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The evolution of religious iconography from ancient maps to intricate paintings encapsulates a rich history of faith, artistry, and pilgrimage. Originally conceived as rudimentary cartographic representations designed to guide pilgrims through the sacred landscapes of the Holy Land, these artworks eventually evolved into the more elaborate and symbolic “Ierosolimitika” and “Proskynitaria” icons. Emerging in Jerusalem as cherished mementos for travelers, these pieces reflect not only the physical geography of significant religious sites but also the profound spiritual significance they held for believers. Over the centuries, what began as simple visual aids transformed into complex narratives, capturing the essence of Christian devotion and the enduring legacy of pilgrimage. This evolution underscores the intricate interplay between geography and spirituality, revealing how art serves both as a guide and as a testament to faith.
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Initially, these artworks acted as religious travel guides for pilgrims journeying to the Holy Land, assisting them in navigating the sacred locations associated with the life of Jesus Christ. Each site represented deep historical and spiritual significance for these pilgrims.
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The earliest known map of the region, the famed Madaba Map, a mosaic dated to 560–565, provides a historical precedent for later visual representations of sacred geography.
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Over time, early maps, which contained rudimentary sketches to indicate key events at each location, evolved into more intricate and expansive representations. Much like the medieval maps produced in Western Europe from the 10th to the 15th century, these icons were often integrated into early maps of Jerusalem. Their development was closely tied to major historical events, including the Crusades, the Ptolemaic revival, the Renaissance, humanist movements, and the Enlightenment.
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By the 17th century, entire canvases were dedicated to illustrating these sacred sites. Pilgrims who visited Jerusalem frequently took home these travel guide paintings as souvenirs of their journeys. Unlike traditional icons, typically made on wooden supports, ”Ierosolimitika” were crafted on canvas, facilitating easier transport by ship, which was crucial for travel in earlier centuries.
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The origins of “Ierosolimitika” and “Proskynitaria” icons lie in their role as cartographic representations of the Holy Land, specifically designed for pilgrims embarking on sacred journeys. Their production can be traced back to the post-Byzantine period, since 17th century, during which they served as visual aids for pilgrims seeking to visit holy sites associated with the life and miracles of Jesus Christ.
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The term “Ierosolimitika” derives from the Greek name for Jerusalem, “Ierousalim”, and specifically refers to Orthodox Christian artworks produced in the Holy City. As these icons were created in Jerusalem, the plural form “Ierosolimitika” came to describe them, reflecting their significant cultural and religious value within the Orthodox tradition. Conversely, the term “Proskynitaria” originates from the Greek word “proskynesis”, which initially denoted the act of worship or adoration of deities. Within a Christian context, this term evolved to encompass the veneration of holy sites and the practice of pilgrimage dedicated to Jesus Christ. The derivative term “proskynetes” refers to a pilgrim, while “proskynetarion” (plural: “proskynitaria”) denotes either the act of pilgrimage or an object associated with it.
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“Ierosolimitika” and “Proskynitaria” represent a distinctive genre of religious iconography, traditionally brought back by pilgrims from the Holy Land as souvenirs beginning in the 17th century. These icons typically feature intricate scenes and miniatures depicting events from the life of Jesus Christ, the Virgin Mary, saints, prophets, the Church of the Holy Sepulchre, and the walls of Jerusalem. Historical research traces the origins of these artifacts to “manuscript icon stands” dating as far back as the 10th century or earlier as maps. These illuminated religious maps served as visual guides and pilgrimage aids for visitors to the Holy Land.
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These icons provide a unique visual portrayal of Jerusalem and the pilgrimage to the Holy Land throughout the centuries. Exclusively produced in Jerusalem since the 17th century, they do not aim for strict realism; instead, they offer conceptual spatial representations of sacred sites. Each icon can be regarded as a symbolic map, capturing the spiritual and geographical essence of these revered locations.
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“Ierosolimitika” and “Proskynitaria” paintings predominantly feature the walled city of Jerusalem, with the Church of the Holy Sepulchre often occupying a central position. This structure is typically depicted as an architectural elevation of its southern facade, showcasing key features such as the belfry, the rotunda, and the catholicon. The interior of the church is illustrated with various scenes, most notably the Crucifixion and the Resurrection of Jesus Christ. The depiction of Jerusalem and its holy sites forms the backdrop, with the city walls visible either partially or fully. Some icons also incorporate other significant structures, including the Dome of the Rock and various Orthodox monasteries and churches within Jerusalem.
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Certain “Proskynitaria” or “Ierosolimitika” icons feature inscriptions identifying their owners. These inscriptions, usually located in the lower portion of the icon but sometimes found elsewhere, including the reverse side, are typically written in Greek. They provide valuable details about the production, date, and trade of the icons. The first part of the inscription often follows a standardized formula, identifying the potential buyer as “a pilgrim (proskynitis) to the Holy and Life-Bearing Sepulchre.” The buyer’s name would then be added, sometimes hastily and in a different color, likely at the time of purchase. This practice suggests that many of these icons were produced year-round by artists and put up for sale around Easter, a peak period for pilgrimages to Jerusalem.
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In conclusion, the “Ierosolimitika” and “Proskynitaria” icons stand as powerful testaments to the enduring relationship between art and pilgrimage, illuminating centuries of Orthodox Christian devotion. These icons encapsulate the spiritual journeys of countless pilgrims while serving as vibrant narratives that weave together history, geography, and faith. From their origins as simple cartographic guides to their transformation into richly detailed artistic expressions, these works reflect a profound cultural heritage deeply rooted in the sacred geography of Jerusalem. As cherished relics of spiritual significance, they continue to inspire and connect contemporary believers to their historical and religious roots, ensuring that the stories of faith and devotion they embody will resonate for generations to come. The evolution of these icons is not merely an artistic journey; it is a living legacy that bridges the past and present, inviting all to embark on their own pilgrimage of discovery.
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by Venizelos G. Gavrilakis
Edited Athina Gkouma
About the author:
Venizelos G. Gavrilakis, a renowned expert in the art conservation and restoration of Byzantine and post-Byzantine icons, historical oil paintings, and Ottoman-era artwork, has been working as a senior expert conservator and restorer since 1994. He has worked with various institutions and has been involved in international conservation meetings and conferences. Gavrilakis is the president of the art conservation and restoration company VENIS STUDIOS, based in Istanbul, Turkey, and has collaborated with galleries, antique dealers, and private collectors.
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