Gregory Manopoulos
Democritus University of Thrace, Department of History and Ethnology, Department Member
- Ktetors (ktitors), Dedicatory Inscriptions, Post-byzantine art, Byzantine Studies, Post-Byzantine Studies, Ottoman Balkans, Late Antique and Byzantine History, and 120 moreByzantine Numismatics, Ottoman Archaeology, Ottoman Military History, Early modern Ottoman History, Conversion to Islam in the Ottoman Empire, Late Ottoman Period, Byzantine Archaeology, Byzantinum, History of Byzantine Education and Culture, Runic inscriptions from the Balkans, Ottoman economic, social and military history, Byzantine Iconography, Byzantium, Ottoman Turkish, Byzantine Pottery, Ottoman Empire, Inscriptions, Ottoman History, Ottoman Studies, History of Ottoman Art and Architecture, Byzantine and post-byzantine art; italian art; renaissance, Byzantine History, Byzantine Architecture, Late Byzantine history, Byzantine Paleography and codicology, Greek Archaeology, Greek History, Greek Epigraphy, Post-byzantine art history, Post-byzantine history, post-Byzantine Greece, History of post-Byzantine Law, Byzantine Studies, Ottoman epigraphy, Historical Geography, Muffasal Defter, History and archaeology of Epirus, Ottoman defters, Epirus, Byzantine history, Christian Epigraphy, Byzantine Epigraphy, Greek lands during Ottoman rule, Islamic Art, Ottoman Archaeology, Ottoman Palaeography and Diplomatics, Ottoman Warfare, Navy, Economy, and Black Sea Studies, Islamic Architecture, History of Archaeology in Ottoman Lands, Economic History of Ottoman Empire, Byzantine and post-byzantine icons and frescoes, History, Urban History, Ottoman Studies, Iscrizioni, Epigrafia, Epigrphy, Latin, Roman History, Classics, Greek Epigram, Epigraphic poetry, Digital Edition of Inscriptions. In Particular: Epigraphy of Ancient Thessaly, Cultural History of Ancient Greek Society, Byzantine and Postbyzantine Murals, Orthodox Church in the Ottoman period, Byzantine art, Late Antiquity, Ecclesiastical Art of Greece, Oracle of Zeus at Dodona, Donors in Byzantium, History of Epirus, Dodona, Balkan Art History, Zograf Casopis Za Srednjovekovnu Umetnost, Late Antique and Byzantine Studies, Byzantine history and archaeology, Byzantine and Postbyzantine icon-painting, Postbyzantine Architecture and Art, Postbyzantine Murals and Portable icons, Postbyzantine Art, Byzantine and Postbyzantine Paintings, Byzantine and Post Byzantine Art, Post-byzantine Architecture, Post Byzantine art, 16 Th Century Post-Byzantine Area, Byzantine and Post-byzantine art, Post-Byzantine icon painting, Post-Byzantine Greec, Byzantine and post-byzantine Archaeology, Post-byzantine Woodcarving, Post-byzantine Murals, Post-byzantine culture, post-Byzantine iconography, Epirus, Despotate of Epiros, Microhistory, Byzantine Art and Archaeolgy, Islamic influences in post-Byzantine art, Islamic Art, Ottoman Art and culture. Byzantine and Postbyzantine Art with interest in metalwork, Histoire et civilisation byzantine, post-byzantine et de la Russie médiévale . Histoire et diplomatique des institutions ecclésiastiques de l’Empire Byzantin et de la Russie médiévale, Post-Byzantine Monasticism, Post-Byzantine art history/ Greek Silversmithing, Byzantine and Postbyzantine Manuscripts, Gift-giving practices on Mt Athos in Byzantine and Postbyzantine Era, Post Byzantine Art Peloponnesus, Ioannina region, History of Ioannina, Ioannina, The Castle of Ioannina, Archaeology of Ioannina, archeologia greca in Epiro, Archaeology of Epirus, Epirus Topography, Topography of Ancient Epirus, Economic and Social History of the Ottoman Empire, Ottoman art and architecture, Epigraphy, Epigraphy (Archaeology), Medieval Epigraphy, Donor Portrait, Donor Portraits, Church Archaeology, Christian Iconography, Painters From Katsanochoria, Painters, and Prints (Art History)edit
- Archaeologist, MA in Byzantine Archaeology and Artedit
The thesis presents an edited publication of inscriptions drawn by the painters from Katsanochoria, along with observations regarding their families, the structure of their workshops and the places where they painted.
Research Interests: Inscriptions, post-Byzantine Greece, Post Byzantine art, Byzantine and Postbyzantine Murals, Post-byzantine art history, and 22 morePost-byzantine art, Inscriptions from christian churches, Painters, Katsanochoria, Dedicatory Inscriptions, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and Post-byzantine art, Post-byzantine culture, Byzantine and post-byzantine icons and frescoes, Byzantine and post-byzantine Archaeology, Byzantine manuscripts, inscriptions, and archaeology, Painter, Postbyzantine Architecture and Art, Post-Byzanine Hagiography, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Post-Byzantine icon painting, Postbyzantine Thessaly, byzantine and post-Byzantine inscriptions, Painters From Katsanochoria, and Post-byzantine Murals
Η Μονή της Τσούκας, επ’ ονόματι του Γενεσίου της Θεοτόκου, κατέστη ένα από τα σπουδαιότερα προσκυνήματα της Μητροπόλεως Ιωαννίνων κατά το δεύτερο μισό του 20ου αιώνα. Οι κυριολεκτικά χιλιάδες πιστοί που την επισκέπτονται κάθε χρόνο θα... more
Η Μονή της Τσούκας, επ’ ονόματι του Γενεσίου της Θεοτόκου, κατέστη ένα από τα σπουδαιότερα προσκυνήματα της Μητροπόλεως Ιωαννίνων κατά το δεύτερο μισό του 20ου αιώνα. Οι κυριολεκτικά χιλιάδες πιστοί που την επισκέπτονται κάθε χρόνο θα ήθελαν να γνωρίσουν καλύτερα την ιστορία αυτού του σημαντικού μοναστηριού, και αυτή την ανάγκη φιλοδοξούμε να καλύψουμε με το πόνημα μας
Research Interests: Byzantine monasticism, Post-byzantine history, History and archaeology of Epirus, Epigraphy, Inscriptions, and 7 morePost-byzantine art history, Post-byzantine art, Byzantine and Post Byzantine Art, Byzantine and post-byzantine icons and frescoes, Byzantine and Postbyzantine icon-painting, Post-byzantine Architecture, and Byzantine and Postbyzantine Paintings
This paper presents the works of the painters belonging to the family Chorafas, originating from the village Lozetsi, situated in the area of Katsanochoria of the Ioannina region. This will be achieved through the annotated edition of the... more
This paper presents the works of the painters belonging to the family Chorafas, originating from the village Lozetsi, situated in the area of Katsanochoria of the Ioannina region. This will be achieved through the annotated edition of the inscriptions of their mural paintings and an icon, dated in the period 1730-1768. The Chorafas family had formed a familialy tied artistic workshop, in which occasionally other painters participated as well. The workshop was characterized by intense movability between areas of Epirus, southwest Macedonia and northern Thessaly.
Research Interests: Ottoman Balkans, History and archaeology of Epirus, Epigraphy, Inscriptions, Epirus, and 9 moreByzantine and Postbyzantine Murals, Post-byzantine art history, Post-byzantine art, Painters, Katsanochoria, Byzantine and Post Byzantine Art, Byzantine and post-byzantine icons and frescoes, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
The church of St. Nicholas in the village of Theriakisi, Epirus region, Greece, was built in 1566, according to its inscription, and is examined through the light of a variety of written sources from the ottoman period. Theriakisi was a... more
The church of St. Nicholas in the village of Theriakisi, Epirus region, Greece, was built in 1566, according to its inscription, and is examined through the light of a variety of written sources from the ottoman period. Theriakisi was a small but vivid community consisting of three distinct quarters/neighborhoods that survived till the 20th century.
Research Interests: Ottoman History, Ottoman Studies, Ottoman Balkans, Post-byzantine history, History and archaeology of Epirus, and 12 moreInscriptions, Epirus, Byzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, and Byzantine and Postbyzantine Paintings
This study presents two hitherto unknown 15th-century inscriptions from Epirus. The first one is found in the church of Taxiarches in Ouzdina (Pente Ekklisies) in the Thesprotia region and is dated within the period 1402-1411. The second... more
This study presents two hitherto unknown 15th-century inscriptions from Epirus. The first one is found in the church of Taxiarches in Ouzdina (Pente Ekklisies) in the Thesprotia region and is dated within the period 1402-1411. The second one comes from the church of John the Baptist in Arachovitsa (Lefkothea) in the Ioannina region and is dated on 1489. Both of them contribute to our knowledge on 15th-century monuments in Epirus. In addition, we present three more inscriptions dated in the 16th and 17th centuries from the same churches that shed light on the construction phases of the aforementioned monuments.
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An icon of the enthroned Virgin Mary, holding Christ in her hands, with two accompanying worshiping angels can be found on the iconostasis of the church of Saint Demetrius at the village of Zelova (modern Vounoplaghia) near Ioannina.... more
An icon of the enthroned Virgin Mary, holding Christ in her hands, with two accompanying worshiping angels can be found on the iconostasis of the church of Saint Demetrius at the village of Zelova (modern Vounoplaghia) near Ioannina. Eustathios Alfantzis, the icon’s young commissioner, is portrayed standing at the lower right corner while his homonymous patron saint is also portrayed at the lower left corner. The icon dates with precision in 1697, thanks to the preserved dedicatory inscription. Although the painter is not mentioned, he can be safely identified with the painter and priest Eustathios from the village of Sklivani, Ioannina. Furthermore, archival information regarding the commissioner, his family, and his ancestors have been preserved allowing us to accommodate hypotheses concerning the circumstances of the icon’s commissioning.
Research Interests: Ottoman History, Ottoman Balkans, Ottoman-Venetian relations, Epigraphy, Inscriptions, and 15 moreIcons, Epirus, History of Ioannina, Painters, Dedicatory Inscriptions, Postbyzantine Murals and Portable icons, Ktetors (ktitors), Εικόνες, Postbyzantine Architecture and Art, επιγραφές, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Μεταβυζαντινοί ζωγράφοι, μεταβυζαντινή τέχνη, and Μεταβυζαντινές εικόνες
Petros Georgiadis was one of the most productive icon painters in the middle of the 19th c. He came from Ioannina, Epirus and had the advantage of being in close relation to the local Metropolis, being the Cantor there. He created dozens... more
Petros Georgiadis was one of the most productive icon painters in the middle of the 19th c. He came from Ioannina, Epirus and had the advantage of being in close relation to the local Metropolis, being the Cantor there. He created dozens of icons always signing in a meticulously characteristic way. Nevertheless, only a couple of his signed murals have been preserved, in the city of Ioannina and on the Island of its lake. So, although his icons can be found in many villages of Epirus, as well as in Thessaly, Albania and Bulgaria, we can assume that he was not actually visiting these places. He was rather receiving orders and was painting in his workshop in Ioannina. In this way, the icons from the church of the Virgin in Paramythia were probably ordered because a new iconostasis was erected. Georgiadis painted from April till June 1853 eight large icons for the iconostasis and an icon stand. Each icon was paid for by a different donor although they were probably ordered all together. We should mention the icon of saint Donatus that seems to be Georgiadis’ innovative creation. Apart from these, he also painted two small icons of individual saints in 1854 and 1859 respectively.
Research Interests: History and archaeology of Epirus, Inscriptions, post-Byzantine Greece, Byzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, and 13 morePost-byzantine art history, Post-byzantine art, Painters, Byzantine and Post Byzantine Art, Ioannina region, Byzantine and post-byzantine icons and frescoes, Byzantine and Postbyzantine Manuscripts, Paramythia, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Byzantine and Postbyzantine Paintings, and Thesprotia
This paper examines the lettering of the inscription in the Katholikon of the Holy Trinity monastery at Meteora, dated 1741, in comparison to the inscription of the church of the Dormition, situated in the village Lofiskos (old name... more
This paper examines the lettering of the inscription in the Katholikon of the Holy Trinity monastery at Meteora, dated 1741, in comparison to the inscription of the church of the Dormition, situated in the village Lofiskos (old name Tsergiani), near Ioannina of Epirus, dated in 1762. The conclusion is that the painter and priest Antonios, who painted in 1741, can be identified with the painter and priest Antonios from Ioannina that painted in 1762, in cooperation with the renowned painters Anastasios and his son Ioannis, from the village Kapesovo, also near Ioannina, Epirus.
Research Interests: Inscriptions, History of Ioannina, Byzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, and 14 morePost-byzantine art, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Ioannina region, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, byzantine and post-Byzantine inscriptions, Byzantine and Postbyzantine Paintings, Painters From Kapesovo, Meteora, painters from Ioannina, and painters from Epirus
Based on the inscriptions found in several churches in the village of Arbanassi, we will try to clarify what the term “daskal” refers to when it is used by painters. We will also present a comparison with its use in other parts of the... more
Based on the inscriptions found in several churches in the village of Arbanassi, we will try to clarify what the term “daskal” refers to when it is used by painters. We will also present a comparison with its use in other parts of the ottoman Balkans. Furthermore, we will try to examine whether the inconsistencies in the dates given by the painters in the inscriptions of the chapel of Saint Charalambos at the church of Saint Athanasius are due to a mistake they made or because of the use of different chronological systems.
Με βάση επιγραφές από ναούς ευρισκόμενους στο Αρμπανάσι της Βουλγαρίας, θα προσπαθήσουμε να ερμηνεύσουμε τον όρο «δάσκαλος» όταν χρησιμοποιείται από ζωγράφους, σε σύγκριση και με τη χρήση του σε άλλα μέρη της Βαλκανικής. Επιπλέον, θα προσπαθήσουμε να εξηγήσουμε αν η ασυμφωνία στις χρονολογίες που δίνονται στις επιγραφές των τοιχογραφιών του παρεκκλησίου του αγίου Χαραλάμπους στο ναό του αγίου Αθανασίου οφείλεται σε λάθος ή σε χρήση διαφορετικών χρονολογικών συστημάτων.
Με βάση επιγραφές από ναούς ευρισκόμενους στο Αρμπανάσι της Βουλγαρίας, θα προσπαθήσουμε να ερμηνεύσουμε τον όρο «δάσκαλος» όταν χρησιμοποιείται από ζωγράφους, σε σύγκριση και με τη χρήση του σε άλλα μέρη της Βαλκανικής. Επιπλέον, θα προσπαθήσουμε να εξηγήσουμε αν η ασυμφωνία στις χρονολογίες που δίνονται στις επιγραφές των τοιχογραφιών του παρεκκλησίου του αγίου Χαραλάμπους στο ναό του αγίου Αθανασίου οφείλεται σε λάθος ή σε χρήση διαφορετικών χρονολογικών συστημάτων.
Research Interests: Bulgaria, Byzantine Studies, Ottoman Balkans, Inscriptions, Byzantine art, and 12 moreByzantine and Postbyzantine Murals, Post-byzantine art history, Post-byzantine art, Painters, Dedicatory Inscriptions, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Chronological Systems, and Byzantine and Postbyzantine Paintings
This paper, based on already published, but unnoticed material, presents the first systematic excavation of Dodona.
Research Interests: Archaeology, Classical Archaeology, History of Collections, Greek Oracles and Divination, Ancient Topography (Archaeology), and 26 moreMuseum Collection history, History of Archaeology, Excavation Methodology, History of Collecting, Archaeological Excavation, History of Epirus, History and archaeology of Epirus, Ancient Topography, Ottoman Archaeology, Ottoman Palaeography and Diplomatics, Ottoman Warfare, Navy, Economy, and Black Sea Studies, Islamic Architecture, History of Archaeology in Ottoman Lands, History of Art and archaeology, Epirus, Ancient Theater, Archaeology of Epirus, History of Archaeology - Antiquarianism - Classical Tradition, Travellers in Greece, William Leake in Greece, Archaeological excavations, Oracle of Zeus at Dodona, Dodona, Excavations, Classical Archaeology, History and Archaelogy, History of Greek and Roman Art, Ancient Epirus, History of Classical Archaeology, Epirus Topography, History of Archaeology and Anthropology, and Topography of Ancient Epirus
This study follows the life and actions of a wealthy banker living in the late Ottoman Jannina (Yanya). Through successful administering of large amounts of money, I.Z. Loulis managed to become an imprtant benefactor, utilizing the... more
This study follows the life and actions of a wealthy banker living in the late Ottoman Jannina (Yanya). Through successful administering of large amounts of money, I.Z. Loulis managed to become an imprtant benefactor, utilizing the ottoman vakif system.
Research Interests: History, Banking, Ottoman Balkans, Social History, Economic and Social History of the Ottoman Empire, and 16 moreHistory of Epirus, Ioannina (Greece), Epirus, History of Ioannina, Benefactors, Katsanochoria, Ioannina, Ioannina region, Ktetors (ktitors), Osmanlı Vakıf Sistemi, Folk Research About Katsanochoria, Vakif, Greek Benefactors, Vakıflar, Vakıf, and Administration of Public Debts, Ottoman Debts, Liquidation of Debts
Research Interests: Art History, Byzantine Studies, Byzantine Architecture, Inscriptions, Byzantine art, and 12 moreByzantine and Postbyzantine Murals, Post-byzantine art history, Post-byzantine art, Katsanochoria, Dedicatory Inscriptions, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Byzantine and post-byzantine Archaeology, Byzantine and Postbyzantine icon-painting, Post-Byzantine icon painting, and Painters From Katsanochoria
Research Interests:
This paper presents a hitherto unnoticed publication by architect Thomas Donaldson, who in 1830 published his design of the restored plan of the theater of Dodona. It appeared in the fourth supplementary volume of the second edition of... more
This paper presents a hitherto unnoticed publication by architect Thomas Donaldson, who in 1830 published his design of the restored plan of the theater of Dodona. It appeared in the fourth supplementary volume of the second edition of the “Antiquities of Athens” and, in his comments, Donaldson identifies for the first time the site with Dodona, based on the geographical position and the inconsistency of the sizes of the theater and the city. His discovery was not widely acknowledged and Christopher Wordsworth is still being recognized as the first identifier of Dodona.
Research Interests: Archaeology, Classical Archaeology, Greek Oracles and Divination, Travel Literature, Ancient Topography (Archaeology), and 26 moreHistory of Archaeology, History of Epirus, Ancient Topography, Famous Architects and Their Works, Epirus, Ancient Theater, Archaeology of Epirus, Grand Tour, Travellers reports about ancient Greek sites, Travellers in Greece, William Leake in Greece, Oracle of Zeus at Dodona, Leake William Martin, Dodona, Travellers to Greece, The Grand Tour, Ancient Greek Topography, Architects, Arcaeology ancient Topography, Dodona, Sparta, oracles, Architects and Decorators 1800-1950, Dodona's oracle, History of Classical Archaeology, Epirus Topography, Grand Tour Studies, and Biographies of Architects
Στή μελέτη εξετάζονται όλες οι γνωστές μαρτυρίες σε συνάφεια με τις δύο περιοχές, καθώς και οι επαγγελματικές και άλλες σχέσεις των κατοίκων τους στη συγκεκριμένη περίοδο. Όπως θα διαφανεί, ο Άραχθος και η χαράδρα του, αντί να χωρίζει,... more
Στή μελέτη εξετάζονται όλες οι γνωστές μαρτυρίες σε συνάφεια με τις δύο περιοχές, καθώς και οι επαγγελματικές και άλλες σχέσεις των κατοίκων τους στη συγκεκριμένη περίοδο. Όπως θα διαφανεί, ο Άραχθος και η χαράδρα του, αντί να χωρίζει, ένωνε τις δύο περιοχές. Η χάραξη των συνόρων Ελλάδος-Οθωμανικής Αυτοκρατορίας στα 1881 ανέκοψε μόνο, χωρίς να εξαλείψει την επικοινωνία.
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In this paper, after presenting a brief biography of Gabriel bishop of Stagoi (1808-1815), we examine several donations made by the same bishop to the Monastery of Tsouka near Ioannina, to his home-village Kotortsi, to the seat of his... more
In this paper, after presenting a brief biography of Gabriel bishop of Stagoi (1808-1815), we examine several donations made by the same bishop to the Monastery of Tsouka near Ioannina, to his home-village Kotortsi, to the seat of his bishopric, which is the town of Kalambaka, to villages and monasteries of his dioceses and to the town of Metsovo. Furthermore, we examine the ways in which he acquired the means for funding all these activities.
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In this paper we present all the texts concerning the Katsanochoria villages in Epirus that can be found in the “Φωνή της Ηπείρου” newspaper, which was published weekly in Athens from 1892 till 1915. In the articles one can learn about... more
In this paper we present all the texts concerning the Katsanochoria villages in Epirus that can be found in the “Φωνή της Ηπείρου” newspaper, which was published weekly in Athens from 1892 till 1915. In the articles one can learn about the Diaspora of the people of that time, about several kinds of social events and, in general, about all news from this particular area. But one must be careful, because, as today, newspaper articles were sometimes written to observe an end that was different than “objectivity”. This is obvious in the cases of articles about community disputes and the policies of the Ottoman State. The study is followed by a general index and a choice of photographs depicting some of the people mentioned in the texts.
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In this paper, under the light of a newly published ottoman register of 1564, we try to reconsider the context of the building and painting of the churches in the village Veltsista, near Ioannina. Thus, we conclude that the churches were... more
In this paper, under the light of a newly published ottoman register of 1564, we try to reconsider the context of the building and painting of the churches in the village Veltsista, near Ioannina. Thus, we conclude that the churches were built and decorated during a relatively prosperous era. We also establish that the church of the ‘Metamorphosis’ was a parish church, decorated by Mitrophanes, abbot of the ‘Philanthropinon’ monastery on the island of Ioannina. Furthermore, after examining the conditions of the beginning of the year 1568, we make the suggestion that the inscription of the ‘Metamorphosis’ church may be incorrect. But an on the spot transcription of the inscription proved that the correct date of it is in did the year 1568, in spite of the unfavorable coincidence.
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The work of painters originating from the village Kapesovo, of the Ioannina region, was the subject of a Ph.D. thesis submitted to the University of Ioannina, by D. Konstantios. The author, among others, edits the content of twenty-five... more
The work of painters originating from the village Kapesovo, of the Ioannina region, was the subject of a Ph.D. thesis submitted to the University of Ioannina, by D. Konstantios. The author, among others, edits the content of twenty-five inscriptions written by the painters, in churches they worked at. In this paper we mention twelve more inscriptions by the same painters, already published by others, while rectifying some mistakes made in the edition of the other twenty-five. Finally we are offering a new interpretation of the content of the totality of the inscriptions, regarding mainly to the members of the family of the painters. The general conclusion is that there is only one family, numbering twelve of its members as painters, during the period 1728-1841.
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In this paper we examine all the existing testimonies, published or not, about the life and deeds of the priest-monk Gabriel. He was born in Kotortsi, a village near Ioannina, in the period 1740-1750. From 1770 he is attested as monk and... more
In this paper we examine all the existing testimonies, published or not, about the life and deeds of the priest-monk Gabriel. He was born in Kotortsi, a village near Ioannina, in the period 1740-1750. From 1770 he is attested as monk and from 1779 as abbot of Tsoukas monastery, neighboring to Kotortsi. In 1795 he became an assistant of Makarios the metropolitan of Ioannina, which appointed Gabriel “bishop” of Dyrrachion, a diocese existing only in title. In 1807 Gabriel arrived in Thessaly, where he was elected bishop of Stagoi (Kalabaka) in 1808. He spent his incumbency performing the usual duties of a bishop, trying not to get in trouble with the Ottoman authorities and leaving several amounts of money as bequests, with the commitment of the beneficiaries to perform each year a memorial service for him and members of his family. He died peacefully in 1815.
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Ιn this paper we edit forty epigraphs, which come fιom eleven villages called "Katsanochoria" and are situated ίη the southeast of the city of Ioannina, at a semi-mountainous area. The epigraphs, the majority of which is edited here for... more
Ιn this paper we edit forty epigraphs, which come fιom eleven villages called "Katsanochoria" and are situated ίη the southeast of the city of Ioannina, at a semi-mountainous area. The epigraphs, the majority of which is edited here for the fiIst time, come from all the churches of the area (about seventy in all). Fourteen are incised on stones on the walls of the churches and usually give us the date of foundation Fifteen aIe written on icons and seven on mural paintings and give us the date of painting. Finally four are carved on a censer, a chalice and a benediction cross. After the text of each epigraph, we comment on its contents and we give more details on the architectural features of each church. In order to achieve a better understanding of the epigraphs, first we tried to make a synthesis of our historical knowledge for the area until the late 16th century. Second we examined the history of the settlements, in which the churches were built and we tried to find out how the people managed to support financially their building activities. Finally we made an outline of the evolution of the architecture. Therefore, the conclusion can be drawn as follows: in the prosperous for all Europe 16th century, we have no historical material from the Katsanochoria. From the following years, though there was a general economic and demographic decline, and probably because there was a tendency towards herd breeding, the inhabitants of the Katsanochoria occupied themselves with the hide trade. Βy these means they managed to reserve the funds for the building of their churches. Later in the 17th century the crisis struck the area and so we have no information about the Katsanochoria in the period 1665-1695.
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In the Ottoman period the byzantine iconostasis of the Vlacherna church near Arta (in Epirus, Greece) was replaced by a woodcarved one around the middle of the 17th century. Several new icons were made for this iconostasis in the 19th... more
In the Ottoman period the byzantine iconostasis of the Vlacherna church near Arta (in Epirus, Greece) was replaced by a woodcarved one around the middle of the 17th century. Several new icons were made for this iconostasis in the 19th century. In the second decade of the 20th century the iconostasis was dismantled and reassembled, while some more new icons were made.
Research Interests: Byzantine Studies, Byzantine Iconography, Byzantine Archaeology, Woodcarving, Byzantine art, and 13 moreByzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Katsanochoria, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Painters From Katsanochoria, and Iconostasis
The catalogue is accompanying an exhibition taking place in Korça in May and June 2018, whose subject is Flora in Artworks and Artefacts of the Korça Region (12th century B.C. to 20th century A.D.). In English and Albanian.
Research Interests: Iconography, Symbolism (Religion), Symbolism (Art History), Christian Iconography, Iconology, and 16 moreAlbania, Flora, Iconography and Iconology, Inscriptions, Icons, Iconografia, Floral Symbolism, Flora and Vegetation, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Nazarenes, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
The exhibition Water in Arts and Crafts in the Berat Region, 4th century B.C. to 19th century A.D. is the outcome of ten years of deliberations and consultations on the state of national museums in Albania. At the heart of it all was a... more
The exhibition Water in Arts and Crafts in the Berat Region, 4th century B.C. to 19th century A.D. is the outcome of ten years of deliberations and consultations on the state of national museums in Albania. At the heart of it all was a relentless quest to discover what can be done to transform these museums from static organizations into dynamic, interactive institutions. In English and Albanian.
Research Interests: Iconography, Byzantine Studies, Byzantine Iconography, Christian Iconography, Iconology, and 20 moreIconografy of Last Supper, Iconography and Iconology, Icons, Iconografia, Byzantine art, Byzantine and post-byzantine art; italian art; renaissance, Post-byzantine art history, Post-byzantine art, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Last Supper, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, The Last Supper Painting, Byzantine and Postbyzantine Paintings, Last Supper paintings, Life-bearing Spring, Life-bearing Spring iconography, and Life-bearing Spring icon
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This paper looks at the dresses and accoutrements or torturers and executioners appearing in various scenes related to Christ’s Passion and saints’ tortures and martyrdoms in the course of the Byzantine and post-Byzantine periods. In... more
This paper looks at the dresses and accoutrements or torturers and executioners appearing in various scenes related to Christ’s Passion and saints’ tortures and martyrdoms in the course of the Byzantine and post-Byzantine periods. In doing so, we identify their ‘metamorphoses’ and critically appraise how ‘sameness’ or ‘otherness’ of their outlook compared with the outlook of the in-group led to claims of political and ideological statements made through ecclesiastical art. The paper also stresses the methodological difficulties in interpreting ‘otherness’ in political, ideological or social terms in Byzantine and post-Byzantine art.
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SerenissimaBased on the content of seven notarial documents from the Archives of the Prefecture of Lefkada we will try to reconstruct the activities of the merchant Christos Tzangris. Even before the end of the last Vene-tian-Turkish war... more
SerenissimaBased on the content of seven notarial documents from the Archives of the Prefecture of Lefkada we will try to reconstruct the activities of the merchant Christos Tzangris. Even before the end of the last Vene-tian-Turkish war (1714-1718), Tzangris was in Lefkada, where he practiced his commercial activities. Going to Venice in wartime, in two consecutive trips (in 1717 and 1718), he managed to make quite a few profits, as can be seen from his wills. The main feature of Tzangri’s wills is the offer of vessels or money to churches and monasteries, as well as the bequeathing of sums of money to distressed people in Lefkada. In conclusion, we can say that we are dealing with another example of a merchant-entrepreneur from Epirus, who tried to find his fortune in the Venetian-occupied area, seeking a better life for himself, but also helping others.
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Το πλαίσιο του προς εξέταση θέματος περιορίζεται στη βορειοδυτική Ελλάδα μεταξύ 17ου και 19ου αι., σε μια εποχή με πλήθος έργων ζωγραφικής, που ως επί το πλείστον έχουν μελετηθεί με βάση την εικονογραφία και την τεχνοτροπία τους. Στην... more
Το πλαίσιο του προς εξέταση θέματος περιορίζεται στη βορειοδυτική Ελλάδα μεταξύ 17ου και 19ου αι., σε μια εποχή με πλήθος έργων ζωγραφικής, που ως επί το πλείστον έχουν μελετηθεί με βάση την εικονογραφία και την τεχνοτροπία τους. Στην ανακοίνωση, αφού παρουσιαστούν ενυπόγραφα και ακριβώς χρονολογημένα έργα ζωγραφικής της Ηπείρου, θα παρατεθούν τα κοινά στοιχεία της γραφής εκείνων που υπογράφονται από ίδιους ζωγράφους. Ακολούθως, θα εξεταστούν ανυπόγραφα έργα και θα διερευνηθεί η ταύτιση της γραφής και της τεχνοτροπίας τους με αντίστοιχες των ενυπόγραφων έργων. Ταυτόχρονα θα τεθεί και το ζήτημα της ύπαρξης ή μη κοινής γραφολογικής παράδοσης.
Research Interests: History and archaeology of Epirus, Inscriptions, Epirus, Byzantine and Postbyzantine Murals, Post-byzantine art history, and 7 moreByzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
This paper examines the inscriptions that the painters originating from the village Kapesovo in Epirus wrote on wood carved iconostases. The six inscriptions span from 1764 to 1803 and come from four monasteries and two villages situated... more
This paper examines the inscriptions that the painters originating from the village Kapesovo in Epirus wrote on wood carved iconostases. The six inscriptions span from 1764 to 1803 and come from four monasteries and two villages situated close to the city of Ioannina. The painters that wrote the inscriptions are Anastasios (or Athanasios) Kaloudis and his two sons, Ioannis and Georgios. A Spyros has also written one of the inscriptions and so far this is his only known work. The conclusion drawn is that the painters from Kapesovo were only gilding the iconostases, without carving them as well.
Research Interests: Woodcarving, History and archaeology of Epirus, Epirus, Byzantine and Postbyzantine Murals, Postbyzantine Architecture and Art, and 7 morePostbyzantine Art, Byzantine and Postbyzantine icon-painting, Iconostasis, Gilding, Painters From Kapesovo, Post - Byzantine Iconostasis, and Wood-carved iconostases
Αντικείμενο της ανακοίνωσης είναι η παρουσίαση του έργου των ζωγράφων της οικογένειας Χωραφά από το Λοζέτσι (Ελληνικό) Ιωαννίνων, μέσα από τη δημοσίευση και το σχολιασμό των επιγραφών τοιχογραφιών και μιας εικόνας που χρονολογούνται στο... more
Αντικείμενο της ανακοίνωσης είναι η παρουσίαση του έργου των ζωγράφων της οικογένειας Χωραφά από το Λοζέτσι (Ελληνικό) Ιωαννίνων, μέσα από τη δημοσίευση και το σχολιασμό των επιγραφών τοιχογραφιών και μιας εικόνας που χρονολογούνται στο διάστημα 1730-1768. Πρόκειται για ένα οικογενειακό συνεργείο ζωγράφων, στο οποίο όμως συμμετείχαν ευκαιριακά και άλλοι ζωγράφοι και το οποίο παρουσιάζει έντονη κινητικότητα μεταξύ Ηπείρου, νοτιοδυτικής Μακεδονίας και βόρειας Θεσσαλίας.
This paper presents the works of the painters belonging to the family Chorafas, originating from the village Lozetsi, situated in the area of “Katsanochoria” of the Ioannina region. This will be achieved through the annotated edition of the inscriptions of their mural paintings and an icon, dated in the period 1730-1768. The Chorafas family had formed a familialy tied artistic workshop, in which occasionally other painters participated as well. The workshop was characterized by intense movability between areas of Epirus, southwest Macedonia and northern Thessaly.
This paper presents the works of the painters belonging to the family Chorafas, originating from the village Lozetsi, situated in the area of “Katsanochoria” of the Ioannina region. This will be achieved through the annotated edition of the inscriptions of their mural paintings and an icon, dated in the period 1730-1768. The Chorafas family had formed a familialy tied artistic workshop, in which occasionally other painters participated as well. The workshop was characterized by intense movability between areas of Epirus, southwest Macedonia and northern Thessaly.
Research Interests: Medieval Epigraphy, Post-byzantine history, History and archaeology of Epirus, Epigraphy, Inscriptions, and 14 moreByzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Painters, Katsanochoria, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Painters From Katsanochoria, and Byzantine and Postbyzantine Paintings
The paper presents the activities of the painter and priest Christodoulos at the end of the 18th c.
Research Interests: History and archaeology of Epirus, Inscriptions, Epirus, Byzantine and Postbyzantine Murals, Post-byzantine art history, and 8 morePost-byzantine art, Painters, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
The paper presents a variety of inscriptions found in Churches of Epirus, dated in the period 1400-1850.
Research Interests: Post-byzantine history, History of Epirus, History and archaeology of Epirus, Inscriptions, Epirus, and 12 moreByzantine and Postbyzantine Murals, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Post-byzantine Murals, and Byzantine and Postbyzantine Paintings
The main characteristic of the painters’ workshops in 18th-19th century Epirus and more specifically in the areas close to Ioannina was that they were based on familial ties and place of origin. After looking at all the known artworks of... more
The main characteristic of the painters’ workshops in 18th-19th century Epirus and more specifically in the areas close to Ioannina was that they were based on familial ties and place of origin. After looking at all the known artworks of the most active and time-enduring workshops, such as the ones from the Zagorochoria, the Katsanochoria, Kalarites and Chionades, we will try to demonstrate that they operated within a specifically designated geographical area, whose limits they almost never trespassed. Some hypotheses will also be made in order to trace the cause of this practice.
Research Interests: Cultural Geography, Historical Geography, History and archaeology of Epirus, Inscriptions, Epirus, and 8 moreByzantine and Postbyzantine Murals, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
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Research Interests: Archaeology, Classical Archaeology, Ottoman Archaeology, History of Collections, Greek Oracles and Divination, and 18 moreAncient Topography (Archaeology), Ancient Greek and Roman Theatre, Museum Collection history, History of Archaeology, Excavation Methodology, History of Collecting, Archaeological Excavation, History and archaeology of Epirus, History of Art and archaeology, Epirus, Archaeology of Epirus, History of Collecting and Antiquarianism, Travellers in Greece, Oracle of Zeus at Dodona, Dodona, Ancient Epirus, Epirus Topography, and Topography of Ancient Epirus
In this paper, we examine the causes, ways and means for the diffusion of Saint Nikanor's cult in the area around the city of Ioannina, Greece, in the second third of the 19th century. As we learn from short chronicles and the objects... more
In this paper, we examine the causes, ways and means for the diffusion of Saint Nikanor's cult in the area around the city of Ioannina, Greece, in the second third of the 19th century. As we learn from short chronicles and the objects themselves, icons and manuscripts where used by the people of the time to offer honour to the saint and ask for his intervention against the plague.
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The work of painters originating from the village Kapesovo, of the Ioannina region, was the subject of a Ph.D. thesis submitted to the University of Ioannina, by D. Konstantios. The author, among others, edits the content of twenty-five... more
The work of painters originating from the village Kapesovo, of the Ioannina region, was the subject of a Ph.D. thesis submitted to the University of Ioannina, by D. Konstantios. The author, among others, edits the content of twenty-five inscriptions written by the painters, in churches they worked at. In this paper we mention twelve more inscriptions by the same painters, already published by others, while rectifying some mistakes made in the edition of the other twenty-five. Finally we are offering a new interpretation of the content of the totality of the inscriptions, regarding mainly to the members of the family of the painters. The general conclusion is that there is only one family, numbering twelve of its members as painters, during the period 1728-1841.
Research Interests: Inscriptions, Post Byzantine art, Byzantine and Postbyzantine Murals, Post-byzantine art history, Post-byzantine art, and 12 moreInscriptions from christian churches, Painters, Dedicatory Inscriptions, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Ioannina region, Zagorochoria, Byzantine and post-byzantine icons and frescoes, Postbyzantine Architecture and Art, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, and Byzantine and Postbyzantine Paintings
The paper tries to offer an interpretation of the relations between the members of the 16th c. family Strelitzas-Bathas, not only in regard to the painters but also to others, known from the sources.
Research Interests: Post-Byzantine Greec, post-Byzantine Greece, Post Byzantine art, Byzantine and Postbyzantine Murals, Byzantine and post-byzantine art; italian art; renaissance, and 15 moreByzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Painters, Byzantine and Post Byzantine Art, 16 Th Century Post-Byzantine Area, Postbyzantine Murals and Portable icons, Byzantine and post-byzantine icons and frescoes, Postbyzantine Art, Byzantine and Postbyzantine icon-painting, Post-Byzantine icon painting, Byzantine and Postbyzantine Paintings, Theophanes of Crete, Theophanes Strelitzas-Bathas, and Strelitzas-Bathas
Research Interests: Local History, Ottoman Studies, Byzantine Studies, Byzantine History, Ottoman Balkans, and 44 moreLate Byzantine history, Economic and Social History of the Ottoman Empire, Post-byzantine history, Local and regional history, History of Epirus, History and archaeology of Epirus, Inscriptions, Epirus, Epirus, Byzantine history, post-Byzantine Greece, Post Byzantine art, Byzantine and Postbyzantine Murals, Muffasal Defter, Byzantine Studies, Post-Byzantine Studies, Post-byzantine art history, Post-byzantine art, Painters, Ottoman defters, Katsanochoria, Dedicatory Inscriptions, Byzantine and Post Byzantine Art, Postbyzantine Murals and Portable icons, Post-byzantine culture, Ktetors (ktitors), Nazarenes, Byzantine and post-byzantine icons and frescoes, Byzantine and post-byzantine Archaeology, Byzantine manuscripts, inscriptions, and archaeology, Byzantine Art (Byzantine Studies), post-Byzantine Art, Folk Research About Katsanochoria, Postbyzantine Architecture and Art, Postbyzantine Art, Ancient Epirus, Byzantine and Postbyzantine icon-painting, Post-Byzantine icon painting, Epirus Topography, Church Painting, Postbyzantine Architecture, Post-byzantine Architecture, byzantine and post-Byzantine inscriptions, Painters From Katsanochoria, Post-byzantine Murals, Post-byzantine Murals and Icons, and Topography of Ancient Epirus
The International Workshop "Digital Approaches to Post-Byzantine Inscriptions" will introduce the audience to the fascinating world of post-Byzantine church murals and their accompanying texts. Topics like the place of the text in the... more
The International Workshop "Digital Approaches to Post-Byzantine Inscriptions" will introduce the audience to the fascinating world of post-Byzantine church murals and their accompanying texts. Topics like the place of the text in the iconographic programme of an Orthodox religious building, text reuse and intertextuality, church inscriptions as a part of cultural code and group identity on the Balkans during the Ottoman period, language contact and multilingualism, etc., will be discussed. The participants will also be introduced to the digital methods of encoding and visualisation of such inscriptions, including EpiDoc XML, front-end tools, indices and authority files. Structure: The workshop will be hybrid and will take place from December 4 th to 7 th at the University of Cologne. Remote participation is not only possible but strongly encouraged. To ensure the workshop runs smoothly, the number of participants is limited to 15.
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Nous proposons au cours de cet atelier d’évoquer les diverses traces archéologiques de l’aristocratie épirote avant et après la conquête ottomane. Au XIVe s., le diptyque de Cuenca est composé de deux panneaux de bois recouverts d’argent,... more
Nous proposons au cours de cet atelier d’évoquer les diverses traces archéologiques de l’aristocratie épirote avant et après la conquête ottomane. Au XIVe s., le diptyque de Cuenca est composé de deux panneaux de bois recouverts d’argent, de perles et de pierres précieuses et constitue un précieux témoignage de la domination serbo-grecque en Épire. Au XVe s., les armoiries de Carlo Tocco gravées dans la forteresse d’Arta témoignent pour leur part d’une certaine forme de syncrétisme entre Byzance et l’Occident latin. Enfin, après la conquête ottomane, la population chrétienne fut confrontée à de nouvelles réalités sociales et économiques, tout en jouissant d’une stabilité inconnue depuis plusieurs siècles. C’est pourquoi l’art religieux a connu un nouvel essor, qui se manifeste notamment par les représentations de fondateurs et de dédicataires.