Academic literature on the topic 'Vatopediu'

The article deals with one of the oldest manuscripts containing a significant part of the theological chapters of Kallistos Angelikoudes, one of the most important hesychast authors of the late Byzantine period. Codex Vatopedinus gr. 610 was written in the late 14th c. It contains a great amount of quotations excerpted from Patristic literature. In the second part of the codex, one can find the chapters of Kallistos Angelikoudes; these 92 chapters were retrieved from a greater collection containing now about 200 chapters. The article discusses the content of the Vatopedi manuscript, pointing out to the use of many Patristic fragments included there in different works by Kallistos Angelikoudes. This may shed light on the origin and purpose of the manuscript. A further study of the history of the text of these chapters allows us to assess the place of the Vatopedi codex in the manuscript tradition of Kallistos Angelikoudes’ literary legacy. The Church Slavonic translation of this collection of Angelikoudes’ chapters made by Paisius Velichkovsky in the 1770—1790s reproduces many peculiarities of the Greek text contained in the Vatopedi manuscript and was presumably based on a copy of that codex.

In this article, the author discusses iconography and stylistic characteristic of the icon featuring the Virgin Vatopedini with the Hungarian-Wallachian Voevoda loan Radul. The icon is treasured in the cathedral church of the Holy martyr Demetrios in Bitola. In more recent times, a new layer was painted over the icon, but not so long ago the icon was restored to its original condition. The inscriptions on the icon reveal that the Voevoda was a "new ktetor" of Vatopedi and also testify the painting was completed on November 28, 1502. The representation of the enthroned Virgin with the infant Christ sitting in her lap, flanked by St John Prodromes and the founder, belongs to the iconography of Deesis. Its stylistic features indicate that in most probability it was the work by a Cretan painter from the Ritzos family.

The panagiarion made out of rhinoceros horn from Vatopedi is one of the few vessels of that kind which originate from the Middle Ages. Its creation can be dated to the end of the 14th, or first half of the 15th century, at the time of very lively relations between this Athonite monastery and the Serbian despotate.

(francuski) Lobe de cet article est de pr?senter de mani?re d?taill?e le deuxi?me rev?tement de l'icone de la Vierge Vimatarissa de Vatopedi et d'examiner l'?ventualit? qu'il s'agisse d'une donation d'un personnage c?l?br?, Stefan Du{an (Etienne Douchant).

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As an iconographic theme, the representation of the embraced apostles Peter and Paul appears even in Early Byzantine art and symbolizes the universal Christian ideas of communion, concord and love. Based on its stylistic features, the fragment from Vatopedi can be dated to the very end of the 12th century and most probably belonged to the earliest preserved fresco paintings in the main church.

Diodore of Tarsus’ treatise Against the Manichaeans is well attested in ancient sources. However, modern scholars believe that it is completely lost. This assumption is only partially correct, for there exists a short unpublished fragment, which will be edited hereinafter for the first time. The fragment, reported in the Clavis Patrum Graecorum, is quoted in an anonymous florilegium of codex Vatopedi 236, entitled ‘Against those who say that human souls pre-exist bodies’. Following the research undertaken by Pedersen and DelCogliano, I will contextualize Diodore’s writing within the Antiochene tradition of anti-Manichaean writings.

Over time, the monasteries of Mount Athos became owners of great estates in the Balkan Peninsula. These metochia contributed significantly to the monasteries’ resilience. Vatopedi acquired the Souflar çiftlik in 1907 in order to pursue its goals of self-sufficiency and sustainability. The article reveals important details about the operation of Souflar Metochi and its impact on the local and the monastic economy. The detailed procedures followed by the monks appointed to manage it are a valuable source of information concerning the agricultural methods employed, the weights and measures used and the forms of labour relations of the local population.

Abstract In the collection of Vatopediou Monastery (Mount Athos) there is a Late Byzantine vestment called by the monks the “Arabic stole” (arabikon ōmophorion). This quite unique vestment probably owes its name to two bands of embroidered Arabic inscriptions on the lower part of each end. It is one of the very few known Byzantine religious objects to feature legible Arabic inscriptions, a visible symbol of Islamic otherness juxtaposed with the standard Christian iconography. Apart from bringing into the spotlight a medieval vestment that has been overlooked by scholars, this article traces possible sources of artistic transfer through a discussion of texts and extant objects. Finally, it aims at expanding our understanding of the reception of Islamic art in Late Byzantium, a time of both political decline and cultural renewal.