The Hermitage of St. Neophytos and Its Wall Paintings

Mango, Cyril; Hawkins, Ernest J. W.

doi:10.2307/1291245

Cited by 17 publications

(4 citation statements)

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“…For the paintings in the Naos (first stratum) the terminus post quem was established as ad 1197, the year when St Neophytos moved to the New zion. Mango and Hawkins date these paintings soon after the construction of the Naos in ad 1197 rather than later as is suggested by other scholars [16]. The only established date for the post-Byzantine paintings in the Enkleistra is the inscription in the Naos with the date ad 1503.…”

Section: The Enkleistra Of St Neophytosmentioning

confidence: 84%

“…The complex also includes the narthex, the refectory, the Skevophylakion, the Ayiastyrion and the New zion. The original nucleus of chambers was painted during the various phases of the excavation of the cells and today these paintings are among the most important and celebrated twelfth-century Byzantine examples in Cyprus [15,16]. The scenes depicted include the Crucifixion, the Deisis, the Annunciation and scenes from the Passion of Christ.…”

Section: The Enkleistra Of St Neophytosmentioning

confidence: 99%

“…The only established date for the post-Byzantine paintings in the Enkleistra is the inscription in the Naos with the date ad 1503. Mango and Hawkins have attributed the Pantocrator depicted on the ceiling of the western bay in the Bema to the same painting phase based on stylistic grounds [16]. On the other hand, the paintings in the narthex were compared with those in the Katholikon (the main church of the monastery) and attributed to a date not far removed from ad 1500.…”

Section: The Enkleistra Of St Neophytosmentioning

confidence: 99%

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Painted Rock-Cut Tombs in Cyprus From the Hellenistic and Roman Periods to Byzantium: Material Properties, Degradation Processes and Sustainable Preservation Strategies

Kakoulli¹,

Fischer²,

Michaēlidēs³

2010

Studies in Conservation

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The art of wall painting in Cyprus during the transitional period from Greco-Roman to Byzantine times introduced a wide spectrum of painting materials that reflect the social structure and organization of the period, provincial and transregional interactions and technological savoir faire. These materials include natural minerals -locally available or imported -organic fibers, gums, oils, artificially produced, high-fired vitreous composites and other chemically synthesized products. This paper investigates and presents the in situ alteration mechanisms that certain wall paintings have undergone due to physical and chemical processes caused by the adverse microclimate in enclosed rock-cut structures. It also proposes sustainable preservation strategies based on a holistic methodology, integrating novel scientific techniques for non-invasive in situ examination with state-of-the art non-destructive analysis of microsamples at the molecular scale.ÖzeT Yunan-Roma döneminden Bizans'a geçişte, Kıbrıs duvar resmi sanatında ortaya çıkan geniş resim malzemeleri yelpazesi, dönemin düzenini, toplumsal yapısını, bölgeler arası etkileşimi ve teknolojik beceri düzeyini yansıtır. Bu malzemeler arasında doğal -yerel ya da ithal-mineraller, organik elyaf, reçineler, yağlar, yüksek derecede fırınlanmış yapay cam bileşikleri ve diğer kimyasal sentez ürünleri vardır. Bu çalışma, çevresi örtülü kaya yapılarında karşıt mikroklimanın yarattığı fiziki ve kimyevi süreçler yüzünden bazı duvar resimlerinde meydana gelen in situ değişim mekanizmalarını araştırır ve sunar. Ayrıca, bozucu olmayan in situ incelemeler için yeni bilimsel teknikler ile mikro örneklerin moleküler düzeyde hiçbir bozulmaya meydan vermeyen en son tekniklerle analizini birleştiren bir bütünselci metodolojiye dayanan sürdürülebilir koruma stratejileri önerir.

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Section: The Enkleistra Of St Neophytosmentioning

confidence: 84%

Section: The Enkleistra Of St Neophytosmentioning

confidence: 99%

Section: The Enkleistra Of St Neophytosmentioning

confidence: 99%

See 1 more Smart Citation

Painted Rock-Cut Tombs in Cyprus From the Hellenistic and Roman Periods to Byzantium: Material Properties, Degradation Processes and Sustainable Preservation Strategies

Kakoulli¹,

Fischer²,

Michaēlidēs³

2010

Studies in Conservation

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“…This stylistic trend, which is also evident in icon painting 74 , flourished in the mural painting of Cyprus, Old Russia and certain regions of the Greek mainland 75 . The frescoes of the Encleistra in the Hermitage of St. Neophytos at Paphos (1182 -1183) 76 and the Panaghia tou Arakou at Lagoudera (1192) 77 , as well as the undated frescoes of St. Hierotheos near Megara, lend themselves for meaningful comparisons.…”

Section: Iconography Of the Scenesmentioning

confidence: 99%