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The Byzantine Epitaphioi of the Western Coast of the Black Sea

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The Byzantine Epitaphioi of the Western Coast of the Black Sea THE BYZANTINE EPITAPHIOI OF THE WESTERN COAST OF THE BLACK SEA. Production, distribution, iconography, manufacturing technology and preventive conservation A thesis submitted for the degree of MA in Black Sea Cultural Studies School of Humanities Kalantzidou Kyriaki 2016 Kyriaki Kalantzidou ID: 2201130028 Supervisor: Dr. Glykeria Chatzouli Assistant -Professor in Aristotle University. I hereby declare that the work submitted by me is mine and that where I have made use of another’s work; I have attributed the source(s) according to the Regulations set in the Student’s Handbook. © February 2016, Kyriaki Kalantzidou, 2201130028 No part of this dissertation may be copied, reproduced or transmitted without prior permission of the author. February 2016 Thessaloniki – Greece ACKNOWLEDGMENTS I would like to express my sincere gratitude to my supervisor Pr. Glykeria Chatzoulis, for her guidance and knowledge she lavishly offered me, as well as for her continues support and kind assistance. Moreover, I would like to thank all academic stuff of the International University, our professors and my fellow students for a fascinating and exciting journey we shared around the Black Sea during our studies for the last two years. I would also like to thank Prof. Flora Karagianni, as her guidance proved to be the initial step for the current study. In addition, I express my sincere gratitude to the following persons: Sister Atanasia Vaetis from monastery Stavroupoleos in Romania for the enthusiastic assistance and information she provided me; Prof. Karatzani Anna for her significant guidance and support; my friend Prof. Evangelos Christou for his most valuable help to end this dissertation. Above all, I express my gratitude to my beloved family who always has been by my side, helping me and providing with endless love and strength in every step I take; my “S” for his love, support, and tolerance through those two years, and all my special friends who didn’t forget me and have continuously helping me in many ways to achieve my goals. CONTENTS Abstract p. 4 Abbreviations p. 5 List of illustrations p. 5 Catalogue of epitaphioi- 3rd chapter p.7 Introduction p.8 1. Embroidery through time p.10 Brief Historic background p.10 Byzantium p.13 The distribution of ecclesiastical textiles p. 18 2. Technical analysis – Iconography p.29 Workshops- Embroiderers p. 29 Embroidery’s manufacturing technology p.36 Epitaphioi p. 44 3. The Western Coast of the Black Sea- “Handprints” of Byzantine epitaphioi p.53 Historical review p.53 Relics from the past p. 62 A. Constantinople & the Balkan areas under Byzantine influence p.62 B. Bulgaria p.105 C. Romanian principalities p.112 4. Textile Preventive conservation p.136 The role of a conservator p.136 General art-conservation Principals p.137 Gold-embroidery’s Oddity – Preventive Conservation p.139 Identification methods and their contribution to the service of studying Byzantine p.144 embroidery 5. Epilogue. p.149 6. Bibliography p.151 7. Appendix I – Additional illustrations – Tablets p.161 8 Appendix II –Terminology. p.169 3 ABSTRACT The overall objective of the present study aims at exploring the history of liturgical textiles and their distribution and use through the years, eventually focusing on the core of the current work, being the recording, analysis and investigation of the extant Byzantine epitaphioi originating from the Western Coast of the Black Sea. The history of Byzantium and its neighbors, such as Bulgaria, Romania, Moldavia and the Balkans, bind these regions together in various ways. Their interactions through wars, treaties, diplomatic affairs, religious issues and cultural exchanges, promoted the distribution of luxurious textiles which may be found today in monasteries and museums as a reflection of their history. Despite the fact that Byzantine textiles have not been thoroughly studied in the past years, Epitaphioi appear to have attracted significant interest from scholars and researchers. The work presented here explores the style, function, iconography, manufacturing technology, production, distribution and preventive conservation of Byzantine epitaphioi of the Western coast of the Black Sea, attempting to better understand them and provide answers to the following research questions: what is the geographic distribution of these epitaphioi; what typologies may be developed according to the epitaphioi’ style, iconography, and function? How preventive conservation can assist in preserving and studying epitaphioi and what are the most appropriate scientific tools and procedures to achieve these? To achieve the objectives of this study and to provide answers to its research questions, a critical review of existing secondary sources was performed. Hence, an extensive investigation of available bibliographical data was carried out cross-referencing information from a variety of sources and providing suggestions for future research. 4 ABBREVIATIONS ex: A.I 6.1 & 6.2: Ibid, Appendix I, image 6.1 & 6.2 IIC: International Institute for Conservation of Historic and Artistic Works AIC: American Institute for Conservation ICOM: International Council of Museums CIC: Canadian Institute for Conservation DChAE: Deltion of the Christian Archaeology Society LIST OF ILLUSTRATIONS FIG. DESCRIPTION SOURCE 1 Fragment of a Felt Covering for a Saddle, with a Griffin. Russia, https://www.hermitagemuseum.org/w Pazyryk Culture. 5th century BC ps/portal/hermitage/digital- collection/25.+Archaeological+Artifact s/3510510/?lng=en 2 Coptic roundel 6th-7th c. AD, depicting the Story of Joseph. Eastman C.A., 1932, p.27 3 Coptic roundel with almost the same illustration of the Biblical https://www.hermitagemuseum.org story of Joseph, 7th c. AD 4 The silk roads from East to West http://www.chinadiscovery.com/china -silk-road-tours/maps.html 5 Lion-hunt. 761 AD. Pepin the Short donated the textile to Theochari M. 1994, fig. 25 Online: Mozac. Musee Historique des Tissus, Lyon. https://www.pinterest.com/pin/42833 4614532244528/ 6 Gunther’s shroud cover according to Theochari Theochari M., 1994, fig.29. 7 The "Bamberger Gunthertuch Papamastorakis T., 2003, p.377. 8 Fragment from the cover textile of the St Wenceslas shrine 12th https://www.pinterest.com/pin/14798 c., St. Vitus cathedral, Prague 5537731572847/ 9 The Byzantine clock of Henry the II (973-1024 A.D.), Diocesan http://beratung.kirche- Museum, Bamberg bamberg.de/index.html 10 Diskokalymma. Halberstadt Cathedral (88). 1185–95 Hilsdale C. 2014, p.62. 11 Poterokalymma. Cathedral Halberstadt (87).1185–95 Hilsdale C. 2014, p.62. 12 The endyti of St.Marc in Venice. Hilsdale C. 2014, p.47. 13 Embroidered silk veil with the representation of St. Lawrence’s https://www.studyblue.com/#flashcard/view/ life dated in 1261. Now kept in the collection of, Museo di 14648826 Sant’Agostino in Genoa 14 Detail of the veilt with the depiction of Michael VIII Palaiologos https://www.studyblue.com/#flashcard/view/ along with St. Lawrence 14648826 15 Veil depicting The Communion of the Apostles. Castel’Arquato http://www.piacenzamusei.com/s.php 1314 ?i=0033 5 16 Empress Theodora and attendants. Mosaic from Ravena. https://en.wikipedia.org/wiki/Basilica_ of_San_Vitale 17 The mosaic of Emperor Justinian and his retinue. Mosaic from https://en.wikipedia.org/wiki/Basilica_ Ravenna of_San_Vitale 18 Aër-Epitaphios of Georgios Arianites from Glavenica and Berat, https://www.flickr.com/photos/13290 Albania. 218 x 118 cm.1373.Kept in National Museum of 4067@N08/19750963382 History, Tirana, Albania 19 Aër-Epitaphios of Chilandar.181, 176 x 140 cm. Ca. 1400. Bogdanovic, 1978, p.127. Chilandar Monastery, Mount Athos 20 Wire Karatzani, 2006, p. 35 Strip Karatzani, 2006, p. 35 21 22 File, strip twisted around silk yarn Karatzani, 2006, p. 35 23 Wire twisted round silk yarn, Tir-tir Karatzani, 2006, p. 35 24 Gilt membrane strip spun around a silk yarn Karatzani, 2006, p. 35 25 Gilt leather strip wound around a silk yarn Karatzani, 2006, p. 35 Aer, Benaki museum, late 13thc http://www.benaki.gr/eMP- 26 Collection/eMuseumPlus?service=direct/1/ ResultListView/result.t1.collection_list.$Tsp TitleImageLink.link&sp=10&sp=Scollection &sp=SfieldValue&sp=0&sp=2&sp=2&sp=S detailList&sp=0&sp=Sdetail&sp=0&sp=F&s p=T&sp=0 Aer second half of 16th c., Benaki museum http://www.benaki.gr/eMP- 27 Collection/eMuseumPlus?service=direct/1/ ResultListView/result.t1.collection_list.$Tsp TitleImageLink.link&sp=10&sp=Scollection &sp=SfieldValue&sp=0&sp=2&sp=2&sp=S detailList&sp=0&sp=Sdetail&sp=0&sp=F&s p=T&sp=0 28 Aer-epitaphios, Paleologan period, Metamorphosis Monastery, Theochari M., 1986, p.11. Meteora. 29 The Thessaloniki Epitaphios, Byzantine Museum of http://odysseus.culture.gr/h/4/gh430.jsp?obj Thessaloniki _id=5486 30 The Cozia Epitaphios, Museum of Bucharest, 1395., 14thc Vaetis A., 2010, p.98. Medieval map of the Black Sea. https://www.stormfront.org/forum/t566742- 31 16/ 6 CATALOGUE OF EPITAPHIOI (3rd chapter) A. CONSTANTINOPLE & THE BALKAN AREAS UNDER BYZANTINE INFLUENCE 1. The “Thessaloniki Aër-Epitaphios”, ca.1300. 2. The Epitaphios from Valadoros collection. Early 14th c. 3. The Aër-Epitaphios of Stefan Uros II Milutin, ca 1321. 4. The Aër-Epitaphios of Michael Kyprianos, Princeton, ca 1300-1330. 5. The Aer-Epitaphios of the church Agios Georgios in Ormylia, ca 14th c. 6. ChalikidikiThe Aër-Epitaphios of the Church of Agios Athanasios, early 14th c. 7. The Aër-Epitaphios of John of Skopje (Chilndari1), ca 1346. 8. The Aër-Epitaphios of the Emperor John Kantakouzenos, Vatopedi, 1354. 9. The Aër-Epitaphios at the Pantokrator Monastery, mid. 14th c. 10. The Aër-Epitaphios at the Metamorphosis Monastery, Meteora, late 14th. 11. The Aër-Epitaphios at the Stavroniketa Monastery, 14th-15th c. 12. The “San Marco Aër-Epitaphios”,14th c. 13. The Aër-Epitaphios of Georgios Arianites from Glavenica, 1376. 14. The Aër-Epitaphios of Antonios of Heracleia, Studenica, ca 1439. 15. The Aër-Epitaphios of John and Syropoulos (Chilandari 2), ca 1400.
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