- National and Kapodistrian University of Athens
School of Philosophy
Faculty of History and Archaeology - Office 406
Zografou University Campus, Athens, 15784, GR - +302107277669
- BENAKI MUSEUM, Byzantine Collection, Department MemberDumbarton Oaks, Byzantine Studies, Department Memberadd
- Medieval Studies, Metalwork (Archaeology), Metal Finds (Archaeology), Islamic Art, Pilgrimage, Papyri, and 20 moreMedieval History, Mediterranean Studies, Byzantine Archaeology, Late Antique and Byzantine History, Crusades, Monasticism, Byzantine Iconography, History of Religion (Medieval Studies), Crete during the Venetian Rule, Byzantine Studies, Medieval Mediterranean Art and Architecture, Roman Bronze Vessels, Medieval Greece, Cultural convergences, Byzantine art, Late Antiquity, Art History, History of Museums, Museums and Identity, and Virtual Museumsedit
The book examines the fourth- to eighth-century copper alloy wares in the Benaki Museum, using them as the basis on which a wider debate about the production, circulation and use of copper vessels in Late Antiquity can be built. It is an... more
The book examines the fourth- to eighth-century copper alloy wares in the Benaki Museum, using them as the basis on which a wider debate about the production, circulation and use of copper vessels in Late Antiquity can be built. It is an attempt at a holistic approach to this rich but as yet little studied material. Apart from the necessary typology and dating, the study also includes systematic discussion of questions regarding the alloys used in the manufacture of the copperwares and the techniques employed in their production and decoration. The study of primary sources provided evidence about the late Roman and Medieval Greek terminology associated with each group of objects, as well as interesting information about the distribution of various types of vessels, the context in which they were used and the value their owners placed on them, while also containing useful references to the coppersmiths themselves.
Most of the Benaki copperwares were acquired on the Egyptian market and can be connected with the rich local production in the Late Roman and Early Islamic period. Yet the study of these artefacts showed that they have striking similarities with a wide range of archaeological material discovered over an extremely large geographical area, from the Eastern Mediterranean to Italy, Germany, Spain and the UK. The geographical spread of copper alloy wares that follow a parallel development in different parts of the empire and also appear almost contemporaneously in Western European burials reignites the debate on the production centres and subsequent modes of distribution of these artefacts. In turn these issues touch on the long-standing debate on the so-called ‘Coptic bronzes’ and the actual role of Egypt in the overall production of and trade in these articles in Late Antiquity.
Most of the Benaki copperwares were acquired on the Egyptian market and can be connected with the rich local production in the Late Roman and Early Islamic period. Yet the study of these artefacts showed that they have striking similarities with a wide range of archaeological material discovered over an extremely large geographical area, from the Eastern Mediterranean to Italy, Germany, Spain and the UK. The geographical spread of copper alloy wares that follow a parallel development in different parts of the empire and also appear almost contemporaneously in Western European burials reignites the debate on the production centres and subsequent modes of distribution of these artefacts. In turn these issues touch on the long-standing debate on the so-called ‘Coptic bronzes’ and the actual role of Egypt in the overall production of and trade in these articles in Late Antiquity.
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From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. The fact that they came from the one and only Orthodox empire after the Fall of Constantinople added special symbolic and religious value to... more
From the sixteenth century onwards Russian icons spread steadily throughout the Orthodox East. The fact that they came from the one and only Orthodox empire after the Fall of Constantinople added special symbolic and religious value to these artworks. The exhibition catalogue highlights the main distribution channels for religious art coming from Russia to the Balkans (donations given by the Russian state and religious institutions; offerings and expressions of private piety; travelling salesmen). The works discussed in the book belong to museum collections, monasteries and parish churches from all over Greece.
Exhibition: Benaki Museum, Athens, 13 December 2017 - 11 February 2018.
Exhibition: Benaki Museum, Athens, 13 December 2017 - 11 February 2018.
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The Rena Andreadis icon collection is one of the best known private collections of its kind. It contains Greek icons ranging from the 14th to the 18th century, covering a wide geographical area from Constantinople and mainland Greece to... more
The Rena Andreadis icon collection is one of the best known private collections of its kind. It contains Greek icons ranging from the 14th to the 18th century, covering a wide geographical area from Constantinople and mainland Greece to Crete and the Ionian islands. Among them are celebrated works which have frequently been on display to specialists and the general public in exhibitions both in Greece and abroad, and others which are still unknown. The subject matter of the works is particularly varied, combining the most widespread and popular subjects of portable icon painting with others, more unusual, which were dominant in particular regions and periods.
From every point of view the Andreadis collection offers a panorama of Greek portable icons and an opportunity to discover the elements they have in common and the multiformity of expression which distinguishes them.
The book was published in English and in Greek.
From every point of view the Andreadis collection offers a panorama of Greek portable icons and an opportunity to discover the elements they have in common and the multiformity of expression which distinguishes them.
The book was published in English and in Greek.
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Bilingual exhibition catalogue (Greek and English). It includes two new chapters, by Anastasia Drandaki and Titos Papammastorakis. The catalogue entries were first published in "Byzantium, Faith and Power (1261-1557)"¸ ed. H.C. Evans,... more
Bilingual exhibition catalogue (Greek and English). It includes two new chapters, by Anastasia Drandaki and Titos Papammastorakis. The catalogue entries were first published in "Byzantium, Faith and Power (1261-1557)"¸ ed. H.C. Evans, New York 2004.
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Booklet presenting a significant private collection donated recently to the Benaki Museum. It comprises antiquities, a large number of icons and ecclesiastical furnishings, and a rich library with rare editions. Among the objects there... more
Booklet presenting a significant private collection donated recently to the Benaki Museum. It comprises antiquities, a large number of icons and ecclesiastical furnishings, and a rich library with rare editions. Among the objects there is a unique, embroidered Epitaphios of the early fourteenth century.
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The aim of rhe projecc is rhe design and development of a hn,ermedia application, exploiting University of Wesrminster's IDEAs system facilities, with che addirion of SGML encoding support. Our target application is based on the... more
The aim of rhe projecc is rhe design and development of a hn,ermedia application, exploiting University of Wesrminster's IDEAs system facilities, with che addirion of SGML encoding support. Our target application is based on the Benaki Museum Byzantine Collection of 1cons and artefacts. However we envision rhe end application as a dynamic generic rool and we have focused our efforcs in making provision ro cover the multiple needs of ali the Benaki Museum Collections through che application's functions. The project is being realised at che Universicy of Westminster's Arcificial lntelligence Division m dose collaboration with the Benaki Documentation Department. Parcicular considerarion has been given to visual data. The main facilities of the IDEAs system include: free text search with no limitations in che quantiry or srructure of che source information, hypermedia facilities and automatic cross-referencmg and updating between different frames of information. The idea ro include in our application Standard Generalised Markup Language encoding was germinated by our concern to find a reliable way of exchanging on-line data with other museums. We believe rhat che described service will offer the ground for a new type of on-line archaeological applications, by forming an accessible and explicit structure for the documencarion of museum information.
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Representations of the Virgin on four exceptional Byzantine artworks of the 10th to 14th c.
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Twenty four entries on everyday life objects from the Benaki Museum, many of them published here for the first time
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Catalogue entries on selected objects from the Benaki Museum Byzantine Collection, exhibited in C. Gulbenkian Museum, Lisbon
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Catalogue entries on four icons in the Benaki Museum from Constantinople/Istanbul, and Cappadocia
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Catalogue entries on copper-alloy vessels: 100. Lid of an Incense Burner, 122A-C. Three Openwork Incense Burners, 123A, B.Two Buckets with Animal Motifs
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Article on an icon of St Theodore with a forged signature of the Cretan painter Konstantinos Tzanes
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In the article the author examines the methodological difficulties involved in attributing unsigned works to famous Cretan painters of the 15th-17th centuries. It is deemed necessary to systematise art historical cri- teria specific for... more
In the article the author examines the methodological difficulties involved in attributing unsigned works to famous Cretan painters of the 15th-17th centuries. It is deemed necessary to systematise art historical cri- teria specific for icons in order to attempt creditable attributions, and make good use of technical analysis, first and foremost of signed works, in order to achieve a better understanding of the pictorial technique of each painter. However, a large number of good quality but rather uninspired Cretan icons essentially impose their ‘anonymity’ due to the standardization of their mass production
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The dissertation discusses the copper alloy vessels of the 4th to the 7th centuries using as a starting point the Benaki Museum Collection. The vessels under examination are organized in groups according to their morphological... more
The dissertation discusses the copper alloy vessels of the 4th to the 7th centuries using as a starting point the Benaki Museum Collection. The vessels under examination are organized in groups according to their morphological characteristics. In the first part of the book, in fourteen chapters -each corresponding to a separate group of vessels- are presented the technical examination of the objects, their typological analysis, a detailed discussion of the origins and evolution of each form and the discussion of their decoration. The copper alloy vessels are also compared to similar objects made of different materials, mainly ceramics, glass and silver, and their interrelations reflecting the hierarchy of materials are examined. The last part of each chapter is dedicated to the discussion of (i) the possible uses of the vessels and (ii) the terms by which the ancient sources refer to them. Particular emphasis has been given to the examination of such references in the non philologic...
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The article investigates Antonis Benakis’ approach to Byzantium and its arts. The founder of the Benaki Museum did not document the lure or the process of collecting as a private enterprise or, later, his drive to translate the private... more
The article investigates Antonis Benakis’ approach to Byzantium and its arts. The founder of the Benaki Museum did not document the lure or the process of collecting as a private enterprise or, later, his drive to translate the private into the public, when he turned the Benakis family mansion into a museum, which he donated to the Greek nation. Therefore, the article shines a light on indirect information: e.g. looking at how Benakis was seen by his contemporaries, the network of correspondence and the strategies he employed as collector of Byzantine antiquities, and above all the modalities of display used in his collection in the new museum.
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The two icons discussed in the article provide interesting evidence about the painting of icons in the provinces or borderlands of the Byzantine world in a period of momentous change for both the empire and the Eastern Mediterranean. They... more
The two icons discussed in the article provide interesting evidence about the painting of icons in the provinces or borderlands of the Byzantine world in a period of momentous change for both the empire and the Eastern Mediterranean. They belong to the Benaki Museum collection and come from Egypt. The fragmentary seventh-century icon of Christ with the Coptic votive inscription must have been intended as a votive offering and the emphasis on Christ Emmanuel probably proclaims the Miaphysite tendencies of the patron. Its encaustic technique and confirmed Egyptian provenance link it with a group of works of the seventh century preserved at St Catherine's Monastery in Sinai and once again raises the question of the provenance of those icons. The artistically modest yet iconographically surprising two-sided icon adds one more example to the small number of painted panels to have survived from the eighth and ninth centuries. The Greek inscriptions, the iconographic link with the Fies...
The article investigates early fifteenth-century religious paintings from Crete whose style and iconography betray a studied amalgamation of Palaiologan and Italian elements. In these works of pronounced hybrid character, multifarious... more
The article investigates early fifteenth-century religious paintings from Crete whose style and iconography betray a studied amalgamation of Palaiologan and Italian elements. In these works of pronounced hybrid character, multifarious iconographic subjects are conveyed with surprising stylistic diversity. The author investigates the motives behind the patrons’ choices and identifies the theological and devotional needs that shaped the mixed character of these paintings. The careful stitching together of elements from two different artistic and religious traditions becomes meaningful when examined against the complex historical background of Venetian Crete, especially at a time of intense debate over the burning issue of the union of the churches. Aspects of that debate, which divided the Orthodox population, can be discerned in religious paintings from other parts of the Byzantine world. In the Venetian colony of Crete however, this phenomenon takes on a distinctive local flavor, determined by the long term coexistence, struggles and interaction between the two communities on the island.
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Στις συλλογές του Μουσείου Μπενάκη συγκαταλέγεται ένας ενεπίγραφος κάδος {situla) από κράμα χαλκού, διακοσμημένος με σκηνή κυνηγίου, ο οποίος πρόσφατα παρουσιάστηκε στην εντυπωσιακή έκθεση του Λευκού Πύργου, Καθημερινή ζωή στο Βυζάντιο.... more
Στις συλλογές του Μουσείου Μπενάκη συγκαταλέγεται ένας ενεπίγραφος κάδος {situla) από κράμα χαλκού, διακοσμημένος με σκηνή κυνηγίου, ο οποίος πρόσφατα παρουσιάστηκε στην εντυπωσιακή έκθεση του Λευκού Πύργου, Καθημερινή ζωή στο Βυζάντιο. Το σκεύος είναι σφυρηλατημένο σε ενιαίο φύλλο μετάλλου, το οποίο οι μεταλλουργικές αναλύσεις απέδειξαν ότι είναι ορείχαλκος. Τα τοιχώματα είναι κάθετα και η βάση επίπεδη, διαμορφώνοντας ένα σκεύος σχεδόν απόλυτα κυλινδρικό. Το σώμα έχει ύφος 10,7 εκ., ενώ η διάμετρος του κυμαίνεται μεταξύ 17-17,8 εκ. Δύο ημιελλειψοειδή "αυτιά" υψώνονται αντικρυστά στο χείλος του σκεύους και από τις τρύπες στο μέσον τους περνά μια γερή, καμπυλωμένη ράβδος πολυγωνικής διατομής, η οποία συνιστά τη λαβή του κάδου. Τα αναδιπλωμένα άκρα της ράβδου σχηματίζουν κλειστούς γάντζους που τη στερεώνουν στο σκεύος. Η εξωτερική επιφάνεια χωρίζεται σε τρεις διακοσμητικές ζώνες, τις οποίες ορίζουν μονές σειρές από χτυπητούς κύκλους. Η πάνω και κάτω ζώνη είναι περίπου ισοϋψ...
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Research Interests: Late Antique Archaeology, Byzantine Studies, Coptic Studies, Late Antiquity, Egypt, and 6 moreByzantine Archaeology, Early Medieval Metalwork, Ancient Mining and Metallurgy, Barbarians and Romans in Late Antiquity and Early Middle Ages, Mobilier Métallique Médiéval, and Late Antique and Byzantine Archaeology, Architecture and History of Art
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Διαδικτυακός διάλογος Μια συζήτηση για τα ελληνικά αρχαιολογικά μουσεία 1 Μαρτίου 2021, 18:30-20:30 Διοργάνωση: Διιδρυματικό μεταπτυχιακό πρόγραμμα Μουσειακές Σπουδές, ΕΚΠΑ, ΠΑΔΑ Συντονισμός: Αναστασία Δρανδάκη, Μάρλεν Μούλιου Το... more
Διαδικτυακός διάλογος
Μια συζήτηση για τα ελληνικά αρχαιολογικά μουσεία 1 Μαρτίου 2021, 18:30-20:30
Διοργάνωση: Διιδρυματικό μεταπτυχιακό πρόγραμμα Μουσειακές Σπουδές, ΕΚΠΑ,
ΠΑΔΑ
Συντονισμός: Αναστασία Δρανδάκη, Μάρλεν Μούλιου
Το διιδρυματικό μεταπτυχιακό πρόγραμμα Μουσειακές Σπουδές των ΕΚΠΑ και
ΠΑΔΑ θεωρώντας απαραίτητη τη δημιουργία ενός πλαισίου για ουσιαστικό
διάλογο γύρω από τα ελληνικά αρχαιολογικά μουσεία, οργανώνει με το θέμα
αυτό τηλεματική δημόσια συζήτηση, την 1η Μαρτίου 2021 (18:30-20:30).
Προσκεκλημένοι ομιλητές: Εκπρόσωπος ηγεσίας ΥΠΠΟΑ, Δέσποινα Κουτσούμπα,
Πρόεδρος Συλλόγου Ελλήνων Αρχαιολόγων, Αγγελική Κουκουβού, Αρχαιολόγος
ΥΠΠΟΑ, Γιάννης Θεοχάρης, Αρχαιολόγος, ΥΠΠΟΑ, Δημήτρης Αθανασούλης,
Αρχαιολόγος ΥΠΠΟΑ, μέλος του Διοικητικού Συμβουλίου της Χριστιανικής
Αρχαιολογικής Εταιρείας, Μαρία Καραμανώφ, Αντιπρόεδρος του Συμβουλίου της
Επικρατείας, Εσθήρ Σολομών, Επίκουρη Καθηγήτρια Μουσειολογίας,
Πανεπιστήμιο Ιωαννίνων
Παρέμβαση: Franscesco Muscolino, Διευθυντής Μουσείου Κάλιαρι, Ιταλία
Κριτικές επισημάνσεις (respondents): Γιώργος Παναγιάρης, Πρόεδρος Τμήματος
Συντήρησης Αρχαιοτήτων και Έργων Τέχνης του Πανεπιστημίου Δυτικής Αττικής
/ Μέλος ΕΔΕ Διιδρυματικού ΠΜΣ Μουσειακών Σπουδών
Μπορείτε να παρακολουθήσετε την συζήτηση μέσω:
• Webex στον ακόλουθο σύνδεσμο
https://uoa.webex.com/uoa/j.php?MTID=mb4f2d48d776c964489b44e611ff8f7f6
Meeting number: 121 428 6752 Password: fMNhBQCC665
• Livestream στο YouTube (Link μετάδοσης https://youtu.be/o8pIy8IqhzE)
Την αφίσα της εκδήλωσης σχεδίασε η Όλγα Ντακογιάννη, μεταπτυχιακή
φοιτήτρια Μουσειακών Σπουδών.
Μια συζήτηση για τα ελληνικά αρχαιολογικά μουσεία 1 Μαρτίου 2021, 18:30-20:30
Διοργάνωση: Διιδρυματικό μεταπτυχιακό πρόγραμμα Μουσειακές Σπουδές, ΕΚΠΑ,
ΠΑΔΑ
Συντονισμός: Αναστασία Δρανδάκη, Μάρλεν Μούλιου
Το διιδρυματικό μεταπτυχιακό πρόγραμμα Μουσειακές Σπουδές των ΕΚΠΑ και
ΠΑΔΑ θεωρώντας απαραίτητη τη δημιουργία ενός πλαισίου για ουσιαστικό
διάλογο γύρω από τα ελληνικά αρχαιολογικά μουσεία, οργανώνει με το θέμα
αυτό τηλεματική δημόσια συζήτηση, την 1η Μαρτίου 2021 (18:30-20:30).
Προσκεκλημένοι ομιλητές: Εκπρόσωπος ηγεσίας ΥΠΠΟΑ, Δέσποινα Κουτσούμπα,
Πρόεδρος Συλλόγου Ελλήνων Αρχαιολόγων, Αγγελική Κουκουβού, Αρχαιολόγος
ΥΠΠΟΑ, Γιάννης Θεοχάρης, Αρχαιολόγος, ΥΠΠΟΑ, Δημήτρης Αθανασούλης,
Αρχαιολόγος ΥΠΠΟΑ, μέλος του Διοικητικού Συμβουλίου της Χριστιανικής
Αρχαιολογικής Εταιρείας, Μαρία Καραμανώφ, Αντιπρόεδρος του Συμβουλίου της
Επικρατείας, Εσθήρ Σολομών, Επίκουρη Καθηγήτρια Μουσειολογίας,
Πανεπιστήμιο Ιωαννίνων
Παρέμβαση: Franscesco Muscolino, Διευθυντής Μουσείου Κάλιαρι, Ιταλία
Κριτικές επισημάνσεις (respondents): Γιώργος Παναγιάρης, Πρόεδρος Τμήματος
Συντήρησης Αρχαιοτήτων και Έργων Τέχνης του Πανεπιστημίου Δυτικής Αττικής
/ Μέλος ΕΔΕ Διιδρυματικού ΠΜΣ Μουσειακών Σπουδών
Μπορείτε να παρακολουθήσετε την συζήτηση μέσω:
• Webex στον ακόλουθο σύνδεσμο
https://uoa.webex.com/uoa/j.php?MTID=mb4f2d48d776c964489b44e611ff8f7f6
Meeting number: 121 428 6752 Password: fMNhBQCC665
• Livestream στο YouTube (Link μετάδοσης https://youtu.be/o8pIy8IqhzE)
Την αφίσα της εκδήλωσης σχεδίασε η Όλγα Ντακογιάννη, μεταπτυχιακή
φοιτήτρια Μουσειακών Σπουδών.
Byzantine studies, gender considerations originally took the form of historical biographies that focused on the status and role of women in the public and private sphere. Since the 1980s, Byzantinists, free of restrictions of the past,... more
Byzantine studies, gender considerations originally took the form of historical biographies that focused on the status and role of women in the public and private sphere. Since the 1980s, Byzantinists, free of restrictions of the past, and sometimes exerting criticism towards feminist approaches, refocused their research expressing their working hypotheses within the field of social gender.
In recent decades, Byzantine gender studies has been broadened by incorporating tools from different fields such as sociology and social anthropology. The center of gravity has shifted from the position and role of women per se, to gender research, and gendered socialization patterns, reflection on the various ways of promoting gender identity in Byzantium, and the significance of gender roles in everyday life and social organization.
The exploration of the ways in which gender is perceived in historical sources, literature, and legal texts, as well as the investigation of its reflection in hagiographical patterns and Byzantine visual language, reveals the variations and developments that have taken place in Byzantine society.
Using current methodological tools, and with a constant focus on the historical context of the period, the seminar will focus on the perception and expression of gender in Byzantium, on the dynamics between gender identity and power, on the limitations of accepted social roles, from the family unit to public space, but also to ways of responding to and overcoming regulatory standards. Among others the seminar will investigate expressions - textual and visual - of femininity and masculinity, prevailing notions and ideas on the human body and health, the fluidity in the gendered identity of eunuchs.
In recent decades, Byzantine gender studies has been broadened by incorporating tools from different fields such as sociology and social anthropology. The center of gravity has shifted from the position and role of women per se, to gender research, and gendered socialization patterns, reflection on the various ways of promoting gender identity in Byzantium, and the significance of gender roles in everyday life and social organization.
The exploration of the ways in which gender is perceived in historical sources, literature, and legal texts, as well as the investigation of its reflection in hagiographical patterns and Byzantine visual language, reveals the variations and developments that have taken place in Byzantine society.
Using current methodological tools, and with a constant focus on the historical context of the period, the seminar will focus on the perception and expression of gender in Byzantium, on the dynamics between gender identity and power, on the limitations of accepted social roles, from the family unit to public space, but also to ways of responding to and overcoming regulatory standards. Among others the seminar will investigate expressions - textual and visual - of femininity and masculinity, prevailing notions and ideas on the human body and health, the fluidity in the gendered identity of eunuchs.