Avis de soutenance - doctorat - Maria CHRONOPOULOU

This thesis focuses on the study of illuminated letters in Byzantine manuscripts of the Sixteen Homilies of Saint Gregory of Nazianzus, dating to the 11th and 12th centuries. These liturgical homilies were intended to be read during church services, particularly in monastic context. The manuscripts are richly adorned with miniatures, full-page images, and marginal decorations, but the illuminated letters hold a prominent position in the ornamentation, serving as primary mediums of iconography. The study examines eighteen Byzantine manuscripts, encompassing a total of 608 illuminated letters. These letters feature a rich and diverse iconography, including images directly tied to the text, such as scenes inspired by the subject of the Homilies or portraits of the author. Additionally, they depict scenes from everyday life, performances, agricultural works, and animals, which, although seemingly detached from the theological content of the homilies at first glance, they offer symbolic or allegorical nuances. The analysis of the function of these illuminated letters within the liturgical manuscripts, and their interaction with the homilies' text, reveals how these letters-images serve as vehicles for symbolisms, visual metaphors, exegesis, and intricate theological and spiritual messages. They transcend their decorative purpose to shape both the reading and interpretation of the text. Far from being mere embellishments, these letters are integral to the text itself, enriching Gregory's theological discourse and heightening the solemnity of his words. The illuminated letters in these manuscripts reflect the profound reverence of the Byzantines for the writings of Gregory of Nazianzus and embody a visual elevation of the text. This imagery acts as a form of veneration, underscoring the theological importance of the homilies. Furthermore, the liturgical and rhetoric nature of these homilies gives the illuminated letters a pivotal role in the reading process, seamlessly integrating into the text and actively contributing to its oral delivery. The study of the illuminated letters in the Sixteen Homilies sheds light not only on their specific role in Byzantine manuscripts but also on their ability to transform the text into a unique visual and spiritual experience. Instrumental to this osmosis of image and text, the illuminated letters celebrate the theological authority of Saint Gregory of Nazianzus's homilies, paying tribute to his work through the subtle fusion of image and word. The study of illuminated letters in the sixteen Homilies reveals not only their specific role in Byzantine manuscripts but also their capacity to transform the text into an experience that is both sensory and spiritual. These letters become hybrid mediums, designed to be seen, read, contemplated, and meditated upon, while also inspiring wonder or amusement. The letter-image, which flourished in the 11th and 12th centuries, is a distinctive phenomenon of the Comnenian era. The letter functions as a liminal and ambiguous space, containing abbreviated scenes, micro-icons, or amuletic images, reflecting the theological debates and spirituality of the Comnenian Empire. It serves not only as a reference point for reading but also as a dynamic space, where a different form of writing — that of imagery — comes to life. Simultaneously, this rich iconographic repertoire, featuring "profane" images such as aristocratic spectacles and pastimes, representations of exotic animals, or satirical depictions of mocking animals within the letters of liturgical homilies, reflects a society undergoing profound transformation. These representations express aristocratic culture within its two privileged domains — the oikos and the monastery — projecting their imagination and tastes into the art of the sacred book and the monasteries.