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2018 Accademia Roveretana Degli Agiati Palazzo Fondazione Cassa Di Risparmio Di Trento E Rovereto Piazza Rosmini 5, I-38068 Rovereto (TN) Tel

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2018 Accademia Roveretana Degli Agiati Palazzo Fondazione Cassa Di Risparmio Di Trento E Rovereto Piazza Rosmini 5, I-38068 Rovereto (TN) Tel © 2018 Accademia Roveretana degli Agiati Palazzo Fondazione Cassa di Risparmio di Trento e Rovereto Piazza Rosmini 5, I-38068 Rovereto (TN) tel. +39 0464 43 66 63 - fax +39 0464 48 76 72 www.agiati.it [email protected] Copertina, impaginazione e stampa: Osiride - Rovereto ISSN: 1122-6064 Atti ACCADEMIA ROVERETANA DEGLI AGIATI CCLXVIII ANNO ACCADEMICO 2018 ser. IX, vol. VIII, A Classe di Scienze umane Classe di Lettere ed Arti Accademia Roveretana degli Agiati Fabio Coden (a cura di) MINIMA MEDIEVALIA Abstract - Th is issue of Minima medievalia hosts fourteen original studies, which, fol- lowing the tradition of the series, starting from a specifi c point of view converge around the monographic topic chosen for the occasion. In the following essays, Byzantine sculpture is approached in its various forms, iconographies, techniques, and typologies, over a chronology that spans from the Proto Byzantine period to the Palaiologan era. From the point of view of artistic geography, ample space is given to works of art distributed in areas that are also con- siderably distant from each other: from the Balkans to the capital Constantinople, including peripherical areas if compared to the main centers of cultural elaboration. Th e Paleo Byzantine period begins with the capital of the honorifi c Column of Julian the Apostate in Ankara (Claudia Di Bello); then moves on to the marble icon now preserved in the cathedral of Adria, near Rovigo (Fabio Coden), on some marble slabs with mastic incrustation from Gortyna (Christina Tsigonaki), and ends with the examination of some capitals in Th essaloniki (Konstantinos T. Raptis). Th e Middle Byzantine era is introduced by the marble tables of the fountain in the Monastery of Great Lavra on Mount Athos (Pas- chalis Androudis), and continues with the reused plutei of the exonarthex of the Vefa Kilise Camii in Constantinople (Jessica Varsallona); then moving to the sculpted door frame of the Saints Anargyri of Kastoria (Alessandro Taddei), is concluded by the presentation of two works of art from Turkey, consisting of a capital with eagles in the Archaeological Museum of Ierapoli (Muhsine Eda Armağan), and a rediscovered fragment of a lintel in Izmir (Muhsine Eda Armağan). Th e sculptural production of the Palaeologian era is also well represented: a rermarkable bas-relief from Bulgaria (Catherine Vanderheyde), some iconographic solutions under King Stephen Uroš II Milutin Nemanjić in Serbia (Jasmina S. Ćirić), a marble icon in Ioánnina almost unknown to the literature (Andrea Babuin), some fi gured reliefs in Makrinitsa (Maria Kontogiannopoulou), pseudo-Cufi c decorations in some reliefs in the Greek area (Nicholas Melvani). Key words - Acheiropoietos basilica, Th essaloniki; Adria; Afyonkarahisar; Alyki; Amalfi tans Monastery (ton Amalfi non), Mount Athos; Andronicos II Palaeologos; Anicia Juliana; Ankara; Anne Maliassene; Anne Rhadine; Anthimos II Patriarch, tomb; Anthimos III Patriarch, tomb; Archaeological Collection, Gortyn; Archaeological Museum, Izmir; Ar- chaeological Museum, İznik; Archaeological Museum, Nicomedia; Archaeological Museum, Varna; Archimandreiou Church, Ioannina; Areobindus diptych; Arkeoloji Müzeleri, Istanbul; Arta; Stephan Uroš II Milutin, king of Serbia; Asia Minor; Ayioi Anargyroi, Kastoria; Banaz; basilicas C and D, Phthiotic Th ebes; Bulgaria; Byzantine Capital; Byzantine sculpture; Cathe- dral of the Transfi guration of the Savior, Černigov; Cepina; champlevé sculpture; Chonikas; Chora Monastery (Kariye Camii), Constantinople; Choustouliana; Church of Dormition of 30 Atti Acc. Rov. Agiati, a. 268, 2018, ser. IX, vol. VIII, A Th eotokos, Makrinitsa; Church of Metamorphosis, Nomitzi; Clephane horn; Cluny Museum, Paris; Column of Julian (Belkıs Minaresi), Ankara; Constantine Maliassenos; Coptic sculpture; Costantinople; Crete; Déisis; Denizli; Dişli; Dokimeion; Eğirdir Dündar Bey Medresesi; Ephesus; Episkopi Gonias, Santorini; Forum Tauri, Constantinople; Gortyn; Gümüşkonak; Haghia Th eodora, Arta; Haghios Spyridon, Trémithonte; Hagia Sophia, Kiev; Hagia Sophia, Ohrid; Hagios Ioannes Th eologos, Patmos; Hasan Köy; Heracles’ knot; Heraldic eagle; Hierapolis; Hilandar monastery, Mount Athos; Hippodrome, Constantinopole; Hosios Meletios; iconostasis; Ioannes Th elogos; Ioannina; Ioannis G. Chalepas, sculptor; Işikli; Istan- bul; IV Crusade; Jesi; John Maliassenos; John VI Kantakouzenos; Julian the Apostate; Kalamata; Kalenderhane Camii, Istanbul; Kantharos; Kasım Yaman Parkı di Kuşadası; Kiev; Kourion, Cyprus; Kütahya; Lips Monastery, Constantinople; Little Metropolis, Athens; Lykos Valley; Maionia-Gökçeören; Manuel Palaeologus; Markov Monastery, Skopje; mastic incrustation; Maurice, emperor; Mavropapas basilica, Gortyn; Megisti Lavra Monastery, Mount Athos; Metamorphosis Church, Lamia; Metropolitan Church, Mystras; Mistra; Moni Petraki, Athens; Morfonou; Museo Sacro della Biblioteca Apostolica, Vatican; Museo Teatrale della Scala, Milan; Museum, Bolvadin; Museum, Afyonkarahisar; Museum, Heraklion; Museum, Miletus; Museum, Uşak; National Archaeological Museum, Sofi a; Neilos Maliassenos; Nerezi; Nessebar; Nikephoros II Phokas; Niketas Khoniate; Obelisk of Th eodosios, Constantinopole; opus sectile; Örnekköy Cemetery; Osios Loukas, Phocis; Palaiologan Dynas; Pammakaristos, Constantinople; Panagia Arakiotissa, Lagoudera; Panagia Nerantziotissa, Maroussi; Panagia ton Chalkeon, Th essaloniki; Pantanassa, Mistra; Pantocrator Monastery, Constantinople; Paya- malanı; phiale; Pınarcık; Pine cone; Porphyrios the Charioteer, monument; Port of Voukoleon, Constantinople; Protaton Monastery, Mount Athos; Pseudo-Arabic script; Rhombus motif; sculpture technique; Selçikler; Serbia; Slab; Smyrna; Solomon’s knot; St. Georg, Nessebar; St. George, Kurbinovo; St. George, Staro Nagoričino; St. James Kokkinobaphus; St. Joachim and Anna, Studenica; St. John and Paul, Venice; St. John the Th eologian Monastery, Patmos; St. Marc, Venice; St. Maria della Vittoria, Adria; St. Mary Cathedral, Rab; St. Nicholas, Kasnitsi; St. Nicholas, Manastir; St. Nicholas, Myra; St. Panteleimon, Th essaloniki; St. Paul Monastery, Mount Athos; St. Peter, Kalyvia; St. Polieuctos, Constantinople; St. Tite, Gortyn; Staatliche Museen, Berlin; State Hermitage Museum, Saint Petersburg; Stefano Borgia, cardinal; Şuhut; templon architrave; Th eodor Limniotes; Th eodore Metochites; Th eotokos Monastery, Mount Drongos; Th eotokos; Th omas Preljubović; Tree of Life; Turkey; Uğurluca; Uşak; Vatopedi Monastery, Mount Athos; Vefa Kilise Camii, Istanbul; Venice; Villa Armerina; Virgin of Blachernae; Vourvoulitis; Water of Life; Yalvaç; Yamanlar Mountain, Izmir. Riassunto - Quattrodici studi originali sono ospitati nelle pagine di Minima medie- valia, uniti dal comune obiettivo di vagliare con ottica puntuale il tema monografi co scelto per questa specifi ca uscita della rubrica: l’ambito della scultura bizantina, grazie ad alcuni manufatti inediti o poco valutati in sede critica, viene esplorato nelle proprie multiformi declinazioni – iconografi e, tecniche, tipologie –, abbracciando un arco temporale che va dal periodo protobizantino fi no all’epoca paleologa. Dal punto di vista della geografi a artistica, per ribadire il carattere fortemente eterogeneo della produzione plastica del mondo cristiano orientale, nei contributi qui proposti viene dato ampio spazio ad opere concepite in aree anche notevolmente distanti fra di loro: partendo dalla capitale Costantinopoli, luogo dove maturò una produzione plastica di altissimo livello, si giunge fi no ai Balcani, toccando anche zone marginali rispetto ai grandi centri di elaborazione culturale. L’epoca alta si apre con l’intervento sul capitello imposta della cosiddetta colonna ono- rifi ca di Giuliano ad Ankara (Claudia Di Bello), per spostarsi poi sulla problematica icona marmorea oggi conservata, in area veneta, nella cattedrale di Adria, in provincia di Rovigo (Fabio Coden), su alcune pregevoli lastre lavorate ad incrostazione di mastice da Gortina, sull’isola di Creta (Christina Tsigonaki), e si conclude con la valutazione di alcune imposte di Minima medievalia 31 lesena di Salonicco (Konstantinos T. Raptis). I secoli centrali del Medioevo sono introdotti dall’analisi delle elaboratissime tavole marmoree presenti nella fontana del monastero della Grande Lavra sul Monte Athos (Paschalis Androudis), proseguono con i plutei dell’esonartece della Vefa Kilise Camii a Costantinopoli riutilizzati in epoca paleologa nel nartece (Jessica Varsallona), con la cornice abitata della porta laterale dei Santi Anargiri di Kastoria (Ales- sandro Taddei), concludendosi con due pregevoli opere di area turca, un capitello con aquile e ricca decorazione vegetale nel Museo Archeologico di Ierapoli (Muhsine Eda Armağan) e il frammento di epistilio recentemente rinvenimento a Smirne (Muhsine Eda Armağan). Anche la fase paleologa della produzione plastica dell’oriente cristiano è bene rappresentata negli studi qui proposti, grazie ad un basso bassorilievo proveniente dalla Bulgaria, di singo- lare livello qualitativo (Catherine Vanderheyde), agli elementi litici con caratteristiche scelte iconografi che di area serba, maturate sotto re Stefano Uroš II Milutin Nemanjić (Jasmina S. Ćirić), alla pregevole icona marmorea di Ioánnina, pressoché ignorata dalla letteratura scien- tifi ca (Andrea Babuin), ad alcuni rilievi fi gurati da Makrinitsa (Maria Kontogiannopoulou) e all’interessante fenomeno delle decorazioni pseudo cufi che destinate ad alcuni rilievi sempre di area greca (Nicholas Melvani). Parole
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