Patterns of Patronage in Cappadocia, 6th – 13th c.

Contributors

• Program funding: Foundation of the Hellenic World
• Web-site funding: The National and Kapodistrian University of Athens, Special Account for Research Grants, program Kapodistrias
• Scientific Supervisor – Editor: Professor Sοphia Kalopissi - Verti
• Researchers – Authors: Anastassia Vassiliou, Konstantina Tsiorou, Georgia Foukaneli, postgraduate students of Byzantine Archaeology
• Database design, development & support: Tasos Bellas
• Web design: Dimitris Emiris
• Image scanning: Lambros Travlos, postgraduate student of Byzantine Archeology
• English Translation: Angelika Antonakos, postgraduate student of Byzantine Archaeology

Acknowledgments – Photographic credits:

• Liza Evert
• Maria Fakidi
• Vassilis P. Kekis
• Dora Minaidi
• Idiomorphe editions
• Verlag der Österreichischen Akademie der Wissenschaften

Patterns of Patronage in Cappodocia (6th – 13th century)

The subject of the research program entitled “Patterns of Patronage in Byzantine Cappadocia” was the electronic registration and study of the published dedicatory inscriptions and donor portraits in the churches of Cappadocia, from the 6th to the 13th century. This program was carried out at the University of Athens with the funding of the Foundation of the Hellenic World from 1997-1999.

The scientific supervisor- editor was Sophia Kalopissi-Verti, Professor of Byzantine Archaeology. Post-graduate students of Byzantine Archaeology Anastassia Vassiliou, Konstantina Tsiorou, Georgia Foukaneli worked on the program. Tasos Bellas provided the design of the database and technical support.

The program was presented at the Second Meeting of Byzantinists from Greece and Cyprus, University of Athens 24-26 September1999, see Eisegeses-Ereunetika Programmata-Perilepseis Anakoinoseon,Athens 2000, pp. 124-127.

The development of the website “Patterns of Patronage in Cappadocia (6th – 13th c.)” was funded by the University of Athens. It hosts information and findings from the initial research program, following further analysis and bibliographical updates by the same research team. Demetris Emiris, with the assistance of Tasos Bellas, was responsible for the technical implemention. It is to be hoped that the interactive presentation of this data will provide a tool of study for students of Byzantine Archaeology and to anyone also interested. The improvement of the website through photographic evidence, whenever on site research is possible, is the future objective of the research team.

Aims and content of the program

The aim of the program is the collection and evaluation of a considerable amount of information on the work of donors and supplicants who were active in the churches of Cappadocia from the end of the 6th to the 13th century. The investigation is based on published material.

Short introductory sections present the geographical and historical framework of medieval Cappadocia, the ecclesiastical organization, the development of monasticism, contemporary research, and the conjecture of specialists on the chronology of the monuments. In addition, Cappadocian art is examined within the context of the development of monumental painting in Byzantium, with emphasis on its distinctiveness and relationship to the dominant artistic trends of Byzantium.

The main focus of research is the evidence of dedicatory inscriptions and donor portraits. All the information drawn from this evidence is examined: the position of the inscription or the portrait in the iconographical program of church, the correlation with other representations, the content but also the style and language of the texts, the information on other persons mentioned, such as emperors, lay and church officials, painters and other craftsmen. Particular emphasis is put on those components which reveal the social origin of the donors or supplicants, their position in the administrative and ecclesiastical hierarchy, their connection to the central administration or to local society. This information is examined in conjunction with the iconographical program, stylistic tendencies and the overall artistic quality of the painted decoration in an attempt to convey the character of each monument.

A catalogue of the Cappadocian monuments preserving evidence of patronage supplements the study. Here the sum of the information from dedicatory inscriptions and portraits is briefly evaluated in combination with the quality and particularities of the monument.

Sophia Kalopissi - Verti