Crkvene studije, Ni{ / Church Studies, Nis 10-2013, 365-374 УДК 726.5(496.5)

Ioannis Sarigiannidis Faculty of Balkan, Slavic and Oriental Studies University of , - e-mail: [email protected] Eleni G. Gavra Faculty of Balkan, Slavic and Oriental Studies University of Macedonia, Thessaloniki - Greece e-mail: [email protected]

THE POST-BYZANTINE ECCLESIASTICAL - IN 'S SOUTH-GJIROKASTRA AND THE ROLE OF THE ORTHODOX CHURCH IN THE RESCUE

Abstract: The presence and preservation of a very large number of monuments of Christian worship in Albania, is a fact. The Orthodox Church of Albania has continuously made enormous efforts for the salvage and preservation of this cultural heritage driven by the promotion of the rich and timeless Orthodox tradition in the country. The aim of this paper will be the promotion of post-Byzantine monuments in the Albania region (history, architecture, ), the contribution of the Church in their salvage. Keywords: Post-Byzantine monuments; Temples; Albania; Orthodox Church of Albania

The aim of this study is to highlight the Ecclesiastical Architecture-Art in Albania, the contribution of the Church to the rescue. The spread of in Albania since the first Christian centuries is manifested until nowadays by the presence and rescue of a very large number of Christian monuments of worship.1 During the second half of the last century, these monuments experienced great ordeal of no former comparison.2 Due to their high monumental value, many of them were placed under state supervision with the status of preserved cultural monuments during the atheistic regime of Enver Hotza. By doing so, their destruction was avoided, as opposed to monuments of “lesser value” in the long period of religious persecution. Along with the violent ban on religion, the scientific restoration project became inactive creating as such additional problems. In all, 129 churches and monasteries from a total of 181 listed as monuments3 managed to remain in state care, under the status of cultural monuments. Many of the buildings that failed to qualify as cultural monuments were gradually destroyed or changed functional use, such as storage spaces as well as places inappropriate to be worship sites. However, the monuments that managed to be listed as preserved cultural monuments had slightly better luck. The great effort of the atheistic regime regarding monument restoration, focused on other kinds of buildings rather than

1 Popa 1965 2 Sebastian 1985, 45-46 3 Church of Albania 2005, 16-20 365 churches and monasteries. As a result, the places of worship were abandoned and a total or partial destruction was inflicted to these sacred monuments. A solution occurred with the fall of the communist regime in 1990 and the activation of the Mother Church of for the revival-restoration of the Church of Albania through the delegation of the Patriarchal Exarch Mr. Anastasios, bishop of Androusis, and nowadays Archbishop of and All Albania.4 The first liturgy and devotional gatherings were held either in ruined temples, or in the countryside-where previously there were temples and monasteries.5 However, by the election of Mr. Anastasios in the leadership of the Archdiocese, the repair, restoration, maintenance but also the construction of new churches started gradually. The result of the great effort based on scientific restoration and rescue operations, was the restoration of 60 historic church buildings within 20 years. At the same time, over 150 new churches were fundamentally constructed and 160 churches were entirely or partly rebuilt.6 The Orthodox Autocephalous Church of Albania has been making continuous efforts for the preservation and conservation of cultural heritage with a view to highlighting the rich timeless Orthodox tradition in the country.7 To be able, yet, to better understand the current situation in Albania it would be appropriate to make a brief historical review and a reference both in architecture and painting. Christianity spread in Epirus and , today Albania, by the Apostle Paul himself,8 who made the mainland city of base of his missionary activity. During the first centuries of the and the persecution of Christians many Christians were martyred; known martyrs of this period are St. Astis, St. Donatos, St. Eleftherios, etc. Epirus was part of the Eastern Illyricum under the ecclesiastical jurisdiction of the bishop of Rome up to 732 AD. After 732 AD the ecclesiastical provinces came under the jurisdiction of the Ecumenical Patriarchate in Istanbul, imbeded in the Syntagmatio provinces of the Ecumenical Throne.9 The conquered areas of the in the 15th century by the Ottomans formed an administrative unit, the Vilayet of Rumelia. Gjirokastra was conquered in 1418 AD. The main administrative unit of the Church is the metropolis and its subdivision the diocese. Thus, under Turkish occupation every metropolis and diocese had a specific place in the "Leadership Class" of the high priests of the Patriarchate with specific geographic boundaries. In 1835 the diocese of Dryinoupoleos was upgraded to a metropolis, titled Dryinoupoleos, Delvinou and Himara, headquartered in Gjirokastra.10 During the Ottoman rule, the main problem for the Church was the ongoing collective Islamization. Most certainly it influenced the Albanian population more than others -primarily due to lack of Christian literature in their native language (first written texts are from the 15th century, until the 18th century there were few texts, growing gradually with the Albanian national awakening).11 Since the 17th century, new monasteries were built in many regions to support the orthodox Christians. These monasteries evolved into centers of Orthodox resistance,

4 Church of Albania 2012 5 Thomo 2004, Church of Albania 2005, 10-11 6 Ecumenical Patriarchate 2012 7 Romfea 2010 8 Aravantinos 1856, 12, Oikonomou 1969, 19 9 Aggelopoulos 1992, 34 10 Papa 2009, 46 11 Manta 1995, Kiriazi 1994, 17-18, Nistazopoulou & Pelekidou 1972 366 intellectual culture, education and community action; e.g., the abbey of Ravenion, Pepelis, Dryanou, Tsepou, etc.12 This period will be stamped with a new wave of martyrs for their faith, with the characteristic forms of holy Kosmas Aetolian, holy Christos the Gardener, the Osiomartyr Nicodemus of , St. James Arvanitis from Korca, etc. Epirus was a established region on its own with its , constituting Vilayet. It was divided into itself north and south by the Protocol of Florence in 1913. In the 20th century with the creation of the Albanian state an issue of an independent Albanian Church was raised as the Church emancipation would help consolidate political independence. The climate that was underway in the early years of independence was expressed with coup in in 1922 with the proclamation of autocephaly of the Church. Until 1937 that the Autocephalous of the Church of Albania would officially be given there would have been 15 years of upheaval. In this interval several attempts to resolve were unsuccessful. The problem finally resolved in the spring of 1937 with the release of the Patriarchal and Synodical Tome blessing the Autocephalous Orthodox Church of Albania.13 The above volume included the creation of four ecclesiastical districts: a. Tirana, Durres and Elbasan b. Koritsa c. Gjirokastra (Gjirokastra, Pogoni, Delvino, Saints Saranda and Himara Premeti) d. Berat, Vlora and Kaninis. Unfortunately, the progress of the Albanian Church halted the Second World War and later in 1944 the rise of Albanian communists under the command of Enver Hotza. The anti-religious and illiberal policy gradually escalated with the nationalization of all church property, the governmental intervention and control of the statutes of the Church. The political practices of the authorities were reported repeatedly to the Ecumenical Patriarch Athenagoras. Corollary whereof the Albanian authorities to declare in 1967 that they were the first Marxist atheist state in the world, with tragic consequences for all religious communities in the coming years, as the closing of churches, monasteries, the defrocking of priests, persecution and martyrdom.14 Today the Diocese of Gjirokastra has spiritual leader the Bishop Demetrios Ntilmpasani (Sinaiti).

Post- in Albania

The Ottoman occupation led to temporary standstill of cultural development that had previously been observed –in ecclesiastical architecture and art- from the 10th to the 15th century. Important monuments that have survived from the previous period bear witness to the high level of art and architectural tradition of the place, influenced by the broader Byzantine and post-Byzantine surroundings. Typical examples in the area of Gjirokastra is the church of the Virgin Mary in the Upper Labovo, work of 10th century fine art, the church of Episkopi in the 10th century, the Monastery of St. Nicholas in Mesopotamo, the church of Panagia of Vlacherna in Berat. In Shkodra district, the church of St. Sergius and Bacchus, 13th century, etc.15 From the second half of the 16th and 17th centuries new churches were built and older ones were restored.16 The key features of the temples of this period are initially the

12 Kamaroulias 1996, Giakoumis 1997 13 Bishop Alexoudis 1869, 116, Glavinas 1985, 32-39 14 Bishop Anastasios 2004, Dorkofiki 1991, 33, Voulgaraki 1997, 43-44 15 Giakoumis 1994, 27-33 16 Thomo 2002, 61 367 small dimensions, the existence of loggia, the central axis of the temple is longer, the are over a cylindrical multifaceted drum etc. Typical churches of this period are the Sotirar in Tremist Premetis (1540 - 1560), St. Athanasius in Mazar Polytsanis (1513), the monastery of Prophet Elias in Georgoutsates, the Virgin of Zervati (1569) Vrachogorantzi etc. This church building activity reaches its peak in the mid 18th century, with typical buildings: in Berat, the of Virgin Mary (1797), in Mouzakia overtops (stands) the monastery of Ardefousis (Ardenitsas), the Church of Saint George in Limpofs (1776), temples of Moschopolis etc. From the mid-19th century, however, a decline in architectural creation of this kind (church building) is observed, manifested by the non noticeable avocation of craftspeople aiming at the synthesis of new types and architectural creations. The variety of types makes their ranking difficult, if not diverse. Overall, the typological one would the best in ranking based on two factors: (a) planimetric composition and (b) the structural organizing, which plays a key role in the internal and external configuration of the building. The classification of the monuments discussed starts from the simplest forms to the most complex ones, revealing the period classification as much as possible, which is also evidenced in the grouping of the types. The types of churches are as follows:17 a. Single aisled churches b. Cross with c. .

Post-Byzantine painting in Albania

The 15th century was a turning point in the history of the Balkans with several difficulties due to the Ottoman occupation that made the artistic-painting tradition, temporarily weak and powerless to continue its course.18 Gradually, however, the artistic osmosis in the Balkans during the was characterized by the internal movement of the artists. It was not unusual for instance, for artists coming from Western countries to migrate while artists from Albania would move to other areas, such as .19 The Post-Byzantine period in Albania started in the first quarter of the 16th century. In the 15th century there was not any significant artistic activity due to military operations and gradual occupation of Albania by the Ottomans. The post-Byzantine painting in Albania can be grouped into 4 groups: a. painting of Berat and middle Albania, b. Korca’s and southeastern Albania c. the painting associated with the school of Crete d. and Mount Athos.20 The art of painting of these groups have common elements in the Balkan peninsula, creating a tradition derived from Byzantium, now expressed under different data.21 Chief exponent of this post-Byzantine painting is Onoufrios-a priest from Elbasan.22 This great artist is imbued by the Byzantine tradition, but also assimilates the

17 Thomo 1998, 236-246 18 Nistazopoloulou-Pelekidou 2000, 31 19 Popa 1967 20 Popa 1967 21 Dhorka 1974, 11 22 Jakumis 2004, Tourta 1997, Popa 1966 368 creative influences of Western art of his time. In the compositions of Onoufrios, the viewer is surprised by the balance and the mix of warm colors with a very personal style, the eclecticism of traditional patterns as well as the vivid dramatic element that possibly mirrors the difficult living conditions of Christianity.23 ’s successors were his son Nikola and his partner Ioannis. Another distinguished painter was Onoufrios Kypriotis with important and valuable in his work.24 The painting of Berat both maintained the traditional patterns of Byzantine painting and accepted the effect from the influences of , thus it evolved into a style-free technique influenced to some extent by newborn aesthetic perceptions. The painting in Gjirokastra which was developed during the 17th century and less in the 18th century, belongs to the well known post-Byzantine painting of Mount Athos. The main representative of the school of Athos is Michael from Linotopi whose works are preserved in the Prophet Elijah Georgoutsates, the Monastery of the Annunciation Vanistas etc. Other important painters are the children of Michael, Constantinos and Nicholaos, Michael from Zerma, Constantinos Spatarakos etc. The painting of the Korca zone was developed during the 18th century and the first half of the 19th century. The activity of this group is linked to economic growth observed in a number of cities such as Moschopolis. Rich guilds helped to rebuild churches and develop this art. Main representative is David Selenitsas, who is also considered to be a distinct representative of ecclesiastical art in Albania. Other representatives of this kind of art are Constantinos and Athanasius from Zografou family of Korca as well as their children Terpos and Efthimios and the Grammovarides painters George and John Tsetiri with their children and nephews. The painting of the Korca team has as a starting point the art of Mount Athos, though it is being developed with their own particularity. It is dominated by ethnographic figures25 in conjunction with the socio-economic conditions that were developed and the effect of the various currents coming from outside the country through Moschopolis merchants who visited European countries for commercial purposes.26 The tradition of post-Byzantine painting in Albania ends with the Gkrammovarous painters. The new sociopolitical conditions that were created in the early 19th century, opened up new horizons for culture and art in Albania on new social, popular, and ethnic bases and thus, the conditions for the development of post- connected with the old church tradition disappear forever.

The summary

Η διάδοση του χριστιανισµού στην Αλβανία συντελέστηκε από τα πρώτα χριστιανικά χρόνια, κάτι που µαρτυρείται από την παρουσία και τη διάσωση µέχρι και σήµερα ενός πολύ σηµαντικού αριθµού µνηµείων χριστιανικής λατρείας. Κατά το δεύτερο µισό του προηγούµενου αιώνα τα µνηµεία αυτά θα περάσουν µια µεγάλη περιπέτεια που όµοια της δεν είχαν περάσει ξανά. Πολλά από αυτά, λόγω της υψηλής µνηµειακής αξίας τους, τέθηκαν υπό κρατική επίβλεψη µε την ιδιότητα του διατηρητέου Πολιτιστικού µνηµείου κατά την περίοδο του αθεϊστικού καθεστώτος του Ενβέρ Χότζα. Με αυτόν τον τρόπο κατόρθωσαν να διασωθούν και να αποφύγουν την καταστροφή, κάτι που δεν

23 Church of Albania 2012 24 Jiochalas-Evert 1993, 81, Chatzidakis-Drakopoulou 1997, 258 25 Puzanova 1958 26 Chatzopoloulou 2001, 270, Martiniatos 1957 369 µπόρεσαν να πετύχουν µνηµεία µικρότερης αξίας, κατά την µακρόχρονη περίοδο του διωγµού της θρησκείας. Η σωτηρία ήλθε το 1990 µε την έκπτωση του κοµµουνιστικού καθεστώτος και την εκλογή του κ. Αναστασίου στην ηγεσία της Αρχιεπισκοπής. Από τα πρώτα µελήµατα του Μακαριότατου υπήρξε η επισκευή, αναστήλωση, συντήρηση αλλά και η ανέγερση νέων ναών δεδοµένου ότι οι πρώτες Θ. Λειτουργίες αλλά και οι λατρευτικές συνάξεις τελούνταν είτε σε ερειπωµένους ναούς, είτε στην ύπαιθρο -εκεί που παλαιότερα υπήρχαν ναοί και µονές. Αποτέλεσµα αυτής της µεγάλης προσπάθειας ήταν µέσα σε 20 χρόνια να αναστηλωθούν 60 ιστορικά εκκλησιαστικά κτίσµατα µε βάση επιστηµονικές εργασίες αποκατάστασης και σωστικές επεµβάσεις ενώ παράλληλα ανεγέρθηκαν εκ θεµελίων πάνω από 150 νέοι ναοί και ανακατασκευάστηκαν εξ ολοκλήρου ή µερικώς 160 ναοί. Η Ορθόδοξη Αυτοκέφαλος Εκκλησία της Αλβανίας κατέβαλε και καταβάλει άοκνες προσπάθειες για την διάσωση και συντήρηση της πολιτιστικής κληρονοµιάς µε γνώµονα την ανάδειξη της πλούσιας διαχρονικής Ορθόδοξης παράδοσης στη χώρα. Η Ορθόδοξη Αυτοκέφαλη Εκκλησία της Αλβανίας ιδρύθηκε µε τον Πατριαρχικό και Συνοδικό Τόµο του 1937, από το Οικουµενικό Πατριαρχείο της Κωνσταντινούπολης.

Η Μεταβυζαντινή αρχιτεκτονική στην Αλβανία

Η οθωµανική κατοχή προκάλεσε προσωρινή παύση της πολιτιστικής ανάπτυξης που είχε προηγουµένως παρατηρηθεί -στην εκκλησιαστική αρχιτεκτονική και τέχνη- από τον 10ο µέχρι τον 15ο αιώνα. Απόο τ δεύτερο µισό του 16ου και τον 17ο αιώνα ανεγείρονται νέες εκκλησίες και αναστηλώνονται παλαιότερες. Τα βασικά χαρακτηριστικά των ναών αυτής της περιόδου είναι αρχικά οι µικρές διαστάσεις, η ύπαρξη χαγιατιού, ο κεντρικός άξονας του ναού είναι πιο µακρύς, οι τρούλοι είναι πάνω σε κυλινδρικό πολυπρόσωπο ταµπούρο κ.α. Στη συνέχεια, από τα µέσα του 19ου αιώνα, παρατηρείται παρακµή στην αρχιτεκτονική δηµιουργία αυτού του είδους (ναοδοµία), παρακµή η οποία εκδηλώνεται και µε τη µη αισθητή πλέον ενασχόληση τεχνιτών µε σκοπό τη σύνθεση νέων τύπων και αρχιτεκτονικών δηµιουργιών.

Η Μεταβυζαντινή ζωγραφική στην Αλβανία

Ο 15ος αιώνας αποτελεί κοµβικό σηµείο στην ιστορία των Βαλκανίων µε αρκετές δυσκολίες λόγω τις οθωµανικής κατοχής που κατέστησε την καλλιτεχνική-ζωγραφική παράδοση, προσωρινά ισχνή και ανίσχυρη να συνεχίσει την πορεία της. Η µεταβυζαντινή ζωγραφική στην Αλβανία µπορεί να ταξινοµηθεί σε 4 οµάδες: α) η ζωγραφική Βερατίου και Μεσαίας Αλβανίας, β) Κορυτσάς και νοτιοανατολικής Αλβανίας, γ) η ζωγραφική η σχετιζόµενη µε τη σχολή της Κρήτης δ) και το Άγιο Όρος Η ζωγραφική τέχνη αυτών των οµάδων παρουσιάζει κοινά στοιχεία στη βαλκανική χερσόνησο, συνθέτοντας µια παράδοση προερχόµενη από το Βυζάντιο που πλέον εκφράζεται κάτω από άλλα δεδοµένα. Κύριοι εκφραστές αυτής της ζωγραφικής είναι: Ο Ονούφριος-ιερέας από το Ελµπασάν, ο γιος του Νικόλας και ο συνεργάτης του Ιωάννης, ο Ονούφριος ο Κυπριώτης, ο Μιχαήλ από το Λινοτόπι, ο Κωνσταντίνος Σπαταράκος, ο ∆αβίδ Σελενίτσας, ο Κωνσταντίνος και ο Αθανάσιος από την οικογένεια Ζωγράφου της Κορυτσάς, καθώς και οι Γραµµοβάρηδες ζωγράφοι Γεώργιος και Ιωάννης Τσετήρι µε τα παιδιά και ανίψια τους.

370 Με τους Γκραµµοβάρους ζωγράφους κλείνει η παράδοση της µεταβυζαντινής ζωγραφικής στην Αλβανία. Οι νέες πολιτικοκοινωνικές προϋποθέσεις οι οποίες δηµιουργηθήκαν στις αρχές του 19ου αιώνα, ανοίγουν νέους ορίζοντες για τον πολιτισµό και την τέχνη στην Αλβανία πάνω σε νέες βάσεις κοινωνικές, λαϊκές και εθνικές και εξαλείφονται έτσι διαπαντός οι προϋποθέσεις ανάπτυξης της µεταβυζαντινής τέχνης συνδεόµενης µε την παλαιά εκκλησιαστική παράδοση.

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Published proceedings, published, contribution to a symposium, article or chapter in an edited book

Giakoumis, G., “The monasteries in Albania [Τα µοναστήρια στην Αλβανία]”, Νewspaper Κathimerini (1997, January 19). Giakumis K., “Intuitive assessment of the work of the painter Onoufriou and a testament to the central Albania. Vlerësim estetik I veprës së piktorit Onufri dhe dëshmia e tij në Shqiperinë e mesme,” in: Vasilis Iatrou (ed.), Mijëvjeçari i ri miqësisë heleno- shqitare, Tirana: 2004, 183. Giannoulatos A., “Reconstitution of the Orthodox Autocephalous Church of Albania [H ανασύσταση της Ορθοδόξου Εκκλησίας της Αλβανίας],” in: Vasilis Iatrou (ed.), New millennium Greek-Albanian friendship [Νέα χιλιετηρίδα Ελληνοαλβανικής φιλίας], Tirana: Laiko Vima Press 2003, 11-17.

372 Manda E., “The use of the Greek alphabet for writing the : A first approach [Η χρήση του Ελληνικού αλφαβήτου για τη γραφή της αλβανικής γλώσσας: Μια πρώτη προσέγγιση],” Periodiko Valkanika Simmikta 7 (1995), 9-18. Martiniatos I., “The Moschopolis 1330-1930,” in: Presented at the International Symposium "Moshopoli" of the Thessaloniki Society for Macedonian Studies. Thessaloniki 1957, October-November. Mavrikou M., “The Gjirokaster Ι loved [Το Αργυρόκαστρο που αγάπησα].” in: Vasilis Iatrou (ed.), Gjirokastrer Legend and Reality [Αργυρόκαστρο θρύλοι και πραγµατικότητα], Gjirokaster: Laiko Vima Press 2002, 71-72. Nistazopoulou-Pelekidou M., “Foreign language texts in Greek script [Ξενόγλωσσα κείµενα µε ελληνική γραφή],” Ο Eranistis 10 (1972), 79-85. Popa, T. “Materials inscriptions in churches of our land as a source for the history of our people: First conference Albanological studies 1962 [Materialet epigrafike kishtare të vendit si burime për historinë e kulturës së poppulit tone,” in: Konferenca e parë e studimeve Albanologjike 1962] Tirana: (1965), 567. Popa, T. “New elements about the painter Onoufrio [Τë dhana të reja rreth piktor Onufrit,” Studime Historike (1966), 141. Popa T., “Some general considerations of post-Byzantine painting in Albania [Disa konsiderata të përgjithshme rreth picturës postbizantine në Shqipni],” Studime Historike (1967), 95. Puzanova, V., “Over the of the 18th century [Prapë mbi artin Shqiptar të shekullit XVIII],” Buletin i Universitetit Shetëror të Tiranës, Seria Shkencat Shoqerore 2 viti XII Tiranë (1958), 153. Thomo, P., “Upholding the reuse and enhancement of monuments polite task [Η προάσπιση, η επανάχρηση και η ανάδειξη των µνηµείων ευγενικό καθήκον],” in: Vasilis Iatrou (ed.), Nea Hilietirida Ellenoalvanikis Filias, Tirana: 2004, 163-164. Thomo, P., “The ecclesiastical architecture in the region Gjirokastra,” in: Vasilis Iatrou (ed.), Gjirokastra Legends and Reality [Η εκκλησιαστική αρχιτεκτονική στην περιφέρεια Αργυροκάστρου: Αργυρόκαστρο Θρύλοι και πραγµατικότητα], Gjirokaster: Laiko Vima Press 2002, 60-61. Tourta A., “Religious painting [Η θρησκευτική ζωγραφική],” Κathimerini Νewspaper (1997 January 19).

Unpublished paper presented at a conference

Koutsos V., Considerations on education in the Greek national minority [Προβληµατισµοί για την παιδεία στο χώρο της Ελληνικής εθνικής µειονότητας]. Day Conference. Gjirokaster 2002, January 30/31.

Unpublished Master/ Doctoral dissertation

Papa E., The Province of Drinoupolis in Northern Epirus during the later period [Η επαρχία ∆ρυϊνουπόλεως της Β Ηπείρου κατά τη νεώτερη περίοδο]. Unpublished doctoral dissertation. Aristotle University, Thessaloniki: 2009, 46.

373 Јанис Сариjанидис Елени Г. Гавра

ПОСЛЕВИЗАНТИЈСКА ЦРКВЕНА АРХИТЕКТУРА И УМЕТНОСТ У ЂИРОКАСТРУ НА ЈУГУ АЛБАНИЈЕ И УЛОГА ПРАВОСЛАВНЕ ЦРКВЕ У ЊЕНОМ ОЧУВАЊУ

Присуство и очуваност великог броја хришћанских споменика у Албанији је чињеница. Албанска православна црква је уложила огромне напоре да спаси и очува ово културно наслеђе, вођена жељом да прикаже богату и безвремену православну традицију у овој земљи. Циљ овога рада био је да представи поствизантијске споменике у области Албаније (историја, архитектура, сликарство), те укаже на допринос цркве њиховом очувању.

374