ΔΙΕΘΝΕΣ ΕΠΙΣΤΗΜΟΝΙΚΟ ΣΥΜΠΟΣΙΟ ΠΡΟΣ ΤΙΜΗΝ ΤΟΥ ΟΜΟΤΙΜΟΥ ΚΑΘΗΓΗΤΗ ΓΕΩΡΓΙΟΥ ΒΕΛΕΝΗ Θεσσαλονίκη, Αμφιθέατρο Αρχαίας Αγοράς 4-7 Οκτωβρίου 2017, YΠΠΟΑ-Οργανισμός Διαχείρισης και Ανάπτυξης Πολιτιστικών Πόρων Διεύθυνση Εκδόσεων και Ψηφιακών Εφαρμογών, 2021
The Wall Paintings of Zoodochos Pege in Gymno, Euboea. Observations
on the Late Byzantine Monumen... more The Wall Paintings of Zoodochos Pege in Gymno, Euboea. Observations
on the Late Byzantine Monumental Painting of Euboea
Andromachi Katselaki
Τhe Zoodochos Pege church, also known as Agià, is located in a green secluded locationin Agleferos, between the villages of Gymno and Seta of the Municipality of
Eretria-Amarynthos. The church was erected on the site of an older, probably ancient, monumentas attested by the presence of at least two architectural members that have been found in the surrounding area, as well as other spolia that have been incorporated in the masonry. The small church, which measures 6.21×9.94 m, is a remarkable Byzantine monument, little known in research.
It is classified in the variation of the single-aisle cruciform type (A1), which is customary
in Euboea but was transformed into a single-aisle church in 1895, retaining its
latter form to date. On the eastern side, there is a shallow semicircular arch on the inside,
which appears three-sided on the outside. The monument’s original form has been
altered over the years through a series of extensive alterations.
Only a few wall paintings from the monumental decoration that must have covered
the interior walls have survived in good condition, located in the three niches of the
sanctuary. The Virgin Mary in the type of Vlachernitissa is depicted in the central conch
while underneath there are four full-length co-officiating hierarchs surrounding the
Melismos. In the niche of the prothesis there is the depiction of the Man of Sorrows (Akra
Tapeinosis), while in the diaconikon, Virgin Mary is represented in an upright, frontal
position with her Christ Child.
The latter wall painting can be identified with the rare scene of Zoodochos Pege,
which is connected in terms of iconography with the homonymous famous monastery in
Constantinople. Both the name of the temple and the location of the wall painting, above
the font (agiasma), that is the spring, support this assumption.
The archaic style of the rendering of the scene which first appears in the 14th century,
when the celebration of Zoodochos Pege is established, and its gradual development and
consolidation in the following centuries by Cretan painters, allow for the assumption
that the wall paintings of Gymno can be dated in the second half of the 14th century.
The rendering of the figures with the rough, almost embossed features, the naturalistic
mood, the western-style details, along with the drawing weaknesses, allows for the
assumption that the wall paintings of Zoodochos Pege were created by a local workshop
which, although active in an area under Venetian rule, was aware of the artistic trends
of the cultural centers of Orthodoxy, such as Constantinople.
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on the Late Byzantine Monumental Painting of Euboea
Andromachi Katselaki
Τhe Zoodochos Pege church, also known as Agià, is located in a green secluded locationin Agleferos, between the villages of Gymno and Seta of the Municipality of
Eretria-Amarynthos. The church was erected on the site of an older, probably ancient, monumentas attested by the presence of at least two architectural members that have been found in the surrounding area, as well as other spolia that have been incorporated in the masonry. The small church, which measures 6.21×9.94 m, is a remarkable Byzantine monument, little known in research.
It is classified in the variation of the single-aisle cruciform type (A1), which is customary
in Euboea but was transformed into a single-aisle church in 1895, retaining its
latter form to date. On the eastern side, there is a shallow semicircular arch on the inside,
which appears three-sided on the outside. The monument’s original form has been
altered over the years through a series of extensive alterations.
Only a few wall paintings from the monumental decoration that must have covered
the interior walls have survived in good condition, located in the three niches of the
sanctuary. The Virgin Mary in the type of Vlachernitissa is depicted in the central conch
while underneath there are four full-length co-officiating hierarchs surrounding the
Melismos. In the niche of the prothesis there is the depiction of the Man of Sorrows (Akra
Tapeinosis), while in the diaconikon, Virgin Mary is represented in an upright, frontal
position with her Christ Child.
The latter wall painting can be identified with the rare scene of Zoodochos Pege,
which is connected in terms of iconography with the homonymous famous monastery in
Constantinople. Both the name of the temple and the location of the wall painting, above
the font (agiasma), that is the spring, support this assumption.
The archaic style of the rendering of the scene which first appears in the 14th century,
when the celebration of Zoodochos Pege is established, and its gradual development and
consolidation in the following centuries by Cretan painters, allow for the assumption
that the wall paintings of Gymno can be dated in the second half of the 14th century.
The rendering of the figures with the rough, almost embossed features, the naturalistic
mood, the western-style details, along with the drawing weaknesses, allows for the
assumption that the wall paintings of Zoodochos Pege were created by a local workshop
which, although active in an area under Venetian rule, was aware of the artistic trends
of the cultural centers of Orthodoxy, such as Constantinople.
Hellenic Culture travels around the world»,
designed in 2017 to accompany the temporary
exhibition «On the way: an exhibition for the
exhibitions of the Hellenic Ministry of Culture and
Sports», completed its first cycle in the premises
of the Association of Greek Archaeologists in
Athens.
The invitation for collaboration from the
Department of Exhibitions and Museological
Research was a real challenge for us and also an
innovation for our Directorate, as it was decided
from the outset of this project that temporary
exhibitions would be interpreted and explored
through a variety of educational tools.
The design of the educational programme
raised many questions and generated discussion
within our working group. Will the exhibition
visitors –and particularly the school audiences–
be interested in such topics? How can the
unknown world of temporary exhibitions be
communicated and become attractive to the
non-expert? Which educational tools should be
used? How can we demonstrate that temporary
exhibitions constitute a national necessity and
not a luxury or waste of money?
Our goal was to inspire visitors and help
them understand the procedure and the
different stages of the design and production of
temporary exhibitions, from the conception of
the idea to the inauguration day. Additionally,
we aimed at stressing the value of temporary
exhibitions, within the context of museum
politics and cultural diplomacy, discussing
the foreign museums’ exhibition preferences,
understanding the academic and administrative
challenge involved and, finally, underlining the
importance of interdisciplinary collaboration.
In order to accomplish the interactive
character of the educational programme,
different pedagogical methods were combined,
such as observation, description and critical
interpretation of the exhibition, Socratic
method, narration, role play and artistic
expression.
Within a two-month period, a variety of
audiences participated in the exhibition’s
educational programme, such as secondarylevel
schoolchildren escorted by their educators
or parents, students of Vocational High Schools,
students of Public Vocational Training Institutes
trained as Security Guards for Museums and
Archaeological Sites, graduate students of
Museum Studies, employees of the Hellenic
Ministry of Culture, as well as adult visitors.
Irrespective of age and interests, all visitors
participated with enthusiasm in the discussions
inspired by the video projection and the use
of interactive questionnaires, while they
assumed the role of museum professionals
–archaeologists, museologists, conservators,
architects, designers, graphic art designers,
administrators, labourers and technicians–
and were motivated to explore the exhibition
and collect information about the identity
of temporary exhibitions. In the context of
the programme, visitors also delved into the
subject of temporary exhibitions, by playing
an interactive, adventurous and humorous
board game, which led to the acquisition of
additional knowledge in a visitor-friendly
way. Finally, all groups expressed themselves
artistically and developed their imagination
and creativity, through the design of a banner,
advertising an imaginary Greek exhibition,
which discussed the topic of Ancient Theatre
or Ancient Alphabets, supposedly hosted in a
Chinese museum.