Conference Presentations by Ilias Karalis
Dehumanisation of pagans and heretics: Gregory Tsamblak on non-Orthodoxes in Martyrdom of John th... more Dehumanisation of pagans and heretics: Gregory Tsamblak on non-Orthodoxes in Martyrdom of John the New The image of the non-Orthodox in Camblak's work is unequivocally negative. Behind the abusive rhetoric lie patterns well known to social psychology. One can easily recognize the author's dehumanizing attitude, which reveals the meaning of many elements of Camblak's narrative in The Martyrdom of John the New. The concept of dehumanization is useful for the study of the attitude of medieval literate elites towards minorities. Although at its core it concerns cognitive phenomena it immediately makes us think about their behavioral implications.
The topic of this presentation is the pictorial rendering of the theme of the Seven Sacraments wh... more The topic of this presentation is the pictorial rendering of the theme of the Seven Sacraments which appeared in wall-paintings of two post-Byzantine monuments of Epirus. The first scene has executed by the artist-priest Nikolaos Plakidas in the dome of Phaneromene church at the village of Fortosi (1787) and the second one by the artists Christodoulos and John in the dome of Saint Demetrios at Zalongo (1816). The representation does not incorporate elements from western iconography, but from the eighth ode from the canon of matins for the ceremony of the consecration of a church. The subject was chosen among doctrinal subjects with the intention of showing the triumph of Orthodoxy.
Papers by Ilias Karalis
Изкуствоведски четения, 2020
In the Ionian Islands complex, we may find churches in which the area of the Diaconicon has been ... more In the Ionian Islands complex, we may find churches in which the area of the Diaconicon has been specially designed as an enclosed space facilitating the access of worshipers to the saint relics or the icons exhibited. In the present research, we record the monuments where this special structure is encountered, and we present its typology and
form. Our interpretation, however, cannot be limited to the study of architecture and worship, but it may also extend to religious folklore, as customary usage and folk ritual acts must be added to the rules of John G. Davies. Therefore, this conscious effort to keep the Diaconicon separate and the installation of a prominent shrine, which appears
in monuments of the Middle Byzantine period, seem to have been transferred to Corfu for the placement of the relic of St. Spyridon (1589). This chamber developed into a sacred place (Hierotopy) and during the Modern Greek period it was adopted by several churches in the city of Corfu, Zakynthos and Lefkas, which also embraced the relevant
ritual acts with the aim of serving the popular religiosity.
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Conference Presentations by Ilias Karalis
Papers by Ilias Karalis
form. Our interpretation, however, cannot be limited to the study of architecture and worship, but it may also extend to religious folklore, as customary usage and folk ritual acts must be added to the rules of John G. Davies. Therefore, this conscious effort to keep the Diaconicon separate and the installation of a prominent shrine, which appears
in monuments of the Middle Byzantine period, seem to have been transferred to Corfu for the placement of the relic of St. Spyridon (1589). This chamber developed into a sacred place (Hierotopy) and during the Modern Greek period it was adopted by several churches in the city of Corfu, Zakynthos and Lefkas, which also embraced the relevant
ritual acts with the aim of serving the popular religiosity.
form. Our interpretation, however, cannot be limited to the study of architecture and worship, but it may also extend to religious folklore, as customary usage and folk ritual acts must be added to the rules of John G. Davies. Therefore, this conscious effort to keep the Diaconicon separate and the installation of a prominent shrine, which appears
in monuments of the Middle Byzantine period, seem to have been transferred to Corfu for the placement of the relic of St. Spyridon (1589). This chamber developed into a sacred place (Hierotopy) and during the Modern Greek period it was adopted by several churches in the city of Corfu, Zakynthos and Lefkas, which also embraced the relevant
ritual acts with the aim of serving the popular religiosity.
Crucifixion with the iconographic element of the collection of the blood
and water flowing from the open side of Christ. This visual depiction
clearly deviates from the gospel narrative of the Crucifixion and constitutes a symbolic iconographic feature directly aiming to express the Eucharistic event. At the same time the work Ecclesiastical History and Mystical Contemplation (715-730) attributed to patriarch Germanus I of Constantinople is published. This work, through both the realistic
presentation and the symbolic interpretation of the liturgical acts,
seems to have functioned as the theological basis for this artistic intervention, as it presents for the first time the liturgical preparation of the Holy Gifts with the use of a spear in the rite of the Prothesis.
earthquake of 1769 and was rebuilt in 1776. In the church are treasured portable icons dating from the early 18th c. until the beginning of the 19th c. On
some of them, iconographical themes and stylistic trends of the Cretan School can be identified. Moreover, many portable icons were made by the hand of Spyridon Kabissos Mpellos (1750-1816). The interest for the church by the residents of the region and its financial strength are reflected in its conversion to a monastery.
in the liturgical manuscripts. This particular iconographic theme, which functioned as a kind of “sketch” for the illustrative representation of the scene, emerged in the middle-Byzantine period and the artists of the Palaiologan period used it as a source from which they borrowed iconographic elements that they later transferred to the illustration of the Resurrection. These elements were also borrowed by artists of the Italian Renaissance, who employed them in the relevant iconography. At a later time, the Palaiologan and Renaissance iconographic elements were used in
combination by artists of North-Western Greece School in frescoes dating from the second phase of the post-Byzantine period.
of the monastery, is an instance of a variation of the type of single-aisled
domed church. The church consists of nave, bema, and a narthex. The most interesting element of the church is that the dome is supported by four arches, which rest on two pairs of pilasters formed in the north and the south wall, through a part of a sphere.
The iconographical program of the Κatholikon of Saint Demetrios in Zalongo dates to 1816 by the published inscription. The unpublished but restored program was executed by the artists Ioannis (priest) and his brother Christodoulos from Koritiani. The program reveals that the artists choose themes between the post-Byzantine northwestern workshop and the stylistics trends from others artists from the Katsanochoria region and Kapesovo village.
la Dormition de la Vierge à Filippiada qui date, selon l’épigraphe, de 1800. L’enquête sur ce programme révèle les idées des peintres, qui sont animés par le piétisme et nous aide à le comparer au programme iconographique de Saint Athanasios à Préveza, dont on ne connaît pas le peintre. La comparaison entre ces deux programmes nous fait constater que le peintre deSaint Athanasios est différent et même caractérisé de haut niveau esthétique. Il est certain que le programme de S. Athanasios a été exécuté par le peintre Alexio, issu de la ville d’Arta et très connu à Préveza.