Knowledge Bank

Throughout the Medieval period, visual art played a large role in religious culture. The production of sacred portraits to be used in devotional and liturgical practices, known as religious icons, became tradition. As the Byzantine Empire grew between the 4th and 15th centuries, so did the dedication to rich aesthetics for these objects. Primarily originating in the Byzantine Empire’s capital in Constantinople, these devotional icons grew increasingly opulent and began to develop cult-like followings. However, the creation of lavish devotional icons was not limited to Constantinople or the Byzantine Empire. ​ ​ Created in central Bulgaria during the Second Bulgarian Empire in the 14th century, the Icon of Saint Virgin Eleusa, Nessebar, served as a physical representation of Jesus Christ’s presence. The choice to represent him as an infant with the Virgin Mary emphasizes the miraculous and transcendental qualities of his life. Through research regarding materiality, iconography, inscription, and site-specificity, it is possible to begin to uncover the significance and impact of this icon. Commissioned by Tsar Ivan Alexander’s uncle, Michael (Shishman) Assen III, the creation of the icon served as both a political and religious statement. ​ The painstaking production process and use of expensive materials for this icon contributed to its sublime effects on the devotional practices of its audience. This study finds that in the creation of this icon, the Bulgarian Empire asserted its political authority in material culture and luxurious veneration objects to rival Constantinople. Specifically, this study shows the political implications of the icon’s creations revealed through examining its inscription, in which Shishman states his grand desires for the icon’s impact. By asserting the authority of the Second Bulgarian Empire, Shishman makes clear his intention to elevate the status of the Second Bulgarian Empire through its production of material culture.