The wall-paintings of the Protaton Church revisited

During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ‘Eutychios’ or ‘Eutychiou’, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the fi...
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Autor*in:	Vapheiades Konstantinos M. [verfasserIn]

Format:	E-Artikel
Sprache:	Deutsch ; Englisch ; Französisch ; Italienisch ; Russisch ; srp

Erschienen:	2019

Schlagwörter:	mount athos protaton bogorodica ljeviška michael astrapas byzantine painting

Übergeordnetes Werk:	In: Zograf - Faculty of Philosophy, Belgrade, 2010, (2019), 43, Seite 113-128
Übergeordnetes Werk:	year:2019 ; number:43 ; pages:113-128

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc Journal toc

DOI / URN:	10.2298/ZOG1943113V

Katalog-ID:	DOAJ075308428

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allfieldsGer	10.2298/ZOG1943113V doi (DE-627)DOAJ075308428 (DE-599)DOAJ2b4ecb8e12bd4c39ace83a642e480f2a DE-627 ger DE-627 rakwb ger eng fre ita rus srp NX440-632 Vapheiades Konstantinos M. verfasserin aut The wall-paintings of the Protaton Church revisited 2019 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ‘Eutychios’ or ‘Eutychiou’, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas’ artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviška Church, as a key to interpreting and solving the problem of ‘Michael Astrapas’. mount athos protaton bogorodica ljeviška michael astrapas byzantine painting History of the arts In Zograf Faculty of Philosophy, Belgrade, 2010 (2019), 43, Seite 113-128 (DE-627)647660660 (DE-600)2596760-5 24060755 nnns year:2019 number:43 pages:113-128 https://doi.org/10.2298/ZOG1943113V kostenfrei https://doaj.org/article/2b4ecb8e12bd4c39ace83a642e480f2a kostenfrei http://www.doiserbia.nb.rs/img/doi/0350-1361/2019/0350-13611943113V.pdf kostenfrei https://doaj.org/toc/0350-1361 Journal toc kostenfrei https://doaj.org/toc/2406-0755 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 2019 43 113-128
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spellingShingle	Vapheiades Konstantinos M. misc NX440-632 misc mount athos misc protaton misc bogorodica ljeviška misc michael astrapas misc byzantine painting misc History of the arts The wall-paintings of the Protaton Church revisited
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topic_title	NX440-632 The wall-paintings of the Protaton Church revisited mount athos protaton bogorodica ljeviška michael astrapas byzantine painting
topic	misc NX440-632 misc mount athos misc protaton misc bogorodica ljeviška misc michael astrapas misc byzantine painting misc History of the arts
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title_auth	The wall-paintings of the Protaton Church revisited
abstract	During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ‘Eutychios’ or ‘Eutychiou’, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas’ artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviška Church, as a key to interpreting and solving the problem of ‘Michael Astrapas’.
abstractGer	During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ‘Eutychios’ or ‘Eutychiou’, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas’ artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviška Church, as a key to interpreting and solving the problem of ‘Michael Astrapas’.
abstract_unstemmed	During the course of conservation work on the wall-paintings in the Protaton Church on Mount Athos a number of letters were found that can form the name ‘Eutychios’ or ‘Eutychiou’, the name of one of the two painters who decorated the Peribleptos Church in Ohrid. This discovery has overturned the findings of previous research and also poses new questions. The answers to these questions constitute the aim of the present article. More specifically, the wall-paintings in the Protaton are attributed to two painters, Michael Astrapas and the painter of the Chapel of St. Euthymios in Thessalonica, and are dated to between 1309 and 1311/1312. Since there are many problematic points in Astrapas’ artistic development, this article reexamines certain ensembles of wall-paintings, and particularly that of the Bogorodica Ljeviška Church, as a key to interpreting and solving the problem of ‘Michael Astrapas’.
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The wall-paintings of the Protaton Church revisited

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