Call for Papers by Elena Papastavrou
The recent demise of Tania Velmans, correspondent member of the European Academy and long-standin... more The recent demise of Tania Velmans, correspondent member of the European Academy and long-standing collaborator of the Institut National des Langues et Civilisations Orientales, overwhelms us to invite contributions to a volume that will pay tribute to her particularly rich life as a researcher. The editorial board welcomes proposals for contributions centered on T. Velmans's interests, e.g., painting in Byzantium, the South Slavic world and the Christian Orient. Authors who wish to participate in this volume are kindly requested to submit a paper in French or English max. 15 pages long (+ 10 photos), the publication of which will be subject to a double-blind peer review. Deadline for submitting titles and abstracts to the following email is the 31st of December 2022: epapastavrou@yahoo.gr.
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Books by Elena Papastavrou
Forthcoming catalogue of the Byzantine & Christian Museum's collection of ecclesiastical embroide... more Forthcoming catalogue of the Byzantine & Christian Museum's collection of ecclesiastical embroideries produced in Ottoman Constantinople from the second half of the seventeenth century until the early nineteenth century.
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Comparative study on the iconography of the Annunciation in Byzantine and Western European art, b... more Comparative study on the iconography of the Annunciation in Byzantine and Western European art, based on my second doctoral thesis (1994, Doctorat de l’Université, Paris I Sorbonne-Panthéon). For this monograph I received the Maria Theohari Prize (Έπαθλο Μαρία Θεοχάρη) for the best publication on Byzantine art in 2008.
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Edited Books by Elena Papastavrou
Cahiers Balkaniques, 2021
The 2021 issue of Cahiers Balkaniques (INALCO) is dedicated to the Byzantine tradition of embroid... more The 2021 issue of Cahiers Balkaniques (INALCO) is dedicated to the Byzantine tradition of embroidery and its various afterlives/evolutions within the wider context of the Eastern Mediterranean and the Slavic world between 1200 and 1800. Secular and ecclesial embroideries have long been recognized by Byzantinists as refined artifacts that can reflect the artistic, cultural, and spiritual trends of their time. Hence, it is quite surprising that until recently the study of Byzantine and post-Byzantine embroidery remained relatively underdeveloped. The guest editors of this interdisciplinary volume brought together a group of experts in view of accommodating different perspectives, and addressing the big issues raised by the study of this material. Which were the limits of Byzantine influence on Latinate and Slavic productions? How Byzantine were the early modern afterlives of this craft? How and under which circumstances did oriental and western loans merge with Byzantine heritage? Which methodologies are essential for this type of study?
Contributors: Warren T. Woodfin, Marielle Martiniani-Reber, Paschalis Androudis, Alice Isabella Sullivan, Nikolaos Vryzidis, Elena Papastavrou, Glykeria Chatzoulis, Daphne Filiou, Nikos Mertzimekis, and Anna Karatzani.
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Catalogue of the exhibition held at the Byzantine and Christian Museum, October 2001-January 2002... more Catalogue of the exhibition held at the Byzantine and Christian Museum, October 2001-January 2002; Co-editors: E. Papastavrou, M. Evangelatou, P. Skoti; Contributors: Tania Velmans, Werner Seibt, Anna Ballian, Anika Skovran, Elena Papastavrou, etc.
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Published Papers by Elena Papastavrou
Μετάξι και Πορφύρα: Ο Κόσμος του Βυζαντινού και Μεταβυζαντινού Υφάσματος, 2023
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Cahiers Balkaniques, 2021
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Cahiers Balkaniques, 2021
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The Hidden Life of Textiles in the Medieval and Early Modern Mediterranean, Jul 27, 2020
This paper proposes that Greek Orthodox ecclesiastical embroidery was characteristic of the cultu... more This paper proposes that Greek Orthodox ecclesiastical embroidery was characteristic of the cultural osmosis that took place in Ottoman Constantinople. These embroidered objects combined Christian iconography with Ottoman and European motifs in an eclectic formula. As Byzantine tradition blended with these new elements, their mixing resulted in a new and standardized style altogether, particularly visible during the 18th century, a particularly prolific period for embroideries. One of the notable aspects in this production is the emergence of original Christian iconographies, unique in post-Byzantine art. On the basis of various examples, the hypothesis is developed that this phenomenon depended on an in-depth knowledge of both local theological debates and wider artistic developments of the period.
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Spolia Reincarnated: Afterlives of Objects, Materials, and Spaces in Anatolia from Antiquity to the Ottoman Era, 2019
2nd edition
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Proceedings of the 15th International Congress of Turkish Art, Naples, 2018
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Museum Storage and Meaning: Tales from the Crypt, Sep 12, 2017
This paper will be analyzing the storage and display of Ottoman fabrics at the Byzantine Museum d... more This paper will be analyzing the storage and display of Ottoman fabrics at the Byzantine Museum during the first half of the twentieth century, as a secondary source supplying information on Modern Greek attitudes towards this type of heritage. The cultural and historical frame explains to a large extent how the transformation of Greek vestments made of Ottoman fabrics into panel in order to display them, while keeping the rest, mostly the obvious traces of their Christian use, in storage was seen as a legitimate practice. During the period of Greece’s Europeanization, and parallel distancing from the Ottoman past, these objects were re-contextualized in order to fit in the new cultural environment, and the alignment with Western Europe. The practice of the vestments’ transformation in order to enhance their displayability, keeping their unwanted parts on storage, points out a specific point of view on these Ottoman remnants.
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Zograf, Mar 2016
This paper examines Greek Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453... more This paper examines Greek Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery. We are well informed about the artistic production that flourished between the last decades of the seventeenth century and mid-nineteenth century via preserved artifacts and inscriptions bearing the embroiderers' signature. Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking. In this paper, our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production. The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.
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Γ' Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης
This research note analyzes holistically the important nineteenth century Sanctuary
Door hanging ... more This research note analyzes holistically the important nineteenth century Sanctuary
Door hanging by famed Constantinopolitan embroiderer Kokona of Rologa,
currently in the collection of the Byzantine & Christian Museum (BXM 21055).
Such fine examples of Greek-Orthodox ecclesiastical art are valuable sources of
information on the trends in iconography and aesthetic, the evolution of embroidery
techniques and the cultural context of the Ottoman capital. By putting the
chosen signed artifact in artistic and cultural context we are given the chance to
explore what direction the Constantinopolitan School had taken in its last period,
before the increased industrialization of vestments. We can also understand the
way that female-led embroidery workshops functioned and the position that female
embroiderers enjoyed as artists in nineteenth century Constantinople. Article written in English, pp. 543-555 in the PDF.
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Zograf, 2014
The paper deals with the origins of the portable altar – the Byzantine antimension. Altaria porta... more The paper deals with the origins of the portable altar – the Byzantine antimension. Altaria portatilia were mentioned in literary sources since the seventh–eighth centuries. The sources also evidence their indispensable role related to liturgical rites, especially during military campaigns. The earliest known Byzantine antimension dates from the twelfth century. It is part of the Guelph Treasure, held by the Kunstgewerbemuseum in Berlin. Originally, portable altars were mainly made of wood but over time, textile fabrics prevailed over this hard material. Their iconographic decoration has from the beginnings been related to their liturgical function.
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Β' Επιστημονικό Συμπόσιο Νεοελληνικής Εκκλησιαστικής Τέχνης (Βυζαντινό & Χριστιανικό Μουσείο, 26-27 Νοεμβρίου 2010) Πρακτικά, 2012
Title in English: Gold embroidered sanctuary door hanging by Kokona of Rologa from the collection... more Title in English: Gold embroidered sanctuary door hanging by Kokona of Rologa from the collection of the Byzantine & Christian Museum
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Ιστορία και Τέχνη, Μνήμη Δημήτρη Κωνστάντιου: Από τους κύκλους διαλέξεων του Συλλόγου Φίλων του Βυζαντινού & Χριστιανικού Μουσείου (2000-2010), 2014
Title in English: Embroiderers and embroideries from Ottoman Constantinople in the collections of... more Title in English: Embroiderers and embroideries from Ottoman Constantinople in the collections of the Byzantine & Christian Museum
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Ιστορία και Τέχνη, Μνήμη Δημήτρη Κωνστάντιου: Από τους κύκλους διαλέξεων του Συλλόγου Φίλων του Βυζαντινού & Χριστιανικού Μουσείου (2000-2010), 2014
Title in English: The Angel in the Annunciation
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Daim F. & Drauschke J. (Eds) Byzanz - Das Römerreich im Mittelalter. Peripherie und Nachbarschaft, Monographien des Römisch-Germanischen Zentralmuseums Mainz, 2010
During the last two centuries before the Renaissance of the arts in Italy in the 15th century, d... more During the last two centuries before the Renaissance of the arts in Italy in the 15th century, different waves of classical trends marked the artistic creation of both Byzantine and western worlds. Between 1220 and 1260 in particular, a parallel development of the revival of ancient forms is noted in both of the above-mentioned traditions. Various artistic expressions later developed independently.
The various artistic tendencies of the period under discussion are well known by the critics but usually Byzantine and Western cultures are studied separately. In the present paper, it is interesting to expose some aspects of the revivals of ancient art in both worlds, namely Byzantine and Latin, during the 13th and 14th centuries. In this way, it will, firstly, be possible to establish a more appropriate method for examining the origin of this extensive wave of ancient revival that took place during the 13th century. Secondly, it is useful to note how this Proto-Renaissance gave way under the weight of more conservative Byzantine forms in 14th century Byzantine painting and, thirdly, it is instructive to show an interpretation of how, in the West, namely in Italy, the classical forms developed unimpeded from 1260 onwards so that they eventually continued into the great Renaissance.
For this purpose, I shall first briefly expose the historical and political situation of the Byzantine Empire vis-à-vis the European world during the period under consideration. I shall then touch upon the artistic phenomena, pointing out the most characteristic cases.
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Zograf , 2008
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Call for Papers by Elena Papastavrou
Books by Elena Papastavrou
Edited Books by Elena Papastavrou
Contributors: Warren T. Woodfin, Marielle Martiniani-Reber, Paschalis Androudis, Alice Isabella Sullivan, Nikolaos Vryzidis, Elena Papastavrou, Glykeria Chatzoulis, Daphne Filiou, Nikos Mertzimekis, and Anna Karatzani.
Published Papers by Elena Papastavrou
Door hanging by famed Constantinopolitan embroiderer Kokona of Rologa,
currently in the collection of the Byzantine & Christian Museum (BXM 21055).
Such fine examples of Greek-Orthodox ecclesiastical art are valuable sources of
information on the trends in iconography and aesthetic, the evolution of embroidery
techniques and the cultural context of the Ottoman capital. By putting the
chosen signed artifact in artistic and cultural context we are given the chance to
explore what direction the Constantinopolitan School had taken in its last period,
before the increased industrialization of vestments. We can also understand the
way that female-led embroidery workshops functioned and the position that female
embroiderers enjoyed as artists in nineteenth century Constantinople. Article written in English, pp. 543-555 in the PDF.
The various artistic tendencies of the period under discussion are well known by the critics but usually Byzantine and Western cultures are studied separately. In the present paper, it is interesting to expose some aspects of the revivals of ancient art in both worlds, namely Byzantine and Latin, during the 13th and 14th centuries. In this way, it will, firstly, be possible to establish a more appropriate method for examining the origin of this extensive wave of ancient revival that took place during the 13th century. Secondly, it is useful to note how this Proto-Renaissance gave way under the weight of more conservative Byzantine forms in 14th century Byzantine painting and, thirdly, it is instructive to show an interpretation of how, in the West, namely in Italy, the classical forms developed unimpeded from 1260 onwards so that they eventually continued into the great Renaissance.
For this purpose, I shall first briefly expose the historical and political situation of the Byzantine Empire vis-à-vis the European world during the period under consideration. I shall then touch upon the artistic phenomena, pointing out the most characteristic cases.
Contributors: Warren T. Woodfin, Marielle Martiniani-Reber, Paschalis Androudis, Alice Isabella Sullivan, Nikolaos Vryzidis, Elena Papastavrou, Glykeria Chatzoulis, Daphne Filiou, Nikos Mertzimekis, and Anna Karatzani.
Door hanging by famed Constantinopolitan embroiderer Kokona of Rologa,
currently in the collection of the Byzantine & Christian Museum (BXM 21055).
Such fine examples of Greek-Orthodox ecclesiastical art are valuable sources of
information on the trends in iconography and aesthetic, the evolution of embroidery
techniques and the cultural context of the Ottoman capital. By putting the
chosen signed artifact in artistic and cultural context we are given the chance to
explore what direction the Constantinopolitan School had taken in its last period,
before the increased industrialization of vestments. We can also understand the
way that female-led embroidery workshops functioned and the position that female
embroiderers enjoyed as artists in nineteenth century Constantinople. Article written in English, pp. 543-555 in the PDF.
The various artistic tendencies of the period under discussion are well known by the critics but usually Byzantine and Western cultures are studied separately. In the present paper, it is interesting to expose some aspects of the revivals of ancient art in both worlds, namely Byzantine and Latin, during the 13th and 14th centuries. In this way, it will, firstly, be possible to establish a more appropriate method for examining the origin of this extensive wave of ancient revival that took place during the 13th century. Secondly, it is useful to note how this Proto-Renaissance gave way under the weight of more conservative Byzantine forms in 14th century Byzantine painting and, thirdly, it is instructive to show an interpretation of how, in the West, namely in Italy, the classical forms developed unimpeded from 1260 onwards so that they eventually continued into the great Renaissance.
For this purpose, I shall first briefly expose the historical and political situation of the Byzantine Empire vis-à-vis the European world during the period under consideration. I shall then touch upon the artistic phenomena, pointing out the most characteristic cases.
This presentation was prepared in collaboration with Daphne Filiou.
Η ομιλήτρια θα αναφερθεί σε εκκλησιαστικά κεντήματα που δημιουργήθηκαν στους κόλπους της Ελληνορθόδοξης κοινότητας στην Κωνσταντινούπολη κατά τον 19ο αιώνα. Παράλληλα, θα εξετάσει την καλλιτεχνική παράδοσή τους από τη βυζαντινή τέχνη, τα εικονογραφικά και τεχνοτροπικά ρεύματα στα οποία εντάσσονται οι παραστάσεις του διακόσμου τους, καθώς και την τεχνική τους. Τέλος, θα διερευνήσει τη λειτουργία των εργαστηρίων κεντητικής, τη δράση των κεντητριών και τη θέση τους στην κοινωνία.
Για περισσότερες πληροφορίες:
http://www.piop.gr/el/Activities/ekdiloseis-mouseia/MAI-kentimata-2019.aspx
Μετά τη διάλεξη η κ. Παπασταύρου θα ξεναγήσει το κοινό στην περιοδική έκθεση της οποίας είχε την επιστημονική επιμέλεια.
Η έκθεση «Κεντητοί επιτάφιοι στα Ιωάννινα, 18ος και 19ος αι.», που συνδιοργανώνεται από την Ιερά Μητρόπολη Ιωαννίνων, την Εφορεία Αρχαιοτήτων Ιωαννίνων και το ΠΙΟΠ, θα διαρκέσει έως τις 17 Ιουνίου.
The Byzantine & Christian Museum owns a collection of church embroideries made by the Greek embroiders of Istanbul, dating from the second part of the 17th century until the mid of the 19th century. This craft, which continued the Byzantine tradition of figural embroidery, was dominated by female artisans whose signature became a marketable logo from the 17th century on. Purpose of this lecture is to show the stylistic evolution of the production, analyze the distinctiveness of its techniques and artistic tendencies, and finally to discuss the organization of the workshops.
https://www.facebook.com/events/1413342668950316/
Lecture's original Greek title: 100 χρόνια Βυζαντινό και Χριστιανικό Μουσείο: Τα αντικείμενα διηγούνται
http://www.blod.gr/lectures/Pages/viewlecture.aspx?LectureID=1426
Title in English: Paradise in Christian iconography
http://www.blod.gr/lectures/Pages/viewlecture.aspx?LectureID=829
Title in English: The Grotesque in Byzantine Art
http://www.blod.gr/lectures/Pages/viewlecture.aspx?LectureID=483
Supervisor: Tania Velmans
Jury members (by alphabetical order): Vojislav Đurić, Michel Kaplan, Claude Lepage
Abstract: The purpose of this thesis is to examine the artistic relations between Byzantine and Western art, from the 11th cent. until the end of the middle ages. The investigation focuses the Annunciation and some scenes of the beginning of the Incarnation. This study is interesting because the simultaneous examination of the two big artistic traditions of the Christian art helps to explain many iconographical aspects which remain obscur if regarded separately. It has been pointed out that some venetian works of the beginning of the 14th c. bare a byzantine influence due to the art of the Crusaders, produced in the Eastern Mediterranean during the 12th and 13th c. It has also been noted an occidental impulsion upon the Byzantine art that concerns particularly the appearance of some typological prefiguration of the Incarnation in the scene of the Annunciation.
Supervisor: Tania Velmans
Jury members (by alphabetical order): Jean Rudel, Jean-Pierre Sodini
Συνδιοργάνωση: Ιερά Μητρόπολη Ιωαννίνων, Εφορεία Αρχαιοτήτων Ιωαννίνων, Πολιτιστικό Ίδρυμα Ομίλου Πειραιώς.
Επιστημονική επιμέλεια: Έλενα Παπασταύρου/Δάφνη Φίλιου
https://www.elculture.gr/blog/kenthtoi-epitafioi-mouseio-argurotexnias/
https://www.lifo.gr/articles/greece_articles/234919/kentitoi-epitafioi-toy-18oy-kai-19oy-aiona-sto-moyseio-argyrotexnias-sta-ioannina
In English:
http://www.piop.gr/en/anakoinoseis/MAI-ekthesi-epitafioi-2019.aspx
https://www.dailysabah.com/arts-culture/2019/06/08/afterlife-of-the-epitaph-istanbuls-lost-art-in-ioannina
The concept of the oecumenicity of Byzantium, the Christian empire of the East, is an extension of the theory of the universality of the Roman imperium.
We are delighted to share with you our initiative for an international conference devoted to Italian artworks, secular and ecclesiastical, of 14th-16th c. in the Greek East, to be held virtually via Zoom in 24-26 November 2023. A hybrid version of the Conference will be hosted by the Hellenic Institute of Byzantine and Postbyzantine Studies in Venice (Istituto Ellenico di Studi Bizantini e Postbizantini di Venezia).
This scholarly meeting seeks to illuminate not only the presence of Italians, but also the amassment of Italian works in the Greek East, as a result of the new realities following the Fourth Crusade, the establishment of various Latin dominions and the development of an intensive network of trade relations. Our conference does not aim at exhausting the subject, but would like to offer an interdisciplinary forum for papers that touch upon the following aspects:
Venetian domination in Greece
Genoese domination in NE Aegean
Italian rulers in Epirus and the Ionian islands
Italian traders in the East
Venetian and Ottoman Art: osmosis and interaction
Venetian and Byzantine Art: osmosis and interaction
Late Gothic and Early Renaissance Italian sculpture
Venetian and Genoese Heraldry
Italian woodwork
Italian painting
Objects of everyday life
Metal artifacts from West and East
Maiolica and other Italian ceramics
Venetian glass
Italian Textiles
Italian Costumes
Donors and their ideology as reflected on the patronage of artworks
The Proceedings of the Conference will be published by the Hellenic Institute of Venice.
The organizing Committee:
Michela AGAZZI, Professor of Medieval Art, Università Ca’Foscari, Venezia, Dipartimento i Filosofia e Beni Culturali
Paschalis ANDROUDIS, Assistant Professor in Byzantine Art and Archaeology, Aristotle University of Thessaloniki
Vasileios KOUKOUSAS, Professor of Ecclesiastical History, Aristotle University of Thessaloniki – Director of the Hellenic Institute of Byzantine and Postbyzantine Studies in Venice
Silvia PEDONE, Dr, Accademia Nazionale dei Lincei, Roma
Textiles offer a rich opportunity to explore the projection of identity, both within and between social and cultural groups. A pertinent arena for such an exploration is the intercultural region of the Mediterranean. This workshop will bring together a group of junior and senior scholars to investigate and elucidate the role of textiles in the cultures of the Medieval and early Modern Mediterranean, and its periphery, with a focus on specific case studies. Our investigation will analyze textiles as tools for projecting identity within specific contexts, whether cross-cultural or not. Institutionalized practices of textile use and reuse, written and unwritten rules governing ceremonial use, the departure from standard practices, the active reception of imports and their interpretation will form the major topics examined by the participating scholars. Our directed investigation will seek to identity parallels and points of contact between the use of textiles in various political entities, and among social groups and cultures.
Program
3 June 2016
Venue: Museum of Islamic Art, 22 Ag. Asomaton & 12 Dipylou St., Athens
Welcoming remarks
9:30 John Bennet, British School at Athens
9:40 Mina Moraitou, Benaki Museum
Opening remarks
9:50 Nikolaos Vryzidis, British School at Athens
1. Medieval Islamic textiles in the Eastern Mediterranean
10:00 Alison Ohta, Royal Asiatic Society of Great Britain & Ireland: Chair
10:10 Scott Redford, SOAS-University of London: ‘Seljuk silks, standards and emblems’
10:30 Marielle Martiniani-Reber, Musées d’Art et d’Histoire de Genève: ‘The relationship between Islamic and Byzantine textiles during the Middle Byzantine period’
10: 50 Maria Sardi, SOAS-University of London: ‘Towards a standardization of Mamluk aesthetic: influences and identity as reflected on textiles’
11:10 Discussion
11:30 Coffee break
2. Western Mediterranean cross-cultural encounters
11:40 Mina Moraitou, Benaki Museum: Chair
11: 50 Ana Cabrera, Museo Nacional de Artes Decorativas & Laura Rodríguez Peinado, Universidad Complutense de Madrid: ‘Medieval Textiles from the Iberian Peninsula: state of the art and new approaches of study’
12:20 Vera-Simone Schulz, Kunsthistorisches Institut in Florenz: ‘Entangled Identities: Textiles and the Art and Architecture of the Italian Peninsula in a Mediterranean Perspective’
12:40 Discussion
13:00 Lunch break
3. The multi-cultural Ottoman Empire
14:00 Helen Philon, Independent scholar: Chair
14:10 Anna Ballian, Benaki Museum (Emerita): ‘Chios silks’
14:30 Amanda Philips, University of Virginia: ‘Interventions in technology and fashion: the case of Ottoman compound weaves’
14:50 Elena Papastavrou, Hellenic Ministry of Culture & Sports: ‘Greek-Orthodox cultural identity as reflected on Constantinopolitan Church Embroidery’
15:10 Discussion
15:30 Coffee break
4. Eastern and Oriental Orthodox Christian textiles
15:40 Warren Woodfin, City University of New York: Chair
15:50 Dickran Kouymjian, California State University-Fresno (Emeritus): ‘Armenian Altar Curtains: Repository of Tradition and Innovation’
16:10 Nikolaos Vryzidis, British School at Athens: ‘Animal motifs on Asian silks used by the Greek Church: an afterlife of Byzantine iconography?’
16: 30 Jacopo Gnisci, Independent scholar: ‘Towards a History of Ecclesiastical Dress in Early Solomonic Ethiopia’
16:50 Discussion
General discussion and concluding remarks
17:10 Nikolaos Vryzidis, British School at Athens
End
4 June 2016
Study day (attendance by invitation only)
10:00-13:00 Handling session (Benaki Museum Peiraios annex), hosted by Mina Moraitou
15:00 Museum visit (Benaki Museum main building), hosted by Anastasia Drandaki
End