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Legend of Barlaam and Joasaph
- Title/name : Legend of Barlaam and Joasaph
- Author : Anonymous
- Production place : Syria
- Date / period : Second half of the XIIIth century
- Materials and techniques : Paper of various origins, colour inks, coloured and gold pigments for the illuminations
- Dimensions : Width, 28.5 cm; length, 21 cm; 149 pages
- Conservation town : Balamand
- Conservation place : Library of the Monastery of Balamand
- Inventory number : No. 147 (6)
- Inscription :
Arabic
This text, falsely attributed to John of Damascus, relates the Christianised story of Buddha as it was adapted by the Christians of the Orient: an Indian king sequesters his son to protect him from the world, but the son manages to leave. He then discovers human suffering and converts to Christianism after meeting a hermit. The text is written, in naskhi script, with brown, black and red ink.
The manuscript is made up of irregular booklets containing Oriental paper (Syrian or Egyptian) an Occidental paper for the additions from the seventeenth century. It contains nine illuminations, each on a different page. Each depicts an episode of the story: Joasaph and his master (f° 13r ); Joasaph and his father the king (f° 13v ); the parable of the "fisherman and the nightingale" (f° 23v); Joasaph embracing Barlaam (f° 32r); Barlaam giving Joasaph communion (f° 38r); Barlaam showing Joasaph his monastic garments (f° 40r); Barlaam baptising Joasaph (f° 45v); Joasaph praying (f° 77r); parable of the man chased by a unicorn (f° 129 r).
The illuminations are characterised by their horizontal layout. The drawing is framed by architectural decorations, towers and buildings topped with blue or red tiles, similar to those found in the background of Byzantine icons. Other elements, such as the hanging tapestries and knotted curtains, the chairs with cushions, the garments, as well as the crowns and other accessories, also belong to the Byzantine repertoire. Very often, certain objects or the heads of the figures extend beyond the frame of the frieze. Furthermore, the size of the figures is not always proportional with that of the setting depicted. The influence of thirteenth century Arab manuscripts was noted by researchers, because the artist applied to the depiction of the figures the models found in Iraqi manuscripts such as the Maqamât by Al-Hariri, and in particular in the drawing of the faces and hands. Another inspiration, evident in the images of vegetation and animals, comes from fourteenth century copies of Kalîla et Dimna by Ibn Al-Muqaffa‘[1].
There are also Muslim versions of the story where the two characters are called Bodhasaph and Bilawahr. The Islamic Arab version was passed on from Iran by the Ismailians. From the twelfth century, translations into several languages − Arabic, Slavic, Armenian and Ethiopian – were known to exist, thus attesting to the dynamism of east-west commercial and cultural exchanges.
[1] Paris, Bibliothèque nationale de France, Arabe 3467; Oxford, Bodleian Library, ms. Pococke 400.
De la Croix, A.-M.; Zabbal, F. Icônes arabes, art chrétien du Levant, exh. cat., Paris, 2003, La Fresquière: Éditions Grégoriennes, p. B 34-38.
Smine, R., "Les miniatures de l’histoire de Barlaam et Joasaph dans le manuscrit de Balamand", in Parole de l’Orient, 18, 1993, Actes du IVe Congrès International d’Etudes Arabes Chrétiennes, Cambridge University, Sept. 1992.
Atil, E., Kalila wa Dimna. Fables from a Fourteenth-Century Arabic Manuscript, Washington, D.C., 1981, Smithsonian Institution Press.
De Voragine, J., La légende dorée, traduite et commentée par Teodor de Wyzewa, Paris, 1920, Perrin, p. 663-676.
Ettinghausen, R., Arab painting, New York, 1977, Rizzoli.
Grabar, A., La peinture Byzantine, Geneva, 1953, Skira.
L’art du livre arabe, exh. cat., Paris, 2001, Bibliothèque nationale de France.
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