19th-century Ecclesiastical Art

Το Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς (ΠΙΟΠ), με αφορμή την περιοδική έκθεση «Κεντητοί επιτάφιοι στα Ιωάννινα, 18ος και 19ος αι.», οργανώνει τη Δευτέρα 20 Μαΐου (ώρα 19:00), διάλεξη της βυζαντινολόγου-ιστορικού τέχνης και διδάκτορος του Πανεπιστημίου της Σορβόνης κ. Έλενας Παπασταύρου, με τίτλο «Κεντήματα από την Κωνσταντινούπολη του 19ου αιώνα», στο Μουσείο Αργυροτεχνίας.

Η ομιλήτρια θα αναφερθεί σε εκκλησιαστικά κεντήματα που δημιουργήθηκαν στους κόλπους της Ελληνορθόδοξης κοινότητας στην Κωνσταντινούπολη κατά τον 19ο αιώνα. Παράλληλα, θα εξετάσει την καλλιτεχνική παράδοσή τους από τη βυζαντινή τέχνη, τα εικονογραφικά και τεχνοτροπικά ρεύματα στα οποία εντάσσονται οι παραστάσεις του διακόσμου τους, καθώς και την τεχνική τους. Τέλος, θα διερευνήσει τη λειτουργία των εργαστηρίων κεντητικής, τη δράση των κεντητριών και τη θέση τους στην κοινωνία.

Για περισσότερες πληροφορίες:

http://www.piop.gr/el/Activities/ekdiloseis-mouseia/MAI-kentimata-2019.aspx

Μετά τη διάλεξη η κ. Παπασταύρου θα ξεναγήσει το κοινό στην περιοδική έκθεση της οποίας είχε την επιστημονική επιμέλεια.

Η έκθεση «Κεντητοί επιτάφιοι στα Ιωάννινα, 18ος και 19ος αι.», που συνδιοργανώνεται από την Ιερά Μητρόπολη Ιωαννίνων, την Εφορεία Αρχαιοτήτων Ιωαννίνων και το ΠΙΟΠ, θα διαρκέσει έως τις 17 Ιουνίου.

In exhibiting historical works of ecclesiastical art, curators and custodians often attempt to replicate, take inspiration from, or at least point towards the original conditions in which an item was displayed, in the hope of indicating its original function, and capturing the spirit in which it was first seen. In many cases, however, the location and setting in which such works first appeared represent only one of several historical possibilities. Between the 1780s and the 1820s, religious paintings by Benjamin West appeared in a range of sacred and secular settings. Often these were not the locations for which they were originally conceived. As a result, it is difficult to draw distinctions between ecclesiastical art and exhibition pictures in West's oeuvre. Furthermore, his church and chapel pictures were often conceived as offering their viewers a spectacle of aesthetic delight, while his gallery pictures were observed to hold a strong appeal to those of a highly pious persuasion. This ambiguity has provided some of West's scriptural paintings with a flexibility that has ensured their survival. In this paper, I would like to suggest that by being open, both to the aesthetic and the religious potential of West's spectacular imagery, curators today might be able to give some of his neglected works a new lease of life, while remaining true to the spirit of their historical function.

Graikos, N. 2015. 1.1. Saint Nicholas / Scën Nikolla. 2.2. Saint John the Forerunner / Scën Joan Pararendësi. 4.3. The Nativity of the Mother of God / Lindja e Hyjlindëses. 4.4. The Nativity of Christ / Lindja e Krishtit. 6.1. The Leif-Bearing Spring / Burimi Jetëdhënës. 7.2. The Baptism of Christ / Pagëzimi i Kristhit.  [Catalogue Entries / Zërat e Katalogut]. In: K. Giakoumis (ed.), Water in Arts and Crafts in the Berat Region, 4th century B.C. to 19th century A.D. (Uji në Arte dhe Zejtari në Rajonin e Beratit, nga shek. IV para Krishtit deri në shek. XIX pas Krishtit). Catalogue of the project “Raising Museum Awareness and Museum Culture in Berat”. Tirana (Tiranë): University of New York Tirana (UNYT), 37-42, 70-72, 167-168, 169-171, 191-194, 206-208

Graikos, N. 2013. The art of the painter Spyridon Chatzigiannopoulos (Fournas 1820 - Athens 1905) from Fourna (Evrytania, Central Greece) and the question of relevance to the hagiographic tradition of Dionysios from Fourna.
ERRATA:
[1] Στη σελ. 387 (16η σειρά) η φράση: "Τεχνοτροπία, εικονογραφικά πρότυπα και συνάφεια με τις οδηγίες της Ερμηνείας του Διονυσίου" να διαβαστεί ως τίτλος κεφαλαίου.
[2] Στη σελ. 390 (3η σειρά) η φράση "πρότυπα αυτά...Ανάληψης" να τοποθετηθεί στην αμέσως επόμενη σειρά μετά τη φράση: "Ο Χατζηγιαννόπουλος αντιγράφει τα". Η επόμενη φράση "Ημερολόγιον Παμμακεδονικού Συλλόγου...ανάλυση των ιδεών του)" μεταφέρεται στο τέλος της υποσ. 38 (σελ. 388) μετά τη λέξη "Μακεδονικόν".
[3] Στη σελ. 395 (12η σειρά) η φράση "όχι μόνο στην Ελλάδα, αλλά", απαλείφεται.

In different periods, Christian wall paintings have visualised various attitudes towards programmes, images and iconographies that were closely linked with the religious identities of communities. Following the emergence of nationalism in Georgia in the mid-19 th century, wall paintings of this period also began to respond to national and ethnic identities. The chronological limits of this article are determined by crucial events in the history of the country, such as the conquest of East Georgia by the Russian Empire in 1801 and the proclamation of the independence of the Democratic Republic of Georgia in 1918. Between these two events, a number of churches were painted throughout Georgia which reflected the ideas and aspirations of Georgian nationalism. These are very different from their medieval counterparts both in programme and iconography, displaying a growing interest in national saints and the events of Christian Georgian history. Some of these examples were intended to promote the Russian imperial identity and served to consolidate the power of the Empire over the conquered country.