The Wall Paintings of the Church of St George Tropaiophoros at Loukisia in Boeotia, Greece (second quarter of the 13th century)

2019 ◽  
pp. 112-140
Author(s):  
Giannis Vaxevanis
Keyword(s):  
Wall Paintings ◽  
13Th Century ◽  
The Church

scholarly journals Thirteenth Century wall paintings in the churches of Rhodes

2016 ◽  
Author(s):  
Κωνσταντία Κεφαλά (Konstantia Kefala)
Keyword(s):  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
Chronological Order ◽  
13Th Century ◽  
Artistic Production ◽  
Saint John ◽  
The Town ◽  
The Church

The study focuses on the monumental painting of the island of Rhodes, Greece, during the 13th century and specifically from the year 1204, when the Byzantine official Leo Gabalas took over the administration of the island, until the arrival of the Knights of Saint John in 1309. The remains of the artistic production are located in six churches in the town and the countryside of Rhodes. The monuments in question are presented in chronological order. After the detailed description and iconographic examination follows the stylistic analysis of the murals along with the proposed dating. In particular, the study deals with the frescoes of Saint Phanourios in the Medieval Town of Rhodes, of the monastery of the Archangel Michael at Thari, of Saint John the Theologian at “Koufas” in Paradeissi, of + Saint Nicetas in Damatria, of Saint George Vardas in Apolakkia and of Saint George in Asklepeio. Two sections in the unit on the church of Saint George Vardas were expanded because of their special interest: one concerns the epithet Panagia Akedioktene which accompanies the representation of the Virgin Glykophilousa and the other deals with the iconography and local cult of Saint Philemon, given his representation in the church. Given that the paintings of the church of Saint George Kounaras at Asklepeio is ascribed to the same hand as that of Saint George Vardas, the painter’s style in both monuments and the particularities of his art are examined in a special chapter. In the final part of the book is developed the overall consideration of the artistic production: the structure and order of the iconographic programmes are assessed, some interesting issues of iconography are discussed, as well as matters concerning the donors of the churches. The stylistic trends are analysed, compared with monuments from other Dodecanese islands and within the artistic currents of the first and second half of the 13th century.

ПроблемырелигиозногообращениявюридическомтворчествеАльфонсоХ

2019 ◽  
pp. 56-85
Author(s):  
L.V. Chernina
Keyword(s):  
Iberian Peninsula ◽  
Canon Law ◽  
Religious Conversion ◽  
Legal Theory ◽  
13Th Century ◽  
Marital Relations ◽  
Political Interests ◽  
Siete Partidas ◽  
The Church ◽  
Christian Society

Статья посвящена разновидностям религиозного обращения в Кастилии в 13м веке, главным образом в том виде, в каком они появляются в легальных источниках эры Альфонсина. Заметное еврейское меньшинство существовало в средневековых христианских штатах Пиренейского полуострова наряду с более крупным мусульманским. Церковь и какимто образом государство поощряло членов этих групп принять христианство. Это было главной целью различных мер, некоторые из которых нашли свое отражение в Fuero Real , Especulo и Siete Partidas : защита собственности новообращенных, регулирование брачных отношений в связи с изменением веры, установление наказаний для тех, кто мешает человеку перейти в христианское общество. Особое внимание уделяется отступничеству отказу от христианства для иудаизма или ислама, а также методам противодействия ему, предложенным юристами Альфонсо. Широко распространено мнение, что законы, которые регулировали религиозное обращение в светской правовой теории 13го века, в основном копируют существующий канонический закон. Однако анализ показывает, что на процесс составления законов влияли как церковная традиция, так и непосредственные военные и политические интересы Кастилии.The article is dedicated to the varieties of religious conversion in Castile in the 13th century, mainly as they appear in the legal sources of Alfonsine era. A noticeable Jewish minority existed in medieval Christian states of the Iberian Peninsula alongside with a larger Muslim one. The Church and in some way the State encouraged the members of these groups to adopt Christianity. This was the main purpose of different measures some of which found their reflection in Fuero Real , Especulo and Siete Partidas : protection of the converts property, the regulation of marital relations in connection with the change of faith, establishment of punishments for those who prevent an individual from the conversion to Christian society. Special attention is paid to the apostasy a rejection of Christianity for Judaism or Islam, and to the methods to impede it, suggested by Alfonsos jurists. It is widely agreed that the laws which regulated the religious conversion in the secular legal theory of the 13th century mostly copy the existed canon law. However the analysis demonstrates that the process of composition of laws was influenced both by the ecclesiastic tradition and the immediate military and political interests of Castile.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals Verses of Faith and Devotion. Seeing, Reading, and Touching Monumental Crucifixes with Inscriptions (12th–13th century)

2016 ◽  
Vol 6 ◽  
pp. 397-421
Author(s):  
Matko Matija Marušić
Keyword(s):  
Distinctive Feature ◽  
Main Argument ◽  
13Th Century ◽  
The Subject ◽  
The Cross ◽  
The Church ◽  
Insight Into

The paper discusses a group of monumental crucifixes from the 13th-century East Adriatic and Italy, pained or executed in low relief, that display a verse inscriptions on the transverse limb of the cross. The main scope of the paper is to examine the provenance of the text inscribed in order to yield clearer insight into their function, use and original location in the church interiors. The paper specifically aims at analyzing three monumental crucifixes from the East-Adriatic city of Zadar which, although have already been the subject of a respectable number of studies, have not attracted attention as objects of devotion. My interest, therefore, is turned towards verse inscription as their distinctive feature and, as I shall argue, a key aspect in understanding their function. Examining the nature of the text displayed, iconography and materiality of these crucifixes, my main argument is to demonstrate how these objects provoked a multi-faced response from their audience, since were experienced by seeing, hearing and touching respectively.

scholarly journals The wall-paintings of Saint Constantine at Missochori: New evidence concerning middle Byzantine Nissyros, Greece

Zograf ◽  
2012 ◽  
pp. 65-74
Author(s):  
Angeliki Katsioti ◽  
Nikolaos Mastrochristos
Keyword(s):  
Twelfth Century ◽  
Wall Paintings ◽  
New Evidence ◽  
The Church

The complex of the churches of Saint Constantine and Saint Mamas is located at Missochori, close to the capital of the island of Nissyros, Greece. The first church preserves wall-paintings dated to the end of the twelfth century, shared donation of two monasteries/churches. The paintings are partly repainted, probably in 1318/1319. Both the murals and the two inscriptions of the church provide new evidence concerning mediaeval Nissyros.

scholarly journals Armenians on the Via Francigena: Armenian and Latin Sources on the Origins of the Armenian Community of Orvieto (Urbs Vetus)

2020 ◽  
Author(s):  
Stephanie Pambakian ◽  
Lidia Zanetti Domingues
Keyword(s):  
Historical Context ◽  
Religious Community ◽  
13Th Century ◽  
The Church

An Armenian religious community settled in Orvieto in the 13th century and founded the church and hospice of Santo Spirito, where they provided hospitality to pilgrims on the Via Francigena. Archaeological traces of their presence include a travertine gate with a trilingual inscription, reused in the church of San Domenico (Orvieto), the remains of the church of Santo Spirito, and art pieces removed from the latter. Contemporary Latin documents and an analysis of the historical context suggest that the Armenian presence was well-received by the lay and clerical authorities, and even held as prestigious.

scholarly journals Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac

2011 ◽  
Vol 91 (4) ◽  
pp. 141-158
Author(s):  
Milutin Tadic ◽  
Aleksandar Petrovic
Keyword(s):  
Virgin Mary ◽  
13Th Century ◽  
Christian Church ◽  
Patron Saint ◽  
Early Christian ◽  
Exact Analysis ◽  
John The Baptist ◽  
The Subject ◽  
The Church

The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.

scholarly journals Sopocani and Gradac: About the relation of funerary programmes of the two churches

Zograf ◽  
2006 ◽  
pp. 59-77 ◽  
Author(s):  
Branislav Todic
Keyword(s):  
Foreign Policy ◽  
The State ◽  
Great Effort ◽  
Wall Paintings ◽  
Negative Effects ◽  
Holy Trinity ◽  
The Family ◽  
The Church

King Uros (1243-1276) erected the Church of the Holy Trinity in the Sopocani monastery in about 1270 and, in it, he prepared tombs for the first hegoumenos of Sopocani, his mother Queen Ana, for himself and the then archbishop, Joanikije (Fig. 1). Over each tomb there is a marble sarcophagus surrounded by appropriate wall paintings. The tombs of Uros and Joanikije were located in the western bay of the naos. Thus, the recently announced hypothesis, that the endowed did not intend to be buried in Sopocani, is unfounded. The intention of King Uros was only brought into question in 1276 when he was driven from the throne by his older son, Dragutin. The overthrow caused a major drama in the family, the state and the Church. King Uros retired to the southern part of the state (Hum), where he became a monk and subsequently died (perhaps in 1277). His wife Jelena received vast territories from her son, the new king, which she practically ruled independently, while Archbishop Joanikije, after having denied Dragutin his blessing, retired with the former king and died in the region of Pilot in 1279. King Dragutin (1276-1282) made a great effort to mitigate the negative effects of the overthrow: he continued his father's foreign policy established good relations with neighboring Dubrovnik, took pains to appease his mother, Queen Jelena, by granting her vast territories, and to win the support of the Church by erecting, repairing or presenting gifts to several churches and monasteries. He certainly obtained the Sopocani monastery through hereditary ktetorial rights.

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