The iconography of the Communion of the Apostles, a theme well established in Byzantine art after Iconoclasm, first appears in a securely dated context in the silver patens from Riha and Stuma. These silver plates were produced in Constantinople sometime between 575 and 578. The iconography with the twofold depiction of Christ is usually explained as a reflection of the liturgical practice of the Eucharist, namely, as a reflection of the two actors in the Eucharistic rite, the priest and a deacon distributing bread and wine. I argue instead that during the early Byzantine period the twofold depiction of Christ is an expression of the two natures of Christ directed against the Miaphysites. I propose that the exceptional appearance of the scene in the two early Byzantine silver patens from church treasures from northern Syria is likely to be explained by its Christological significance with regard to Chalcedonian Eucharistic doctrine during the persecution of the Miaphysites in the 570s.

中文翻译：

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图像和迦克墩圣体教义：重新评估 Riha 专利、装饰及其历史背景

使徒圣餐的肖像画是圣像破坏之后拜占庭艺术中确立的一个主题，它首次出现在 Riha 和 Stuma 的银质专利中具有安全日期的背景中。这些银盘子于 575 年至 578 年之间的某个时间在君士坦丁堡生产。带有双重描绘基督的肖像通常被解释为对圣体圣事礼仪实践的反映，即作为圣体仪式中两位演员的反映，牧师和执事分发面包和酒。相反，我认为，在早期拜占庭时期，对基督的双重描绘是对基督的两种本性的表达，而这两种本性是针对宗教联结派的。