scholarly journals Notes from the church of the Virgin at the island of Mali grad

Zograf ◽  
2010 ◽  
pp. 111-124
Author(s):  
Saso Cvetkovski
Keyword(s):  
Wall Paintings ◽  
The Church ◽  
Southern Wall ◽  
Prespa Lake

In this text the unknown parts of the wall paintings from the Church of the Virgin at the island of Mali Grad (The Great Prespa Lake) are analyzed: the figure of a monk praying to St. Paraskeve, on the southern wall of the nave, as well as the painting on the southern fa?ade with the depictions of St. George on horseback, the Virgin as Empress enthroned, and the bust of two saints, St. Paraskeve and St. Nicholas. The monk is identified with the hegoumenos Jona, mentioned in the donor?s inscription dating from 1369.

scholarly journals The synthronon and locus inferior (αρχιερατικός θρόνος) of the metropolitan of Pozega. Liturgical furniture and wall paintings of the Orahovica Monastery

Zograf ◽  
2017 ◽  
pp. 189-212
Author(s):  
Milan Radujko
Keyword(s):  
Wall Paintings ◽  
The Church ◽  
Southern Wall

The paper discusses the appearance of the synthronon, the position of the locus inferior (????????????, or ?????????? ??????, the episcopal throne in the nave, donje mesto) of the Metropolitan of Pozega at the Orahovica Monastery, fresco paintings inspired by the purpose of the throne in front of the sanctuary, and the views it incorporated. The synthronon is in fact a series of niches. The locus inferior has not survived; based on the fresco program, the author places it between the southwestern pillar and the southern wall. The fresco decoration of the locus inferior - one of the largest in Serbian art - is both centered on the topoi of the throne program and unique. Christ and the apostles from the apostolic Deisis draw on the teaching about Christ as the eternal leader of the liturgical community and the apostolic roots of the church and the office of bishop; by emphasizing the presence of St. Andronicus and St. Titus beside the seat, the program incorporates the tradition of the apostolic lineage of the church among the Slavs and in the Metropolitanate of Pozega.

scholarly journals The wall paintings of the church of Al-Adra in the monastery of Deir-el-Baramus (Wadi-el-Natrun)

Zograf ◽  
2010 ◽  
pp. 37-52
Author(s):  
Silvia Pasi
Keyword(s):  
Thirteenth Century ◽  
Wall Paintings ◽  
Literary Sources ◽  
Wadi El Natrun ◽  
The Church ◽  
Southern Wall

The fragmentarily preserved frescoes of the Church of Al-Adra in the monastery of Deir el-Baramus were fortunately discovered in 1986. They are located in the apse, on the southern wall of the altar area and along the walls of the nave. The condition of the frescoes makes it difficult to give a stylistic evaluation, and it is hard to determine the chronology of the frescoes because of the lack of literary sources and inscriptions. The style of the painting and the architectural data on the church lead one to dating all the preserved frescoes of Deir-el-Baramus to the same period. It probably involves the period after the repair of the central and lateral aisles, which probably took place after 1200. Apart from that, a comparison with other works from the same epoch indicates that the thirteenth century was most probably the time when the frescoes came into being.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals The wall-paintings of Saint Constantine at Missochori: New evidence concerning middle Byzantine Nissyros, Greece

Zograf ◽  
2012 ◽  
pp. 65-74
Author(s):  
Angeliki Katsioti ◽  
Nikolaos Mastrochristos
Keyword(s):  
Twelfth Century ◽  
Wall Paintings ◽  
New Evidence ◽  
The Church

The complex of the churches of Saint Constantine and Saint Mamas is located at Missochori, close to the capital of the island of Nissyros, Greece. The first church preserves wall-paintings dated to the end of the twelfth century, shared donation of two monasteries/churches. The paintings are partly repainted, probably in 1318/1319. Both the murals and the two inscriptions of the church provide new evidence concerning mediaeval Nissyros.

scholarly journals Sopocani and Gradac: About the relation of funerary programmes of the two churches

Zograf ◽  
2006 ◽  
pp. 59-77 ◽  
Author(s):  
Branislav Todic
Keyword(s):  
Foreign Policy ◽  
The State ◽  
Great Effort ◽  
Wall Paintings ◽  
Negative Effects ◽  
Holy Trinity ◽  
The Family ◽  
The Church

King Uros (1243-1276) erected the Church of the Holy Trinity in the Sopocani monastery in about 1270 and, in it, he prepared tombs for the first hegoumenos of Sopocani, his mother Queen Ana, for himself and the then archbishop, Joanikije (Fig. 1). Over each tomb there is a marble sarcophagus surrounded by appropriate wall paintings. The tombs of Uros and Joanikije were located in the western bay of the naos. Thus, the recently announced hypothesis, that the endowed did not intend to be buried in Sopocani, is unfounded. The intention of King Uros was only brought into question in 1276 when he was driven from the throne by his older son, Dragutin. The overthrow caused a major drama in the family, the state and the Church. King Uros retired to the southern part of the state (Hum), where he became a monk and subsequently died (perhaps in 1277). His wife Jelena received vast territories from her son, the new king, which she practically ruled independently, while Archbishop Joanikije, after having denied Dragutin his blessing, retired with the former king and died in the region of Pilot in 1279. King Dragutin (1276-1282) made a great effort to mitigate the negative effects of the overthrow: he continued his father's foreign policy established good relations with neighboring Dubrovnik, took pains to appease his mother, Queen Jelena, by granting her vast territories, and to win the support of the Church by erecting, repairing or presenting gifts to several churches and monasteries. He certainly obtained the Sopocani monastery through hereditary ktetorial rights.

Sacred and profane: Pastoral care in the parish church

2018 ◽  
Author(s):  
Laura Varnam
Keyword(s):  
Pastoral Care ◽  
Sacred Space ◽  
Symbiotic Relationship ◽  
Wall Paintings ◽  
Sacred Spaces ◽  
Parish Church ◽  
Sacred And Profane ◽  
Church Art ◽  
The Relationship ◽  
The Church

This chapter argues that the profane challenge posed by lay misbehaviour and sacrilege in the church paradoxically strengthens sacred space. Sermon exempla from the literature of pastoral care (e.g. Mirk’s Festial, Mannyng’s Handlyng Synne) show how devils and demons assist in the cleansing of the church from profane contamination and the chapter argues for the integral relationship between violence and the sacred, focusing on the punishment of sinners and on the sacrificial blood of Christ, depicted in lyrics and wall paintings. The chapter reassesses the relationship between church art and sermon exempla and argues for a symbiotic relationship that presents the material church and its devotional objects as living, breathing actors in the drama of salvation. The performance of narrative exempla animates the visual depictions of angels, devils, and saints in the church who come to life to protect and fight for their sacred spaces.

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