The church of St. Panteleimon at Nerezi: architecture, programme, patronage
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Wiesbaden
Reichert
2000
|
| Schriftenreihe: | [Spätantike - frühes Christentum - Byzanz / B]
6 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Teilw. zugl.: Princeton Univ., Diss., 1994 |
| Beschreibung: | XVI, 209 S. zahlr. Ill., Kt. |
| ISBN: | 3895001295 |
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Datensatz im Suchindex
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TABLE OF CONTENTS XI ACKNOWLEDGMENTS ΧΠ ABBREVIATIONS LIST OF ILLUSTRATIONS хш MAP OF THE BALKANS XVI INTRODUCTION 1 CHAPTER I : ALEXIOS AND HIS CHURCH Who Was Alexios Angelos Komnenos? 1. Alexios’Inscription 2. Alexios’ Family Alexios’ Decision to Build Nerezi and the Importance of the Region for Byzantium 1. The Balkan Peninsula 2. Macedonia 3. Manuel I in Macedonia 4. Major Towns in the Region Did Alexios Reside in Skopje? 1. History of Skopje 2. Skopje as an Ecclesiastical Center 3. Alexios’ Relatives in and aroundSkopje 4. Alexios and His Cousin Manuel I Why Would Alexios Choose a Provincial Location for his Foundation? 1. Komnenian Aristocratic Foundations in the Provinces 2. Financing Nerezi 3. The Importance of Provincial Foundations 4 4 CHAPTER II: ARCHITECTURE Introduction Plan and Spatial Articulation 1. Naos: Analysis 1.1. Segregation of the Naos 1.2. Twelfth-Century Revival of Cruciform Churches 1.3. Naos: Summary 2. Sanctuary: Analysis 2.1. Tri-Partite Organization 2.2. Fusion of the Bema Bay With the Eastern Arm of the Cross 3. Narthex: Analysis 3.1. Subsidiary Chapels and the Narthex at Nerezi 3.2. Liturgical Furnishings and Painted Programs of Subsidiary Chapels 3.3. Liturgical Furnishings and Painted Programs of Narthexes 3.4. Could Western Chapels be considered as a Separate Entity? 4. Summary Restorations and the Original Form of the Exterior Exterior: Analysis 1. Composition and Technique 1.1. Compositional Aspects 1.2. Building Materials 1.3. Facade Articulation and Decorative Aspects 1.4. Constantinòpolitan and Regional Features of the Exterior . 4 5
5 5 5 6 7 7 7 8 8 8 9 9 10 10 11 11 11 11 12 13 13 14 14 15 15 16 17 18 19 19 19 20 20 20 21 21 21
VIII 1.5. Summary 2. Five-Domed Structure 2.1. Middle Byzantine Five-Domed Churches in Constantinople 2.2. Middle Byzantine Five-Domed Churches Outside of Constantinople 2.2.1. Russia 2.2.2. Armenia 2.2.3. Greece 2.2.4. Italy 2.1. Analysis of Middle Byzantine Five-Domed Churches 2.2. Symbolic Significance of Five-Domed Churches Summary CHAPTER III : PAINTED DECORATION Introduction Bema 1. Program: General Observations 2. The Communion of the Apostles 2.1. Symbolic and Liturgical Significance of the Scene 2.2. The Kiss of the Apostles 2.2.1. The Kiss of Sts. Peter and Paul 2.2.2. The Meaning of the Kiss at Nerezi 2.2.3. The Choice of St. Luke and St. Andrew 2.2.4. Political Implications 3. The Officiating Bishops 3.1. The Hetoimasia .։ 3.2. Liturgical Character of the Scene 3.3. The Church Councils 3.3.1. The Major Sessions 3.3.2. Heretical Attacks 3.3.3. The Church Council of 1156/57 3.3.4. The Texts of Church Fathers in the Acts of the Council 3.3.5. The Anathemas 3.3.6. The Church Councils and the Painted Program of the Bema Cupolas 1. The Procession of Angels 2. Images of Christ 2.1. Christ Priest 2.2. The Significance of the Images of Christ in the Domes 3. The Origin of theIconography of the Domes 4. A Possible Reconstruction of the Program of the Central Dome Eastern Chapels 1. The Prothesis 2. The Diakonikon 2.1. The Holy Physicians 3. Thematic Concerns Naos: Scenes 1. The Annunciation 2. The Presentation and the Threnos 2.1. The Presentation: Origin, Meaning, and Visual Representations 2.2. The Presentation: Iconographie Innovations and Their Significance 2.3. The
Presentation and the Church Councils 2.4. The Threnos: Origin, Meaning, and Visual Representations 2.5. The Threnos: An Icon of Sorrow 2.6. The Juxtaposition of the Threnos and the Presentation 2.7. Summary 3. The Transfiguration and the Deposition 3.1. The Deposition: Another Emotionally Charged Icon at Nerezi 3.2. The Transfiguration Table of Contents 23 23 24 25 25 25 25 26 26 27 28 29 29 30 30 30 31 32 33 33 33 34 35 35 36 37 37 37 38 38 39 39 39 40 40 41 42 43 43 44 44 45 46 47 47 47 48 48 49 50 50 51 52 53 53 53 54
IX Table of Contents 3.3. The Juxtaposition of the Transfiguration and the Deposition 4. The Juxtaposition of the Resurrection of Lazarus and the Entry into Jerusalem 5. The Marian Cycle 6. Spatial Relations of the Scenes: Meaning and Significance 7. The Theme of Passion 7.1. Social and Cultural Trends 7.2. Alexios’ Concerns Sanctoral Cycle 1. Introduction 2. Military Saints 3. Martyrs 4. Holy Monks 5. Hymnographers 5.1. St. Theodore of Stoudios 5.2. St.John of Damascus and St. Kosmas the Hymnographer 5.3. St.Theophanes Graptos 5.4. St. Joseph of Sicily 5.5. The Importance of Hymnographers 6. St. Panteleimon 7. Grouping of Saints Narthex 1. Introduction 2. The Deesis 3. The Cycle of St. Panteleimon 3.1. The Life of St. Panteleimon 3.2. The Scenes: East Wall 3.3. The Scenes: South Wall 3.4. The Scenes : North Wall 3.5. Hagiographie Cycles of St. Panteleimon 3.6. Passion and Intercession Western Chapels 1. Introduction 2. North-West Chapel 2.1. Five Martyrs of Armenia 2.2. St. Menas, St. Viktor, St. Vikentios 2.3. St.Tryphon, St. Blasios, St. Mamas 3. Summary Painted Cycle: Concluding Remarks 1. Alexios 2. Church Councils 3. Legacy CHAPTER IV: ARTISTS AND THEIR LEGACY Style and Iconography Composition 1. Compositional Integration of the Program as a Whole 2. Compositional Integration of Individual Scenes 3. Sources Figures 1. Proportions 2. Linearism 3. Color and Line 4. Faces The Origins of Nerezi’s Style Linearism: Constantinopolitan or Provincial? Artists, Attribution Nerezi and Twelfth-Century Style 1. The Church of the Transfiguration, Chortiatis ■ 54 54 56 56 57 57 58
58 58 59 60 60 61 62 62 64 65 65 66 66 66 66 67 68 68 68 69 69 70 70 71 71 71 71 72 73 73 73 73 74 74 76 76 77 77 ՜Ո 78 78 78 79 79 79 80 81 81 82 83
X Table of Contents 2. The Church of Hosios David, Thessaloniki 3. Chortiatis, Hosios David, and Nerezi Summary 83 84 84 CHAPTER V: SCULPTURE Introduction Description Analysis: Technique, Iconography, Style 1. Constantinople as a Source 2. The Provinces and Neighboring Countries as a Source 3. Macedonia as a Source The Original Form of the Iconostasis 1. The Proskynetaria Icons 2. The Icons Above the Architrave 3. Intercolumnar Icons 3.1. Controversy About Their Existence 3.2. Textual Evidence 3.3. Archaeological Evidence Summary 86 86 87 88 88 88 89 90 91 92 92 92 93 93 93 CHAPTER VI : EPILOGUE. NEREZI AFTER ALEXIOS ' History 1. Nerezi as a Metoch of the Monastery of St. George-Gorgos 1.1. The Monastery of St. George-Gorgos before \УЊГП 1.2. The Monastery of St. George-Gorgos as a Metochof Chilandar 2. Nerezi After the Turkish Conquest of Skopje Post-Byzantine Paintings 1. Introduction 2. Bema 3. Central Cupola 4. Naos 5. Analysis of the Sixteenth-Century Cycle 6. Nineteenth-Century Paintings 7. Nerezi Today 95 95 95 95 96 96 97 97 97 98 98 98 99 99 CONCLUSION 100 SELECTED BIBLIOGRAPHY 102 INDEX 110 FIGURES 119 PLATES 189 |
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| spelling | Sinkević, Ida Verfasser aut The church of St. Panteleimon at Nerezi architecture, programme, patronage Ida Sinkević Wiesbaden Reichert 2000 XVI, 209 S. zahlr. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier [Spätantike - frühes Christentum - Byzanz / B] 6 Teilw. zugl.: Princeton Univ., Diss., 1994 Crkvata Sv. Pantelejmon (Gorno Nerezi, Macedonia) Byzantijnse kunst gtt Kerkgebouwen gtt Architektur Architecture, Byzantine Macedonia (Republic) Gorno Nerezi Church decoration and ornament Macedonia (Republic) Gorno Nerezi Mural painting and decoration, Byzantine Macedonia (Republic) Gorno Nerezi Gorno Nerezi (Macedonia) Buildings, structures, etc Sankt Panteleimon Nerezi (DE-588)4590837-0 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Sankt Panteleimon Nerezi (DE-588)4590837-0 g DE-604 B] [Spätantike - frühes Christentum - Byzanz 6 (DE-604)BV037479849 6 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008900171&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Sinkević, Ida The church of St. Panteleimon at Nerezi architecture, programme, patronage Crkvata Sv. Pantelejmon (Gorno Nerezi, Macedonia) Byzantijnse kunst gtt Kerkgebouwen gtt Architektur Architecture, Byzantine Macedonia (Republic) Gorno Nerezi Church decoration and ornament Macedonia (Republic) Gorno Nerezi Mural painting and decoration, Byzantine Macedonia (Republic) Gorno Nerezi |
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| title | The church of St. Panteleimon at Nerezi architecture, programme, patronage |
| title_auth | The church of St. Panteleimon at Nerezi architecture, programme, patronage |
| title_exact_search | The church of St. Panteleimon at Nerezi architecture, programme, patronage |
| title_full | The church of St. Panteleimon at Nerezi architecture, programme, patronage Ida Sinkević |
| title_fullStr | The church of St. Panteleimon at Nerezi architecture, programme, patronage Ida Sinkević |
| title_full_unstemmed | The church of St. Panteleimon at Nerezi architecture, programme, patronage Ida Sinkević |
| title_short | The church of St. Panteleimon at Nerezi |
| title_sort | the church of st panteleimon at nerezi architecture programme patronage |
| title_sub | architecture, programme, patronage |
| topic | Crkvata Sv. Pantelejmon (Gorno Nerezi, Macedonia) Byzantijnse kunst gtt Kerkgebouwen gtt Architektur Architecture, Byzantine Macedonia (Republic) Gorno Nerezi Church decoration and ornament Macedonia (Republic) Gorno Nerezi Mural painting and decoration, Byzantine Macedonia (Republic) Gorno Nerezi |
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