Books by Ioannis Tsiouris
Papers by Ioannis Tsiouris
Φως Ιλαρόν, Αφιέρωμα στη μνήμη Αθανασίου Παλιούρα, Athens 2024
Balcanoslavica 49, 2020
In post-Byzantine art, especially in icons, began to appear that portrayed the contemporary mirac... more In post-Byzantine art, especially in icons, began to appear that portrayed the contemporary miracles of local saints. As a result of the Western influences these icons display an attempt to render the space surrounding the central historical event in a more realistic and less idealised way. The painters' penchant for realism, though always within the constraints of Byzantine art, combined with a refined portrayal of individual historical incidents and an idealised depiction of architectural ensembles, gives us a body o f work that provides a wealth of information and is open to multiple interpretations.
DChAE 42, 2021
A portable icon of St Nicholas is preserved in the church of Holy Apostles Peter and Paul in the ... more A portable icon of St Nicholas is preserved in the church of Holy Apostles Peter and Paul in the village of Kastraki, near Meteora. The depiction of St Nicholas in restrained motion, the commanding figure, the rendering of his facial features, the bare parts of the Saint, as well as of Christ and the Virgin and also the halo’s decoration attest to the work of a remarkable painter. The iconographic and, above all, the stylistic features date the icon in the last quarter of the 14th century.
International Symposium in honour of Emeritus Professor George Velenis, Proccedings, 2021
Ζείδωρος Υετός. Τιμητικός Τόμος στον Καθηγητή Δημήτριο Τριανταφυλλόπουλο, 2019
Ιωάννης ΤΣΙΟΥΡΗΣ Μία άγνωστη τοιχογραφημένη σύνθεση Βαπτίσεως του Χριστού με σκηνές του βίου του ... more Ιωάννης ΤΣΙΟΥΡΗΣ Μία άγνωστη τοιχογραφημένη σύνθεση Βαπτίσεως του Χριστού με σκηνές του βίου του αγίου Ιωάννη του Προδρόμου στην Κέρκυρα (Πίνακες 112-114) Η μνημειακή ζωγραφική της μεταβυζαντινής περιόδου στην Κέρκυρα έχει μελετηθεί από τον Καθηγητή Δημήτριο Τριανταφυ όπουλο 1 . H ύπαρξη στο νησί ικανού αριθμού εντοίχιων συνό ων μαρτυρεί μια πλούσια παραγωγή, η οποία συνδυάζεται με την, επίσης, αντίστοιχης σημασίας κυκλοφορία φορητών εικόνων 2 . Παρά, όμως, την ύπαρξη τοιχογραφημένων ναών ήδη από τη μεσοβυζαντινή εποχή 3 , από τον 17ο αιώνα η τοιχογράφηση φθίνει, με αποτέ εσμα, κυρίως κατά τον 18ο αιώνα, να περιορίζεται συνήθως στο Ιερό και μά ιστα όχι σε ό ους τους ναούς. Το φαινόμενο αυτό είναι πιο αισθητό εντός της πό εως της Κέρκυρας, όπου παρατηρείται σημαντική απουσία τοιχογραφημένων συνό ων 4 .
1st International Conference on the Archaeology and History of Thesprotia, Proceedings vol. II, 2019
Art Studies Quarterly , 2017
ΔΩΔΩΝΗ (DODONE), 2017
Θερμά ευχαριστώ για την εμπιστοσύνη και την παντοειδή διευκόλυνση και βοήθεια τον πανοσιολογιότατ... more Θερμά ευχαριστώ για την εμπιστοσύνη και την παντοειδή διευκόλυνση και βοήθεια τον πανοσιολογιότατο ηγούμενο της Ιεράς Μονής Δουσίκου κ. Ιγνάτιο, τον πατέρα Βησσαρίωνα και τους λοιπούς πατέρες της μονής. Επίσης, ευχαριστίες οφείλω στον ανώνυμο κριτή για τις καίριες παρατηρήσεις του. 1. Για την αρχιτεκτονική του νάρθηκα βλ. Βογιατζής 2000, σσ. 37, 45. 2. Το βόρειο παρεκκλήσιο, των Εισοδίων της Θεοτόκου, τοιχογραφήθηκε το 1675, ενώ το νότιο, του Αγίου Ιωάννη του Προδρόμου, το 1693. Για την αρχιτεκτονική των δύο παρεκκλησίων βλ. Βογιατζής 2000, σσ. 37-38. Για τις επιγραφές βλ. Σοφιανός 1984, σσ. 31-36. Ο τοιχογραφικός τους διάκοσμος δεν έχει μελετηθεί. 3. Σοφιανός 1984, σσ. 36 κ.ε. ΙΩΑΝΝΗΣ ΤΣΙΟΥΡΗΣ Ο ΔΙΑΚΟΣΜΟΣ ΤΟΥ ΝΑΡΘΗΚΑ ΤΩΝ ΠΑΡΕΚΚΛΗΣΙΩΝ ΣΤΟ ΚΑΘΟΛΙΚΟ ΤΗΣ ΜΟΝΗΣ ΔΟΥΣΙΚΟΥ ΤΡΙΚΑΛΩΝ Εἰς μνήμην Ἀθανασίου Παλιούρα Ὀβολὸς ἀντὶ στατῆρος Ο νάρθηκας των παρεκκλησίων του Τιμίου Προδρόμου και των Εισοδίων της
DChAE 38,, 2017
The relatively unknown icon of St. George the Dragonslayer is kept in the Church of Aghioi Patere... more The relatively unknown icon of St. George the Dragonslayer is kept in the Church of Aghioi Pateres (the Holy Fathers) in the town of Corfu. The manner in which St. George is depicted, the portrayal of figures with realistic Western-style features, the pronounced decorative tendency, types of armour, horse's tack and certain architectural features all connect this icon with the work of George Klontzas. The icon's iconographical and stylistic features suggest that it was executed by George Klontzas himself and indicate a dating to the last quarter of the 16th century. ΔΧΑΕ ΛΗ΄ (2017), 247-258 Η σχετικά άγνωστη εικόνα του αγίου εωργίου δρακοντοκτόνου φυλάσσεται στον ναό των Αγίων Πατέρων στην πόλη της Κέρκυρας. τρόπος απεικόνισης του αγίου εωργίου, η απόδοση μορφών με δυτικότροπα ρεαλιστικά χαρακτηριστικά, η έντονη διακοσμητική διάθεση, τα είδη των πανοπλιών, η ιπποσκευή και συγκεκριμένα αρχιτεκτονικά στοιχεία συνδέουν την εικόνα με το έργο του εωργίου Κλόντζα. Τα εικονογραφικά και τεχνοτροπικά χαρακτηριστικά οδηγο ν στην αναγνώρισή της ως αυτόγραφο έργο του εωργίου Κλόντζα και στη χρονολόγησή της στο τελευταίο τέταρτο του ου αιώνα. Ioannis Tsiouris AN UNKNOWN WORK BY GEORGE KLONTZAS: THE ICON OF ST. GEORGE THE DRAGONSLAYER IN CORFU Λέξεις κλειδιά 16ος αιώνας, μεταβυζαντινή ζωγραφική, φορητές εικόνες, ζωγράφος Γεώργιος Κλόντζας, άγιος Γεώργιος δρακοντοκτόνος, Κέρκυρα.
Iconographica, 2016
This paper aims to discuss a vita icon of St John the Baptist, which is in the Church of St John ... more This paper aims to discuss a vita icon of St John the Baptist, which is in the Church of St John the Baptist "at the Cisterns", in the city of Corfu. The winged saint is depicted in the centre of the icon, standing and turned to his right, where Christ is blessing him. Twenty-one scenes of his life surround the saint's figure: the most comprehensive iconographic cycle of the life of the saint from the first few centuries of the post-Byzantine era. The depiction of St John does not differ from the type which was established by the painter Angelos in the 15 th century. The iconographic types of the majority of the scenes of the saint's life derive from a creative fusion of Byzantine influences and corresponding Western Catholic art. The paintings display the artist's ease with both traditions, suggesting that he was apprenticed and worked in a milieu that was familiar with both Byzantine and Western Catholic styles of painting. The same conclusion is suggested by a study of the stylistic features. These elements reveal a highly capable painter and miniaturist, characterized by eclecticism and an osmosis of the two traditions. The icon can be dated a little after the middle of the 16 th century and can be attributed to one of the most important Cretan workshops. OSMOSIS OF BYZANTINE ART AND VENETIAN MANNERISM 153 3. Corfu, Church of St John the Baptist, third quarter of 16 th century, The Annunciation of Zacharias and the Birth of the Baptist. 157 8. Corfu, Church of St John the Baptist, third quarter of 16 th century, Preaching in the region of the Jordan.
In the narthex of the katholikon of Petra Monastery, there is the only hitherto narration of the ... more In the narthex of the katholikon of Petra Monastery, there is the only hitherto narration of the Life of the saint Philotheos of Dionysiou Monastery. The saint, who probably lived in the 15th century, was honoured particularly in the area since the monastery of Petra kept the skull of him. The narthex was painted in 1789 by the painter Konstantinos.
The painter illustrated the episodes from St. Philotheos’ Life. These are as follows: In the first episode is illustrated the presentation of two brothers to a Turkish offcial and their choosing as Janissaries. The second episode refers to in the miraculous liberation of the two children by the Virgin Mary. In the third scene it is illustrated the recognition of children by their mother. The last scene depicts the Deposition of the saint’s dead body and the Finding of the skull. In total, then, these scenes are the only hitherto known illustrations of the Life of St. Philotheos. The skill and ingenuity of the artist allowed him to take from the Byzantine iconographic tradition and from Western sources and devise the iconographic types of the scenes.
![Research paper thumbnail of ΠΡΩΤΗ ΠΡΟΣΕΓΓΙΣΗ ΣΤΟ ΕΡΓΟ ΤΟΥ ΔΑΝΙΗΛ ΚΟΚΛΑ. ΤΡΙΠΤΥΧΟ ΜΕ ΣΚΗΝΕΣ ΔΩΔΕΚΑΟΡΤΟΥ ΚΑΙ ΔΕΥΤΕΡΑΣ ΠΑΡΟΥΣΙΑΣ ΣΤΗΝ ΚΕΡΚΥΡΑ (1818) [A FIRST APPROACH IN THE PAINTING OF DANIEL KOKLAS. A TRIPTYCH WITH SCENES OF THE DODEKAORTON AND THE LAST JUDGMENT IN CORFU (1818)]](https://attachments.academia-assets.com/40700889/thumbnails/1.jpg)
In the church of Virgin Mary of Foreigners ("Panagia ton Xenon") in Corfu town, there is a tript... more In the church of Virgin Mary of Foreigners ("Panagia ton Xenon") in Corfu town, there is a triptych of the early 19th century. According to an inscription, it is dated in 1818 and the painter is Daniel Koklas.
The Last Judgment and the Dodecaorton are depicted in the triptych. The majority of the iconographic types of Dodekaorton's scenes follow the Byzantine iconographic tradition with the exception of some of them, which are originated from Western art. At the Last Judgment, the structure of the theme follows the tradition of post-Byzantine era with variations mainly in individual scenes or persons which are depicted. As for the stylistic features, it is an apparent effort to preserve tradition as it is conceived in the post-Byzantine era.
The research reveals a painter who combines the tradition of religious art from the 18th century, with a balanced composition of western trends and Byzantine art, as it was survived in the post-Byzantine period.
The wall-paintings in the lite of the katholikon of Petra Monastery were executed by the painter ... more The wall-paintings in the lite of the katholikon of Petra Monastery were executed by the painter Constantine and date from 1789. The iconographic programme includes, among other themes, a depiction of the Apocalypse and what is so far a unique portrayal of the Life of St. Philotheos of Dionysiou. The mural decoration stands out from that of published 18th-century works for the painter’s eclecticism, the diverse sources of inspiration and their absorption into a stylistically uniform whole, which testifies to the existence of a creative force in late 18th-century painting.
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Books by Ioannis Tsiouris
Papers by Ioannis Tsiouris
The painter illustrated the episodes from St. Philotheos’ Life. These are as follows: In the first episode is illustrated the presentation of two brothers to a Turkish offcial and their choosing as Janissaries. The second episode refers to in the miraculous liberation of the two children by the Virgin Mary. In the third scene it is illustrated the recognition of children by their mother. The last scene depicts the Deposition of the saint’s dead body and the Finding of the skull. In total, then, these scenes are the only hitherto known illustrations of the Life of St. Philotheos. The skill and ingenuity of the artist allowed him to take from the Byzantine iconographic tradition and from Western sources and devise the iconographic types of the scenes.
The Last Judgment and the Dodecaorton are depicted in the triptych. The majority of the iconographic types of Dodekaorton's scenes follow the Byzantine iconographic tradition with the exception of some of them, which are originated from Western art. At the Last Judgment, the structure of the theme follows the tradition of post-Byzantine era with variations mainly in individual scenes or persons which are depicted. As for the stylistic features, it is an apparent effort to preserve tradition as it is conceived in the post-Byzantine era.
The research reveals a painter who combines the tradition of religious art from the 18th century, with a balanced composition of western trends and Byzantine art, as it was survived in the post-Byzantine period.
The painter illustrated the episodes from St. Philotheos’ Life. These are as follows: In the first episode is illustrated the presentation of two brothers to a Turkish offcial and their choosing as Janissaries. The second episode refers to in the miraculous liberation of the two children by the Virgin Mary. In the third scene it is illustrated the recognition of children by their mother. The last scene depicts the Deposition of the saint’s dead body and the Finding of the skull. In total, then, these scenes are the only hitherto known illustrations of the Life of St. Philotheos. The skill and ingenuity of the artist allowed him to take from the Byzantine iconographic tradition and from Western sources and devise the iconographic types of the scenes.
The Last Judgment and the Dodecaorton are depicted in the triptych. The majority of the iconographic types of Dodekaorton's scenes follow the Byzantine iconographic tradition with the exception of some of them, which are originated from Western art. At the Last Judgment, the structure of the theme follows the tradition of post-Byzantine era with variations mainly in individual scenes or persons which are depicted. As for the stylistic features, it is an apparent effort to preserve tradition as it is conceived in the post-Byzantine era.
The research reveals a painter who combines the tradition of religious art from the 18th century, with a balanced composition of western trends and Byzantine art, as it was survived in the post-Byzantine period.