In: Дарителство и благотворителност в България - традиция и съвременност. Donation and Charity in Bulgaria: Tradition and Modernity, 2024
The text examines the social commitment of the residents of Haskovo Region to the monastery compl... more The text examines the social commitment of the residents of Haskovo Region to the monastery complexes and parochial churches during the Bulgarian National Revival expressed in donations. All identified examples of donations to monasteries made via the network of taxidiots have been summarized. Special attention has been paid to the donations for the construction of the Church of Dormition of the Mother of God in Haskovo which allow general conclusions to be drawn by induction. Numerous ktetoric inscriptions on icons and murals have been studied. These note acts of donation and reveal new information on the local worship practice, the connections between the settlements, and the guilds in Haskovo and other localities, providing a starting point for more extensive research.
Метаморфози. Изкуствоведски четения. Metamorphoses. Art Readings , 2024
The article examines the drawings of Ivan Dimitrov from Kocherinovo and identifies their models a... more The article examines the drawings of Ivan Dimitrov from Kocherinovo and identifies their models and close parallels among the works of the Bansko and Samokov icon painters. Until now these were the only known Dimitrov’s works but with their help his icons were discovered as well.
The article examines the presentation of the Ottoman Empire at the Philadelphia International Exp... more The article examines the presentation of the Ottoman Empire at the Philadelphia International Exposition in 1876, putting two main tasks in the study. On the one hand, it follows the coverage of the exhibition in the press of the Bulgarian Revival period, mostly by the American Protestant newspaper Zornitsa, which introduced to its readers the five main sections of the exposition, some inventions shown for the first time, and specific exhibiting countries. On the other, the Turkey's preparations, participation in the fair and its results are studied in detail. For this purpose, a comparative and an idiographic approachеs are applied. In the end, new information on the subject regarding the preparation in places in the empire, as well as examples of Bulgarian participation, is presented. Turkey impresses visitors with high-quality carpets and an authentic Turkish café. Foods, goldsmith's works, coming from the Bulgarian lands, and rose oil of two Kazanlak companies are exhibited. Bulgarians who emigrated earlier to the USA participated in the exhibition with their own inventions.
Проблеми на изкуството. Art Studies Quarterly, 2021
Painter Stephanos K. Nikitas (ca. 1822-1908) was born in Adrinopole (Edirne), to a family of high... more Painter Stephanos K. Nikitas (ca. 1822-1908) was born in Adrinopole (Edirne), to a family of high standing. His manner with apparent influenced by the academic art distinguished him from the rest of the painters in the local art centre. From his known icons and murals it transpires that he flourished in the early 1850s until 1861. These artworks are in the south of Bulgaria or in the diocese or the Metropolitan See of Plovdiv. His latest commission were the 1861 murals at the Church of St Nicholas in Limenas on Thassos, his only artwork known in Greece. No later than the beginning of 1866, but in all likelihood immediately after the Union, Stefanos abandoned painting and was not the author of the several icons signed by StefanosAdrianoupolites, as their manner shows. Various extant records testify to the religious activity of Stephanos Nikitas, most important of these are his letters written between 1870 and 1881 and Victorin Galabert’s diaries. In 1861, he joined the Panteleimon’s sect on Thassos, thus marking its beginning. He was a deacon, a hierodeacon, socius of the preacher, who prepared him to take his position. They joined the Bulgarian Union on 6 January 1864. In the summer of 1867, Nikitas headed for the Vatican and in 1868 took over as the archimandrite of the monasteries of Panteleimon in the villages of Studena and Mustrak (in the region of Edirne at the time). Nikitas reconverted to Orthodoxy and returned to the Bulgarian Orthodox Church in 1892.
Проблеми на изкуството. Art Studies Quarterly, 2020
The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payment... more The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payments entered in the kontakion kept at the church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from Edirne before 1837. The iconostasis was carved in 1840 by Diamandis Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).
Проблеми на изкуството. Art Studies Quarterly, 2018
Greek painters had an enduring presence in the art life of the nineteenth-century region of Hasko... more Greek painters had an enduring presence in the art life of the nineteenth-century region of Haskovo. Moschos V. from Edirne painted at the church of the Assumption in Haskovo the images of Christ and the Apostles in the nave, in 1836 and the icons on the iconostasis, in 1840/41. Thus, his works is placed chronologically between 1836 and 1858. His icons are to be found at the churches in the villages of Gorski Izvor, Stoikovo, Nikolovo. Stephanos K. Nikitas painted the murals and the icons at the churches of the villages of Nikolovo, Stoikovo, Garvanovo. A stylistic analysis revealed other works by him, eliminating most of the icons of the feast tier at the church in Garvanovo. The icons by Nikolaos Adrionoupolitits (1) at the church of the village of Bodrovo are unknown to science. Alexi Atanasov painted the Church of St. George in the village of Dinevo in 1851 and that of St Charalampus in the village of Chernogorovo, where the iconographic schemes differ from typical of the time. His works are found also at the churches in the villages of Gorski izvor and Dobrich; his latest works are of 1879.
In: Дарителство и благотворителност в България - традиция и съвременност. Donation and Charity in Bulgaria: Tradition and Modernity, 2024
The text examines the social commitment of the residents of Haskovo Region to the monastery compl... more The text examines the social commitment of the residents of Haskovo Region to the monastery complexes and parochial churches during the Bulgarian National Revival expressed in donations. All identified examples of donations to monasteries made via the network of taxidiots have been summarized. Special attention has been paid to the donations for the construction of the Church of Dormition of the Mother of God in Haskovo which allow general conclusions to be drawn by induction. Numerous ktetoric inscriptions on icons and murals have been studied. These note acts of donation and reveal new information on the local worship practice, the connections between the settlements, and the guilds in Haskovo and other localities, providing a starting point for more extensive research.
Метаморфози. Изкуствоведски четения. Metamorphoses. Art Readings , 2024
The article examines the drawings of Ivan Dimitrov from Kocherinovo and identifies their models a... more The article examines the drawings of Ivan Dimitrov from Kocherinovo and identifies their models and close parallels among the works of the Bansko and Samokov icon painters. Until now these were the only known Dimitrov’s works but with their help his icons were discovered as well.
The article examines the presentation of the Ottoman Empire at the Philadelphia International Exp... more The article examines the presentation of the Ottoman Empire at the Philadelphia International Exposition in 1876, putting two main tasks in the study. On the one hand, it follows the coverage of the exhibition in the press of the Bulgarian Revival period, mostly by the American Protestant newspaper Zornitsa, which introduced to its readers the five main sections of the exposition, some inventions shown for the first time, and specific exhibiting countries. On the other, the Turkey's preparations, participation in the fair and its results are studied in detail. For this purpose, a comparative and an idiographic approachеs are applied. In the end, new information on the subject regarding the preparation in places in the empire, as well as examples of Bulgarian participation, is presented. Turkey impresses visitors with high-quality carpets and an authentic Turkish café. Foods, goldsmith's works, coming from the Bulgarian lands, and rose oil of two Kazanlak companies are exhibited. Bulgarians who emigrated earlier to the USA participated in the exhibition with their own inventions.
Проблеми на изкуството. Art Studies Quarterly, 2021
Painter Stephanos K. Nikitas (ca. 1822-1908) was born in Adrinopole (Edirne), to a family of high... more Painter Stephanos K. Nikitas (ca. 1822-1908) was born in Adrinopole (Edirne), to a family of high standing. His manner with apparent influenced by the academic art distinguished him from the rest of the painters in the local art centre. From his known icons and murals it transpires that he flourished in the early 1850s until 1861. These artworks are in the south of Bulgaria or in the diocese or the Metropolitan See of Plovdiv. His latest commission were the 1861 murals at the Church of St Nicholas in Limenas on Thassos, his only artwork known in Greece. No later than the beginning of 1866, but in all likelihood immediately after the Union, Stefanos abandoned painting and was not the author of the several icons signed by StefanosAdrianoupolites, as their manner shows. Various extant records testify to the religious activity of Stephanos Nikitas, most important of these are his letters written between 1870 and 1881 and Victorin Galabert’s diaries. In 1861, he joined the Panteleimon’s sect on Thassos, thus marking its beginning. He was a deacon, a hierodeacon, socius of the preacher, who prepared him to take his position. They joined the Bulgarian Union on 6 January 1864. In the summer of 1867, Nikitas headed for the Vatican and in 1868 took over as the archimandrite of the monasteries of Panteleimon in the villages of Studena and Mustrak (in the region of Edirne at the time). Nikitas reconverted to Orthodoxy and returned to the Bulgarian Orthodox Church in 1892.
Проблеми на изкуството. Art Studies Quarterly, 2020
The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payment... more The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payments entered in the kontakion kept at the church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from Edirne before 1837. The iconostasis was carved in 1840 by Diamandis Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).
Проблеми на изкуството. Art Studies Quarterly, 2018
Greek painters had an enduring presence in the art life of the nineteenth-century region of Hasko... more Greek painters had an enduring presence in the art life of the nineteenth-century region of Haskovo. Moschos V. from Edirne painted at the church of the Assumption in Haskovo the images of Christ and the Apostles in the nave, in 1836 and the icons on the iconostasis, in 1840/41. Thus, his works is placed chronologically between 1836 and 1858. His icons are to be found at the churches in the villages of Gorski Izvor, Stoikovo, Nikolovo. Stephanos K. Nikitas painted the murals and the icons at the churches of the villages of Nikolovo, Stoikovo, Garvanovo. A stylistic analysis revealed other works by him, eliminating most of the icons of the feast tier at the church in Garvanovo. The icons by Nikolaos Adrionoupolitits (1) at the church of the village of Bodrovo are unknown to science. Alexi Atanasov painted the Church of St. George in the village of Dinevo in 1851 and that of St Charalampus in the village of Chernogorovo, where the iconographic schemes differ from typical of the time. His works are found also at the churches in the villages of Gorski izvor and Dobrich; his latest works are of 1879.
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preacher, who prepared him to take his position. They joined the Bulgarian Union on 6 January 1864. In the summer of 1867, Nikitas headed for the Vatican and in 1868 took over as the archimandrite of the monasteries of Panteleimon in the villages of Studena and Mustrak (in the region of Edirne at the time). Nikitas reconverted to Orthodoxy and returned to the Bulgarian Orthodox Church in 1892.
church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from
Edirne before 1837. The iconostasis was carved in 1840 by Diamandis
Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from
Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).
preacher, who prepared him to take his position. They joined the Bulgarian Union on 6 January 1864. In the summer of 1867, Nikitas headed for the Vatican and in 1868 took over as the archimandrite of the monasteries of Panteleimon in the villages of Studena and Mustrak (in the region of Edirne at the time). Nikitas reconverted to Orthodoxy and returned to the Bulgarian Orthodox Church in 1892.
church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from
Edirne before 1837. The iconostasis was carved in 1840 by Diamandis
Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from
Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).