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| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Βέη, Βασιλική | el |
| dc.date.accessioned | 2026-06-09T06:18:20Z | - |
| dc.date.available | 2026-06-09T06:18:20Z | - |
| dc.identifier.uri | https://olympias.lib.uoi.gr/jspui/handle/123456789/40106 | - |
| dc.rights | Attribution-NonCommercial-NoDerivs 3.0 United States | * |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/us/ | * |
| dc.subject | Εικονογραφία | el |
| dc.subject | Γέννηση του Χριστού | el |
| dc.subject | Νότια Μακεδονία | el |
| dc.subject | Παράσταση της Γέννησης | el |
| dc.title | Η εικονογραφία της Γέννησης του Χριστού σε ναούς της Νότιας Μακεδονίας την περίοδο των Παλαιολόγων (1261-1453) | el |
| dc.type | masterThesis | en |
| heal.type | masterThesis | el |
| heal.type.en | Master thesis | en |
| heal.type.el | Μεταπτυχιακή εργασία | el |
| heal.classification | Η εικονογραφία της Γέννησης του Χριστού | el |
| heal.dateAvailable | 2026-06-09T06:19:20Z | - |
| heal.language | el | el |
| heal.access | free | el |
| heal.recordProvider | Πανεπιστήμιο Ιωαννίνων. Φιλοσοφική Σχολή | el |
| heal.publicationDate | 2026-05 | - |
| heal.abstract | The Nativity of Christ in the churches of southern Macedonia during the Late Byzantine period (1261–1453), a period marked by significant developments in ecclesiastical art and iconography, is examined. This study presents the social, economic, and spiritual conditions of the period, together with the painters active at the time and the characteristics of their artistic production. Early textual references to Nativity are also discussed. Furthermore, the iconography of the Nativity of Christ, its placement within the broader iconographic program of the churches, and the formation and development of the scene during the period under consideration are analyzed. In the main section, the Nativity scenes in the monuments of southern Macedonia are presented in chronological order. Finally, the study compares the composition in these monuments with the corresponding representations in other major artistic centers, such as the Despotate of Epirus, as well as in the frescoes attributed to Michael and Eutychios Astrapas. The examination of the Nativity in the monuments of southern Macedonia shows that the artists follow an established and enduring iconographic scheme, formed during the Middle Byzantine period and serve as the foundation for the representation throughout the Late Byzantine era. Building upon this model, a distinctive iconographic tradition developed during the period, exerting significant influence on painters across the broader Macedonian region. The main features of the iconographic type include the Christ Child, always depicted swaddled and placed in the manger, illuminated by the rays of the star. Beside the Theotokos stand the ox and the ass, the animals that, according to tradition, warm the newborn with their breath. Joseph, positioned at a slight distance from the central episode and often shown partly turned away, expresses human hesitation in the face of the divine event; however, during this period he is depicted as more actively engaged, as in certain scenes where he converses with a shepherd. This element is first attested in monumental painting in Koubelidiki in Kastoria (1260–1280). The composition is completed by the secondary episodes of the arrival of the Magi and the bathing of the Christ Child. Considerable variation is observed in the depiction of the Magi, who appear either on foot or on horseback. A notable iconographic element is the mounted angel on a red horse, found in the church of Agioi Treis (1401). Special attention is drawn to the representation in Agios Athanasios of Mouzaki (1383/1384), where the Magi appear in an unusual, doubled form, positioned on both sides of the main scene, reflecting the painter’s intention to depict both their arrival and their adoration. The scene of the bath of the Christ Child appears in two iconographic variants: the bathing proper and its preparation. An interesting element first appears in the Protaton (1290), where the preparatory stage is depicted and the Christ Child is held swaddled in the midwife’s arms, an iconographic detail that recurs in later monuments. The Late Byzantine period, and particularly the Palaiologan era, represents a phase of artistic and spiritual flourishing, a fact reflected in the monuments examined. | en |
| heal.advisorName | Μαντάς, Απόστολος | el |
| heal.committeeMemberName | Μαντάς, Απόστολος | el |
| heal.committeeMemberName | Σταυράκος, Χρήστος | el |
| heal.committeeMemberName | Στουφή, Ιωάννα | el |
| heal.academicPublisher | Πανεπιστήμιο Ιωαννίνων. Φιλοσοφική Σχολή. Τμήμα Ιστορίας και Αρχαιολογίας | el |
| heal.academicPublisherID | uoi | el |
| heal.numberOfPages | 143 | el |
| heal.fullTextAvailability | true | - |
| Appears in Collections: | Διατριβές Μεταπτυχιακής Έρευνας (Masters) - ΙΣΤ | |
Files in This Item:
| File | Description | Size | Format | |
|---|---|---|---|---|
| Μ.Ε. Βέη Βασιλική (2026).pdf | 5.75 MB | Adobe PDF | View/Open |
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