The aim of this paper is to present three different kinds of containers for the Eucharist (kivotia) that are attested in the Post-Byzantine Balkans, discussing if their shape was connected to the Byzantine tradition or if, on the contrary, it represented a break with tradition. This paper also tries to highlight the reason that, in the latter case, made that change possible and acceptable in a really conservative context, as Post-Byzantine Southeast Europe was, especially in regards to themes directly or indirectly connected to the very central topic of religious identity. I strongly believe that the analysis of the elements of discontinuity in the artistic production may allow to a complementary better understanding of the key elements consolidated by tradition: for example, the importance of architectural representation in the (Post-)Byzantine culture, which, as a general concept, has already been highlighted in the bibliography. Based on the assumption that architectural objects are animated by a spiritual, philosophical, or artistic intention, the symbolic prototype which is at the base of each different kind of architectural kivotion will be investigated: it will help understand its specific additional message and will contribute to a better understanding of the cultural, religious and political context in which it finds its origin.
Elements of continuity and discontinuity in the Orthodox kivotia of Southeast Europe
anita paolicchi
2019-01-01
Abstract
The aim of this paper is to present three different kinds of containers for the Eucharist (kivotia) that are attested in the Post-Byzantine Balkans, discussing if their shape was connected to the Byzantine tradition or if, on the contrary, it represented a break with tradition. This paper also tries to highlight the reason that, in the latter case, made that change possible and acceptable in a really conservative context, as Post-Byzantine Southeast Europe was, especially in regards to themes directly or indirectly connected to the very central topic of religious identity. I strongly believe that the analysis of the elements of discontinuity in the artistic production may allow to a complementary better understanding of the key elements consolidated by tradition: for example, the importance of architectural representation in the (Post-)Byzantine culture, which, as a general concept, has already been highlighted in the bibliography. Based on the assumption that architectural objects are animated by a spiritual, philosophical, or artistic intention, the symbolic prototype which is at the base of each different kind of architectural kivotion will be investigated: it will help understand its specific additional message and will contribute to a better understanding of the cultural, religious and political context in which it finds its origin.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
