Ο Άι-Γιαννάκης του Μυστρά
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.32, 1989, pages 61-82
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Pages:
61-82
Parallel Title:
The Church of Ai-Yannakis at Mystras
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Articles
Abstract:
The tiny church of Ai-Yannakis (dimensions: 7.98 x4.38 m.) stands outside the walls of Mystras, near theasphalted road. It is in a semi-ruined condition, and wasrestored by Professor Adamantios Adamantiou in 1908and given a wooden roof. In 1952, it acquired its stonebarrel vault. It is evident that it was a barrel-vaultedsingle-cell church from the springing for the vault,which is preserved along the north wall, and also fromthe remains of the painted decoration above the springing. To the west of the church was found a double,subterranean ossuary.Remains survive, though not in good condition, of thewall-paintings that decorated the church. The positionsoccupied by the various representations can be seen onthe plan (Fig. 7). Saint James the Brother of the Lordwas painted in the prothesis. The vault over the diakonikon perhaps had a depiction of the "Go ye andteach", and the naos had representations of Saint Dimitrios, the Birth of Saint John the Baptist, the Presentation of the Virgin in the Temple, and Saint Nikon οMetanoeite. The width of the face, and other characteristics of the figure of Saint John the Baptist in theprothesis conch (Fig. 9) recall Ayios Antonios in theGouverniotissa in Crete (third quarter of the 14th century). The slender figures of Deacons between theprothesis and the bema (Figs. 13, 14) may be compared119. S. Dufrenne, Les programmes iconographiques, σ. 18.120. Mouriki, Stylistic Trends, σ. 73-74. ' Η χρονολόγηση τοϋ ' ΑιΓιαννάκη, γράφει, δέν μπορεί νά τοποθετηθεί μακριά άπό τή χρονολόγηση του 'Αφεντικού. Έ ν τούτοις, προσθέτει, μιά στεγνότηταστην τεχνική του σχεδίου μπορεί νά υποδείξει μιά ελάχιστα μεταγενέστερη χρονολόγηση.121. "Οπως ό Δ. Πάλλας ( Ή Θεοτόκος Ζωοδόχος Πηγή, ο.π., σ.208), ή Ροδον. Έτζέογλου (ο.π., σ. 518), ό Μ. Χατζηδάκης (Μυστράς, 'Αθήνα 1987, σ. 109). "Ας σημειωθεί πώς ό τελευταίος, ότανάλλου κάνει λόγο γιά τή ζωγραφική της περιόδου 1360-1400 αναγνωρίζει, όπως σημειώθηκε, στή νότια στοά τοϋ 'Αφεντικού (μετάτό 1366) τάση ανάλογη προς τό Ivanovo καί συνδέει μέ αυτήν ainsique le décoration de la chapelle de Saint-Jean (Chassicisme et tendances populaires au XlVe siècle, ό.π.).122. A. Grabar, Une pyxide en ivoire à Dumbarton Oaks, DOP 14(1960), σ. 128. Τά οικογενειακά πορτραίτα πρέπει νά άνηκαν, όπως όίδιος παρατηρεί (ο.π., σ. 130), κατά προτίμηση σέ αριστοκρατικέςοικογένειες. Προς τήν παρατήρηση όμως πού προσθέτει: Le hasarda fait qu'à Mistra on n'ait plus aucun de ces portraits collectifs quireunissent dans le même cadre parents et enfants (les portraits conservés ne montrent pas plus de deux personnes à la fois), νομίζω ότιαντιτίθεται τό οικογενειακό πορτραίτο της κυρα-Καλής μέ τά δυότης παιδιά.with figures in the chapel of Saint Christopher at Mystras (end of the 14th century), though the latter aremore stylized and manneristic. Isaiah (Fig. 16) is lessrealistically rendered and is lacking in vitality, compared with the Patriarch Farez in the Aphentiko (Fig.17). And the hair of the prophet Zachariah in the domeof the Peribleptos (Fig. 18) is much more stylized.Figures of apostles in the Incredulity of Thomas (Fig.20) resemble figures in the wall-painting of the southportico of the Aphentiko (Fig. 21). The wall-paintingsin this portico are dated after 1366. The figure of Thomas in the Incredulity is almost as slender as the ethereal figures of Ivanovo.The broad beard of Saint Paul, almost a parallelogramin shape (Fig. 25) resembles that of the figure of SaintPaul in the Dormition in the south portico of theAphentiko (Fig. 26).The lighting of the apostles garments in the Last Supper(Fig. 23), which derives from a similar detail of a figurein the south portico of the Aphentiko (Fig. 21) has become stiff and formal, and identically repeated. A fewwestern influences can be detected in the wall-paintingsof the church.The painted decoration of the church of Ai-Yannakismay be dated around the end of the third quarter of the14th century
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