Yuliana Boycheva | Foundation for Research and Technology - Hellas (original) (raw)
Papers by Yuliana Boycheva
ISTORIYA, 2021
The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and obje... more The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of South-Eastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied co...
Οι ρωσικές εικόνες που διακινούνταν στον ελληνικό χώρο από το 16ο ως τον 20ό αιώνα αποτελούν αφιε... more Οι ρωσικές εικόνες που διακινούνταν στον ελληνικό χώρο από το 16ο ως τον 20ό αιώνα αποτελούν αφιερώματα από το ρωσικό κράτος ή τον ίδιο τον Τσάρο, από Έλληνες εμπόρους της διασποράς, μοναχούς-ταξιδιώτες και προσκυνητές. Συχνά δε ήταν αντικείμενο του πλανόδιου εμπορίου εικόνων από Ρώσους στην επικράτεια της οθωμανικής αυτοκρατορίας. Οι ιδιαίτερες διαδρομές τους, τα νοήματα με τα οποία επενδύονται και οι ποικίλες μορφές υποδοχής που συναντούν, δικαιολογούν τη μελέτη του φαινομένου ως περίπτωσης πολιτισμικής μεταφοράς.The study of Russian icons preserved in Greece raises a series of questions related not only to their artistic qualities and the identification of their origin and aspects of their production, but also to the reconstruction of the channels and routes of their dissemination in the Orthodox East. Their widespread diffusion, their qualities as conveyers of cultural and political connotations, and the various forms of their reception by the Orthodox Christians living in the O...
Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας, 2016
«Εἰικόνες μοσχόβικαις..., εὐμορφώτατα πράγματα». Η μεταφορά ρωσικών εικόνων στoν ελληνικό χώρο απ... more «Εἰικόνες μοσχόβικαις..., εὐμορφώτατα πράγματα». Η μεταφορά ρωσικών εικόνων στoν ελληνικό χώρο από το 16ο ως τις αρχές του 20ού αι.
Deltion of the Christian Archaeological Society, 2015
The study of Russian icons preserved in Greece raises a series of questions related not only to t... more The study of Russian icons preserved in Greece raises a series of questions related not only to their artistic qualities and the identification of their origin and aspects of their production, but also to the reconstruction of the channels and routes of their dissemination in the Orthodox East. Their widespread diffusion, their qualities as conveyers of cultural and political connotations, and the various forms of their reception by the Orthodox
Christians living in the Ottoman Empire and its successor nation-states justify their being studied as a particular case of cultural transfer.
Art Studies Quarterly-Sofia, 1999
Art Studies Quarterly-Sofia, 2005
Y. Boycheva, “Functional and Iconographical particularities of the Epitaphion at the 14-15th cent... more Y. Boycheva, “Functional and Iconographical particularities of the Epitaphion at the 14-15th centuries. Byzantine Epitaphioi in Bulgaria.” [in Bulgarian], Art Studies Quarterly-Sofia, 4 (2005), 15-26.
Analecta Stagorum et Meteororum, vol 1 (2022), 2022
This article examines Russian artifacts donated to the Monastery of the Virgin of Tatarna (Evryta... more This article examines Russian artifacts donated to the Monastery of the Virgin of Tatarna (Evrytania, Central Greece) by Archbishop Arsenios of Elassona (1550-1625) and clergymen from his entourage. A monastic site since the Byzantine period, Tatarna emerged as an important religious center in the late sixteenth century because of its special status as a patriarchal monastery (stavropegion), granted to it almost immediately after its foundation by monks from Thessaly. The donation of a large number of Russian artifacts includes a manuscript, icons, and a pectoral panagiarion-encolpion, some of which are associated directly with Arsenios through inscriptions, while others are attributable to the clerics carrying the artifacts to the monastery. Overall, this is one of the very interesting ensembles of Russian ecclesiastical art to have survived in its original context in Greece. It is distinguished not only by the excellent craftsmanship of the objects comprising it, but also by the questions it raises as a historical source.
ISTORIYA, 2021
The Russian religious artefacts-icons, liturgical utensils, veils, vestments and books and object... more The Russian religious artefacts-icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of SouthEastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied component of the larger cultural process of transformation of the artistic language and visual culture in the region and its transition from medieval to modern idioms. In this dynamic transfer, piety, propaganda and visual culture appear intertwined in historically unexplored and theoretically provoking ways.
Routes of Russian Icons in the Balkans (16 th -early 20 th Centuries), 2016
Another example is the Descent into Hell, with the figures of Sarah, Rachel, Rebecca, Esther and ... more Another example is the Descent into Hell, with the figures of Sarah, Rachel, Rebecca, Esther and some others (sometimes up to 16 characters), in addition to Eve, among the Old Testament righteous women. Such figures are encountered relatively rarely in the post-Byzantine world outside Rus'. An additional female figure is known, for instance, to be depicted next to Eve in a fresco at the aforementioned katholikon of Meteora monastery. 59 Additional representations of Old Testament women in the scenes of the Descent into Hell are known in seventeenth-century monuments of western Ukraine, for example, in the icon painted by the iconographer Andrei of Lvov in 1646 (National Museum of Art of Romania, Bucharest). The same museum in Bucharest has preserved a large veil (118 x 116 cm), circa 1638/1639, for the icon Descent into Hell that originated from the Three Holy Hierarchs monastery in Iasi and has five more kneeling foremothers behind Eve. 60 Romanian scholar Marina Sabados has drawn my attention to these two works at the Bucharest museum. To sum up, donations of small Russian piadnitsa icons to churches and monasteries of the post-Byzantine world seem the brightest and most interesting phenomenon at the current stage of scholarly research. Commissioning Russian artists was hardly common practice in Orthodox countries in the late fifteenth and sixteenth centuries. The use of Russian iconographic features in the art of the post-Byzantine world has so far been studied inadequately.
Routes of Russian Icons in the Balkans (16th -early 20th Centuries), 2016
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Medieval Bulgarian Art and Letters in a Byzantine Context, 2017
In recent years a number of studies in the field of Byzantine art have dealt with the interpretat... more In recent years a number of studies in the field of Byzantine art have dealt with the interpretation of the liturgical function and iconography of silk cloth embroidered with silk and gold threads. These veils, or aeres, hold an important place in Byzantine material culture not only as works of art but also as objects indicative of the broader historical and social context in which they have been produced and used. 1 The Byzantine embroidered liturgical veils preserved today are relatively few in number, which is why the study of the history of these objects and their iconography necessarily relies upon written sources 2 and surviving depictions of liturgical veils found in wall paintings. 3 The present study fo
Cahiers archéologiques. Fin de l’Antiquité et Moyen Age, 2003
Art Studies Quarterly-Sofia, 2002
Ἡ μεταφορά ρωσικῶν εἰκόνων στόν ἑλληνικό χῶρο (16ος-20ός αἰ.) καί τό παράδειγμα τῆς Πάτμου Ἡ διάδ... more Ἡ μεταφορά ρωσικῶν εἰκόνων στόν ἑλληνικό χῶρο (16ος-20ός αἰ.) καί τό παράδειγμα τῆς Πάτμου Ἡ διάδοση ρωσικῶν εἰκόνων στόν Ὀρθόδοξο πληθυσμό τῆς Ὀθωμανικῆς αὐτοκρατορίας καί ἀργότερα στά διάδοχα τῆς αὐτοκρατορίας βαλκανικά ἐθνικά κράτη ἐκδηλώνεται, μέ αὐξητικές τάσεις, ἀπό τά μέσα τοῦ 16ου αἰώνα ὥς τίς ἀρχές τοῦ 20οῦ αἰώνα 1 . Τό φαινόμενο αὐτό καί ἡ ἐπιρροή τῶν ρωσικῶν εἰκόνων στήν ἁγιογραφία τοπικῶν σχολῶν ἔχουν μελετηθεῖ στό πλαίσιο τῆς ἱστορίας τῆς μεταβυζαντινῆς χριστιανικῆς τέχνης τῶν Παραδουνάβιων Ἡγεμονιῶν, τῆς Βουλγαρίας καί τῆς Σερβίας 2 . Ἡ διάδοση ρωσικῶν εἰκόνων στό ἑλληνικό χῶρο, ἀντί-25
Books by Yuliana Boycheva
Talking Icons: The Dissemination of Devotional Paintings in Russia and the Balkans, 16th – 19th century”, Exhibition Booklet / Catalogue, Byzantine and Christian Museum Athens, (2014), 2014
From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. Th... more From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. The fact that they came from the one and only Orthodox empire after the Fall of Constantinople added special symbolic and religious value to these artworks. The exhibition catalogue highlights the main distribution channels for religious art coming from Russia to the Balkans (donations given by the Russian state and religious institutions; offerings and expressions of private piety; travelling salesmen). The works discussed in the book belong to museum collections, monasteries and parish churches from all over Greece.
Exhibition: Benaki Museum, Athens, 13 December 2017 - 11 February 2018.
ISTORIYA, 2021
The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and obje... more The Russian religious artefacts - icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of South-Eastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied co...
Οι ρωσικές εικόνες που διακινούνταν στον ελληνικό χώρο από το 16ο ως τον 20ό αιώνα αποτελούν αφιε... more Οι ρωσικές εικόνες που διακινούνταν στον ελληνικό χώρο από το 16ο ως τον 20ό αιώνα αποτελούν αφιερώματα από το ρωσικό κράτος ή τον ίδιο τον Τσάρο, από Έλληνες εμπόρους της διασποράς, μοναχούς-ταξιδιώτες και προσκυνητές. Συχνά δε ήταν αντικείμενο του πλανόδιου εμπορίου εικόνων από Ρώσους στην επικράτεια της οθωμανικής αυτοκρατορίας. Οι ιδιαίτερες διαδρομές τους, τα νοήματα με τα οποία επενδύονται και οι ποικίλες μορφές υποδοχής που συναντούν, δικαιολογούν τη μελέτη του φαινομένου ως περίπτωσης πολιτισμικής μεταφοράς.The study of Russian icons preserved in Greece raises a series of questions related not only to their artistic qualities and the identification of their origin and aspects of their production, but also to the reconstruction of the channels and routes of their dissemination in the Orthodox East. Their widespread diffusion, their qualities as conveyers of cultural and political connotations, and the various forms of their reception by the Orthodox Christians living in the O...
Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας, 2016
«Εἰικόνες μοσχόβικαις..., εὐμορφώτατα πράγματα». Η μεταφορά ρωσικών εικόνων στoν ελληνικό χώρο απ... more «Εἰικόνες μοσχόβικαις..., εὐμορφώτατα πράγματα». Η μεταφορά ρωσικών εικόνων στoν ελληνικό χώρο από το 16ο ως τις αρχές του 20ού αι.
Deltion of the Christian Archaeological Society, 2015
The study of Russian icons preserved in Greece raises a series of questions related not only to t... more The study of Russian icons preserved in Greece raises a series of questions related not only to their artistic qualities and the identification of their origin and aspects of their production, but also to the reconstruction of the channels and routes of their dissemination in the Orthodox East. Their widespread diffusion, their qualities as conveyers of cultural and political connotations, and the various forms of their reception by the Orthodox
Christians living in the Ottoman Empire and its successor nation-states justify their being studied as a particular case of cultural transfer.
Art Studies Quarterly-Sofia, 1999
Art Studies Quarterly-Sofia, 2005
Y. Boycheva, “Functional and Iconographical particularities of the Epitaphion at the 14-15th cent... more Y. Boycheva, “Functional and Iconographical particularities of the Epitaphion at the 14-15th centuries. Byzantine Epitaphioi in Bulgaria.” [in Bulgarian], Art Studies Quarterly-Sofia, 4 (2005), 15-26.
Analecta Stagorum et Meteororum, vol 1 (2022), 2022
This article examines Russian artifacts donated to the Monastery of the Virgin of Tatarna (Evryta... more This article examines Russian artifacts donated to the Monastery of the Virgin of Tatarna (Evrytania, Central Greece) by Archbishop Arsenios of Elassona (1550-1625) and clergymen from his entourage. A monastic site since the Byzantine period, Tatarna emerged as an important religious center in the late sixteenth century because of its special status as a patriarchal monastery (stavropegion), granted to it almost immediately after its foundation by monks from Thessaly. The donation of a large number of Russian artifacts includes a manuscript, icons, and a pectoral panagiarion-encolpion, some of which are associated directly with Arsenios through inscriptions, while others are attributable to the clerics carrying the artifacts to the monastery. Overall, this is one of the very interesting ensembles of Russian ecclesiastical art to have survived in its original context in Greece. It is distinguished not only by the excellent craftsmanship of the objects comprising it, but also by the questions it raises as a historical source.
ISTORIYA, 2021
The Russian religious artefacts-icons, liturgical utensils, veils, vestments and books and object... more The Russian religious artefacts-icons, liturgical utensils, veils, vestments and books and objects of private piety, held in museums and church or monastery collections in the Balkans and Eastern Mediterranean constitute a body of valuable art objects, and important material evidences related to the historical development of the relations between Russia and large region of SouthEastern Europe. This piety objects comes continually to the region for a long period through official, unofficial and private donations, or by pilgrimage and trade. Applying the cultural transfer approach in combination with the recent theoretically challenging openings of art history into visual studies and social anthropology RICONTRANS studies them not simply as religious or artistic artefacts, but as mediums of cultural transfer and political and ideological influence, which interacted with and were appropriated by receiving societies. Their transfer and reception is a significant and poorly studied component of the larger cultural process of transformation of the artistic language and visual culture in the region and its transition from medieval to modern idioms. In this dynamic transfer, piety, propaganda and visual culture appear intertwined in historically unexplored and theoretically provoking ways.
Routes of Russian Icons in the Balkans (16 th -early 20 th Centuries), 2016
Another example is the Descent into Hell, with the figures of Sarah, Rachel, Rebecca, Esther and ... more Another example is the Descent into Hell, with the figures of Sarah, Rachel, Rebecca, Esther and some others (sometimes up to 16 characters), in addition to Eve, among the Old Testament righteous women. Such figures are encountered relatively rarely in the post-Byzantine world outside Rus'. An additional female figure is known, for instance, to be depicted next to Eve in a fresco at the aforementioned katholikon of Meteora monastery. 59 Additional representations of Old Testament women in the scenes of the Descent into Hell are known in seventeenth-century monuments of western Ukraine, for example, in the icon painted by the iconographer Andrei of Lvov in 1646 (National Museum of Art of Romania, Bucharest). The same museum in Bucharest has preserved a large veil (118 x 116 cm), circa 1638/1639, for the icon Descent into Hell that originated from the Three Holy Hierarchs monastery in Iasi and has five more kneeling foremothers behind Eve. 60 Romanian scholar Marina Sabados has drawn my attention to these two works at the Bucharest museum. To sum up, donations of small Russian piadnitsa icons to churches and monasteries of the post-Byzantine world seem the brightest and most interesting phenomenon at the current stage of scholarly research. Commissioning Russian artists was hardly common practice in Orthodox countries in the late fifteenth and sixteenth centuries. The use of Russian iconographic features in the art of the post-Byzantine world has so far been studied inadequately.
Routes of Russian Icons in the Balkans (16th -early 20th Centuries), 2016
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Θρησκευτική Τέχνη από τη Ρωσία στην Ελλάδα 16ος-19ος αιώνας, κατ. έκθ., επιμ. Γιουλιάνα Μπόιτσεβα και Αναστασία Δρανδάκη, Αθήνα 2017 , 2017
Medieval Bulgarian Art and Letters in a Byzantine Context, 2017
In recent years a number of studies in the field of Byzantine art have dealt with the interpretat... more In recent years a number of studies in the field of Byzantine art have dealt with the interpretation of the liturgical function and iconography of silk cloth embroidered with silk and gold threads. These veils, or aeres, hold an important place in Byzantine material culture not only as works of art but also as objects indicative of the broader historical and social context in which they have been produced and used. 1 The Byzantine embroidered liturgical veils preserved today are relatively few in number, which is why the study of the history of these objects and their iconography necessarily relies upon written sources 2 and surviving depictions of liturgical veils found in wall paintings. 3 The present study fo
Cahiers archéologiques. Fin de l’Antiquité et Moyen Age, 2003
Art Studies Quarterly-Sofia, 2002
Ἡ μεταφορά ρωσικῶν εἰκόνων στόν ἑλληνικό χῶρο (16ος-20ός αἰ.) καί τό παράδειγμα τῆς Πάτμου Ἡ διάδ... more Ἡ μεταφορά ρωσικῶν εἰκόνων στόν ἑλληνικό χῶρο (16ος-20ός αἰ.) καί τό παράδειγμα τῆς Πάτμου Ἡ διάδοση ρωσικῶν εἰκόνων στόν Ὀρθόδοξο πληθυσμό τῆς Ὀθωμανικῆς αὐτοκρατορίας καί ἀργότερα στά διάδοχα τῆς αὐτοκρατορίας βαλκανικά ἐθνικά κράτη ἐκδηλώνεται, μέ αὐξητικές τάσεις, ἀπό τά μέσα τοῦ 16ου αἰώνα ὥς τίς ἀρχές τοῦ 20οῦ αἰώνα 1 . Τό φαινόμενο αὐτό καί ἡ ἐπιρροή τῶν ρωσικῶν εἰκόνων στήν ἁγιογραφία τοπικῶν σχολῶν ἔχουν μελετηθεῖ στό πλαίσιο τῆς ἱστορίας τῆς μεταβυζαντινῆς χριστιανικῆς τέχνης τῶν Παραδουνάβιων Ἡγεμονιῶν, τῆς Βουλγαρίας καί τῆς Σερβίας 2 . Ἡ διάδοση ρωσικῶν εἰκόνων στό ἑλληνικό χῶρο, ἀντί-25
Talking Icons: The Dissemination of Devotional Paintings in Russia and the Balkans, 16th – 19th century”, Exhibition Booklet / Catalogue, Byzantine and Christian Museum Athens, (2014), 2014
From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. Th... more From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. The fact that they came from the one and only Orthodox empire after the Fall of Constantinople added special symbolic and religious value to these artworks. The exhibition catalogue highlights the main distribution channels for religious art coming from Russia to the Balkans (donations given by the Russian state and religious institutions; offerings and expressions of private piety; travelling salesmen). The works discussed in the book belong to museum collections, monasteries and parish churches from all over Greece.
Exhibition: Benaki Museum, Athens, 13 December 2017 - 11 February 2018.
29th Symposium of Byzantine and Post-Byzantine Archaeology and Art, Organized by the Christian Ar... more 29th Symposium of Byzantine and Post-Byzantine Archaeology and Art, Organized by the Christian Archaeological Society, Byzantine and Christian Museum, Athens, 15-17 May, 2009. Paper: “Texts on objects: inscriptions on byzantine and post-byzantine liturgical veils: types, uses, meanings”[In Greek]
