The Church of the Dormition of the Theotokos
The Monastery's church is dedicated to the Most-Pure Mother of God and commemorates the Dormition of the Virgin Mary on August 15th.
Yet, the existing structure represents only a fragment of a larger edifice, the remnants of a once majestic church that was razed to the ground. It is inconceivable that such a historically significant and vast monastery would have such a small church.
Inside, an ancient altar stands, fashioned in the likeness of pagan altars. In ancient times, when animal sacrifices were offered, they would collect the blood on the altar, allowing it to flow through a channel carved into the altar's surface.
Adorning the walls of the church are beautifully painted frescoes, among Lebanon's oldest and most authentic Byzantine artworks, exhibiting both advanced Byzantine artistry in iconography and architecture, as well as a unique local craftsmanship evident in their crafting, detailing and embellishment.
Description of the Frescoes
In the central scene, with five arches surrounding her, the Virgin Mary sits enthroned, cradling Lord Jesus, with the inscription "Mother of God, the Merciful" written above her head. Positioned to her right is Saint Helena, the mother of Saint Constantine the Great, alongside an unidentified saint whose face has been defaced and the inscription near her removed, possibly identified as Saint Marina. On her left stands the Great Martyr and Most Wise Catherine, the revered patroness of the Sinai Monastery. The fifth arch, on the other hand, has completely deteriorated. The majority of the faces are disfigured with piercings, suggesting the icons originate from the 12th century.
The second scene depicts the Lord seated on the throne, bestowing blessings, with the Virgin Mary to His right, accompanied by two supplicating angels. Below them, an angel presents two naked figures for judgment, holding a scale in his left hand, likely representing remnants of the Last Judgment scene.
Beneath this depiction, the Magi's adoration of the newborn Child and women washing Him are portrayed.
The portrayal of the Transfiguration scene on the church's corner is striking in its expressions, being an ancient artwork created with a straightforward style that relies heavily on symbolism to convey the scene's spiritual depth. This icon is believed to be the work of a local artist with passion but limited artistic skill. It bears resemblance to the art of gnostic artists, employing primitive symbolism with simplicity. (After a fire in 1993, Father Lamen from the White Fathers visited the monastery and inspected the icons closely. It is suggested that this particular icon may date back to the 6th century due to its resemblance to the Cappadocian style).
Christ dominates the scene both in height and width, with the apostles positioned to his right and the two prophets to his left, albeit smaller in scale.
The last scene depicts a saint riding his white horse, trampling a subdued king with a spear. The painting is in need of significant restoration, as the saint is completely damaged, leaving only the white horse recognizable. Cleaning is also required for the artwork, and the saint depicted could potentially be Mercurius thrusting his lance at Julian the Apostate.
On the sides of the church entrance, two crosses are depicted in a wine hue against a white backdrop, reminiscent of remnants from the era of iconoclasm.
Above the door, a carved cross resembling the emblem of the Crusaders is displayed. This cross design was familiar in our region prior to the arrival of the Crusaders and was also prominent in the West, gaining further recognition as their emblem.