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| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Χουλιαράς, Ιωάννης Π. | el |
| dc.contributor.author | Houliaras, Ioannis P. | en |
| dc.date.accessioned | 2015-12-03T10:30:08Z | - |
| dc.date.available | 2015-12-03T10:30:08Z | - |
| dc.identifier.uri | https://olympias.lib.uoi.gr/jspui/handle/123456789/25512 | - |
| dc.identifier.uri | http://dx.doi.org/10.26268/heal.uoi.4910 | - |
| dc.rights | Default License | - |
| dc.subject | Ξένος Διγενής (ζωγράφος από το Μουχλί Αρκαδίας) | el |
| dc.subject | Χριστιανική τέχνη | el |
| dc.subject | Θηβαίοι ζωγράφοι | el |
| dc.subject | Πρώιμη μεταβυζαντινή τέχνη | el |
| dc.subject | Νότια Αλβανία | el |
| dc.title | Τοιχογραφημένα μνημεία και ζωγράφοι του 15ου και 16ου αιώνα στην Ήπειρο και τη Νότια Αλβανία | el |
| heal.type | journalArticle | - |
| heal.type.en | Journal article | en |
| heal.type.el | Άρθρο περιοδικού | el |
| heal.secondaryTitle | Monuments with wall paintings and painters of the 15th and 16th century in Epirus and Southern Albania (Τίτλος περίληψης) | en |
| heal.generalDescription | σ. [295]-332 | el |
| heal.generalDescription | Περιέχει εικόνες | el |
| heal.generalDescription | Κείμενο στα ελληνικά με περίληψη στα αγγλικά με τον τίτλο: Monuments with wall paintings and painters of the 15th and 16th century in Epirus and Southern Albania | el |
| heal.classification | Ζωγραφική--Εκκλησιαστική | el |
| heal.classification | Τοιχογραφία και διακόσμηση--Ελλάδα--Ήπειρος | el |
| heal.classification | Εκκλησιαστική διακόσμηση και διακοσμητικά--Ελλάδα--Ήπειρος | el |
| heal.classification | Χριστιανική τέχνη και συμβολισμός--Ήπειρος (Ελλάδα και Αλβανία) | el |
| heal.dateAvailable | 2015-12-03T10:31:08Z | - |
| heal.language | el | - |
| heal.access | free | - |
| heal.recordProvider | Πανεπιστήμιο Ιωαννίνων. Βιβλιοθήκη και Κέντρο Πληροφόρησης | el |
| heal.publicationDate | 2007-2008 | - |
| heal.bibliographicCitation | Περιλαμβάνει βιβλιογραφικές παραπομπές | el |
| heal.abstract | There are six (6) monuments of the 15th century and forty-nine (49) of the 16th century decorated with wall paintings in Epirus and Southern Albania. We can note that during the 15th century the production was poor and that from the six churches of this period, where wall painting layers are located, half are dated in the Byzantine period, probably before 1430 and the other half in the second half of the 15th century. The first conclusion of this brief documentation is the lack of monuments with wall paintings in Epirus, immediately after the region’s conquest by the Turks in 1430. This period, probably, extends until the last decades of the 15th century and lasts for 40 or more years. No name of any painter survi ves, but the wall paintings of the church of the Dormition of the Virgin (Koimisi tis Theotokou) at Kato Meropi of Pogoni are attributed to Xenos Digenis from Mouchli of Arcadia. A different picture emerges for the painting at Epirus and Southern Albania in the 16th century. The decorated monuments, however, which can be safely dated in the first half of the century, are no more than fifteen, indicating a gradual, but hesitant improvement of the condition of the Christians. In the second half of the century, the number of the decorated monuments is doubled compared to the first half. This increase is probably related to the final regulation of the relations between the conquerors and the conquered, the development of trade, the ceding of privileges by the sultan to the spahi of Epirus, the final settlement of the dwelling complexes at Epirus and the relative calmness this region enjoyed from the middle of the century onwards, after the end of the Turkish-Venetian War (1537-40). Some of the most productive decades of the 16th century are the seventh and the tenth ones. This development is not accidental, since from the middle of the century the activity of the painters of the school of NW Greece spreads and finds a convenient ground in the social environment of Epirus. Τοιχογραφημένα μνημεία και ζωγράφοι του 15ου και 16ου αι. 317 The presence of the painter Onoufrios and of his son Nikolaos is of great importance; during the 16th century they decorate or are supposed to have decorated at least ten churches. It is worth highlighting that there exist two tensions in painting, which probably correspond to equal groups of painters, which appear in the second half of the century and present special characteristics, creating iconographic totals different than the tradition of the school of NW Greece. In the first group belong the monasteries of Saint (Ayios) Nikolaos of Karitsa, of Kalograies of Zitsa and of the Dormition of the Virgin (Koimisi tis Theotokou) at Granitsa. In the second group, belong the art of three monasteries of Southern Albania, the monasteries of Dryanos of Dropolis, of Prophet Elias at Georgoutsates and of the Nativity of the Virgin (Genesio tis Theotokou) at Doubiani of Dropolis. Between these two tensions there is a communication, concerning the research of different models from the ones of the school of NW Greece, as well as the adoption of elements of the Cretan and the western art in their themes, parallel to the ones assimilated by the representatives of the local school. From the names of the painters of these workshops it is only one known, that of the painter of the main church of the monastery of Prophet Elias at Georgoutsates, Nikiphoros. At him are also attributed the decoration of the main chyrch of Dryanos monastery and of the monastery of Douviani. The special relation connecting some monuments of the first half of the 16th century with the art of the so-called "workshop of Kastoria" should be noted. Until now no paintings of this workshop have been located in Epirus, the echo, however, of its art is visible in the wall paintings of 1521 at the monastery of Molyvdoskepastos. In the first half of the 16th century at least two churches are decorated by the painter Ilia Llongoviti; the former expresses the popular conception of the art in Southern Albania. Isolated painters appear during the same period in Epirus with Eustathios Iakovou being the most known, a protonotarios of Arta, signing the wall paintings of 1536/37 in the monastery of Molyvdoskepastos. The name of one more painter, monk Ananias, is known at Parigoritissa of Arta (1558). Towards the end of the century the first work of the painters Nikolaos and Michael from Linotopi is located at the monastery of Makrialexis, whereas in Southern Albania another painter with the name Ioannis appears and cooperates with Onoufrios’ son, Nikolaos, at the church of Saint (Ayios) Nikolaos at Kurjan | en |
| heal.publisher | Πανεπιστήμιο Ιωαννίνων. Φιλοσοφική Σχολή. Τμήμα Ιστορίας και Αρχαιολογίας | el |
| heal.journalName | Δωδώνη: Τεύχος Πρώτο: επιστημονική επετηρίδα του Τμήματος Ιστορίας και Αρχαιολογίας της Φιλοσοφικής Σχολής του Πανεπιστημίου Ιωαννίνων; Τόμ. 36-37 (2007-2008) | el |
| heal.journalType | peer-reviewed | - |
| heal.fullTextAvailability | true | - |
| Appears in Collections: | Τόμος 36-37 (2007-2008) | |
Files in This Item:
| File | Description | Size | Format | |
|---|---|---|---|---|
| Τοιχογραφημένα μνημεία και ζωγράφοι του 15ου και 16ου αιώνα στην Ήπειρο και τη Νότια Αλβανία.pdf | 1.59 MB | Adobe PDF | View/Open |
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