Supervisors info:
Πάλλης Γεώργιος, Επίκ. Καθηγητής Βυζαντινής και Μεταβυζαντινής αρχαιολογίας και τέχνης Φιλοσοφικής Σχολής ΕΚΠΑ.
Δρανδάκη Αναστασία, Επίκ. καθηγήτρια Βυζαντινής αρχαιολογίας και τέχνης Φιλοσοφικής Σχολής ΕΚΠΑ.
Στουφή - Πουλημένου Ιωάννα, Καθηγήτρια Χριστιανικής αρχαιολογίας και τέχνης Θεολογίας, Θεολογικής Σχολής ΕΚΠΑ.
Summary:
The aim of this master is to present the work of the first famous painter after the Fall of Constantinople, the Peloponnesian Xenos Digenis. In the introduction we will firstly introduce the historical data, as they emerged in Greece the day after the Fall of Constantinople (1453) and reach the beginning of the 16th century. More specifically, it will be made reference to the historical events that took place in four geographical areas of Greece, the Peloponnese, Aetolia, Epirus and Crete, areas that were directly related to the life and artistic activity of Digenis.
Next, in the first chapter we will study firstly the artistic activity that developed in the aforementioned areas from the second half of the 15th to the beginning of the 16th century, as well as the artistic currents that shape the now post-Byzantine painting of the time. Reference will be also made to the protagonists, to the painters themselves, who, either anonymously or under their own names, joining art crews or working alone, travel at this time in Greece, but also in the rest of the Balkans, conveying the artistic messages of the new historic period. One of these named "travelling" painters, is the painter from le village of Mouchli Xenos Digenis, whose life will initially be sought.
The second chapter is dedicated exclusively to the surviving painting work of Digenis that is found in three temples, located in Crete, Epirus and Aetolia. Due to the wear and tear of the frescoes, their large number, as well as their common iconographic theme, only a certain description of the three monuments will be described in detail, but the reader will be able to draw important information about the topics and the art of Digenis. This chapter will be closed with a reference to those works that modern research attributes to the painter from time to time.
After examining the murals in all three monuments, a third chapter will be followed, in which the works previously examined, now will be studied in terms of style. The purpose of the works, parallel to and contemporary with the painter's era, is to make the reader understand the artistic patterns, from which Digenis was influenced, drew the themes, shaped and practically captured his artistic talent. The study, finally, will be completed with conclusions, as they emerged during the research of the subject.
Keywords:
Xenos Digenis, post-Byzantine art, Epirus, Aetolia, Peloponnese, Crete
