Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.
{"title":"A reassessment of middle Byzantine monumental painting on Mount Athos. Patronage, dating and style","authors":"Konstantinos Vapheiades","doi":"10.2298/zog2145079v","DOIUrl":"https://doi.org/10.2298/zog2145079v","url":null,"abstract":"Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.","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":"68385770","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}
St. Zotikos Orphanotrophos acquired great renown in Constantinople owing to his efforts in the establishment of two singularly important philanthropic institutions in the Byzantine Empire - Orphanotropheion (??????????????) on the Acropolis of Constantinople and the Leprosarium in Pera (Golden Horn at Elaiones). The paper discusses an underexplored aspect of the veneration of St. Zotikos - his representations in art. It uses available liturgical sources, hagiographical testimonies and the scarce visual evidence to investigate and determine the reach of the cult of St. Zotikos Orphanotrophos, first in the wider framework of Eastern Christian art and then in Serbian medieval art.
{"title":"The cult of Saint Zotikos Orphanotrophos and his images in Byzantium and beyond","authors":"Marka Tomic","doi":"10.2298/zog2145015t","DOIUrl":"https://doi.org/10.2298/zog2145015t","url":null,"abstract":"St. Zotikos Orphanotrophos acquired great renown in Constantinople owing to his efforts in the establishment of two singularly important philanthropic institutions in the Byzantine Empire - Orphanotropheion (??????????????) on the Acropolis of Constantinople and the Leprosarium in Pera (Golden Horn at Elaiones). The paper discusses an underexplored aspect of the veneration of St. Zotikos - his representations in art. It uses available liturgical sources, hagiographical testimonies and the scarce visual evidence to investigate and determine the reach of the cult of St. Zotikos Orphanotrophos, first in the wider framework of Eastern Christian art and then in Serbian medieval art.","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":"68386065","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 article focuses on the artistic transfer of the early printed books from the Cetinje printing shop, between the Mediterranean and the Danube region in the late medieval and early modern period. The master-printer Makarije made these books under the influence of the Italian, German and Slavonic printers operating in Venice. He later traveled throughout Southeastern Europe, spreading their influence to the Wallachian principality. The paper analyzes and compares the decorative elements in these books in order to understand their ori-gin. The migration and the reception of the artistic elements of Makarije’s incunabula allow us to discover artistic dissemination routes.
{"title":"Early cyrillic printed books and the migration of decorative forms between the Adriatic and the Danube around 1500","authors":"V. Šimić","doi":"10.2298/ZOG2044189S","DOIUrl":"https://doi.org/10.2298/ZOG2044189S","url":null,"abstract":"The article focuses on the artistic transfer of the early printed books from the Cetinje printing shop, between the Mediterranean and the Danube region in the late medieval and early modern period. The master-printer Makarije made these books under the influence of the Italian, German and Slavonic printers operating in Venice. He later traveled throughout Southeastern Europe, spreading their influence to the Wallachian principality. The paper analyzes and compares the decorative elements in these books in order to understand their ori-gin. The migration and the reception of the artistic elements of Makarije’s incunabula allow us to discover artistic dissemination routes.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"189-204"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68386003","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 explores the painted ornament of the Holy Trinity chapel at the monastery of Saint John Chrysostom Koutsovendēs in Cyprus, founded by Eumathios Philokalēs (ca. 1100). When compared to that of other early Komnenian monuments on the island, the painted ornament at Holy Trinity stands out for its intricacy, diversity, and high-quality of execution, while its sophistication is demonstrated to be in keeping with the ambitious and erudite character of the painted ensemble as a whole. Not least, rather than being on the fringe, the painted ornament appears to have been fully integrated into the iconographic programme of the chapel, reiter-ating through metaphor the patron’s hope for salvation.
{"title":"On the fringe. The painted ornament of the Holy Tinity chapel at Koutsovendēs, Cyprus","authors":"G. M. Parani","doi":"10.2298/ZOG2044059P","DOIUrl":"https://doi.org/10.2298/ZOG2044059P","url":null,"abstract":"The paper explores the painted ornament of the Holy Trinity chapel at the monastery of Saint John Chrysostom Koutsovendēs in Cyprus, founded by Eumathios Philokalēs (ca. 1100). When compared to that of other early Komnenian monuments on the island, the painted ornament at Holy Trinity stands out for its intricacy, diversity, and high-quality of execution, while its sophistication is demonstrated to be in keeping with the ambitious and erudite character of the painted ensemble as a whole. Not least, rather than being on the fringe, the painted ornament appears to have been fully integrated into the iconographic programme of the chapel, reiter-ating through metaphor the patron’s hope for salvation.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"59-78"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385342","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 author gives an analysis of the style of the murals in the Church of the Virgin Eleousa in Veljusa (1080–1093), pointing out the distinctive manner of the outstanding artist, similar in many ways to works produced by the previous generation, such as the frescoes in Saint Sophia in Ohrid. At the same time parallels are drawn between the Veljusa frescoes and works by Constantinopolitan artists of the last third of the eleventh century, including miniatures in manuscripts and the Daphni mosaics. A few additions to the interpretation of the church’s iconographic programme are also proposed.
{"title":"The murals in the church of the virgin Eleousa in Vljusa and Byzantine painting of the second half of the eleventh century","authors":"A. Zakharova","doi":"10.2298/ZOG2044037Z","DOIUrl":"https://doi.org/10.2298/ZOG2044037Z","url":null,"abstract":"The author gives an analysis of the style of the murals in the Church of the Virgin Eleousa in Veljusa (1080–1093), pointing out the distinctive manner of the outstanding artist, similar in many ways to works produced by the previous generation, such as the frescoes in Saint Sophia in Ohrid. At the same time parallels are drawn between the Veljusa frescoes and works by Constantinopolitan artists of the last third of the eleventh century, including miniatures in manuscripts and the Daphni mosaics. A few additions to the interpretation of the church’s iconographic programme are also proposed.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"227 1","pages":"37-57"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385465","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}
{"title":"Reconstruction of the outer shapes of the Holy Archangels Church near Prizren - revisited","authors":"Igor S. Bjelić","doi":"10.2298/ZOG2044165B","DOIUrl":"https://doi.org/10.2298/ZOG2044165B","url":null,"abstract":"","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"165-178"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385594","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 addresses a recently discovered rock-hewn chapel in the Davitgareji Desert, which has preserved late twelfth-early thirteenth century wall paintings dominated by a cycle of St Demetrios. The cycle, which finds no parallel in Georgia, is remarkable in many regards and raises important questions as to the chronology and geographical spread of such cycles, the provenance of unknown iconographical redactions, the history of the relics of St Demetrios, the function of the chapel dedicated to the saint, and the interaction between Georgian and Byzantine artistic and cultural traditions, in general.
{"title":"Reliquary-chapel of saint Demetrios at the Davitgareji Desert","authors":"Marina Bulia","doi":"10.2298/ZOG2044079B","DOIUrl":"https://doi.org/10.2298/ZOG2044079B","url":null,"abstract":"The paper addresses a recently discovered rock-hewn chapel in the Davitgareji Desert, which has preserved late twelfth-early thirteenth century wall paintings dominated by a cycle of St Demetrios. The cycle, which finds no parallel in Georgia, is remarkable in many regards and raises important questions as to the chronology and geographical spread of such cycles, the provenance of unknown iconographical redactions, the history of the relics of St Demetrios, the function of the chapel dedicated to the saint, and the interaction between Georgian and Byzantine artistic and cultural traditions, in general.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"79-100"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385374","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 first part of the paper discusses the written testimonies about the history of the cult of the holy fathers of Sinai and Raithou at St. Catherine’s monastery and the visual representations of these saints in East Christian art. The Sinai icons in question are then analysed in two ways. First, the choice of figures of the saints in the upper registers of the icons is considered. On the other hand, the iconography of the forty Sinai and Raithou martyrs is studied in greater detail. It is shown that representations of the celebrated holy monks were used to paint their “portraits”.
{"title":"On the icons of Sinai and Raithou martyrs in Saint Catherine’s monastery at Sinai, with an overview of the cult and iconography of these saints in East Christian art","authors":"Miloš Živković","doi":"10.2298/ZOG2044101Z","DOIUrl":"https://doi.org/10.2298/ZOG2044101Z","url":null,"abstract":"The first part of the paper discusses the written testimonies about the history of the cult of the holy fathers of Sinai and Raithou at St. Catherine’s monastery and the visual representations of these saints in East Christian art. The Sinai icons in question are then analysed in two ways. First, the choice of figures of the saints in the upper registers of the icons is considered. On the other hand, the iconography of the forty Sinai and Raithou martyrs is studied in greater detail. It is shown that representations of the celebrated holy monks were used to paint their “portraits”.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"101-125"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385444","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}
This article deals with some groups of saints in the iconographic programs of Byzantine churches. The main criterion for their presentation is the church calendar, more specifically, the fact that they are commemorated collectively in the liturgy. This iconographic practice seems to have first come into use in the churches of Constantinople, where the collective celebra-tion (synaxis) of multiple saints took place. The largest group of saints commemorated in this way is the Seventy Apostles.
{"title":"Το εορτολόγιο της εκκλησίας ως κύριος παράγων στην εικονογράφηση βυζαντινών ναών","authors":"Silas Arhim. Kukijaris","doi":"10.2298/ZOG2044157K","DOIUrl":"https://doi.org/10.2298/ZOG2044157K","url":null,"abstract":"This article deals with some groups of saints in the iconographic programs of Byzantine churches. The main criterion for their presentation is the church calendar, more specifically, the fact that they are commemorated collectively in the liturgy. This iconographic practice seems to have first come into use in the churches of Constantinople, where the collective celebra-tion (synaxis) of multiple saints took place. The largest group of saints commemorated in this way is the Seventy Apostles.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":"157-164"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68385559","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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