Ο εικονογραφικός κύκλος του Προφήτη Ηλία στη Μονή των Φιλανθρωπηνών: μια ερμηνευτική προσέγγιση
| dc.contributor.author | Κοντούλης, Ηλίας | el |
| dc.contributor.author | Kontoulis, Elias | en |
| dc.date.accessioned | 2015-12-02T10:40:31Z | |
| dc.date.available | 2015-12-02T10:40:31Z | |
| dc.identifier.uri | https://olympias.lib.uoi.gr/jspui/handle/123456789/25426 | |
| dc.identifier.uri | http://dx.doi.org/10.26268/heal.uoi.4837 | |
| dc.rights | Default License | |
| dc.subject | Προφήτης Ηλίας | el |
| dc.subject | Μονή Φιλανθρωπινών | el |
| dc.subject | Νησί των Ιωαννίνων | el |
| dc.subject | Εκκλησιαστική αρχιτεκτονική | el |
| dc.title | Ο εικονογραφικός κύκλος του Προφήτη Ηλία στη Μονή των Φιλανθρωπηνών: μια ερμηνευτική προσέγγιση | el |
| heal.abstract | To the west side of the southern pre-narthex of Philanthropinon Mona¬stery, on the 2nd zone, four scenes of prophet Elijah’s life are being unfold. These are the prophet’s staying at the desert and his feeding by the crow, the sacrifice at Carmel Mountain, the slaughter of the Baal prophets and the conversation between Ahab and Jezebel. The narration is continuous; the episodes are vividly rendered with emphasis on the dramatic part while there is an obsession in presenting details. Elements that refer to the Cretan School are identified (small sized figures, bright folding peaks, brown eye shadows) as well as elements that go against it (theatrical movements of the figures). Furthermore, influences of the Macedonian art of 15th century are revealed as well as relations to the Moldavic painting of the same period (comparison of the desert scene to its equivalent of Veliko -Timovo and the monastery of Ascension at Moldavia). It is also suggested concerning the holocaust scene that its placing in a covem means that a miniature archetype exists. The choice of Thanks giving scenes (except for the one between Ahab and Jezebel) and their placement opposite the Deesis of the Eastern wall gives a first thanks giving interpretation. The circle of these episodes does not seem to aim at a presentation of the prophet’s life, as the basic scene the ascension of Elijah, which is placed on the northern pre-narthex, is missing. The choice of these episodes is probably not randomly made because this church has one of the most complete iconographical decoration of the XVI century that is characterized by unity in meanings. We believe that the placement of these episodes next to the dominating scene of the Last Judgment indicates a symbolism of salvation by the prophet and the episode of the prophet’s being fed by the crow (in which God’s appearance in the desert is absorbed) harmonizes with the rest of God’s representations (appearances in prophets’ visions) on the equivalent zone of the eastern and southern wall. The desert of episode is one of the most widespread representations of Elijah and is expected to be in the centre of the scene. Together with the episode of the slaughter of the Baal prophets. The later has not the same seriousness with the previous one, so this placement is unusual. It seems that the painter wanted to fortify the spirit of resistance against the Turks who occupied all of the territory. The representation of Sampson (prefigure of Christ) on the 1st upper zone and those of ancient Christianity advocates reflecting the seven (7) wise men on the 3rd lower zone, underlines (on the 2nd zone) the part of prophet Elijah as precursor of the Coming of Christ. The combination of the holocaust representation on the north zone border (with the analytical narration of the purifying of the altar with water before the coming of fire from the sky), the falling rain on the dry (due to the drought) land in the center of the scene and the "Temple of the sea" on the southern border of the same zone (where purifying priests are portrayed) reminds of the two phases of baptism according to Ezekiel (before the baptism itself, there is the purification: before the holocaust the altar was washed, before the raining the land suffered in a dry spell, before the entrance in the Temple men washed their hands). We believe their placement on the southern pre-narthex which intro¬duces the faithful to the inner temple, matches a dogmatic interpretation of baptism according to which the later introduces the faithful in the bosom of the Church | en |
| heal.access | free | |
| heal.bibliographicCitation | Βιβλιογραφία: σ. 176-178 | el |
| heal.classification | Ηλίας, Βιβλικός προφήτης | el |
| heal.classification | Εικόνες, Βυζαντινές | el |
| heal.classification | Χριστιανική τέχνη και συμβολισμός--Ελλάδα--Ιωάννινα | el |
| heal.classification | Ζωγραφική, Βυζαντινή--Ελλάδα--Ιωάννινα | el |
| heal.dateAvailable | 2015-12-02T10:41:32Z | |
| heal.fullTextAvailability | true | |
| heal.generalDescription | σ. [165]-189 | el |
| heal.generalDescription | Περιέχει εικόνες | el |
| heal.generalDescription | Κείμενο στα ελληνικά με περίληψη στα αγγλικά με τον τίτλο: The iconographic cycle of St. Elias in the Philanthropinon Monastery | el |
| heal.generalDescription | Περιλαμβάνει βιβλιογραφικές παραπομπές | el |
| heal.journalName | Δωδώνη: Τεύχος Πρώτο: επιστημονική επετηρίδα του Τμήματος Ιστορίας και Αρχαιολογίας της Φιλοσοφικής Σχολής του Πανεπιστημίου Ιωαννίνων; Τόμ. 34 (2005) | el |
| heal.journalType | peer-reviewed | |
| heal.language | el | |
| heal.publicationDate | 2005 | |
| heal.publisher | Πανεπιστήμιο Ιωαννίνων. Φιλοσοφική Σχολή. Τμήμα Ιστορίας και Αρχαιολογίας | el |
| heal.recordProvider | Πανεπιστήμιο Ιωαννίνων. Βιβλιοθήκη και Κέντρο Πληροφόρησης | el |
| heal.secondaryTitle | The iconographic cycle of St. Elias in the Philanthropinon Monastery (Τίτλος περίληψης) | el |
| heal.type | journalArticle | |
| heal.type.el | Άρθρο περιοδικού | el |
| heal.type.en | Journal article | en |
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