Find a concise bibliography on the art of the period
Τhe fall of the Byzantine Empire in 1453 inaugurated a new artistic period in Greece. The art of the new era preserved many characteristics from the Byzantine Period and thus it was called by historians ” Post-Byzantine “. It survived until the beginning of the 19th century, especially in areas such as Macedonia, that were not included in the Greek State during its establishment. Post-Byzantine Art mainly includes the architecture of Orthodox churches along with their wall paintings, wood carvings, stone carvings and portable icons. Religious painting was the core of post-Byzantine art, which continued to be conservative regarding its style, as it was based on the Byzantine tradition, at least until the middle of the 18th century. Important, however, during the same period was the flourishing of secular art, which bears the techniques of church decoration but is enriched by Ottoman art and the local folk art of each region. Gradually, the artistic developments of Europe began to influence Greek painters and commissioners, especially those who travelled to Central and Western Europe. Through trade, many new elements began to make their way into both the religious and secular art of the period. New iconographic themes, innovative techniques and new materials gradually gave artists greater freedom, helping them to overcome the strict rules of Byzantine tradition and paving the way for a new art inspired by the ideas of the Modern Greek Enlightenment.
During the post-Byzantine period, many Christians who lived under the Ottoman rule in the Greek area, tried to protect themselves from continuous and repeated attacks. Therefore, they chose to live in isolated areas in order to be more secure. Whilst trying to survive under these conditions, they also tried to preserve their unique cultural characteristics such as their language, manners and customs. Thus, they inevitably created myths, symbols, ceremonies, superstitions, traditions and folklore elements that were expressed through literature, poetry, music and folk art.
During the post-Byzantine period, many Christians who lived in Greece under Ottoman rule tried to protect themselves from the raids of bandits. They had therefore chosen to settle in areas where they could live in isolation but more safely. Apart from trying to survive under these conditions, they also tried to preserve their cultural elements such as their language, customs and traditions. For this reason, they inevitably created beliefs, symbols, rituals, superstitions and various traditions expressed through folklore elements such as oral literature (poetry), music and folk art.
Folk art was rooted in a long artistic tradition. However, the way of life of the people of that time and their harmonious relationship with nature, together with their isolation and concentration in closed and remote geographical areas (mountainous and lowland villages or islands), led to the flourishing of folk art as people became increasingly involved in it in their daily lives. Folk art was the result of a collective aesthetic perception. Its works were household utensils made of various materials (wood, clay, copper or iron), gold and silver jewellery, but also woven textiles, embroidery, lace and many other items. The creators of such artifacts were mostly experienced and self-taught craftsmen. These artisans lived in the countryside and created a great number of necessary everyday objects (from houseware, clothing and tools, to musical instruments and decorative items), emphasizing both on the functional and aesthetic aspect of their creations.
As early as the 17th century, the various conflicts with European states, piracy in the Aegean and the increasing rebellions of Christians caused political tensions inside and outside the Ottoman Empire. These tensions forced the Empire to generally pursue a lenient policy towards those non-Muslims who inhabited its territory. Greek Christians were now able to assume offices and high government positions, as well as control the trade of the eastern Mediterranean. Thus, in the 18th century, the great commercial activity and the increase in the production of goods brought the Greeks great economic and social prosperity, which in turn contributed to the intellectual development of the people and the flourishing of art and letters.
Under these circumstances, more and more Greek merchants travelled and settled in the 18th century in major European cities, in Venice, Vienna, Marseilles, Moscow, Leipzig and elsewhere. Thus began the emergence of a new class of Christian Ottoman subjects with considerable geographical mobility and bourgeois characteristics. When they returned to their homeland, they brought with them much of the new ideas, objects and intellectual wealth they brought with them from Europe. Their high standard of living, their cosmopolitan lifestyle and their taste in art and letters are reflected in the luxurious houses they build on their return, in Epirus, Mytilene, Thessaly (in Ampelakia and Pelion) and in the rich mansions of Macedonia in Veria, Kastoria, Kozani and Siatista.
It was precisely during this period that the movement of the Modern Greek Enlightenment developed, aiming at the spiritual regeneration of the people through the transference of the ideas of the enlightened West and with the ultimate goal of the nation’s freedom.
At the same time, the transmission of ideas from the West contributed to the renewal of the art of the Ottoman Greeks, who gradually oriented themselves towards new styles and repertoirs, in an attempt to incorporate elements of European Baroque and Rococo.
Experienced craftsmen and popular painters contributed with their art to the construction of the imposing mansions and their rich interior decoration. Thus, the decoration of the mansions, mainly of the 18th but also of the 19th century, became the principal aspect of post-Byzantine secular painting. Impressive frescoes decorate the walls of mansions in Epirus, Thessaly and Macedonia. The painters of this period spread colors, designs and patterns on large surfaces, drawing many themes from European engravings and etchings and then enriching them with their imagination, inspiration and mastery, making them unique. Landscapes, representations of cities (mainly Constantinople), but also mythological and historical themes find their place on the walls of the mansions.
EPHORATE OF ANTIQUITIES OF KOZANI
Archaeological Museum of Aiani
50150, Aiani Kozani
efakoz [at] culture.gr
The project is co-funded by Greece and the European Union (European Social Fund) through the Operational Program “Human Resources Development, Education and Lifelong Learning, NSRF 2014-2020″.
