Research Projects by Ourania Perdiki
Papers by Ourania Perdiki
Eventum 1, 2023
This article investigates the intriguing pilgrim cult of a
Cypriot saint, John Lampadistis, durin... more This article investigates the intriguing pilgrim cult of a
Cypriot saint, John Lampadistis, during the Middle Ages. It
considers first the development of the saint’s cult, and his
shrine in the Marathasa valley as a place of pilgrimage. The
complex architectural space and the physical presence of
the tomb, relics, and vita-icons of St John Lampadistis were
the focal point of the pilgrims’ unique religious experiences.
Subsequently, the article attempts to reconstruct the
routes taken by pilgrims and to determine who might
have promoted the pilgrimage to the saint’s shrine. Finally,
the spread of the saint’s cult around the island of Cyprus is
examined.
Religions 2021, 12(11), 1022, 2021
Cyprus acquired special importance, especially from the thirteenth century onwards, on the Easter... more Cyprus acquired special importance, especially from the thirteenth century onwards, on the Eastern Mediterranean’s pilgrimage network. Described by contemporary pilgrims as “Terra christianorum ultima”, the island was considered to be the last Christian land in the south-eastern Mediterranean on the pilgrims’ itinerary on their journey to the Holy Land. This study is concentrated on two maps of Cyprus dated to the fourteenth century and preserved in Milan: Biblioteca Ambrosiana, A95 sup. and Venice: Biblioteca Nazionale Marciana, gr. XI.21. It aims to explore the physical and spiritual mobility and interconnectivity in Cyprus during the late Middle Ages and to consider how these contribute to the development of pilgrimage sites directly related with maritime routes, seamen and travellers. These unique nautical maps captured the sea voyage which had Cyprus as a stopover, bringing to light new insights into fourteenth century Cyprus. The maritime shrines discussed in this article, which are usually “mixed” sacred sites, are directly related with sailors’ needs. They integrate into a wide network of communication, removing them partially from their local dimension.
ªÂ ÙËÓ ·Ó·Û ‡ÛÙ·ÛË Ù˘ ªËÙÚfiÔÏ˘ Δ·Ì·ÛÔ ‡ Î·È √ÚÂÈÓ‹˜ ÙÔ 2007 Î·È ¤ÂÈÙ· ·fi ÚˆÙÔ‚Ô˘Ï›· ÙÔ ¶ ... more ªÂ ÙËÓ ·Ó·Û ‡ÛÙ·ÛË Ù˘ ªËÙÚfiÔÏ˘ Δ·Ì·ÛÔ ‡ Î·È √ÚÂÈÓ‹˜ ÙÔ 2007 Î·È ¤ÂÈÙ· ·fi ÚˆÙÔ‚Ô˘Ï›· ÙÔ ¶ ·ÓÈÂÚˆÙ¿ÙÔ˘ ªËÙÚÔÔÏ›ÙË Δ·Ì·ÛÔ ‡ Î·È √ÚÂÈÓ‹Î . ∏Û·˝·, ·fi ÙÔÓ ºÂ‚ÚÔ˘¿ÚÈÔ ÙÔ˘ 2010 ı¤Û·Ì Û ÂÊ·ÚÌÔÁ‹ ÚfiÁÚ·ÌÌ· ÁÈ· ÙËÓ ÂÈÛÙËÌÔÓÈ΋ ηٷ-ÁÚ·Ê‹ ÙˆÓ ÎÂÈÌËÏ›ˆÓ (ÂÈÎfiÓˆÓ, ÂÎÎÏËÛÈ·ÛÙÈÎÒÓ Û΢-ÒÓ, ·Ï·›Ù˘ˆÓ Î.¿.), Ù· ÔÔ›· ‚Ú›ÛÎÔÓÙ·È ÛÙÔ˘˜ Ó·Ô ‡Ù ˘ ÌËÙÚÔÔÏÈÙÈ΋˜ ÂÚÈʤÚÂÈ·˜. ™ÎÔfi˜ ÙÔ˘ ÚÔ-ÁÚ¿ÌÌ·ÙÔ˜ Â›Ó·È Ë Ï‹Ú˘ ηٷÁÚ·Ê‹ fiÏˆÓ ÙˆÓ ÎÂÈ-ÌËÏ›ˆÓ Î·È Ë "ËÊÈÔÔ›ËÛ‹ ÙÔ˘˜. ∫·Ù¿ ÙËÓ ÚfiÛÊ·ÙË Â›ÛÎÂ"‹ Ì·˜ ÛÙÔ ¯ˆÚÈfi ÕÁÈÔ∂ ÈÊ¿ÓÈÔ˜, ÛÙÔÓ ÔÌÒÓ˘ÌÔ Ó·fi, ÂÓÙÔ›Û·Ì ¯˘Ùfi ÔÚÂȯ¿ÏÎÈÓÔ ÛÙ·˘Úfi, ÎÈÙÚÈÓˆÔ ‡ ¯ÚÒÌ·ÙÔ˜, ‰È·ÛÙ¿-ÛÂˆÓ 21,1 à 15 à 1,3 ÂηÙÔÛÙÒÓ (ÂÈÎ. 1). √È ÎÂÚ·›ÂÙ Ô˘ ÛÙ·˘ÚÔ ‡ ¤¯Ô˘Ó Î·Ì˘ÏfiÁÚ·ÌÌË ·fiÏËÍË (̤ÁÈÛÙÔ Ï¿ÙÔ˜ 4,8 ÂÎ.). ∏ ›Ûˆ fi"Ë ÙÔ˘ ÛÙ·˘ÚÔ ‡ Â›Ó·È ÎÔ›ÏË,ˆÚ ›˜ ȉȷ›ÙÂÚË ÂÈ̤ÏÂÈ·, Ì ˘ÂÚ˘"ˆÌ¤ÓÔ ÂÚ›ÁÚ·ÌÌ· (1,3 ÂÎ.) (ÂÈÎ. 2). ∏ ÚfiÛÔ"‹ ÙÔ˘ Â›Ó·È È‰È·›ÙÂÚ· Êı·Ú-̤ÓË, ÏfiÁˆ Ù˘ Û˘ÓÂ¯Ô ‡˜ ¯Ú‹Û˘ Î·È ÙˆÓ Î·ÎÒÓ Î·ı·-ÚÈÛÌÒÓ, Ô˘ Ù ‡Á¯·Ó ηٿ ηÈÚÔ ‡˜. ¶ÚfiÎÂÈÙ·È ÁÈ· ȉÈfiÌÔÚÊÔ ÛÙ·˘Úfi ÁÈ· ÙÔ ÏfiÁÔ fiÙÈ ÔÈ ÎÂÚ·›Â˜ ÙÔ˘ ¤¯Ô˘Ó Î·Ì ‡ÏË ·fiÏËÍË Î·È fi¯È ÂÏ·-Ù˘Ṳ̂ÓË, Ô˘ Â›Ó·È ÙÔ Û ‡ÓËı˜ ÁÈ· Ù¤ÙÔÈÔ˘ ÌÂÁ¤ıÔ˘Û Ù·˘ÚÔ ‡˜ ·fi ÙËÓ ·Ï·ÈÔ¯ÚÈÛÙÈ·ÓÈ΋ ÂÔ¯‹ 1 . ∂ÓÙÔ ‡-ÙÔȘ, ÁÓˆÚ›˙Ô˘Ì ¤Ó· ·Ú¿‰ÂÈÁÌ· ·fi ÙË °ÂˆÚÁ›·, ÙÔ ÛÙ·˘Úfi ÏÈÙ·Ó›·˜ ÙÔ˘ ΔÛÈÚ΂¿ÏÈ (Tsirkvali), Ô ÔÔ›-Ô˜ ʤÚÂÈ ËÌÈ΢ÎÏÈΤ˜ ·ÔÏ‹ÍÂȘ Î·È ¯ÚÔÓÔÏÔÁÂ›Ù·È ÛÙÔÓ 11Ô ·ÈÒÓ· 2 . ∂ÈϤÔÓ, Ë ÎÔ›ÏË ›Ûˆ fi"Ë ÙÔ˘ ÛÙ·˘ÚÔ ‡ ÙÔ˘ ∞Á›Ô˘ ∂ÈÊ·Ó›Ô˘ ·Ú·¤ÌÂÈ ÛÙËÓ Èı·Ó‹ ‡·Ú-ÍË ÈÛfi·¯Ô˘ ÙÌ‹Ì·ÙÔ˜ ÛÙ·˘ÚÔ ‡ ÁÈ· ÙËÓ ¿ÏÏË Ï¢-Ú¿. ∞Ó Ë ˘fiıÂÛË ·˘Ù‹ Â›Ó·È ÔÚı‹, ÙfiÙ ı· ‰ËÌÈÔ˘Ú-Á›ÙÔ ÎÂÓfi ‰È¿ÛÙËÌ· ÂÚ›Ô˘ 2,5 ÂηÙÔÛÙÒÓ ·Ó¿ÌÂÛ· ÛÙ· ‰ ‡Ô ̤ÚË, Ô˘ ·ÔÙÂÏÔ ‡Û·Ó ÙȘ ‰ ‡Ô fi"ÂȘ ÙÔ˘ ÛÙ·˘-ÚÔ ‡. ∂Ô̤ӈ˜, Ô Û˘ÁÎÂÎÚÈ̤ÓÔ˜ ÛÙ·˘Úfi˜ ·ÎÔÏÔ˘ı› ÙË ÌÔÚÊ‹ ÙˆÓ ÌÈÎÚfiÙÂÚˆÓ Û ‰È·ÛÙ¿ÛÂȘ ·ÚıÚˆÙÒÓ ÂÈÛÙ‹ıÈˆÓ ÛÙ·˘ÚÒÓ-ÏÂÈ"·ÓÔıËÎÒÓ, fiÔ˘ ÌÂÙ·Í ‡ ÙˆÓ ‰ ‡Ô fi"ˆÓ-Ï¢ÚÒÓ ÙÔ˘ ÛÙ·˘ÚÔ ‡ ‰ËÌÈÔ˘ÚÁÂ›Ù·È ÎÂÓfiÒ ÚÔ˜ ÁÈ· ÙËÓ ÙÔÔı¤ÙËÛË ÏÂÈ"¿ÓˆÓ ‹ ÙÈÌ›Ô˘ Í ‡ÏÔ˘3. ∂Ó‰ÂÈÎÙÈο, ·Ó·Ê¤ÚÔ˘Ì ÌÂÚÈο ·Ú·‰Â›ÁÌ·Ù· Ù¤ÙÔÈ-Ó ÛÙ·˘ÚÒÓ, fiÔ˘ ʤÚÔ˘Ó Î·È Î·Ì˘ÏfiÁÚ·ÌÌË ·fi-393 √Àƒ∞¡π∞ ¶∂ƒ¢π∫∏ I¢IOMOPºO™ ™TAYPO™ A ¶O TON A°IO E ¶IºANIO OPEINH™ 1. ¶ÚfiÛÔ"Ë ÛÙ·˘ÚÔ ‡ ∞Á›Ô˘ ∂ÈÊ·Ó›Ô˘. 2. ¶›Ûˆ fi"Ë ÛÙ·˘ÚÔ ‡ ∞Á›Ô˘ ∂ÈÊ·Ó›Ô˘.
Entries by Ourania Perdiki
Books by Ourania Perdiki
To see the whole issue visit
https://riviste.unimi.it/index.php/eventum/issue/view/1980/496
... more To see the whole issue visit
https://riviste.unimi.it/index.php/eventum/issue/view/1980/496
Eventum is an interdisciplinary peer-reviewed, non-profit, and open access scholarly journal that is dedicated to the ritual dimensions of medieval arts, and to the overlaps between visual, literary, and performing works within the framework of various medieval rituals: religious, semireligious or profane. For Eventum’s purposes, the term ‘medieval’ is used in its broader sense, covering Byzantine, Western European, Coptic, Syriac, Hebrew, Arabic, Armenian, Georgian, and Slavic cultures from the 4th to the 15th centuries. Eventum aims to reposition the arts and rituals of these medieval traditions and to provide an international and congenial forum for the presentation and discussion of research on: (1) all medieval arts in and as rituals; and (2) the initiators, participants, spaces, forms, structures, and artistic dimensions of all medieval rituals. Furthermore, Eventum provides a platform for the examination of the relationship between medieval, later, and contemporary arts and rituals, bringing to the fore the rich cultural heritage of the Middle Ages for a better understanding of both the past and the present.
The research promoted by Eventum, which aims at publishing the best new scholarship in a transparent, egalitarian, and efficient way, is situated at the crossing of various disciplines: history, archaeology, art and architectural history, philology, literature, linguistics, philosophy, theology, anthropology, musicology, and theatre studies. In short, this new journal reaches out to international scholars from all these fields including late antique, medieval, early modern, modern, and postmodern studies, ritual studies, performance studies, cultural studies, and cultural heritage studies, inviting contributions from around the world. Contributors are invited to explore the interrelations of arts and rituals in one or more medieval cultures or to examine the heritage of medieval arts and rituals in later periods of the Western world.
Eventum aspires to become a channel for innovative approaches by bringing all types of medieval arts and rituals under one roof and by inaugurating a forum of broader discussions across medieval and later cultures continuing the medieval legacy. At the same time, Eventum seeks to form future scholarship by introducing novel, interdisciplinary and connecting research projects and methods for the study of past and contemporary cultures. By revealing, stimulating, and putting in dialogue the intersections of medieval arts and rituals, Eventum expects to significantly contribute towards a better understanding of the workings of medieval and later cultures, and to disclose aspects of those cultures that could not otherwise be seen. The comparative study of medieval rituals and ritual arts can thus provide priceless information about their creation, recreation, patronage, reception, and especially about the interconnection of artworks, their value and significance as they were or are performed for and perceived by medieval, later, and contemporary audiences.
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Research Projects by Ourania Perdiki
Papers by Ourania Perdiki
Cypriot saint, John Lampadistis, during the Middle Ages. It
considers first the development of the saint’s cult, and his
shrine in the Marathasa valley as a place of pilgrimage. The
complex architectural space and the physical presence of
the tomb, relics, and vita-icons of St John Lampadistis were
the focal point of the pilgrims’ unique religious experiences.
Subsequently, the article attempts to reconstruct the
routes taken by pilgrims and to determine who might
have promoted the pilgrimage to the saint’s shrine. Finally,
the spread of the saint’s cult around the island of Cyprus is
examined.
Entries by Ourania Perdiki
Books by Ourania Perdiki
https://riviste.unimi.it/index.php/eventum/issue/view/1980/496
Eventum is an interdisciplinary peer-reviewed, non-profit, and open access scholarly journal that is dedicated to the ritual dimensions of medieval arts, and to the overlaps between visual, literary, and performing works within the framework of various medieval rituals: religious, semireligious or profane. For Eventum’s purposes, the term ‘medieval’ is used in its broader sense, covering Byzantine, Western European, Coptic, Syriac, Hebrew, Arabic, Armenian, Georgian, and Slavic cultures from the 4th to the 15th centuries. Eventum aims to reposition the arts and rituals of these medieval traditions and to provide an international and congenial forum for the presentation and discussion of research on: (1) all medieval arts in and as rituals; and (2) the initiators, participants, spaces, forms, structures, and artistic dimensions of all medieval rituals. Furthermore, Eventum provides a platform for the examination of the relationship between medieval, later, and contemporary arts and rituals, bringing to the fore the rich cultural heritage of the Middle Ages for a better understanding of both the past and the present.
The research promoted by Eventum, which aims at publishing the best new scholarship in a transparent, egalitarian, and efficient way, is situated at the crossing of various disciplines: history, archaeology, art and architectural history, philology, literature, linguistics, philosophy, theology, anthropology, musicology, and theatre studies. In short, this new journal reaches out to international scholars from all these fields including late antique, medieval, early modern, modern, and postmodern studies, ritual studies, performance studies, cultural studies, and cultural heritage studies, inviting contributions from around the world. Contributors are invited to explore the interrelations of arts and rituals in one or more medieval cultures or to examine the heritage of medieval arts and rituals in later periods of the Western world.
Eventum aspires to become a channel for innovative approaches by bringing all types of medieval arts and rituals under one roof and by inaugurating a forum of broader discussions across medieval and later cultures continuing the medieval legacy. At the same time, Eventum seeks to form future scholarship by introducing novel, interdisciplinary and connecting research projects and methods for the study of past and contemporary cultures. By revealing, stimulating, and putting in dialogue the intersections of medieval arts and rituals, Eventum expects to significantly contribute towards a better understanding of the workings of medieval and later cultures, and to disclose aspects of those cultures that could not otherwise be seen. The comparative study of medieval rituals and ritual arts can thus provide priceless information about their creation, recreation, patronage, reception, and especially about the interconnection of artworks, their value and significance as they were or are performed for and perceived by medieval, later, and contemporary audiences.
Cypriot saint, John Lampadistis, during the Middle Ages. It
considers first the development of the saint’s cult, and his
shrine in the Marathasa valley as a place of pilgrimage. The
complex architectural space and the physical presence of
the tomb, relics, and vita-icons of St John Lampadistis were
the focal point of the pilgrims’ unique religious experiences.
Subsequently, the article attempts to reconstruct the
routes taken by pilgrims and to determine who might
have promoted the pilgrimage to the saint’s shrine. Finally,
the spread of the saint’s cult around the island of Cyprus is
examined.
https://riviste.unimi.it/index.php/eventum/issue/view/1980/496
Eventum is an interdisciplinary peer-reviewed, non-profit, and open access scholarly journal that is dedicated to the ritual dimensions of medieval arts, and to the overlaps between visual, literary, and performing works within the framework of various medieval rituals: religious, semireligious or profane. For Eventum’s purposes, the term ‘medieval’ is used in its broader sense, covering Byzantine, Western European, Coptic, Syriac, Hebrew, Arabic, Armenian, Georgian, and Slavic cultures from the 4th to the 15th centuries. Eventum aims to reposition the arts and rituals of these medieval traditions and to provide an international and congenial forum for the presentation and discussion of research on: (1) all medieval arts in and as rituals; and (2) the initiators, participants, spaces, forms, structures, and artistic dimensions of all medieval rituals. Furthermore, Eventum provides a platform for the examination of the relationship between medieval, later, and contemporary arts and rituals, bringing to the fore the rich cultural heritage of the Middle Ages for a better understanding of both the past and the present.
The research promoted by Eventum, which aims at publishing the best new scholarship in a transparent, egalitarian, and efficient way, is situated at the crossing of various disciplines: history, archaeology, art and architectural history, philology, literature, linguistics, philosophy, theology, anthropology, musicology, and theatre studies. In short, this new journal reaches out to international scholars from all these fields including late antique, medieval, early modern, modern, and postmodern studies, ritual studies, performance studies, cultural studies, and cultural heritage studies, inviting contributions from around the world. Contributors are invited to explore the interrelations of arts and rituals in one or more medieval cultures or to examine the heritage of medieval arts and rituals in later periods of the Western world.
Eventum aspires to become a channel for innovative approaches by bringing all types of medieval arts and rituals under one roof and by inaugurating a forum of broader discussions across medieval and later cultures continuing the medieval legacy. At the same time, Eventum seeks to form future scholarship by introducing novel, interdisciplinary and connecting research projects and methods for the study of past and contemporary cultures. By revealing, stimulating, and putting in dialogue the intersections of medieval arts and rituals, Eventum expects to significantly contribute towards a better understanding of the workings of medieval and later cultures, and to disclose aspects of those cultures that could not otherwise be seen. The comparative study of medieval rituals and ritual arts can thus provide priceless information about their creation, recreation, patronage, reception, and especially about the interconnection of artworks, their value and significance as they were or are performed for and perceived by medieval, later, and contemporary audiences.