269-302

Aspects of the monumental painting of the 13th century in the Dodecanese

• Κατσιώτη, Αγγελική

The 13 th century was a turbulent period for the Dodecanese. The Gavalas dynasty ruled over the islands in the first half of the century, while in the second half the islands were under the rule of the Byzantine emperors, who exercised a loose authority. Nevertheless the obscure picture of each island is due to the absence of evidence for local particularities. The fragmentary barely known aspect of 13th century art in the Dodecanese is due to the absence of monuments dated by inscriptions St. George Vardas in Rhodes (1289/90) excepted. About forty layers of church frescoes belong to this period, among which the majority is dated to the second half of the century. We shall consider the most important, with the exception of the Refectory of the Monastery of Theologos on Patmos, already published, which shares no affinities with the other 13th century wall-paintings from the area under review. We would date around 1200 the second layer of the recently discovered, exq uisite wall-paintings of St. Kirikos at Vathy on Kalymnos, while a number of monuments which, in spite of other differences, share tall and slim figures with late-Comnenian features, may be dated in the first decades of the century: St. Barbara at San- ianoi on Telos, St. John Theologos on Leros, and the first layers of the Early Christian baptistery on Kos, of Taxiarchis at Empola on Kalymnos and of Panagia at Monagri on Kos.The impressive head of the angel in St. Nicetas at Amali, Chalki, is the work of a good painter dated in the period 1230-1260, who gives his figures refinement, tranquillity and a sense of monumentality. The rendering of the second, partly detached, layer of the Lady-Chosti at Vathy, Kalymnos, is flatter. The tranquil, refined figures have round, broad faces with linear, brownish-red features and plain folds. In the middle of the century the refined features in the church of St. John at Tsangria, Symi, are linear, while the thoughtful, slightly vague look, reca lls the art of previous periods. The dry, flat figure of St. George in the church of St. Nicholas at Messaria, Telos, is representative of the so-called linear or ex- pressionistic style, dominant in the 13th century.In Rhodes, the centre of events, and main urban centre of the district, few paintings of the 13th century survive. High quality pre-1250 paintings is found in the Monastery of Taxiarchis at Thari and at St. Phanourios in the medieval town. The third layer in Thari, one of the most important monuments under review, was attributed to the artistic milieu of the empire of Nicaea and its local head on Rhodes, Leo Gavalas. It was perhaps the highlight of the artistic patronage of the Gavalas family, which probably included St. Phanourios as well. The publication of the wall paintings of Thari and St. Nicholas at Kiriako- selia in Crete, and equally important monument associated with the activities of emperor John II Va- tatzes at a nearby castle ca. 1230-1236, will be a major contribution to the understanding of Nicene art. The first layer of St. Phanourios in the apse - although blackened and in part chisel-scraped - is impressive and confirms the high quality of art in Rhodes in the first half of 13th century. Observing the angels in the scene of the Assumption with their delicate, refined features (compared to the same scene at Thari) it could be said that there is a direct relationship between them. We consider the painting of Theologos in Paradeisi of high quality, although over-painting makes artistic evaluation difficult.Around the end of the century the fragments of painting from the Archangel Michael (Demirli) in the medieval town, the paintings at St. George Vardas - datable to 1289/90 - and at the “asketario” of St Nicetas at Damatria match the average quality of provincial art throughout Greece. The uneven quality in Rhodes, as in the rest of the islands, must therefore be noted.Although generalisations on 13th century style are prematur e, nevertheless some observations are necessary: the late Comnenian koine [style], with local and regional features, which is commonly encountered in the first half of the century, seems to retreat during the second half, with rare exceptions. Some slender figures and the half, linear folds lacking any particular sophistication, linger here and there. The impression of fragmentation and variety in the expressive means is made more prominent by contrasts in groups such as the Holy Trinity at Spitakia, Telos, St. Luke at Apella, Karpathos, and Taxiarchis on Ka- lymnos (first phase of the second layer). The variety of the expressive means in Taxiarchis, like the robust Prodromos, the beauty of the archangel Michael, and the dramatic feeling of the Panagia in the Crucifixion, are impressive and relate the monument to the major artistic centres of the period. This unevenness reflects the different prototypes and stages of development, but at the same time confirms the multidimensional ar tistic expression of the 13th century, when art, free from linear development, reflects the fluidity of a transitional period.In the second half of the 13th century we realize how deeply rooted tradition is since continuous and direct links with major artistic centres no longer exist. St. Panteleimon, St. Anna Kaliotissa, both at Va- thy, and the first layer of Panagia at Argos, all on Kalymnos (end of the 13th century), constitute examples of anticlassic regional currents. A different tendency is observed in the Deesis in the apse of St. John Theologos at Vathy, Kalymnos. The Pantokrator is unexpectedly depicted with red hair and regular features, recalling romanesque influence. Apart from this church, western elements in monuments of the 13th century are also limited. Around 1300 in St. Paul at Livadhia, Telos, in St. Mamas at Menetes, and in St. George at Lefkos, both on Karpathos, the linear rendering has disappeared, the figures are solid and broad-shouldered, while - although the rendering of the features is a little dry - the painters control their expressive means, giving us expressive portraits, according to the new tendencies of the Palaeolo- gan style, which imparts emotional content to the figures.The art of the island of the southeastern Aegean in the 13th century, until 1300, shares common features with regions like Mani and Crete. In spite of devastating political events (the islands frequently changing masters) painting seems unmarked by the administrative fragmentation and constant change. It would only seem natural for the local aristocracy, the Church and the artists to try and leave their personal mark on artistic output, but the art of the period does not confirm it. The absence of strong rulers (consequently of rich donors) in connection with the presence of feudal lords who lived in uncertainty, impermanence and insecurity is displayed vividly on the wall paintings of humble church buildings. The traditional orientation towards the Byzan tine empire, and all this may signify, is expressed in art as a recapitulation of older prototypes, with no sense of renewall; this continued in the following years with few concessions to the artistic preferences of the non-indigenous element.

• History and Archaeology
• Philosophy, Ethics and Religion

• Αρχαιολογία
• Τέχνη
• Πολιτισμός, Βυζαντινός
• Architecture and religion

Επιθυμώ να εκφράσω τις ευχαριστίες μου στον Επίτιμο Έφορο Αρχαιοτήτων Ηλία Κάλλια για την παρότρυνσή του να ασχοληθώ με το θέμα και τις πολύτιμες συμβουλές του που συνέβαλαν στο να γίνουν οι γνώσεις μου για το χώρο όπου υπηρετώ βαθύτερες. Ευχαριστώ ιδιαίτερα την καθηγήτρια του Πανεπιστημίου Αθηνών Σόνια Καλοπίση για τις εύστοχες παρατηρήσεις και υποδείξεις της. Τέλος, πολλά οφείλω στους αγαπητούς φίλους και συναδέλφους Αγγελική Μητσάνη, Γιάννα Μπίθα, Θοδωρή Αρχοντόπουλο και Κωνσταντία Κεφαλά για τις επί μακρόν συζητήσεις σχετικ ά με τη ζωγραφική του 13ου αιώνα και για το χρόνο που αφιέρωσαν, ώστε να γίνει το κείμενο πληρέστερο.Αν εξαιρέσουμε κάποιες σύντομες αναφορές στα Χρονικά του Αρχαιολογικού Δελτίου και ελάχιστες αυτοτελείς μελέτες, τα περισσότερα μνημεία είναι άγνωστα στη βιβλιογραφία. Η επιχειρούμενη τεχνοτροπική και χρονολογική κατάταξη των τοιχογραφιών του 13ου αιώνα στο χώρο του νοτιοανατολικού Αιγαίου δεν υποκαθιστά ασφαλώς τη λεπτομερή παρουσίαση. Πιστεύουμε ωστόσο ότι κάνοντας κατά κάποιο τρόπο γνωστά αυτά τα μνημεία βοηθούμε ως ένα σημείο στο σχ τικό προβληματισμό για το 13ο αιώνα στην περιοχή και στη διεύρυνση του συγκριτικού υλικού. Ορισμένα από τα συμπεράσματά μας έχουν παρουσιαστεί με τον ίδιο τίτλο στο ΙΗ' Συμπόσιο Βυζαντινής και Μεταβυζαντινής Αρχαιολογίας και Τέχνης της Χριστιανικής Αρχαιολογικής Εταιρείας, που είχε ως κεντρικό θέμα το 13ο αιώνα (Περιλήψεις εισηγήσεων και ανακοινώσεων, Αθήνα 1998, σ. 31-32). Κάποια τοιχογραφημένα σύνολα θα αποτελέσουν αντικείμενο μελέτης συναδέλφων, όπως: ο Άγιος Κήρυκος Καλύμνου από τον Ηλία Κάλλια, η Ζωοδόχος Πηγή στο Μονάγρι της Κω και ο Άγιο Λουκάς στα Απελα Καρπάθου από την Ευαγγελία Παπαθεοφάνους- Τσυρή, ο Αρχάγγελος Μιχαήλ (Ντεμιρλί) στη μεσαιωνική πόλη της Ρόδου από την Ελένη Παπαβασιλείου, ο Άγιος Γεώργιος Βάρδας, ο Άγιος Φανούριος, ο Άγιος Νικήτας Δαματριάς, η Καθολική στ’ Αφάντου, όλα στη Ρόδο, από την Κωνσταντία Κεφαλά, το Θάρι από τη Μυρτάλη Αχειμάστου-Ποταμιάνου και η Παναγία Χωστή στην Κάλυμνο από τον Βασίλη Καραμπάτσο.Οι υπ’ αριθ. 85 β, 87 β, 89 α, 90-92, 95, 96 α, 97 α-γ, 98,103 β, 106-110, 111 β, 114, 115 α-β, 116-120 Πίνακες οφείλονται στον Νίκο Κασέρη, οι υπ’ αρ. 99-101 στον Σπύρο Μελετζή, ενώ οι υπ’ αριθ. 113 α, β είναι από το ιταλικό φωτογραφικό αρχείο Δωδεκανήσου. Όλες προέρχονται από τα φωτογραφικά αρχεία της 4ης Εφορείας Βυζαντινών και Μεταβυζαντινών Αρχαιοτήτων Δωδεκανήσου και της Ακαδημίας Αθηνών, Κέντρο Έρευνας της Βυζαντινής και Μεταβυζαντινής Τέχνης. Οι υπόλοιπες είναι προσωπικές., Περιέχει συντομογραφίες και βιβλιογραφία, Το άρθρο περιέχεται στο τεύχος: Μέρος Α'-Μελέτες