Aggeliki Stavropoulou | University of Ioannina/Greece (original) (raw)
Papers by Aggeliki Stavropoulou
"First report on the existence of 16th-century frescoes in St. Demetrios in Veltsista”, Hπειρωτικ... more "First report on the existence of 16th-century frescoes in St. Demetrios in Veltsista”, Hπειρωτικά Xρονικά t. 24, Ioannina 1982, p. 176-186, ch. 29-34.
This paper is a presentation of the unknown ensemble of frescoes which decorate the church of St. Demetrios in Veltsista, discovered during the course of research in the area. The existing bibliographical references only mentioned the architecture of the church while its internal painted decoration remained unpublished, due to its poor state of preservation and the layers of overpainting on the lower sections of the walls. The increased scrutiny of the church contributed to its first partial restoration by the 5th Ephorate of Byzantine Antiquities.
This study examines the iconographical program of the church, together with certain iconographical particularities. In tandem with the iconography, the defining features of the style of the anonymous painter of the church are given emphasis, while the frescoes are inducted into the 16th century tradition and connected with the artistic trend of the monuments of Meteora, Kastoria and the region surrounding Ioannina. The ascertainment of the notably close iconographical relationship of the frescoes with the neighboring church of the Transfiguration allowed the inclusion of the anonymous painter within the circle of the artistic workshop of the Kontaris brothers.
“The Finding and Elevation of the True Cross in the Klontzas Triptych”, Antiphonon, Edition in ho... more “The Finding and Elevation of the True Cross in the Klontzas Triptych”, Antiphonon, Edition in honor of Professor N. V. Drandakis, Thessalonica 1994, p. 475-485
This article examines the subject of the “Finding and Elevation of the True Cross” as depicted by the Cretan painter Georgios Klontzas in the central panel of the well-known triptych of Patmos. The iconography of the subjects, is examined to begin with, and subsequently an attempt is made to discover the templates used by this ingenious, eclectic painter.
The scene of the Finding of the True Cross, an exceedingly rare subject, is depicted in this triptych together with other, secondary narrative episodes, thereby constituting a minor iconographical cycle, previously unknown among the subject matter of byzantine painting. The historiographical information from the sources was also studied. This expansion of the research led to the identification of the scenes of the Finding through their western iconographical counterparts (frescoes of the School of Lorenzetti, in the Duomo of Siena, the painting of Cima da Conegliano).
The iconographical analysis of the scene of the Elevation allowed the conclusion that the artist of the triptych adopted the iconographical composition of this notably rare byzantine depiction, but also innovated by providing iconography of the historical moment of the first Elevation, which was done by the Patriarch Macarius in the presence of St. Helen, and not the annual ceremony of the Elevation of the Cross. This iconographical conflation is a “modernistic” composition. Its templates can be located for the most part in Italian Renaissance painting, where the artistic depiction of the cycle of the Cross was notably developed thanks to the popular Legenda Aurea by Jacobus Vorragine.
"Icon of the Panagia Vrephokratousa/Donna holding Christ in Metsovo”, Dodoni 4 (1975), p. 379-392... more "Icon of the Panagia Vrephokratousa/Donna holding Christ in Metsovo”, Dodoni 4 (1975), p. 379-392, pic. 1-3.
This study constitutes an examination of the icon of the Panagia Vrephokratousa, which is kept in the Monastery of St. Nikolaos in Metsovo (Epirus) and depicts the Theotokos full-bodied, frontal in standing position, with Christ held to her bosom, on the main axis of her figure. The object of this study is the iconographical examination of the icon, in order to clarify the type and conceptual content of the theme, and the analysis of its style, induct the work into a particular artistic tradition, and provide a dating.
What studies exist have not examined this iconographical type, which was repeated from the pre-iconoclastic to the late middle-byzantine period without significant typological variations.
The examination of the icon, based on the renderings of the figures along with the dogmatic viewpoint which they imply, led to the conclusion that this is a case of the iconographical type of the Theotokos Kyriotissa. In investigating the variations of this theme, it became apparent that the iconographical type of the icon under examination is the subject of occasional repetition in all forms of art: coinage, miniature art, sculpture, icons, frescoes, and mosaics, while not exhibiting any significant typological variations in any of these forms. This faithful repetition is indicative of the existence of a well-known template, a miraculous icon. The Kyriotissa type has, in bibliography up until now, been identified with the type of the Panagia Nikopoios. The research showed that the difference of the two iconographical types does not occur in their morphological depiction but rather in their dogmatic viewpoint: the representation of the Christ Child within a Clipeus in the Nikopoios type takes on, from a dogmatic point of view, the character of an imagined/disembodied presence, while His representation without a medallion, in the Kyriotissa type, is implied to be actual, thereby placing emphasis on the Incarnation.
A stylistic analysis of the icon in Metsovo was subsequently carried out, which inducted it into the cycle of the Cretan works. Due to its similarities to the technique and style of Theophanes, as proven by a comparison with works of his cycle, it can be dated to just after the mid-16th century.
“Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apa... more “Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apakas”, Edition in honor of Miltos Garidis (1926-1976), Ioannina 2004, p. 729-744, img. 1-20.
This paper constitutes a discussion on the depictions of Jerusalem in the icons of the post-Byzantine period. The impetus behind the interest in the subject was piqued by the well-known image of the Descent from the Cross by Ioannes Apakas, in the Monastery of Great Lavra, on Mt. Athos [2nd half of the 16th century]. In this particular work the Cretan painter created the image of an idealized city in the background, which draws upon recognizable morphological elements from the architecture and urban planning of the actual Jerusalem; a composition which distances itself from the conventional depictions of the city, common in painted art from the late post-Byzantine period.
An examination was carried out on the depiction of Jerusalem, in particular on the Cretan icons which, under the influence of Western Art, exhibited a new iconography of the “Holy City”. In order to more effectively investigate the choices made by the ambidexterous painters of the Cretan Renaissance, in their Venetian environment, it was deemed necessary to make an overview of the various stages in the artistic depiction of Jerusalem in Western Art.
The first section of the article is dedicated to the widening of the subject matter explored in conventional depictions which imply Jerusalem, in the Cretan works. No western influences exist in the abbreviated images of the city, which are the traditional means of depiction. An exception is a Gothic-style church as the emblematic monument of the city [Pavias, Klontzas] and the enrichment of the scene of the Entry into Jerusalem with recognizable “actual” structures in the walled city [Icon in the settlement of Sinarades].
Focus was then turned to the ideal depiction of the city. The realistic rendering of the imago urbis which began to appear in the West at the end of the Medieval period inspired the Cretan painters, who subsequently enriched the depth of the scenes in their icons, starting in the 15th century. (Icon with the Samaritan woman at the well from the Kanelopoullos Collection). Influenced by these new teachings, the walled city of Jerusalem becomes reminiscent of the cities in works of the painters of the early Renaissance (P. Lorenzetti, Tomaso da Modena, Fra Angelico etc.). A more progressive conception, which is expressed at the same time, is the attempt to depict the “actual” space, which certain Cretan artists approximated through the teachings or even specific templates from the West [Jerusalem from cartographical creations in the work of Klontzas].
The second section contains a detailed examination of the topographical and architectural elements of the landscape of Jerusalem in the icon by Apakas. All of the elements which comprise it constitute “actual” topographical minutia [the walls, the Mosque of Omar, the Church of the Holy Sepulcher, the Golden Gate of Justinian]. In the course of the research it was found that the Cretan painter must have drawn information from the engravings of travelers and pilgrims to the Holy Land, namely the Pelegrinationes in Terram Sanctam by Breydenbach (1486), the Χρονικό του Κόσμου/Nuremberg Chronicle (1493), and the Cosmographia by Munster (1550), creating a new composition in the process.
Finally, an examination of the crest on the icon identified it as that of the Venier family, a branch of the well-known Venetian patrician family with connections to Candia.
“Votive stories in post-Byzantine painting”, “Arte e Societa veneta, arte e societa greca. Il con... more “Votive stories in post-Byzantine painting”, “Arte e Societa veneta, arte e societa greca. Il contributo veneziano nella formazione del gusto dei Greci (XV- XVII sec.)”, Venezia, 2-3 giugno 2000, A cura di Chryssa A. Maltezou, Venezia 2001, p. 147-163, ch.XXIII-XXVIII, img. 69-76.
This paper is dedicated to the study of the scenes of votive representations in post-byzantine painting. In Greece, particularly in the Venetian-held regions during the late post-byzantine period [17th, 18th and 19th centuries] a relatively minor number of icons were created which contained both religious and secular scenes, notably depictions of personalized experiences. Their donors, believing in divine intervention usually due to their own rescue from some accident, dedicated these icons as gestures of personal gratitude. In these icons, the painters depict the moment of divine intervention, combining the presence of the divine with the secular incident. The artistic rendering of the oral testimony is in many cases emphatically accompanied by a written account of the incident, without neglecting to provide both the identity of the donor and those of any participants in said incident.
The present paper was inspired by the Corfiot votive icons published by the scholar P. Vokotopoulos. Further research proved fruitful, uncovering heretofore unknown works on the same subject which were studied in tandem with those already published. The icons in the present study exhibit with exceptional variety the salvation from accidents, such as for example a fall from horseback, a defenestration, a fall into a well, childhood accidents, rescue from lightning and, most common of all, rescue from ship accidents. Their iconography was not the subject of codification as the painters, in each case, transferred a different oral account into visual depiction.
This was preceded by the categorization of these icons according to style, depending on the area covered by the secular scene [either a section or the entirety of the painted surface]. This is an element which weakens the venerational content of these icons. This was followed by an iconographical examination and the detection of the influences from their Western counterparts prevalent in the icons, the ex voto works. One can discern, within the inexhaustible repertory of the Pittura popolare, which were developed in parallel with the art of the nobility throughout Europe (after the Council of Trent 1545-1563), the inspiration, and often the templates, for the secular episodes of the votive icons. From the iconographical analysis it occurred that certain subjects are unique both as incidents in themselves and regarding iconography (an example which is located in the Byzantine Museum of Athens, is the rescue from a raging bull of a Venetian Corfiot nobleman named Bartolomeo Dario, which takes place in the city center and preserves an, unknown until now, image of Corfu).
In tandem with the iconographical analysis of the subject, information was sought on the figures mentioned in the inscriptions (donors, victims but also the painters who fashioned each artwork). This uncovered scions of the great families of the Ionian Islands (Voulgares, Tzanteres, Alexandros Deorzes, Antonio Maria Kapodistrias and John Κapodistrias, the subsequent governor and his father etc.) along with figures connected to Venice [ambassadors, students at the University of Padua etc.]. The donor artists Th. Poulakis and Kontarinis, both well-versed on the trends in Italian painting art, are also connected with Venice.
In conclusion, emphasis was placed on the fact that these votive icons, which exhibit as their defining feature the combination of realism and symbolism, occasionally approach secular art and at other times remain faithful to the orthodox idiom, thereby indicating the post-byzantine aesthetic tradition of the painted art of the Ionian Islands.
“Observations on the frescoes of the Monastery of Eleousa on the Ioannina Island”, Monasteries of... more “Observations on the frescoes of the Monastery of Eleousa on the Ioannina Island”, Monasteries of the Ioannina Island, Proceedings of the Sypmosium, 700 years (1292-1992), 29-31 May 1992, Ioannina 1999, p. 315-323, img. 1-32
The objective of this study is a preliminary examination of the oldest phase of the decoration of the nave/katholikon of the Monastery of Panagia Eleousa, which is located on the western side of the Island, in close proximity to the monasteries of Philanthropenon and Strategopoulou. These frescoes, which cover the area from the eastern section to the arch of the church, have not been studied as of yet. A first approach to the subject was included in the Thesis of the present scholar.
In this group of paintings, the composition of the program, the distribution of the subject matter on the wall surfaces, the iconographical figures and, in particular, the style of the frescoes reveal multifaceted, multimodal relations with the art of the other important monasteries of the Island and with those which bear the marks of the artistic output of the Kontaris brothers in particular. Elements which reveal the multiple bonds between the decoration of the churches of the Transfiguration and in particular of St. Demetrios in Veltsista with the monastery of Eleousa, can be discerned in the choice of iconographical repertory, the narrative development of the Christological cycle and the emphasis placed on the Resurrection and the Passion.
At the same time, the stylistic analysis of the frescoes, with their flexibility of design, vibrant colors, and sculpted and compound features allowed the induction of this monastery within the output of a particular artistic workshop of the late 16th century, that of the Kontaris brothers.
“The subject of the Massacre of the Innocents in post-Byzantine painting and its relationship wit... more “The subject of the Massacre of the Innocents in post-Byzantine painting and its relationship with the art of the Italian Renaissance”, Byzantion vol. LX 1990 issue 1, p. 366-381, img. 1-15.
This is a study on the issue of the relations between post-byzantine art and the art of the Italian Renaissance, based on a detailed iconographical examination of the scene of the Massacre of the Innocents, in particular that created by Theophanes in the Athonite monastery of Great Lavra (1535), which became the template for the post-byzantine painters.
It is a well-known fact that in this work, Theophanes introduced a new iconographical composition by enriching its byzantine themes with new groups of figures which he drew from the famous copper engraving by Marcantonio Raimondi, based on designs-studies on the same subject by Raphael (Chatzidakis 1947).
In this study, through the examination of the origins of certain elements of both the Byzantine and Italian traditions of the subject, emphasis was placed on the fact that both Theophanes and the ingenious Klotzas (Triptych of the Hellenic Institute of Venice, London Triptych), drew eclectically not only from renaissance copper engraving but also from the narrative iconography of the Trecento and the Quattrocento, during which the subject was widespread (Workshops of Giotto, Giusto de Menabuoi, Niccolo di Tommaso, Matteo di Giovanni, Fra Angelico, et. al.).
An examination of certain themes of the post-byzantine Massacre of the Innocents, which can be traced primarily to middle-byzantine manuscripts (Par. gr. 74, Vat. gr. 1156, Laur. VI. 23 etc.) was carried out. The painters of the Palaiologan period eclectically adopted these elements in their few known depictions of the subject while, to the contrary, these particularities were quite common for the artists of the Trecento and the Quattrocento. Their examination allowed the hypothesis that these iconographical themes might have possibly been encountered by the post-byzantine painters as a type of reborrowing through the Italian primitifs. This hypothesis is further strengthened by the occasional influences of the early Renaissance that can be identified in the work of Theophanes, and especially Klotzas, which denote the direct knowledge of the exact templates.
“Jacobo Rosso, Donor of the church of Odegetria in Apolpena, Leukas”, proceedings of the 3rd Symp... more “Jacobo Rosso, Donor of the church of Odegetria in Apolpena, Leukas”, proceedings of the 3rd Symposium of the Institute of Leukas Studies, “Christian Art in Leukas, 15th – 19th c.”, Leukas 8-9 August 1998, Athens 2002, p. 21-36.
The subject of the present paper is the donor of the frescoes in the church of the Odegetria in Apolpena, Leukas, and his relation to this group of frescoes.
This monument has been the subject of repeated examination in the past, with researchers examining the particularity of this “unique” wall decoration, in which the Byzantine artist attempted to combine the Palaiologan style with the artistic forms of the late Gothic period. The paper begins with the examination of the bas-relief, five-verse, flat-letter Byzantine donor inscription, which was first published by Rontogiannis, and the suggestion for a new reading of the 2nd, 3rd and 4th verses. The renovators of the church are named/cited as Iakovos and Zambia, in 1449/50. These figures have been neither identified nor commented on by researchers until now. In fact, existing research, despite the information contained in the inscription, has connected the decoration of the church with other historical figures. In researching the political situation of Leukas, Jacobo Rouffo or Rosso, a trusted aide of Carlo II Tocco, was identified and further investigated through the sources and his cultural environment. Jacobo, Rosso the Duke of Leukas and Ambassador to Venice, was acquainted with and active within influential political and scholarly circles, and maintained relations with the important urban centers of the period, Venice and Ragusa. The study of this information resulted in the identification of the Iakovos in the inscription with the Jacobo Rosso of the sources, who must have carried out this donation not more than a year into his tenure as Viceroy of Leukas.
The conclusion of the study is dedicated to the artistic style of the frescoes, the identification of western influences within them, and their connection with the aesthetics and choices of their Latin donor.
"The frescoes of St. Nikolaos Glezos in Inner Mani ", Dodoni 8 (1978), Ioannina 1979, p. 299-329... more "The frescoes of St. Nikolaos Glezos in Inner Mani ",
Dodoni 8 (1978), Ioannina 1979, p. 299-329, fig. 1-4, chart 1-28.
This study constitutes a comprehensive presentation of the byzantine church of St. Nikolaos Glezos in Inner Mani.
The first section is devoted to the study of the monument, its architecture, and ceramic and sculptural decoration.
The second section contains a detailed iconographical and stylistic examination of the frescoes in the church, which served to display the conservatism and eclecticism of the painter regarding the subject matter and the organization of the iconographical program. Despite all this, the painter seems open to different approaches of the art, as is evidenced by his knowledge and incorporation into his work of contemporary artistic trends. These findings allowed the conclusion that the frescoes of St. Nikolaos Glezos are dated to the 3rd quarter of the 13th century.
"The presence of the painter Theodoros Poulakis on Corfu ", Cretica Chronica, vol. XXVIII – XXIX ... more "The presence of the painter Theodoros Poulakis on Corfu ", Cretica Chronica, vol. XXVIII – XXIX (1988- 1989), p. 212-223.
This study constitutes a supplement to the bibliography on the painter Theodoros Poulakis, and provides information on apprenticeship contracts and the movements of artists.
The document published in the present study is from the Historical Archive of Corfu, an abundant, but as-yet untapped source of information on the social functions of post-byzantine art. The document itself is a contract of apprenticeship which was signed on Corfu in July of 1664 between the well-known Cretan painter Theodoros Poulakis, as a teacher of the “hagiographical profession/discipline/science” and a young apprentice.
Drawing upon direct and implied facts both from this document and from three others from the Archivio di stato di Venezia (Notai di Venezia), an attempt was made to complete the Curriculum Vitae of this exceptionally productive artist. An object of particular focus was the rare testimony provided by the document regarding the possible movements of the painter to Venice, the Levant and elsewhere. This testimony, which is indicative of the movement of icon painters in this period, sheds light, albeit indirectly, on this issue, on which very little information has been found from archival sources up to the present day.
Aπαγορεύεται η αναδημοσίευση, η αναπαραγωγή, ολική, μερική ή περιληπτική, καθώς και η απόδοση κατ... more Aπαγορεύεται η αναδημοσίευση, η αναπαραγωγή, ολική, μερική ή περιληπτική, καθώς και η απόδοση κατά παράφραση ή διασκευή του περι εχομένου του βιβλίου με οποιονδήποτε τρόπο, μηχανικό, ηλεκτρονικό, φωτοτυπικό, ηχογράφησης ή άλλο, χωρίς την προηγούμενη έγγραφη άδεια του εκδότη, σύμφωνα με το νόμο 2121/1993 και τους κανόνες του διεθνούς δικαίου που ισχύουν στην Ελλάδα. Στα άρθρα του παρόντος τόμου ακολουθήθηκαν οι ορθογραφικές επιλογές των συγγραφέων. ISBN 978-960-6878-80-0 © 2015 ΕΚΔΟΣΕΙΣ ΚΑΠΟΝ EΚΔΟΣΕΙΣ ΚΑΠΟΝ Μακρυγιάννη 23-27, 107 42 Αθήνα τηλ. 210 9235 098, 210 9214 089 e-mail: info@kaponeditions.gr www.kaponeditions.gr ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ ΠanΑγΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ ΕΠΙΣΤΗΜΟΝΙΚΗ ΕΠΙΜΕΛΕΙΑ ΒΑΣΙΛHΣ ΚΑΤΣΑΡΟΣ -ΑΝΑΣΤΑΣΙΑ ΤΟΥΡΤΑ ΜΕ ΤΗΝ ΕυγΕΝικΗ υΠΟΣΤΗΡιΞΗ ΤΩΝ ΙΔΡΥΜΑ ΙΩΑΝΝΟΥ Φ. ΚΩΣΤΟΠΟΥΛΟΥ ΙΔΡΥΜΑ Α. Γ. ΛΕΒΕΝΤΗ ΛΕΒΕΝΤΕΙΟΣ ΠΙΝΑΚΟΘΗΚΗ ΚΕΝΤΡΟ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ -AΡΙΣΤΟΤΕΛΕΙΟ ΠΑΝΕΠΙΣΤΗΜΙΟ ΘΕΣΣΑΛΟΝΙΚΗΣ ΙΔΡΥΜΑ ΚΑΛΥΨΟΥΣ ΚΑΙ ΓΡΗΓΟΡΙΟΥ ΓΡΗΓΟΡΙΑΔΗ ΕΚΔΟΣΕΙΣ ΚΑΠΟΝ With the kind support of THE J. F. COSTOPOULOS FOUNDATION A. G. LEvENTIS FOUNDATION A. G. LEvENTIS GALLERY CENTRE FOR BYzANTINE RESEARCH -ARISTOTLE UNIvERSITY OF THESSALONIKI KALYPSO AND GREGORY GRIGORIADIS FOUNDATION KAPON EDITIONS οργανωτικh Επιτροπh γιωργοσ κακαΒασ • Βασιλησ κατσαροσ • Χαρα κωνσταντινιΔη αριστοτελησ μεντζοσ • ιωακειμ ΠαΠαγγελοσ αθανασιοσ σεμογλου • αναστασια τοyρτα • κωνσταντινοσ τσουρησ Επιστημονικη Επιτροπη Παναγιωτα ασημακοΠουλου-ατζακα • γιωργοσ Βελενησ ευγενια ΔρακοΠουλου • σοφια καλοΠιση-Βερτη Βασιλησ κατσαροσ • Χρυσανθη μαυροΠουλου-τσιουμη ΧαραλαμΠοσ μΠουρασ • νικοσ νικονανοσ NaNcy PattersoN ŠevČeNko • olga PoPova • eNgeliNa smirNova JeaN-Pierre sodiNi • goJko subotić Δημητριοσ τριανταφυλλοΠουλοσ • νανω ΧατζηΔακη Στὴν Ἀκαδημία Ἀθηνῶν (2007). ΑΡΧΙΤΕΚΤΟΝΙΚΗ 25 Le symboLisme de La croix dans L'architecture reLigieuse et sa fusion avec Les martyria À pLan centré aux iv e et v e siÈcLes Jean-Pierre SODini 37 mt carmeL, pythagoras and eLijah's cave. context and meaning aSher OvaDiah 47 Ο ΝΑoΣ ΤΟΥ ΑΓiΟΥ ΣΤΕφaΝΟΥ ΣΤΟΝ «ΠΑΛΙo» ΜΑΝΤΑΜaΔΟ ΛeΣΒΟΥ. ΜΙΑ ΠρΩΤΗ ΠρΟΣΕΓΓΙΣΗ μαρια κ. τσιτιμακη 57 Η ΒΑΣΙΛΙΚΗ ΣΤΟ ΤΗΓΑΝΙ ΤΗΣ ΜΕΣΑ ΜΑΝΗΣ. ΣΥΜΒΟΛΗ ΣΤΗΝ ΟΙΚΟΔΟΜΙΚΗ ΙΣΤΟρΙΑ ΤΟΥ ΝΑΟΥ αγγΕΛικη μΕξια 67 ΣΥΜΒΟΛh ΣΤh ΜΕΛeΤΗ ΤΗ Σ ΝΑΟΔΟΜiΑΣ ΣΤhΝ ΚρhΤΗ ΚΑΤa Τh ΜΕΣΟΒΥζΑΝΤΙΝh ΠΕρiΟΔΟ. ΜΝΗΜΕΙΑΚeΣ ΜΑρΤΥρiΕΣ Ειρηνη ν. ΘΕοΧαροποΥΛοΥ 79 ΣΤΑΥρΟΕΙΔΕiΣ ΕΓΓΕΓρΑΜΜeΝΟΙ ΝΑΟi ΜΕ ΣΥΝΕΠΤΥΓΜeΝΟ ΔΥΤΙΚo ΣΚeΛΟΣ δημhτρησ αΘανασοYΛησ -μιΧaΛησ κaππασ 97 Η χρΟΝΟΛoΓΗΣΗ ΤΗΣ ΠΑΛΑΙaΣ ΜΗΤρΟΠoΛΕΩΣ ΣΕρρΩΝ κωνσταντινοσ τσοΥρησ 107 ΕΠΑΝΕξΕΤΑΣΗ ΤΗΣ ΑρχΙΤΕΚΤΟΝΙΚΗΣ ΤΟΥ ΝΑΟΥ ΤΗΣ ΕΠΙΣΚΟΠΗΣ ΣΑΝΤΟρΙΝΗΣ κΛημησ ασΛανιδησ 115 ΠΑρΑΤΗρhΣΕΙΣ ΣΤΗ ΔΙΑΜoρφΩΣΗ ΚΑΙ ΤΗΝ ΚΑΤΑΣΚΕΥh ΤΩΝ ΑΝΟΙΓΜaΤΩΝ ΤΩΝ θΥρΩΝ ΣΤΗ ΒΥζΑΝΤΙΝΗ ΑρχΙΤΕΚΤΟΝΙΚΗ σταYροσ μαμαΛοYκοσ 127 the epirote ΙΝput in the architecture of byZantine macedonia and of serbia around 1300 Slobodan ĆurčiĆ ΧαρaΛαμποσ μποYρασ ΠΕΡΙΕΧΟΜΕΝΑ 13 ΠΑΝΑΓΙΩΤΗΣ Λ. ΒΟΚΟΤΟΠΟΥΛΟΣ νανω Χατζηδακη 18 ΚΑΤΑΛΟΓΟΣ ΤΩΝ ΔΗΜΟΣΙΕΥΜΑΤΩΝ toy ΠΑΝΑΓΙΩΤΟΥ Λ. ΒΟΚΟΤΟΠΟΥΛΟy ιωακΕιμ α. παπαγγΕΛοσ 24 ΣΥΝΤΟΜΟΓρΑφΙΕΣ -abbreviations ΜΙΚΡΟΤΕΧΝΙΑ 193 ΜΕΤΑΛΛΙΚΟΙ ΣΤΑΥρΟΙ ΤΗΣ ΠρΩΙΜΗΣ ΚΑΙ ΜΕΣΗΣ ΒΥζΑΝΤΙΝΗΣ ΠΕρΙΟΔΟΥ ΣΕ ΙΔΙΩΤΙΚΗ ΣΥΛΛΟΓΗ φΛωρα καραγιαννη 205 ΑΝΑΓΛΥφΑ ΜΕΤΑΛΛΙΚΑ ΕΙΚΟΝΙΔΙΑ ΒΥζΑΝΤΙΝΩΝ χρΟΝΩΝ ΤΟΥ ΜΟΥΣΕΙΟΥ Π.& Α. ΚΑΝΕΛΛΟΠΟΥΛΟΥ κωνσταντινοσ σκαμπαΒιασ 213 ΒΥζΑΝΤΙΝΑ ΜΟΛΥΒΔΟΒΟΥΛΛΑ ΑΠΟ ΤΗΝ ΑΝΑΤΟΛΙΚΗ ΜΑΚΕΔΟΝΙΑ ΚΑΙ ΤΗ θρΑΚΗ νικοσ ζηκοσ ΓΛΥΠΤΙΚΗ 181 ΑρΤΑ. ΤΟ ΒΥζΑΝΤΙΝΟ ΤΕΜΠΛΟ ΤΗΣ ΒΛΑχΕρΝΑΣ ΒαρΒαρα παπαδοποΥΛοΥ ΨΗΦΙΔΩΤΑ 273 Η «ΟΙΚiΑ ΤΟΥ ΜaρΚΟΥ ΑiΛΙΟΥ ΣΑΒ(Ε)ΙΝΙΑΝΟy» ΣΤΗΝ ΚΩ: ΠρΩΤΗ ΠρΟΣΕΓΓΙΣΗ Ερση μπροΥσκαρη 285 eΝζΩΔΗ ΚΛΗΜΑΤiΔΑ ΜΕ φΟiΝΙΚΑ. ψΗφΙΔΩΤh ΠΑρaΣΤΑΣΗ ΑΠo ΤΗΝ ΚΟΙΜΗΤΗρΙΑΚh ΒΑΣΙΛΙΚh ΤΗΣ «ΠΛΑΤΕiΑΣ ΣΙΝΤρΙΒΑΝiΟΥ» ΣΤΗ θΕΣΣΑΛΟΝiΚΗ μΕΛiνα παϊσiδοΥ 295 an earLy christian compLex with mosaic fLoors at aghia KyriaKi, Livanates coast, phthiotis. new evidence of a fLourishing centre geOrge KaKavaS 303 ΤΟ ψΗφΙΔΩΤΟ ΤΟΥ ΔΥΤΙΚΟΥ ΤΟΙχΟΥ ΣΤΟn ΝΑΟ ΤΟΥ ΑΓΙΟΥ ΔΗΜΗΤρΙΟΥ αριστοτΕΛησ μΕντζοσ ΧΕΙΡΟΓΡΑΦΑ 311 particuLarities of byZantine art of the 1070s to 1080s (gospeLs at the nationaL Library in athens, cod. 57) Olga POPOva 321 ΤΟ ΕΥΑΓΓΕΛΙΟ syn. gr. 225 ΤΟΥ ΙΣΤΟρΙΚΟΥ ΜΟΥΣΕΙΟΥ ΤΗΣ ΜΟΣχΑΣ. ΚΩΝΣΤΑΝΤΙΝΟyΠΟΛΗ -ΜΥΣΤρaΣ -aΓΙΟΝ oρΟΣ (;) -ΜoΣχΑ ροδονικη ΕτζΕογΛοΥ -elina DOBrYnina ΠΟΙΚΙΛΑ 223 oi ΚΑΝΤΑΚΟΥζΗΝΟΙ ΣΤΗ ΣΕρΒΙΑ ΚΑΙ ΟΙ ΜΟΝΕΣ toΥΣ Gojko SuboTiĆ 233 Ο ΑΓΙΟΣ ΑχΙΛΛΙΟΣ ΚΑΙ Η ΛΑρΙΣΑ ΤΗΣ ΥΣΤΕρΗΣ ΑρχΑΙΟΤΗΤΑΣ: ΑΓΙΟΛΟΓΙΚΕΣ ΚΑΙ ΑρχΑΙΟΛΟΓΙΚΕΣ ΜΑρΤΥρΙΕΣ (ΠρΟΤΑΣΗ ΓΙΑ ΜΙΑ ΔΙΑφΟρΕΤΙΚΗ ΑΝΑΓΝΩΣΗ) οΛγα καραγιωργοΥ 247 Ο ΑΓΙΟΣ ΔΗΜΗΤρΙΟΣ ΩΣ ΣΤρΑΤΙΩΤΗΣ ΕΚΤΟΣ θΕΣΣΑΛΟΝΙΚΗΣ: ΔΥΟ ΕΜφΑΝΙΣΕΙΣ ΤΟΥ ΣΤΗΝ ΕΛΛΑΔΙΚΗ ΟΔΟ ΤΩΝ ΠρΟΣΚΥΝΗΤΩΝ σταΥροσ γ. γοΥΛοΥΛησ 257 ΚΕΙΜΕΝΟ ΚΑΙ ΜΝΗΜΕΙΟ: Η ΑΛΛΗΛΟΕξΑρΤΗΣΗ ΔΥΟ ΙΣΤΟρΙΚΩΝ ΠΗΓΩΝ μαρια ι. καζαμια-τσΕρνοΥ 267 ΑΝΑΜΕΣΑ ΣΤὴ ΒΥζΑΝΤΙΝΗ ΚΑΙ Τh ΔΥΤΙΚΗ ΠΑρΑΔΟΣΗ: Τὸ ΕΣΩΤΕρΙΚΟ ΣΠΙΤΙΩ Ν ΕΛΛΗΝΩΝ ΣΤh ΒΕΝΕΤΙΑ (17ΟΣ ΑΙ.) ΧρΥσα μαΛτΕζοΥ EΠΙΓΡΑΦΙΚΗ 331 ΤΑ ΠρΙΝ ΚΑΙ ΤΑ ΜΕΤa ΤΟ s(ex) ΣΤΙΣ ΕΛΛΗΝΙΚeΣ ΕΠΙΓρΑφeΣ ΤΩΝ χρΙΣΤΙΑΝΙΚΩΝ χρΟΝΩΝ γΕωργιοσ ΒΕΛΕνησ ΤΟΙΧΟΓΡΑΦΙΕΣ 341 the choir of saints in the middLe byZantine monumentaL decoration. the evidence of the 9th-11th century waLL-paintings in cappadocia anna ZaKharOva 347 perception de L'héritage byZantin dans Les peintures muraLes découvertes sous Le duomo de sienne lYDie haDermann-miSguich 357 ΟΙ ΤΟΙχΟΓρΑφΙΕΣ ΤΟΥ ΑΓΙΟΥ ΓΕΩρΓΙΟΥ ΤΟΥ ΣΑΚΚΑ ΣΤΗ ΓΙΑΛΟΥΣΑ, ΕΠΑρχΙΑΣ ΑΜΜΟχΩΣΤΟΥ, ΣΤΗΝ ΚΥΠρΟ μαρια παναγιωτιδη-κΕσισογΛοΥ 367 ΛΗΣΤΗΣ-ΑΓΓΕΛΟΣ (;) ΒασiΛησ κατσαρOσ 377 ΤΟ ΑΣΚΗΤΑρΙΟ ΤΩΝ «ΑΓΙΩΝ» ΣΤΗΝ ΠΕρΙΟχΗ ΔΕΛΒΙΝΑΚΙΟΥ ΙΩΑΝΝΙΝΩΝ. ΠρΩΤΕΣ ΠΑρΑΤΗρΗΣΕΙΣ ΣΕ ΕΝΑ ΑΓΝΩΣΤΟ ΒΥζΑΝΤΙΝΟ ΣΥΝΟΛΟ ιωαννησ π. ΧοΥΛιαρÁσ 389 Η θΕΟΤΟΚΟΣ Χωρα τοῦ αΧωρητοῦ ΣΤΟΝ ΑΓΙΟ ΔΗΜΗΤρΙΟ ΣΤΗ ΜΠΟΜΠΟΣΤΙΤΣΑ ΤΗΣ ΚΟρΙΤΣΑΣ ΚΑΙ ΤΟ φΑΝΤΑΣΜΑ ΤΟΥ ΜΕΤΟχΙΤΗ ιωαννησ ΒιταΛιωτησ 399 the painter Leontios the deacon. a contribution to the worK of a 14th-century cypriot painter chara KOnStantiniDi -neKtariOS ZarraS 407 ΤΟ ΕΙΚΟΝΟΓρΑφΙΚo ΠρoΓρΑΜΜΑ ΤΟΥ ΚΑθΟΛΙΚΟy ΤΗΣ ΜΟΝhΣ ΠΕρΙΒΛeΠΤΟΥ ΣΤΟΝ ΜΥΣΤρa ΚΑΙ ΤΟ ζhΤΗΜΑ ΤΟΥ ΚΤhΤΟρΑ μΕΛiτα ΕμμανοΥhΛ 417 Η ΤΟΙχΟΓρΑφΙΚh ΔΙΑΚoΣΜΗΣΗ ΤΟΥ ΝΑΟy ΤΗΣ ΠΑΝΑΓiΑΣ ΣΤΟ χΩρΙo ΜeρΩΝΑΣ ΑΜΑρiΟΥ: ΝeΑ ΣΤΟΙχΕiΑ μαρια μπορμποΥδακη 429 h ΣφΑΓh ΤΩΝ ΝΗΠiΩΝ ΣΤΗ ΛΙΤh ΤΟΥ ΠρΟφhΤΗ ΗΛiΑ θΕΣΣΑΛΟΝiΚΗΣ μαρiα καμποYρη-ΒαμΒοYκοΥ 441 ΠΑρΑΣΤΑΣΕΙΣ ΤΗΣ ΔΕΥΤΕρΑΣ ΠΑρΟΥΣΙΑΣ ΣΤΗ ρΟΔΟ (13ΟΣ ΑΙ. -Π. 1500) ιωαννα μπιΘα 457 angeLs with instruments of the passion around the virgin in the apse. a LocaL phenomenon in serbian art BraniSlav tODić 465 Fresques sur la Façade orientale des églises À Kastoria. une pratique Byzantine inconnue niKOlaOS SiOmKOS 473 ΜΟΝh ΤΗΣ ΚΟΙΜhΣΕΩΣ ΤΗΣ θΕΟΤoΚΟy ΣΤΗ ΜΟΛΥΒΔΟΣΚΕΠΑΣΤΟ ΣΤΗΝ ΗΠΕΙρΟ ΕΥΘΥμιοσ ν. τσιγαριδασ 481 aΓΙΟΣ ΓΕΩρΓΙΟΣ ΣΤΗΝ ΚΑΤΩ ΛΑψΙΣΤΑ ΤΩΝ ΙΩΑΝΝΙΝΩΝ. ΠΑρΑΤΗρΗΣΕΙΣ ΣΤΙΣ ΤΟΙχΟΓρΑφΙΕΣ ΤΟΥ ΕΤΟΥΣ 1508 μΥρτaΛη αΧΕιμaστοΥ-ποταμιaνοΥ 491 La composition absidaLe À Bălineşti et ses composantes hymnographiques mariaLes athanaSSiOS SemOglOu
La peinture des icones du 18ème et du début du 19ème siècle à Leukada ... more La peinture des icones du 18ème et du début du 19ème siècle à Leukada
Entre l’art crétois et ionien
La peinture au cours du 18ème et 19ème siècle, dans le domaine des iles Ioniennes est sans aucun doute un phénomène intégral, mais qui n'a pas progressé au même rythme dans toutes les îles. Zakynthos et Corfou ont joué un rôle important dans le plan artistique, par opposition à Lefkada qui, en raison de la longue occupation ottomane, mais aussi des structures sociales et économiques communs avec le continent voisin, est restée loin de ces fertiles progressions. L’apogée du mouvement artistique à Lefkada s’est formée à l’époque de la conquête de l'île par les Vénitiens. Pendant cette période ont été construites presque toutes les églises dans la ville.
Cette communication interprète les premières nouvelles de l’inventaire des icones dans ces églises. Cette mission, en 2010 et 2012, a été rendu possible (s’est formée) grâce au financement de l'Université de Ioannina et de la participation de l'équipe d'étudiants.
Je me propose de présenter quelques œuvres caractéristiques des peintres nommés, Panagiotis Doxaras Constantinos Kontarinis, Papanoulopoulos, Tommaso Zen, Stylianos Devaris et Spyridon Venturas, et ensuite certains thèmes iconographiques comme Ecce Homo, les anges avec les symboles de la Passion, etc., qui retracent la production artistique du 18e et du début du 19e siècle à Lefkada.
Les peintres actifs dans la ville, depuis les premières décennies du 18e jusqu' à la première moitié du 19e siècle – presque quinze sont d’origine locale- flottent entre les enseignements de l'école crétoise, puisée dans les normes strictes et le message novateur de l’école née au territoire des iles Ioniennes, la soi-disant école Ionienne. Les peintres actifs dans Leukada, tant les locaux ainsi que les étrangers sont créatifs et ils s’adaptent aux exigences morpho plastics de leur temps : ils relèvent des emprunts des peintres crétois, principalement ceux de la diaspora, tout en adoptant la nouvelle iconographie, le style et la technique de l’art des iles Ioniennes, entièrement inspiré par l’Occident.
![Research paper thumbnail of Angeliki Stavropoulou, «L’ icône crétoise et le tempo novo», Ateneo Veneto. Rivista di scienze, lettere ed arti CCI 13/Ι(2014)[=In ricordo di Ennio Concina. Atti della giornata di studi, Ateneo Veneto, 15 maggio 2014, a cura di D. Calabi ed E. Molteni], p. 105-113, tav. 1-7.](https://attachments.academia-assets.com/55012125/thumbnails/1.jpg)
](
“The creation of a new formula for the Crucifixion and its dissemination throughout the Balkans”,... more “The creation of a new formula for the Crucifixion and its dissemination throughout the Balkans”, Greek papers at the 5th International Conference of Southeastern European Studies, Belgrade 11th-17th September 1984, Hellenic Committee on Southeastern European Studies, Athens 1985, p. 241-257, ch. 1-8.
The issue of Western influences in the iconography of post-byzantine art has only been sporadically studied by art historians. This paper constitutes an attempt to present a detailed iconographical study of the scene of the Crucifixion in the church of St. Demetrios in Veltsista, in order to detect any influences from western art and discover any exact templates.
It is clear that this anonymous post-byzantine artist has created a new narrative composition which includes many secondary episodes, an influence of the iconography common in Gothic art. One only needs to compare his work with that of Altichiero, Giusto de Menabuoi, the brothers Salimbeni and Barna da Siena. Within the entirety of post-byzantine art, such an iconographical composition was until now only known from the Italo-Cretan icons, which also draw from the same source.
The comprehensive examination of the iconographical particularities of the scene, together with the new elements adopted by the painter showed their connection with templates drawn from Italian art, namely the works of Barnaba da Modena and Andrea di Bartolo. Therefore, the anonymous painter of St. Demetrios, and Fragos Kontaris in Veltsista, who adopted the same composition, seem to have had knowledge, not only of the Italo-Cretan icons, but likely also had direct knowledge of the Italian works.
Subsequently, the issue of the contact between the post-byzantine painters with the Western works of art was examined, by combining it both with the circulation of copper engravings and with the trade relations between the region of NW Greece, Italy, and the Venetian Ionian possessions.
In conclusion, the dissemination of this iconographical type in subsequent monuments both in the Helladic region and in the wider area of the Balkans is examined, with particular focus on the monuments of Wallachia, which draw upon the Veltsista template by directly duplicating its iconographical composition.
“The representation of the Temple of Solomon in the Cretan Icons: certain iconographical aspects”... more “The representation of the Temple of Solomon in the Cretan Icons: certain iconographical aspects”, Cahiers Balkaniques 2004
This paper examines the representation of the Temple of Solomon in post-Byzantine Cretan icons. The focus of the research was centered on certain iconographical variants which display innovation, influenced by the tradition of the works of Western art.
It is accepted knowledge that in Byzantine art, buildings are depicted conventionally. The Temple of Solomon, a characteristic monument of Jerusalem, has, in the background of scenes showing holy events, been depicted not in its original peripteral form but rather as a circular structure. This is due to the fact that the Mosque of Omar/Dome of the Rock, a Muslim construction, was built on the site previously occupied by the demolished Temple. The interchange between the two temples became prevalent following the Crusades through the seals of the Templars, but also in later eras through cartographical depictions of Jerusalem, which depicted the Judaean temple as a circular structure. The particular focus of the research was the circular structure which emerges over the walled Jerusalem and which older studies had identified as either the Holy Sepulcher or the Temple of Solomon. In the course of the research on the iconography of the Entry into Jerusalem it was ascertained that the aforementioned circular structure is not depicted in this particular scene before the 12th century, in other words before the Crusades. This information allows the hypothesis that it must refer to the Temple of Solomon.
A presentation was subsequently made of the iconographical particularities of the depiction of the Temple of Solomon, which lacked Byzantine symbolism, having wholly adopted the realistic morphological elements reminiscent of “actual” structures [Mosque of Omar/Dome of the Rock, Tempietto by Bramante] or idealized Renaissance and Gothic structures. The Cretan painters, in the Venetian cultural environment of Crete, drew upon various Western templates for their creations [cartographical depictions of Jerusalem, Renaissance paintings and sketches].
The second section contains an examination of the icon by Ioannes Apakas [2nd half of the 16th c.] in Venice, which is of particular interest due to its depiction of the Temple of Solomon as its main subject. Here, the Temple is depicted in the form of a walled medieval city, the morphological templates of which were discerned in Italian works of the Quattrocento. At the same time, however, the symbolism of the structure refers to the Heavenly Jerusalem of the Apocalypse, which is given a similar rendering in the art of the medieval West.
Books by Aggeliki Stavropoulou
by Ιωάννης Χουλιαράς / Ioannis (C)houliaras, Stavros Mamaloukos, Paschalis Androudis, Eugenia Drakopoulou, Michail Papavarnavas, Vasileios Katsaros, Maria Lappa, Elena Katsouli, Aggeliki Stavropoulou, Georgia Georgiou, and Ioanna Kwsth
"First report on the existence of 16th-century frescoes in St. Demetrios in Veltsista”, Hπειρωτικ... more "First report on the existence of 16th-century frescoes in St. Demetrios in Veltsista”, Hπειρωτικά Xρονικά t. 24, Ioannina 1982, p. 176-186, ch. 29-34.
This paper is a presentation of the unknown ensemble of frescoes which decorate the church of St. Demetrios in Veltsista, discovered during the course of research in the area. The existing bibliographical references only mentioned the architecture of the church while its internal painted decoration remained unpublished, due to its poor state of preservation and the layers of overpainting on the lower sections of the walls. The increased scrutiny of the church contributed to its first partial restoration by the 5th Ephorate of Byzantine Antiquities.
This study examines the iconographical program of the church, together with certain iconographical particularities. In tandem with the iconography, the defining features of the style of the anonymous painter of the church are given emphasis, while the frescoes are inducted into the 16th century tradition and connected with the artistic trend of the monuments of Meteora, Kastoria and the region surrounding Ioannina. The ascertainment of the notably close iconographical relationship of the frescoes with the neighboring church of the Transfiguration allowed the inclusion of the anonymous painter within the circle of the artistic workshop of the Kontaris brothers.
“The Finding and Elevation of the True Cross in the Klontzas Triptych”, Antiphonon, Edition in ho... more “The Finding and Elevation of the True Cross in the Klontzas Triptych”, Antiphonon, Edition in honor of Professor N. V. Drandakis, Thessalonica 1994, p. 475-485
This article examines the subject of the “Finding and Elevation of the True Cross” as depicted by the Cretan painter Georgios Klontzas in the central panel of the well-known triptych of Patmos. The iconography of the subjects, is examined to begin with, and subsequently an attempt is made to discover the templates used by this ingenious, eclectic painter.
The scene of the Finding of the True Cross, an exceedingly rare subject, is depicted in this triptych together with other, secondary narrative episodes, thereby constituting a minor iconographical cycle, previously unknown among the subject matter of byzantine painting. The historiographical information from the sources was also studied. This expansion of the research led to the identification of the scenes of the Finding through their western iconographical counterparts (frescoes of the School of Lorenzetti, in the Duomo of Siena, the painting of Cima da Conegliano).
The iconographical analysis of the scene of the Elevation allowed the conclusion that the artist of the triptych adopted the iconographical composition of this notably rare byzantine depiction, but also innovated by providing iconography of the historical moment of the first Elevation, which was done by the Patriarch Macarius in the presence of St. Helen, and not the annual ceremony of the Elevation of the Cross. This iconographical conflation is a “modernistic” composition. Its templates can be located for the most part in Italian Renaissance painting, where the artistic depiction of the cycle of the Cross was notably developed thanks to the popular Legenda Aurea by Jacobus Vorragine.
"Icon of the Panagia Vrephokratousa/Donna holding Christ in Metsovo”, Dodoni 4 (1975), p. 379-392... more "Icon of the Panagia Vrephokratousa/Donna holding Christ in Metsovo”, Dodoni 4 (1975), p. 379-392, pic. 1-3.
This study constitutes an examination of the icon of the Panagia Vrephokratousa, which is kept in the Monastery of St. Nikolaos in Metsovo (Epirus) and depicts the Theotokos full-bodied, frontal in standing position, with Christ held to her bosom, on the main axis of her figure. The object of this study is the iconographical examination of the icon, in order to clarify the type and conceptual content of the theme, and the analysis of its style, induct the work into a particular artistic tradition, and provide a dating.
What studies exist have not examined this iconographical type, which was repeated from the pre-iconoclastic to the late middle-byzantine period without significant typological variations.
The examination of the icon, based on the renderings of the figures along with the dogmatic viewpoint which they imply, led to the conclusion that this is a case of the iconographical type of the Theotokos Kyriotissa. In investigating the variations of this theme, it became apparent that the iconographical type of the icon under examination is the subject of occasional repetition in all forms of art: coinage, miniature art, sculpture, icons, frescoes, and mosaics, while not exhibiting any significant typological variations in any of these forms. This faithful repetition is indicative of the existence of a well-known template, a miraculous icon. The Kyriotissa type has, in bibliography up until now, been identified with the type of the Panagia Nikopoios. The research showed that the difference of the two iconographical types does not occur in their morphological depiction but rather in their dogmatic viewpoint: the representation of the Christ Child within a Clipeus in the Nikopoios type takes on, from a dogmatic point of view, the character of an imagined/disembodied presence, while His representation without a medallion, in the Kyriotissa type, is implied to be actual, thereby placing emphasis on the Incarnation.
A stylistic analysis of the icon in Metsovo was subsequently carried out, which inducted it into the cycle of the Cretan works. Due to its similarities to the technique and style of Theophanes, as proven by a comparison with works of his cycle, it can be dated to just after the mid-16th century.
“Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apa... more “Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apakas”, Edition in honor of Miltos Garidis (1926-1976), Ioannina 2004, p. 729-744, img. 1-20.
This paper constitutes a discussion on the depictions of Jerusalem in the icons of the post-Byzantine period. The impetus behind the interest in the subject was piqued by the well-known image of the Descent from the Cross by Ioannes Apakas, in the Monastery of Great Lavra, on Mt. Athos [2nd half of the 16th century]. In this particular work the Cretan painter created the image of an idealized city in the background, which draws upon recognizable morphological elements from the architecture and urban planning of the actual Jerusalem; a composition which distances itself from the conventional depictions of the city, common in painted art from the late post-Byzantine period.
An examination was carried out on the depiction of Jerusalem, in particular on the Cretan icons which, under the influence of Western Art, exhibited a new iconography of the “Holy City”. In order to more effectively investigate the choices made by the ambidexterous painters of the Cretan Renaissance, in their Venetian environment, it was deemed necessary to make an overview of the various stages in the artistic depiction of Jerusalem in Western Art.
The first section of the article is dedicated to the widening of the subject matter explored in conventional depictions which imply Jerusalem, in the Cretan works. No western influences exist in the abbreviated images of the city, which are the traditional means of depiction. An exception is a Gothic-style church as the emblematic monument of the city [Pavias, Klontzas] and the enrichment of the scene of the Entry into Jerusalem with recognizable “actual” structures in the walled city [Icon in the settlement of Sinarades].
Focus was then turned to the ideal depiction of the city. The realistic rendering of the imago urbis which began to appear in the West at the end of the Medieval period inspired the Cretan painters, who subsequently enriched the depth of the scenes in their icons, starting in the 15th century. (Icon with the Samaritan woman at the well from the Kanelopoullos Collection). Influenced by these new teachings, the walled city of Jerusalem becomes reminiscent of the cities in works of the painters of the early Renaissance (P. Lorenzetti, Tomaso da Modena, Fra Angelico etc.). A more progressive conception, which is expressed at the same time, is the attempt to depict the “actual” space, which certain Cretan artists approximated through the teachings or even specific templates from the West [Jerusalem from cartographical creations in the work of Klontzas].
The second section contains a detailed examination of the topographical and architectural elements of the landscape of Jerusalem in the icon by Apakas. All of the elements which comprise it constitute “actual” topographical minutia [the walls, the Mosque of Omar, the Church of the Holy Sepulcher, the Golden Gate of Justinian]. In the course of the research it was found that the Cretan painter must have drawn information from the engravings of travelers and pilgrims to the Holy Land, namely the Pelegrinationes in Terram Sanctam by Breydenbach (1486), the Χρονικό του Κόσμου/Nuremberg Chronicle (1493), and the Cosmographia by Munster (1550), creating a new composition in the process.
Finally, an examination of the crest on the icon identified it as that of the Venier family, a branch of the well-known Venetian patrician family with connections to Candia.
“Votive stories in post-Byzantine painting”, “Arte e Societa veneta, arte e societa greca. Il con... more “Votive stories in post-Byzantine painting”, “Arte e Societa veneta, arte e societa greca. Il contributo veneziano nella formazione del gusto dei Greci (XV- XVII sec.)”, Venezia, 2-3 giugno 2000, A cura di Chryssa A. Maltezou, Venezia 2001, p. 147-163, ch.XXIII-XXVIII, img. 69-76.
This paper is dedicated to the study of the scenes of votive representations in post-byzantine painting. In Greece, particularly in the Venetian-held regions during the late post-byzantine period [17th, 18th and 19th centuries] a relatively minor number of icons were created which contained both religious and secular scenes, notably depictions of personalized experiences. Their donors, believing in divine intervention usually due to their own rescue from some accident, dedicated these icons as gestures of personal gratitude. In these icons, the painters depict the moment of divine intervention, combining the presence of the divine with the secular incident. The artistic rendering of the oral testimony is in many cases emphatically accompanied by a written account of the incident, without neglecting to provide both the identity of the donor and those of any participants in said incident.
The present paper was inspired by the Corfiot votive icons published by the scholar P. Vokotopoulos. Further research proved fruitful, uncovering heretofore unknown works on the same subject which were studied in tandem with those already published. The icons in the present study exhibit with exceptional variety the salvation from accidents, such as for example a fall from horseback, a defenestration, a fall into a well, childhood accidents, rescue from lightning and, most common of all, rescue from ship accidents. Their iconography was not the subject of codification as the painters, in each case, transferred a different oral account into visual depiction.
This was preceded by the categorization of these icons according to style, depending on the area covered by the secular scene [either a section or the entirety of the painted surface]. This is an element which weakens the venerational content of these icons. This was followed by an iconographical examination and the detection of the influences from their Western counterparts prevalent in the icons, the ex voto works. One can discern, within the inexhaustible repertory of the Pittura popolare, which were developed in parallel with the art of the nobility throughout Europe (after the Council of Trent 1545-1563), the inspiration, and often the templates, for the secular episodes of the votive icons. From the iconographical analysis it occurred that certain subjects are unique both as incidents in themselves and regarding iconography (an example which is located in the Byzantine Museum of Athens, is the rescue from a raging bull of a Venetian Corfiot nobleman named Bartolomeo Dario, which takes place in the city center and preserves an, unknown until now, image of Corfu).
In tandem with the iconographical analysis of the subject, information was sought on the figures mentioned in the inscriptions (donors, victims but also the painters who fashioned each artwork). This uncovered scions of the great families of the Ionian Islands (Voulgares, Tzanteres, Alexandros Deorzes, Antonio Maria Kapodistrias and John Κapodistrias, the subsequent governor and his father etc.) along with figures connected to Venice [ambassadors, students at the University of Padua etc.]. The donor artists Th. Poulakis and Kontarinis, both well-versed on the trends in Italian painting art, are also connected with Venice.
In conclusion, emphasis was placed on the fact that these votive icons, which exhibit as their defining feature the combination of realism and symbolism, occasionally approach secular art and at other times remain faithful to the orthodox idiom, thereby indicating the post-byzantine aesthetic tradition of the painted art of the Ionian Islands.
“Observations on the frescoes of the Monastery of Eleousa on the Ioannina Island”, Monasteries of... more “Observations on the frescoes of the Monastery of Eleousa on the Ioannina Island”, Monasteries of the Ioannina Island, Proceedings of the Sypmosium, 700 years (1292-1992), 29-31 May 1992, Ioannina 1999, p. 315-323, img. 1-32
The objective of this study is a preliminary examination of the oldest phase of the decoration of the nave/katholikon of the Monastery of Panagia Eleousa, which is located on the western side of the Island, in close proximity to the monasteries of Philanthropenon and Strategopoulou. These frescoes, which cover the area from the eastern section to the arch of the church, have not been studied as of yet. A first approach to the subject was included in the Thesis of the present scholar.
In this group of paintings, the composition of the program, the distribution of the subject matter on the wall surfaces, the iconographical figures and, in particular, the style of the frescoes reveal multifaceted, multimodal relations with the art of the other important monasteries of the Island and with those which bear the marks of the artistic output of the Kontaris brothers in particular. Elements which reveal the multiple bonds between the decoration of the churches of the Transfiguration and in particular of St. Demetrios in Veltsista with the monastery of Eleousa, can be discerned in the choice of iconographical repertory, the narrative development of the Christological cycle and the emphasis placed on the Resurrection and the Passion.
At the same time, the stylistic analysis of the frescoes, with their flexibility of design, vibrant colors, and sculpted and compound features allowed the induction of this monastery within the output of a particular artistic workshop of the late 16th century, that of the Kontaris brothers.
“The subject of the Massacre of the Innocents in post-Byzantine painting and its relationship wit... more “The subject of the Massacre of the Innocents in post-Byzantine painting and its relationship with the art of the Italian Renaissance”, Byzantion vol. LX 1990 issue 1, p. 366-381, img. 1-15.
This is a study on the issue of the relations between post-byzantine art and the art of the Italian Renaissance, based on a detailed iconographical examination of the scene of the Massacre of the Innocents, in particular that created by Theophanes in the Athonite monastery of Great Lavra (1535), which became the template for the post-byzantine painters.
It is a well-known fact that in this work, Theophanes introduced a new iconographical composition by enriching its byzantine themes with new groups of figures which he drew from the famous copper engraving by Marcantonio Raimondi, based on designs-studies on the same subject by Raphael (Chatzidakis 1947).
In this study, through the examination of the origins of certain elements of both the Byzantine and Italian traditions of the subject, emphasis was placed on the fact that both Theophanes and the ingenious Klotzas (Triptych of the Hellenic Institute of Venice, London Triptych), drew eclectically not only from renaissance copper engraving but also from the narrative iconography of the Trecento and the Quattrocento, during which the subject was widespread (Workshops of Giotto, Giusto de Menabuoi, Niccolo di Tommaso, Matteo di Giovanni, Fra Angelico, et. al.).
An examination of certain themes of the post-byzantine Massacre of the Innocents, which can be traced primarily to middle-byzantine manuscripts (Par. gr. 74, Vat. gr. 1156, Laur. VI. 23 etc.) was carried out. The painters of the Palaiologan period eclectically adopted these elements in their few known depictions of the subject while, to the contrary, these particularities were quite common for the artists of the Trecento and the Quattrocento. Their examination allowed the hypothesis that these iconographical themes might have possibly been encountered by the post-byzantine painters as a type of reborrowing through the Italian primitifs. This hypothesis is further strengthened by the occasional influences of the early Renaissance that can be identified in the work of Theophanes, and especially Klotzas, which denote the direct knowledge of the exact templates.
“Jacobo Rosso, Donor of the church of Odegetria in Apolpena, Leukas”, proceedings of the 3rd Symp... more “Jacobo Rosso, Donor of the church of Odegetria in Apolpena, Leukas”, proceedings of the 3rd Symposium of the Institute of Leukas Studies, “Christian Art in Leukas, 15th – 19th c.”, Leukas 8-9 August 1998, Athens 2002, p. 21-36.
The subject of the present paper is the donor of the frescoes in the church of the Odegetria in Apolpena, Leukas, and his relation to this group of frescoes.
This monument has been the subject of repeated examination in the past, with researchers examining the particularity of this “unique” wall decoration, in which the Byzantine artist attempted to combine the Palaiologan style with the artistic forms of the late Gothic period. The paper begins with the examination of the bas-relief, five-verse, flat-letter Byzantine donor inscription, which was first published by Rontogiannis, and the suggestion for a new reading of the 2nd, 3rd and 4th verses. The renovators of the church are named/cited as Iakovos and Zambia, in 1449/50. These figures have been neither identified nor commented on by researchers until now. In fact, existing research, despite the information contained in the inscription, has connected the decoration of the church with other historical figures. In researching the political situation of Leukas, Jacobo Rouffo or Rosso, a trusted aide of Carlo II Tocco, was identified and further investigated through the sources and his cultural environment. Jacobo, Rosso the Duke of Leukas and Ambassador to Venice, was acquainted with and active within influential political and scholarly circles, and maintained relations with the important urban centers of the period, Venice and Ragusa. The study of this information resulted in the identification of the Iakovos in the inscription with the Jacobo Rosso of the sources, who must have carried out this donation not more than a year into his tenure as Viceroy of Leukas.
The conclusion of the study is dedicated to the artistic style of the frescoes, the identification of western influences within them, and their connection with the aesthetics and choices of their Latin donor.
"The frescoes of St. Nikolaos Glezos in Inner Mani ", Dodoni 8 (1978), Ioannina 1979, p. 299-329... more "The frescoes of St. Nikolaos Glezos in Inner Mani ",
Dodoni 8 (1978), Ioannina 1979, p. 299-329, fig. 1-4, chart 1-28.
This study constitutes a comprehensive presentation of the byzantine church of St. Nikolaos Glezos in Inner Mani.
The first section is devoted to the study of the monument, its architecture, and ceramic and sculptural decoration.
The second section contains a detailed iconographical and stylistic examination of the frescoes in the church, which served to display the conservatism and eclecticism of the painter regarding the subject matter and the organization of the iconographical program. Despite all this, the painter seems open to different approaches of the art, as is evidenced by his knowledge and incorporation into his work of contemporary artistic trends. These findings allowed the conclusion that the frescoes of St. Nikolaos Glezos are dated to the 3rd quarter of the 13th century.
"The presence of the painter Theodoros Poulakis on Corfu ", Cretica Chronica, vol. XXVIII – XXIX ... more "The presence of the painter Theodoros Poulakis on Corfu ", Cretica Chronica, vol. XXVIII – XXIX (1988- 1989), p. 212-223.
This study constitutes a supplement to the bibliography on the painter Theodoros Poulakis, and provides information on apprenticeship contracts and the movements of artists.
The document published in the present study is from the Historical Archive of Corfu, an abundant, but as-yet untapped source of information on the social functions of post-byzantine art. The document itself is a contract of apprenticeship which was signed on Corfu in July of 1664 between the well-known Cretan painter Theodoros Poulakis, as a teacher of the “hagiographical profession/discipline/science” and a young apprentice.
Drawing upon direct and implied facts both from this document and from three others from the Archivio di stato di Venezia (Notai di Venezia), an attempt was made to complete the Curriculum Vitae of this exceptionally productive artist. An object of particular focus was the rare testimony provided by the document regarding the possible movements of the painter to Venice, the Levant and elsewhere. This testimony, which is indicative of the movement of icon painters in this period, sheds light, albeit indirectly, on this issue, on which very little information has been found from archival sources up to the present day.
Aπαγορεύεται η αναδημοσίευση, η αναπαραγωγή, ολική, μερική ή περιληπτική, καθώς και η απόδοση κατ... more Aπαγορεύεται η αναδημοσίευση, η αναπαραγωγή, ολική, μερική ή περιληπτική, καθώς και η απόδοση κατά παράφραση ή διασκευή του περι εχομένου του βιβλίου με οποιονδήποτε τρόπο, μηχανικό, ηλεκτρονικό, φωτοτυπικό, ηχογράφησης ή άλλο, χωρίς την προηγούμενη έγγραφη άδεια του εκδότη, σύμφωνα με το νόμο 2121/1993 και τους κανόνες του διεθνούς δικαίου που ισχύουν στην Ελλάδα. Στα άρθρα του παρόντος τόμου ακολουθήθηκαν οι ορθογραφικές επιλογές των συγγραφέων. ISBN 978-960-6878-80-0 © 2015 ΕΚΔΟΣΕΙΣ ΚΑΠΟΝ EΚΔΟΣΕΙΣ ΚΑΠΟΝ Μακρυγιάννη 23-27, 107 42 Αθήνα τηλ. 210 9235 098, 210 9214 089 e-mail: info@kaponeditions.gr www.kaponeditions.gr ΑΦΙΕΡΩΜΑ ΣΤΟΝ ΑΚΑΔΗΜΑΪΚΟ ΠanΑγΙΩΤΗ Λ. ΒΟΚΟΤΟΠΟΥΛΟ ΕΠΙΣΤΗΜΟΝΙΚΗ ΕΠΙΜΕΛΕΙΑ ΒΑΣΙΛHΣ ΚΑΤΣΑΡΟΣ -ΑΝΑΣΤΑΣΙΑ ΤΟΥΡΤΑ ΜΕ ΤΗΝ ΕυγΕΝικΗ υΠΟΣΤΗΡιΞΗ ΤΩΝ ΙΔΡΥΜΑ ΙΩΑΝΝΟΥ Φ. ΚΩΣΤΟΠΟΥΛΟΥ ΙΔΡΥΜΑ Α. Γ. ΛΕΒΕΝΤΗ ΛΕΒΕΝΤΕΙΟΣ ΠΙΝΑΚΟΘΗΚΗ ΚΕΝΤΡΟ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ -AΡΙΣΤΟΤΕΛΕΙΟ ΠΑΝΕΠΙΣΤΗΜΙΟ ΘΕΣΣΑΛΟΝΙΚΗΣ ΙΔΡΥΜΑ ΚΑΛΥΨΟΥΣ ΚΑΙ ΓΡΗΓΟΡΙΟΥ ΓΡΗΓΟΡΙΑΔΗ ΕΚΔΟΣΕΙΣ ΚΑΠΟΝ With the kind support of THE J. F. COSTOPOULOS FOUNDATION A. G. LEvENTIS FOUNDATION A. G. LEvENTIS GALLERY CENTRE FOR BYzANTINE RESEARCH -ARISTOTLE UNIvERSITY OF THESSALONIKI KALYPSO AND GREGORY GRIGORIADIS FOUNDATION KAPON EDITIONS οργανωτικh Επιτροπh γιωργοσ κακαΒασ • Βασιλησ κατσαροσ • Χαρα κωνσταντινιΔη αριστοτελησ μεντζοσ • ιωακειμ ΠαΠαγγελοσ αθανασιοσ σεμογλου • αναστασια τοyρτα • κωνσταντινοσ τσουρησ Επιστημονικη Επιτροπη Παναγιωτα ασημακοΠουλου-ατζακα • γιωργοσ Βελενησ ευγενια ΔρακοΠουλου • σοφια καλοΠιση-Βερτη Βασιλησ κατσαροσ • Χρυσανθη μαυροΠουλου-τσιουμη ΧαραλαμΠοσ μΠουρασ • νικοσ νικονανοσ NaNcy PattersoN ŠevČeNko • olga PoPova • eNgeliNa smirNova JeaN-Pierre sodiNi • goJko subotić Δημητριοσ τριανταφυλλοΠουλοσ • νανω ΧατζηΔακη Στὴν Ἀκαδημία Ἀθηνῶν (2007). ΑΡΧΙΤΕΚΤΟΝΙΚΗ 25 Le symboLisme de La croix dans L'architecture reLigieuse et sa fusion avec Les martyria À pLan centré aux iv e et v e siÈcLes Jean-Pierre SODini 37 mt carmeL, pythagoras and eLijah's cave. context and meaning aSher OvaDiah 47 Ο ΝΑoΣ ΤΟΥ ΑΓiΟΥ ΣΤΕφaΝΟΥ ΣΤΟΝ «ΠΑΛΙo» ΜΑΝΤΑΜaΔΟ ΛeΣΒΟΥ. ΜΙΑ ΠρΩΤΗ ΠρΟΣΕΓΓΙΣΗ μαρια κ. τσιτιμακη 57 Η ΒΑΣΙΛΙΚΗ ΣΤΟ ΤΗΓΑΝΙ ΤΗΣ ΜΕΣΑ ΜΑΝΗΣ. ΣΥΜΒΟΛΗ ΣΤΗΝ ΟΙΚΟΔΟΜΙΚΗ ΙΣΤΟρΙΑ ΤΟΥ ΝΑΟΥ αγγΕΛικη μΕξια 67 ΣΥΜΒΟΛh ΣΤh ΜΕΛeΤΗ ΤΗ Σ ΝΑΟΔΟΜiΑΣ ΣΤhΝ ΚρhΤΗ ΚΑΤa Τh ΜΕΣΟΒΥζΑΝΤΙΝh ΠΕρiΟΔΟ. ΜΝΗΜΕΙΑΚeΣ ΜΑρΤΥρiΕΣ Ειρηνη ν. ΘΕοΧαροποΥΛοΥ 79 ΣΤΑΥρΟΕΙΔΕiΣ ΕΓΓΕΓρΑΜΜeΝΟΙ ΝΑΟi ΜΕ ΣΥΝΕΠΤΥΓΜeΝΟ ΔΥΤΙΚo ΣΚeΛΟΣ δημhτρησ αΘανασοYΛησ -μιΧaΛησ κaππασ 97 Η χρΟΝΟΛoΓΗΣΗ ΤΗΣ ΠΑΛΑΙaΣ ΜΗΤρΟΠoΛΕΩΣ ΣΕρρΩΝ κωνσταντινοσ τσοΥρησ 107 ΕΠΑΝΕξΕΤΑΣΗ ΤΗΣ ΑρχΙΤΕΚΤΟΝΙΚΗΣ ΤΟΥ ΝΑΟΥ ΤΗΣ ΕΠΙΣΚΟΠΗΣ ΣΑΝΤΟρΙΝΗΣ κΛημησ ασΛανιδησ 115 ΠΑρΑΤΗρhΣΕΙΣ ΣΤΗ ΔΙΑΜoρφΩΣΗ ΚΑΙ ΤΗΝ ΚΑΤΑΣΚΕΥh ΤΩΝ ΑΝΟΙΓΜaΤΩΝ ΤΩΝ θΥρΩΝ ΣΤΗ ΒΥζΑΝΤΙΝΗ ΑρχΙΤΕΚΤΟΝΙΚΗ σταYροσ μαμαΛοYκοσ 127 the epirote ΙΝput in the architecture of byZantine macedonia and of serbia around 1300 Slobodan ĆurčiĆ ΧαρaΛαμποσ μποYρασ ΠΕΡΙΕΧΟΜΕΝΑ 13 ΠΑΝΑΓΙΩΤΗΣ Λ. ΒΟΚΟΤΟΠΟΥΛΟΣ νανω Χατζηδακη 18 ΚΑΤΑΛΟΓΟΣ ΤΩΝ ΔΗΜΟΣΙΕΥΜΑΤΩΝ toy ΠΑΝΑΓΙΩΤΟΥ Λ. ΒΟΚΟΤΟΠΟΥΛΟy ιωακΕιμ α. παπαγγΕΛοσ 24 ΣΥΝΤΟΜΟΓρΑφΙΕΣ -abbreviations ΜΙΚΡΟΤΕΧΝΙΑ 193 ΜΕΤΑΛΛΙΚΟΙ ΣΤΑΥρΟΙ ΤΗΣ ΠρΩΙΜΗΣ ΚΑΙ ΜΕΣΗΣ ΒΥζΑΝΤΙΝΗΣ ΠΕρΙΟΔΟΥ ΣΕ ΙΔΙΩΤΙΚΗ ΣΥΛΛΟΓΗ φΛωρα καραγιαννη 205 ΑΝΑΓΛΥφΑ ΜΕΤΑΛΛΙΚΑ ΕΙΚΟΝΙΔΙΑ ΒΥζΑΝΤΙΝΩΝ χρΟΝΩΝ ΤΟΥ ΜΟΥΣΕΙΟΥ Π.& Α. ΚΑΝΕΛΛΟΠΟΥΛΟΥ κωνσταντινοσ σκαμπαΒιασ 213 ΒΥζΑΝΤΙΝΑ ΜΟΛΥΒΔΟΒΟΥΛΛΑ ΑΠΟ ΤΗΝ ΑΝΑΤΟΛΙΚΗ ΜΑΚΕΔΟΝΙΑ ΚΑΙ ΤΗ θρΑΚΗ νικοσ ζηκοσ ΓΛΥΠΤΙΚΗ 181 ΑρΤΑ. ΤΟ ΒΥζΑΝΤΙΝΟ ΤΕΜΠΛΟ ΤΗΣ ΒΛΑχΕρΝΑΣ ΒαρΒαρα παπαδοποΥΛοΥ ΨΗΦΙΔΩΤΑ 273 Η «ΟΙΚiΑ ΤΟΥ ΜaρΚΟΥ ΑiΛΙΟΥ ΣΑΒ(Ε)ΙΝΙΑΝΟy» ΣΤΗΝ ΚΩ: ΠρΩΤΗ ΠρΟΣΕΓΓΙΣΗ Ερση μπροΥσκαρη 285 eΝζΩΔΗ ΚΛΗΜΑΤiΔΑ ΜΕ φΟiΝΙΚΑ. ψΗφΙΔΩΤh ΠΑρaΣΤΑΣΗ ΑΠo ΤΗΝ ΚΟΙΜΗΤΗρΙΑΚh ΒΑΣΙΛΙΚh ΤΗΣ «ΠΛΑΤΕiΑΣ ΣΙΝΤρΙΒΑΝiΟΥ» ΣΤΗ θΕΣΣΑΛΟΝiΚΗ μΕΛiνα παϊσiδοΥ 295 an earLy christian compLex with mosaic fLoors at aghia KyriaKi, Livanates coast, phthiotis. new evidence of a fLourishing centre geOrge KaKavaS 303 ΤΟ ψΗφΙΔΩΤΟ ΤΟΥ ΔΥΤΙΚΟΥ ΤΟΙχΟΥ ΣΤΟn ΝΑΟ ΤΟΥ ΑΓΙΟΥ ΔΗΜΗΤρΙΟΥ αριστοτΕΛησ μΕντζοσ ΧΕΙΡΟΓΡΑΦΑ 311 particuLarities of byZantine art of the 1070s to 1080s (gospeLs at the nationaL Library in athens, cod. 57) Olga POPOva 321 ΤΟ ΕΥΑΓΓΕΛΙΟ syn. gr. 225 ΤΟΥ ΙΣΤΟρΙΚΟΥ ΜΟΥΣΕΙΟΥ ΤΗΣ ΜΟΣχΑΣ. ΚΩΝΣΤΑΝΤΙΝΟyΠΟΛΗ -ΜΥΣΤρaΣ -aΓΙΟΝ oρΟΣ (;) -ΜoΣχΑ ροδονικη ΕτζΕογΛοΥ -elina DOBrYnina ΠΟΙΚΙΛΑ 223 oi ΚΑΝΤΑΚΟΥζΗΝΟΙ ΣΤΗ ΣΕρΒΙΑ ΚΑΙ ΟΙ ΜΟΝΕΣ toΥΣ Gojko SuboTiĆ 233 Ο ΑΓΙΟΣ ΑχΙΛΛΙΟΣ ΚΑΙ Η ΛΑρΙΣΑ ΤΗΣ ΥΣΤΕρΗΣ ΑρχΑΙΟΤΗΤΑΣ: ΑΓΙΟΛΟΓΙΚΕΣ ΚΑΙ ΑρχΑΙΟΛΟΓΙΚΕΣ ΜΑρΤΥρΙΕΣ (ΠρΟΤΑΣΗ ΓΙΑ ΜΙΑ ΔΙΑφΟρΕΤΙΚΗ ΑΝΑΓΝΩΣΗ) οΛγα καραγιωργοΥ 247 Ο ΑΓΙΟΣ ΔΗΜΗΤρΙΟΣ ΩΣ ΣΤρΑΤΙΩΤΗΣ ΕΚΤΟΣ θΕΣΣΑΛΟΝΙΚΗΣ: ΔΥΟ ΕΜφΑΝΙΣΕΙΣ ΤΟΥ ΣΤΗΝ ΕΛΛΑΔΙΚΗ ΟΔΟ ΤΩΝ ΠρΟΣΚΥΝΗΤΩΝ σταΥροσ γ. γοΥΛοΥΛησ 257 ΚΕΙΜΕΝΟ ΚΑΙ ΜΝΗΜΕΙΟ: Η ΑΛΛΗΛΟΕξΑρΤΗΣΗ ΔΥΟ ΙΣΤΟρΙΚΩΝ ΠΗΓΩΝ μαρια ι. καζαμια-τσΕρνοΥ 267 ΑΝΑΜΕΣΑ ΣΤὴ ΒΥζΑΝΤΙΝΗ ΚΑΙ Τh ΔΥΤΙΚΗ ΠΑρΑΔΟΣΗ: Τὸ ΕΣΩΤΕρΙΚΟ ΣΠΙΤΙΩ Ν ΕΛΛΗΝΩΝ ΣΤh ΒΕΝΕΤΙΑ (17ΟΣ ΑΙ.) ΧρΥσα μαΛτΕζοΥ EΠΙΓΡΑΦΙΚΗ 331 ΤΑ ΠρΙΝ ΚΑΙ ΤΑ ΜΕΤa ΤΟ s(ex) ΣΤΙΣ ΕΛΛΗΝΙΚeΣ ΕΠΙΓρΑφeΣ ΤΩΝ χρΙΣΤΙΑΝΙΚΩΝ χρΟΝΩΝ γΕωργιοσ ΒΕΛΕνησ ΤΟΙΧΟΓΡΑΦΙΕΣ 341 the choir of saints in the middLe byZantine monumentaL decoration. the evidence of the 9th-11th century waLL-paintings in cappadocia anna ZaKharOva 347 perception de L'héritage byZantin dans Les peintures muraLes découvertes sous Le duomo de sienne lYDie haDermann-miSguich 357 ΟΙ ΤΟΙχΟΓρΑφΙΕΣ ΤΟΥ ΑΓΙΟΥ ΓΕΩρΓΙΟΥ ΤΟΥ ΣΑΚΚΑ ΣΤΗ ΓΙΑΛΟΥΣΑ, ΕΠΑρχΙΑΣ ΑΜΜΟχΩΣΤΟΥ, ΣΤΗΝ ΚΥΠρΟ μαρια παναγιωτιδη-κΕσισογΛοΥ 367 ΛΗΣΤΗΣ-ΑΓΓΕΛΟΣ (;) ΒασiΛησ κατσαρOσ 377 ΤΟ ΑΣΚΗΤΑρΙΟ ΤΩΝ «ΑΓΙΩΝ» ΣΤΗΝ ΠΕρΙΟχΗ ΔΕΛΒΙΝΑΚΙΟΥ ΙΩΑΝΝΙΝΩΝ. ΠρΩΤΕΣ ΠΑρΑΤΗρΗΣΕΙΣ ΣΕ ΕΝΑ ΑΓΝΩΣΤΟ ΒΥζΑΝΤΙΝΟ ΣΥΝΟΛΟ ιωαννησ π. ΧοΥΛιαρÁσ 389 Η θΕΟΤΟΚΟΣ Χωρα τοῦ αΧωρητοῦ ΣΤΟΝ ΑΓΙΟ ΔΗΜΗΤρΙΟ ΣΤΗ ΜΠΟΜΠΟΣΤΙΤΣΑ ΤΗΣ ΚΟρΙΤΣΑΣ ΚΑΙ ΤΟ φΑΝΤΑΣΜΑ ΤΟΥ ΜΕΤΟχΙΤΗ ιωαννησ ΒιταΛιωτησ 399 the painter Leontios the deacon. a contribution to the worK of a 14th-century cypriot painter chara KOnStantiniDi -neKtariOS ZarraS 407 ΤΟ ΕΙΚΟΝΟΓρΑφΙΚo ΠρoΓρΑΜΜΑ ΤΟΥ ΚΑθΟΛΙΚΟy ΤΗΣ ΜΟΝhΣ ΠΕρΙΒΛeΠΤΟΥ ΣΤΟΝ ΜΥΣΤρa ΚΑΙ ΤΟ ζhΤΗΜΑ ΤΟΥ ΚΤhΤΟρΑ μΕΛiτα ΕμμανοΥhΛ 417 Η ΤΟΙχΟΓρΑφΙΚh ΔΙΑΚoΣΜΗΣΗ ΤΟΥ ΝΑΟy ΤΗΣ ΠΑΝΑΓiΑΣ ΣΤΟ χΩρΙo ΜeρΩΝΑΣ ΑΜΑρiΟΥ: ΝeΑ ΣΤΟΙχΕiΑ μαρια μπορμποΥδακη 429 h ΣφΑΓh ΤΩΝ ΝΗΠiΩΝ ΣΤΗ ΛΙΤh ΤΟΥ ΠρΟφhΤΗ ΗΛiΑ θΕΣΣΑΛΟΝiΚΗΣ μαρiα καμποYρη-ΒαμΒοYκοΥ 441 ΠΑρΑΣΤΑΣΕΙΣ ΤΗΣ ΔΕΥΤΕρΑΣ ΠΑρΟΥΣΙΑΣ ΣΤΗ ρΟΔΟ (13ΟΣ ΑΙ. -Π. 1500) ιωαννα μπιΘα 457 angeLs with instruments of the passion around the virgin in the apse. a LocaL phenomenon in serbian art BraniSlav tODić 465 Fresques sur la Façade orientale des églises À Kastoria. une pratique Byzantine inconnue niKOlaOS SiOmKOS 473 ΜΟΝh ΤΗΣ ΚΟΙΜhΣΕΩΣ ΤΗΣ θΕΟΤoΚΟy ΣΤΗ ΜΟΛΥΒΔΟΣΚΕΠΑΣΤΟ ΣΤΗΝ ΗΠΕΙρΟ ΕΥΘΥμιοσ ν. τσιγαριδασ 481 aΓΙΟΣ ΓΕΩρΓΙΟΣ ΣΤΗΝ ΚΑΤΩ ΛΑψΙΣΤΑ ΤΩΝ ΙΩΑΝΝΙΝΩΝ. ΠΑρΑΤΗρΗΣΕΙΣ ΣΤΙΣ ΤΟΙχΟΓρΑφΙΕΣ ΤΟΥ ΕΤΟΥΣ 1508 μΥρτaΛη αΧΕιμaστοΥ-ποταμιaνοΥ 491 La composition absidaLe À Bălineşti et ses composantes hymnographiques mariaLes athanaSSiOS SemOglOu
La peinture des icones du 18ème et du début du 19ème siècle à Leukada ... more La peinture des icones du 18ème et du début du 19ème siècle à Leukada
Entre l’art crétois et ionien
La peinture au cours du 18ème et 19ème siècle, dans le domaine des iles Ioniennes est sans aucun doute un phénomène intégral, mais qui n'a pas progressé au même rythme dans toutes les îles. Zakynthos et Corfou ont joué un rôle important dans le plan artistique, par opposition à Lefkada qui, en raison de la longue occupation ottomane, mais aussi des structures sociales et économiques communs avec le continent voisin, est restée loin de ces fertiles progressions. L’apogée du mouvement artistique à Lefkada s’est formée à l’époque de la conquête de l'île par les Vénitiens. Pendant cette période ont été construites presque toutes les églises dans la ville.
Cette communication interprète les premières nouvelles de l’inventaire des icones dans ces églises. Cette mission, en 2010 et 2012, a été rendu possible (s’est formée) grâce au financement de l'Université de Ioannina et de la participation de l'équipe d'étudiants.
Je me propose de présenter quelques œuvres caractéristiques des peintres nommés, Panagiotis Doxaras Constantinos Kontarinis, Papanoulopoulos, Tommaso Zen, Stylianos Devaris et Spyridon Venturas, et ensuite certains thèmes iconographiques comme Ecce Homo, les anges avec les symboles de la Passion, etc., qui retracent la production artistique du 18e et du début du 19e siècle à Lefkada.
Les peintres actifs dans la ville, depuis les premières décennies du 18e jusqu' à la première moitié du 19e siècle – presque quinze sont d’origine locale- flottent entre les enseignements de l'école crétoise, puisée dans les normes strictes et le message novateur de l’école née au territoire des iles Ioniennes, la soi-disant école Ionienne. Les peintres actifs dans Leukada, tant les locaux ainsi que les étrangers sont créatifs et ils s’adaptent aux exigences morpho plastics de leur temps : ils relèvent des emprunts des peintres crétois, principalement ceux de la diaspora, tout en adoptant la nouvelle iconographie, le style et la technique de l’art des iles Ioniennes, entièrement inspiré par l’Occident.
“The creation of a new formula for the Crucifixion and its dissemination throughout the Balkans”,... more “The creation of a new formula for the Crucifixion and its dissemination throughout the Balkans”, Greek papers at the 5th International Conference of Southeastern European Studies, Belgrade 11th-17th September 1984, Hellenic Committee on Southeastern European Studies, Athens 1985, p. 241-257, ch. 1-8.
The issue of Western influences in the iconography of post-byzantine art has only been sporadically studied by art historians. This paper constitutes an attempt to present a detailed iconographical study of the scene of the Crucifixion in the church of St. Demetrios in Veltsista, in order to detect any influences from western art and discover any exact templates.
It is clear that this anonymous post-byzantine artist has created a new narrative composition which includes many secondary episodes, an influence of the iconography common in Gothic art. One only needs to compare his work with that of Altichiero, Giusto de Menabuoi, the brothers Salimbeni and Barna da Siena. Within the entirety of post-byzantine art, such an iconographical composition was until now only known from the Italo-Cretan icons, which also draw from the same source.
The comprehensive examination of the iconographical particularities of the scene, together with the new elements adopted by the painter showed their connection with templates drawn from Italian art, namely the works of Barnaba da Modena and Andrea di Bartolo. Therefore, the anonymous painter of St. Demetrios, and Fragos Kontaris in Veltsista, who adopted the same composition, seem to have had knowledge, not only of the Italo-Cretan icons, but likely also had direct knowledge of the Italian works.
Subsequently, the issue of the contact between the post-byzantine painters with the Western works of art was examined, by combining it both with the circulation of copper engravings and with the trade relations between the region of NW Greece, Italy, and the Venetian Ionian possessions.
In conclusion, the dissemination of this iconographical type in subsequent monuments both in the Helladic region and in the wider area of the Balkans is examined, with particular focus on the monuments of Wallachia, which draw upon the Veltsista template by directly duplicating its iconographical composition.
“The representation of the Temple of Solomon in the Cretan Icons: certain iconographical aspects”... more “The representation of the Temple of Solomon in the Cretan Icons: certain iconographical aspects”, Cahiers Balkaniques 2004
This paper examines the representation of the Temple of Solomon in post-Byzantine Cretan icons. The focus of the research was centered on certain iconographical variants which display innovation, influenced by the tradition of the works of Western art.
It is accepted knowledge that in Byzantine art, buildings are depicted conventionally. The Temple of Solomon, a characteristic monument of Jerusalem, has, in the background of scenes showing holy events, been depicted not in its original peripteral form but rather as a circular structure. This is due to the fact that the Mosque of Omar/Dome of the Rock, a Muslim construction, was built on the site previously occupied by the demolished Temple. The interchange between the two temples became prevalent following the Crusades through the seals of the Templars, but also in later eras through cartographical depictions of Jerusalem, which depicted the Judaean temple as a circular structure. The particular focus of the research was the circular structure which emerges over the walled Jerusalem and which older studies had identified as either the Holy Sepulcher or the Temple of Solomon. In the course of the research on the iconography of the Entry into Jerusalem it was ascertained that the aforementioned circular structure is not depicted in this particular scene before the 12th century, in other words before the Crusades. This information allows the hypothesis that it must refer to the Temple of Solomon.
A presentation was subsequently made of the iconographical particularities of the depiction of the Temple of Solomon, which lacked Byzantine symbolism, having wholly adopted the realistic morphological elements reminiscent of “actual” structures [Mosque of Omar/Dome of the Rock, Tempietto by Bramante] or idealized Renaissance and Gothic structures. The Cretan painters, in the Venetian cultural environment of Crete, drew upon various Western templates for their creations [cartographical depictions of Jerusalem, Renaissance paintings and sketches].
The second section contains an examination of the icon by Ioannes Apakas [2nd half of the 16th c.] in Venice, which is of particular interest due to its depiction of the Temple of Solomon as its main subject. Here, the Temple is depicted in the form of a walled medieval city, the morphological templates of which were discerned in Italian works of the Quattrocento. At the same time, however, the symbolism of the structure refers to the Heavenly Jerusalem of the Apocalypse, which is given a similar rendering in the art of the medieval West.