Konstantinos Vapheiades | Ecclesiastical Academy of Athens (original) (raw)
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Papers by Konstantinos Vapheiades
Τhe region of the inaccessible rock pillars of Meteora is not only one of the most important cent... more Τhe region of the inaccessible rock pillars of Meteora is not only one of the most important centres of Christian spirituality, but a preeminent ark of medieval art. However, it should be noted in advance that speaking about Meteora, we do not refer only to the central cluster of rocks, where the most of the monasteries are found, but also to other groups of rock pillars, with a physical connection to Meteora, on which Byzantine monasteries were erected as well. Besides, when we mention Meteora, we have to bear in mind the surrounding area as well-the so-called Stagoi-in which the most of the dependencies of the Meteora monasteries were established. In addition, certain Byzantine monasteries, which are located far from the Meteora rocks, were always under the spiritual tutelage of the Holy and Great Meteoron Monastery especially. For example, the Monastery of St. Nikanor near the village Zaborda, to the north of Meteora, the Monastery of St. Vissarion near the Pindos mountain, the Monastery of Korbovo located to the east of Trikala, and the Tatarna monastery found to the southwest of Meteora. So, the number of artistic works at Meteora is actually much larger than we think. Thus, this paper provides just an outline of the visual production of Meteora and the surrounding area throughout the Byzantine period.
After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recov... more After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recovery. In the capital of Byzantium itself this period is marked by the mosaic panel of the Deesis in the Hagia Sophia. This work constitutes a 'one-off' in Byzantine art. This fact poses a series of questions concerning the dating, the creator and the patron of the mosaic, as well as the reasons for its creation, given that no source makes any reference to these matters. The present study attempts to reexamine these issues.
The Old Monastery of Korbovo, one of the oldest in the wider Trikke region (Thessaly), is situate... more The Old Monastery of Korbovo, one of the oldest in the wider Trikke region (Thessaly), is situated at the foot of a large rock in the western foothills of the Antichassia Mountains. According to the textual sources, its katholikon was erected and decorated in 1649/50. Nonetheless, the distinct artistic productions detected in its quite eclectic iconostasis reveal different phases in its decoration/renovation that span across centuries (17 th-19 th cc.). This article examines the two eighteenth-century icons of Christ Pantocrator and Virgin Hodegetria attributable by the Athonite monk Metrophanes of Chios, once part of the katholikon's iconostasis.
Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due t... more Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.
The original phase of the katholikon of the Great Meteoron Monastery (pre-1366) possessed wall-pa... more The original phase of the katholikon of the Great Meteoron Monastery (pre-1366) possessed wall-paintings, which were destroyed when the church was rebuilt by St. Joasaph Palaiologos in 1387. The St. Joasaph's katholikon was decorated sixty years after his death i.e. in 1483. However, the wall-paintings of the dome belong to a slightly earlier phase. Many parts of the church were overpainted in the 16 th century. The diakonikon was never painted, while the decoration in the prothesis belongs to the 18 th century. The wall-paintings in the west bays and on the west wall of the katholikon have been completely lost. So, the present study attempts to answer certain questions concerning the construction history of the old katholikon of the Great Meteoron Monastery, its wall-paintings, its iconographic programme and the workshop that executed it in 1483 by reexamining those paintings that have been destroyed or overpainted.
Τhe region of the inaccessible rock pillars of Meteora is not only one of the most important cent... more Τhe region of the inaccessible rock pillars of Meteora is not only one of the most important centres of Christian spirituality, but a preeminent ark of medieval art. However, it should be noted in advance that speaking about Meteora, we do not refer only to the central cluster of rocks, where the most of the monasteries are found, but also to other groups of rock pillars, with a physical connection to Meteora, on which Byzantine monasteries were erected as well. Besides, when we mention Meteora, we have to bear in mind the surrounding area as well-the so-called Stagoi-in which the most of the dependencies of the Meteora monasteries were established. In addition, certain Byzantine monasteries, which are located far from the Meteora rocks, were always under the spiritual tutelage of the Holy and Great Meteoron Monastery especially. For example, the Monastery of St. Nikanor near the village Zaborda, to the north of Meteora, the Monastery of St. Vissarion near the Pindos mountain, the Monastery of Korbovo located to the east of Trikala, and the Tatarna monastery found to the southwest of Meteora. So, the number of artistic works at Meteora is actually much larger than we think. Thus, this paper provides just an outline of the visual production of Meteora and the surrounding area throughout the Byzantine period.
After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recov... more After the recapture of Constantinople (1261) artistic production in Byzantium experienced a recovery. In the capital of Byzantium itself this period is marked by the mosaic panel of the Deesis in the Hagia Sophia. This work constitutes a 'one-off' in Byzantine art. This fact poses a series of questions concerning the dating, the creator and the patron of the mosaic, as well as the reasons for its creation, given that no source makes any reference to these matters. The present study attempts to reexamine these issues.
The Old Monastery of Korbovo, one of the oldest in the wider Trikke region (Thessaly), is situate... more The Old Monastery of Korbovo, one of the oldest in the wider Trikke region (Thessaly), is situated at the foot of a large rock in the western foothills of the Antichassia Mountains. According to the textual sources, its katholikon was erected and decorated in 1649/50. Nonetheless, the distinct artistic productions detected in its quite eclectic iconostasis reveal different phases in its decoration/renovation that span across centuries (17 th-19 th cc.). This article examines the two eighteenth-century icons of Christ Pantocrator and Virgin Hodegetria attributable by the Athonite monk Metrophanes of Chios, once part of the katholikon's iconostasis.
Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due t... more Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.
The original phase of the katholikon of the Great Meteoron Monastery (pre-1366) possessed wall-pa... more The original phase of the katholikon of the Great Meteoron Monastery (pre-1366) possessed wall-paintings, which were destroyed when the church was rebuilt by St. Joasaph Palaiologos in 1387. The St. Joasaph's katholikon was decorated sixty years after his death i.e. in 1483. However, the wall-paintings of the dome belong to a slightly earlier phase. Many parts of the church were overpainted in the 16 th century. The diakonikon was never painted, while the decoration in the prothesis belongs to the 18 th century. The wall-paintings in the west bays and on the west wall of the katholikon have been completely lost. So, the present study attempts to answer certain questions concerning the construction history of the old katholikon of the Great Meteoron Monastery, its wall-paintings, its iconographic programme and the workshop that executed it in 1483 by reexamining those paintings that have been destroyed or overpainted.
According to Nikephoros Gregoras, Patriarch Athanasios I (1289-1293, 1303-1309) abdicated from th... more According to Nikephoros Gregoras, Patriarch Athanasios I (1289-1293, 1303-1309) abdicated from the throne of Constantinople because of a malicious deed …"While he [Patriarch Athanasios] still held patriarchal office and resided mainly in the kellia around Xerolophos, his footstool was stolen from the patriarchal throne and on this the divine icon of Christ our Saviour was etched, with the Emperor Andronikos on one side with a bridle in his mouth and the Patriarch Athanasios on the other holding the reins, like a charioteer being drawn by a horse".
Regardless of whether Athanasios' abdication was due to this incident or not, this vulgar joke, combined with his choice as patriarch, provides the first indications of the Emperor's replacement by the Patriarch as the supreme imperial authority in the minds of the ecclesiastical community.
by Emmanuel Moutafov, Melina Paissidou, Antonio, Enrico Felle, Dragos Gh. Nastasoiu, Angeliki Katsioti, Jelena Erdeljan, Ivan Stevovic, Dimitris Liakos, Aleksandra Kucekovic, VALENTINA CANTONE, Konstantinos Vapheiades, Andromachi Katselaki, Nenad Makuljevic, Ida Toth, Antonis Tsakalos, and Margarita Voulgaropoulou
That is the final program for the 2017 conference, commented with the participants. It contains o... more That is the final program for the 2017 conference, commented with the participants. It contains only the schedule for the Old Art Module.
