Hichem Moulahoum, Faezeh Ghorbanizamani, Emine Guler Celik, Suna Timur
The evolution of biosensors and diagnostic devices has been thriving in its ability to provide reliable tools with simplified operation steps. These evolutions have paved the way for further advances in sensing materials, strategies, and device structures. Polymeric composite materials can be formed into nanostructures and networks of different types, including hydrogels, vesicles, dendrimers, molecularly imprinted polymers (MIP), etc. Due to their biocompatibility, flexibility, and low prices, they are promising tools for future lab-on-chip devices as both manufacturing materials and immobilization surfaces. Polymers can also allow the construction of scaffold materials and 3D structures that further elevate the sensing capabilities of traditional 2D biosensors. This review discusses the latest developments in nano-scaled materials and synthesis techniques for polymer structures and their integration into sensing applications by highlighting their various structural advantages in producing highly sensitive tools that rival bench-top instruments. The developments in material design open a new door for decentralized medicine and public protection that allows effective onsite and point-of-care diagnostics.
{"title":"Nano-Scaled Materials and Polymer Integration in Biosensing Tools.","authors":"Hichem Moulahoum, Faezeh Ghorbanizamani, Emine Guler Celik, Suna Timur","doi":"10.3390/bios12050301","DOIUrl":"10.3390/bios12050301","url":null,"abstract":"<p><p>The evolution of biosensors and diagnostic devices has been thriving in its ability to provide reliable tools with simplified operation steps. These evolutions have paved the way for further advances in sensing materials, strategies, and device structures. Polymeric composite materials can be formed into nanostructures and networks of different types, including hydrogels, vesicles, dendrimers, molecularly imprinted polymers (MIP), etc. Due to their biocompatibility, flexibility, and low prices, they are promising tools for future lab-on-chip devices as both manufacturing materials and immobilization surfaces. Polymers can also allow the construction of scaffold materials and 3D structures that further elevate the sensing capabilities of traditional 2D biosensors. This review discusses the latest developments in nano-scaled materials and synthesis techniques for polymer structures and their integration into sensing applications by highlighting their various structural advantages in producing highly sensitive tools that rival bench-top instruments. The developments in material design open a new door for decentralized medicine and public protection that allows effective onsite and point-of-care diagnostics.</p>","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":4.9,"publicationDate":"2022-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9139048/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90366564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite the general prohibition of the Church on women preaching, the Church uses, as examples for imitation, vita icons depicting holy women (Saints Mary Magdalene, Catherine, and Marina) publicly teaching. At the same time, the hagiological texts praising these saints describe them with ambiguity, as all praise for their actions is described in terms of ?male virtues?. We have tried to interpret these controversial scenes of the icons, but as the only possible interpretation we consider the centuries-long inability to understand the female nature.
{"title":"Depictions of holy women as preachers in vita icons","authors":"Paraskevi Papadimitriou","doi":"10.2298/zog2145065p","DOIUrl":"https://doi.org/10.2298/zog2145065p","url":null,"abstract":"Despite the general prohibition of the Church on women preaching, the Church uses, as examples for imitation, vita icons depicting holy women (Saints Mary Magdalene, Catherine, and Marina) publicly teaching. At the same time, the hagiological texts praising these saints describe them with ambiguity, as all praise for their actions is described in terms of ?male virtues?. We have tried to interpret these controversial scenes of the icons, but as the only possible interpretation we consider the centuries-long inability to understand the female nature.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper proposes a stylistic link between the earliest wall paintings in the Church of the Ascension at the Mileseva Monastery, previously usually attributed to Thessalonian painters, and several icons from St. Catherine?s monastery on Mount Athos. Based on their visual similarity, it questions the earlier attributions of those Sinai icons, rejecting the view that they were painted by Western Crusader artists. Furthermore, their ascription to Byzantine artists is also supported by certain iconographic parallels with corresponding details on the frescoes of Mileseva.
这篇论文提出了米列谢娃修道院(Mileseva Monastery)耶稣升天教堂(Church of The Ascension)最早的壁画(以前通常被认为是帖撒罗尼亚画家的作品)与圣凯瑟琳?他在阿陀斯山上的修道院。基于它们在视觉上的相似性，它质疑了早先对这些西奈圣像的归因，拒绝了它们是由西方十字军艺术家绘制的观点。此外，他们的归属拜占庭艺术家也支持某些图像的相似之处与米列谢娃的壁画上相应的细节。
{"title":"Mileseva, Sinai and “Crusader art”. A contribution to the study of thirteenth-century Byzantine painting","authors":"Miloš Živković","doi":"10.2298/zog2145103z","DOIUrl":"https://doi.org/10.2298/zog2145103z","url":null,"abstract":"The paper proposes a stylistic link between the earliest wall paintings in the Church of the Ascension at the Mileseva Monastery, previously usually attributed to Thessalonian painters, and several icons from St. Catherine?s monastery on Mount Athos. Based on their visual similarity, it questions the earlier attributions of those Sinai icons, rejecting the view that they were painted by Western Crusader artists. Furthermore, their ascription to Byzantine artists is also supported by certain iconographic parallels with corresponding details on the frescoes of Mileseva.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper presents extant texts narrating about St. Barbarus composed in Greek and in the Bulgarian recension of the Old Church Slavonic language. The veneration of the holy hermit and siderophoros, connected with the Nikopolis region and the Ambracian Gulf in the Greek written heritage and with Pelagonia in the Slavic one, is briefly discussed. His preserved medieval portrayals, found in Byzantium and in the Balkan countries, are listed. Finally, conclusions about his cult and representation are proposed.
{"title":"Holy Hermit Barbarus. Cult and representation in the Middle Ages","authors":"Tatjana Starodubcev","doi":"10.2298/zog2145131s","DOIUrl":"https://doi.org/10.2298/zog2145131s","url":null,"abstract":"The paper presents extant texts narrating about St. Barbarus composed in Greek and in the Bulgarian recension of the Old Church Slavonic language. The veneration of the holy hermit and siderophoros, connected with the Nikopolis region and the Ambracian Gulf in the Greek written heritage and with Pelagonia in the Slavic one, is briefly discussed. His preserved medieval portrayals, found in Byzantium and in the Balkan countries, are listed. Finally, conclusions about his cult and representation are proposed.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The second part of this paper is dedicated to the ktetor portraits of church dignitaries in Serbian Post-Byzantine painting. It focuses on monastic ktetor portraits (hegoumenoi, hieromonks and monks), their vestments, discussing the state of monastic communities during the sixteenth and seventeenth centuries in the introduction. The concluding remarks summarise the placement of ktetorial portraits, corporal rhetoric (proskynesis), insignia, haloes and portrait characteristics, as well as the categories of ktetorship (founding, restoration, donorship), and the imagery and eschatological ideas constructing the visual culture of clerical ktetorship in Serbian Post- Byzantine painting.
{"title":"Ktetor portraits of church dignitaries in Serbian post-Byzantine painting (Part two)","authors":"Miljana Matic","doi":"10.2298/zog1842181m","DOIUrl":"https://doi.org/10.2298/zog1842181m","url":null,"abstract":"The second part of this paper is dedicated to the ktetor portraits of church dignitaries in Serbian Post-Byzantine painting. It focuses on monastic ktetor portraits (hegoumenoi, hieromonks and monks), their vestments, discussing the state of monastic communities during the sixteenth and seventeenth centuries in the introduction. The concluding remarks summarise the placement of ktetorial portraits, corporal rhetoric (proskynesis), insignia, haloes and portrait characteristics, as well as the categories of ktetorship (founding, restoration, donorship), and the imagery and eschatological ideas constructing the visual culture of clerical ktetorship in Serbian Post- Byzantine painting.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68384256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper discusses the relic of the head of the Serbian patriarch Pajsije, recently discovered in the Patriarchate of Pec monastery. Besides a painted cryptogram, the head also includes an extensive inscription with information about Pajsije?s title, time of reign, date of death and place of burial. Taking into account the historical and ideological context, the paper argues that the impetus for establishing Pajsije?s cult came from Patriarch Maksim, his follower and admirer. An analysis of archaeological documentation has shown that Pajsije?s tomb was located at the same spot as Patriarch Maksim?s grave later on. An icon of Patriarch Pajsije now kept in Ravenna made up a unified cultic ensemble with the coffin-reliquary.
{"title":"The cult and tomb of patriarch Pajsije – new findings and interpretations","authors":"Danica Popović","doi":"10.2298/zog2145187p","DOIUrl":"https://doi.org/10.2298/zog2145187p","url":null,"abstract":"The paper discusses the relic of the head of the Serbian patriarch Pajsije, recently discovered in the Patriarchate of Pec monastery. Besides a painted cryptogram, the head also includes an extensive inscription with information about Pajsije?s title, time of reign, date of death and place of burial. Taking into account the historical and ideological context, the paper argues that the impetus for establishing Pajsije?s cult came from Patriarch Maksim, his follower and admirer. An analysis of archaeological documentation has shown that Pajsije?s tomb was located at the same spot as Patriarch Maksim?s grave later on. An icon of Patriarch Pajsije now kept in Ravenna made up a unified cultic ensemble with the coffin-reliquary.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From 1309 to 1523, Rhodes was ruled by the Order of the Knights of St. John. The relics of John the Baptist, their patron saint, held a prominent place in the Hospitallers? devotion. Among the relics, his arm became a significant focus of attention and pilgrimage for the Christian world. After a brief review of the earliest references to the arm, its travels about the eastern Mediterranean, as well as some of the testimonies related to it, the representations of the saint?s arm in medieval painting are briefly examined. After 1204, the Knights appear to have had a direct or indirect connection with the proliferation and dispersal of the relics of the saint, aiming at political and economic benefits. The ?miraculous replication? of the arm opened new perspectives for power and influence.
{"title":"The arm of St. John the Baptist in Rhodes and the diplomacy of relics among the knights hospitaller","authors":"Angeliki Katsioti","doi":"10.2298/zog2145149k","DOIUrl":"https://doi.org/10.2298/zog2145149k","url":null,"abstract":"From 1309 to 1523, Rhodes was ruled by the Order of the Knights of St. John. The relics of John the Baptist, their patron saint, held a prominent place in the Hospitallers? devotion. Among the relics, his arm became a significant focus of attention and pilgrimage for the Christian world. After a brief review of the earliest references to the arm, its travels about the eastern Mediterranean, as well as some of the testimonies related to it, the representations of the saint?s arm in medieval painting are briefly examined. After 1204, the Knights appear to have had a direct or indirect connection with the proliferation and dispersal of the relics of the saint, aiming at political and economic benefits. The ?miraculous replication? of the arm opened new perspectives for power and influence.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper proposes a new dating for the early medieval Dubrovnik cathedral church of St. Peter the Great. Certain analogies have been found with the relief sculpture of the North Apulian cathedrals from the second quarter of the eleventh century. Thanks to them, and taking into account the history and organization of the Latin Church under the political rule of Byzantium in Apulia and in the Diocese of Dubrovnik in the tenth and at the beginning of the eleventh century, above all the political situation in the Byzantine Empire of that time - the construction of the Dubrovnik cathedral is placed in the same historical framework as the construction of North Apulian cathedrals - the first half of the eleventh century.
{"title":"Cathedral church of St. Peter the Great. A contribution to its dating","authors":"V. Babić","doi":"10.2298/zog2145045b","DOIUrl":"https://doi.org/10.2298/zog2145045b","url":null,"abstract":"The paper proposes a new dating for the early medieval Dubrovnik cathedral church of St. Peter the Great. Certain analogies have been found with the relief sculpture of the North Apulian cathedrals from the second quarter of the eleventh century. Thanks to them, and taking into account the history and organization of the Latin Church under the political rule of Byzantium in Apulia and in the Diocese of Dubrovnik in the tenth and at the beginning of the eleventh century, above all the political situation in the Byzantine Empire of that time - the construction of the Dubrovnik cathedral is placed in the same historical framework as the construction of North Apulian cathedrals - the first half of the eleventh century.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Made by Byzantine painters for Catholic patrons, the fresco cycle of St. Catherine of Alexandria in Darlos stands apart from other late-medieval cycles. In terms of patronage, style, and iconography, this pictorial cycle raises questions of cultural exchange between Byzantium and the West, illustrating how female holiness was differently articulated in these areas. While Catherine?s Western cycles emphasize her wisdom and eloquence, the imagery in Darlos honors instead her constancy in suffering and ability to recover after multiple tortures. Retaining the most essential elements of background and figures, the Darlos cycle relies on the concise yet dynamic iconography of painted menologia.
{"title":"Narrative strategies at the crossroads of Byzantine and western visual traditions. The pictorial cycle of St. Catherine of Alexandria in Darlos, Transylvania","authors":"Dragoş Năstăsoiu","doi":"10.2298/zog2145159n","DOIUrl":"https://doi.org/10.2298/zog2145159n","url":null,"abstract":"Made by Byzantine painters for Catholic patrons, the fresco cycle of St. Catherine of Alexandria in Darlos stands apart from other late-medieval cycles. In terms of patronage, style, and iconography, this pictorial cycle raises questions of cultural exchange between Byzantium and the West, illustrating how female holiness was differently articulated in these areas. While Catherine?s Western cycles emphasize her wisdom and eloquence, the imagery in Darlos honors instead her constancy in suffering and ability to recover after multiple tortures. Retaining the most essential elements of background and figures, the Darlos cycle relies on the concise yet dynamic iconography of painted menologia.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68386072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The motif of hetoimasia is one of the most widespread and most complex in medieval iconography, and it has its roots in the Graeco-Roman and Jewish empty thrones of an invisible or absent deity. It gradually developed during the Late Antique period, and experienced its full flourishing in the Middle Ages. It has been appearing in the scenes of the Last Judgment since the eleventh century and, as such, inherits an eschatological connotation (Ps. 9: 7-8). Besides a survey of the earlier ways of percieving this problem, this paper offers alternative possibilities for interpreting the origin and development of the motifs of empty thrones and hetoimasia in Late Antiquity.
{"title":"Enthronement of the invisible. Understanding the origin and evolution of the iconography of empty thrones and hetoimasia in the late antique period","authors":"Branka Vranešević, Olga Špehar","doi":"10.2298/zog2145001v","DOIUrl":"https://doi.org/10.2298/zog2145001v","url":null,"abstract":"The motif of hetoimasia is one of the most widespread and most complex in medieval iconography, and it has its roots in the Graeco-Roman and Jewish empty thrones of an invisible or absent deity. It gradually developed during the Late Antique period, and experienced its full flourishing in the Middle Ages. It has been appearing in the scenes of the Last Judgment since the eleventh century and, as such, inherits an eschatological connotation (Ps. 9: 7-8). Besides a survey of the earlier ways of percieving this problem, this paper offers alternative possibilities for interpreting the origin and development of the motifs of empty thrones and hetoimasia in Late Antiquity.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68386057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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