Artistic Iconography in Frankish Lebanon: A Syro-Byzantine Fusion
During the Frankish period, mural painting flourished in the Lebanese mountains, as evidenced by remnants found in medieval Maronite churches and other Christian edifices. These murals, dating back to the Crusader period (12th-13th centuries), are mostly found in the County of Tripoli. Founded in 1109 by Raymond of Saint Gilles, Count of Toulouse, the County was a diverse socio-religious entity that included various communities such as Western Christians, Maronites, Greek Orthodox (Melkites), Syriac Jacobites, Nestorians, Armenians, Muslims, and other minority groups (Hélou, 2017-2019; Dédéyan & Rizk, 2010).
The County's capital was Tripoli, and it had three significant urban centers in Anfeh, Byblos, and Batroun, where important lordships were established (Richard, 1945). Although largely destroyed, the remaining murals provide tangible evidence of the prosperity of the local Christian community under this rule.
These murals adorn churches located within the County’s territory, which extended from south of Byblos to north of Tripoli, encompassing the highlands to the east of Lebanon. More than thirty sites with murals have been identified in villages between Tripoli and Jbeil and in the Qadisha Valley (Snelders & Immerzeel, 2012-2013).
Fig. 3.1: Mural paintings of Mart-Shmouni grotto, Hadcheet (13th century)
Fig. 3.2: Mural paintings of Saint-Theodore Church, Bahdidat, Byblos (13th century)
Surviving murals can be found in churches such as Mar Saba Edde, Saydet Naya Kfar Shleiman, Saint-George Rashkida in Batroun, Mart Shmouni, Dayr al-Salib Hadcheet, Mar Tadros Bahdidat and Mar Charbel of Edessa Maad (Ma’ad) in Byblos (Hélou, 2009). The patrons of these paintings were generally the faithful and the local clergy, as evidenced by the portraits of donors in some of these churches (Hélou, 2019). However, notable Franks also participated in the remodeling of the architecture and possibly in the pictorial decoration, as attested by Patriarch Estephan al-Douaihy (al-Duwayhī, 1983).
Fig. 3.3: Mural paintings of Saint-Charbel Church, Maad, Byblos (13th century)
Fig. 3.4: Mural paintings of Saint-Sabas Church, Edde, Batroun (late 12th century)
The murals reflect a local artistic tradition and a fusion of Syro-Byzantine styles. The Oriental style of this period is characterized by flatness, abstraction, and bold outlines, emphasizing decorative and symbolic representation rather than realism (Hélou, 2010). The Syriac style is marked by rigid, frontal figures that appear suspended in both time and space. These figures, solemn and imposing, feature large, wide-open eyes that gaze directly ahead. However, their gaze is abstract and timeless, evoking the hieratic qualities of figures from ancient Eastern civilizations (Hélou, 2009). The facial features are uniform and stereotypical: round faces with identical almond-shaped eyes, similar noses and mouths, and continuous, connected eyebrows (Snelders & Immerzeel, 2012–2013).
Fig. 3.5: Mural paintings of Saint-Charbel Church, Maad, Byblos (13th century)
Fig. 3.6: Mural paintings of Saint-Theodore Church, Bahdidat, Byblos (13th century)
When combined with Byzantine iconography, these styles create a unique artistic expression that blends external influences with local cultural heritage. This fusion results in a distinctive artistic practice that reflects both the broader Byzantine tradition and the specific regional identity of the Lebanese mountains during the Frankish period (Hélou, 2009).
Photo Credits
Fig. 3.1: USEK Library, Phoenix Center for Lebanese Studies, Abdo Badwi Collection.
Fig. 3.2-6: Courtesy of Professor Nada Hélou.
References
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