gospels, went to Jesus’s tomb on Easter morning to anoint his body with myrrh and spices. In this Syriac illumination, their discovery of the empty tomb and the angelic message signifies them as the first witnesses to the Resurrection, a pivotal role in Christian tradition.
What artistic influences are evident in this Syriac Gospel miniature of the Myrrhbearers?
While this Syriac Gospel miniature of the Myrrhbearers and Christ’s appearance to Magdalene clearly exhibits characteristics of local Syriac artistic traditions, such as its expressive figures and narrative clarity, it also shows discernible influences from contemporary Byzantine art, particularly in the established iconography for these Resurrection scenes.
Why is Christ’s appearance to Mary Magdalene a significant scene in Christian art like this Syriac Gospel?
Christ’s appearance to Mary Magdalene, vividly captured in this Syriac Gospel, is profoundly significant because she was the first person to see the Risen Lord. Her commission to then bear this news to the other disciples often earns her the title “apostle to the apostles,” highlighting her crucial role in the Resurrection narrative.
How are the tomb guards portrayed in this Syriac Gospel illumination and what does it symbolize?
In this Syriac Gospel illumination, the guards at Christ’s tomb are depicted as asleep or overcome, as also seen in the second provided image showing them at the bottom. This portrayal of the soldiers at the tomb of Christ symbolizes the inability of earthly power and vigilance to prevent the divine act of the Resurrection, emphasizing the triumph of the spiritual over the mundane.
Bibliography
- Mathews, Thomas F., and Avedis Krikor Sanjian. Armenian Gospel Iconography: The Tradition of the Glajor Gospel. Dumbarton Oaks, 1991.
- Parshall, B. (ed.). A Companion to Byzantine Illustrated Manuscripts. Brill, 2017.
- Xyngopoulos, A. L’art byzantin du XIIIe siècle. Referenced in Archaiologikon deltion: Meletes. Meros A – Vol. 34, 1986 (p. 10), citing his contribution to Byzantine Art, European Art, Athens, 1964.
