14/11/2006
The technique and the mood of their works

Triantaphyllos Sioulis © Ioannina Prefecture

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The Kapesovo hagiographers remained faithful to the traditional Byzantine style in relation to the technique.
Their models and accordingly their training may be sought amongst the iconographic ensembles that are evident in the 16th and 17th century in the northern region of Greece, as for example at the Monastery of the Philanthropoi, the Dilion Monastery, the Eleousa Monastery on the Ioannina Island, at the Transformation and Aghios Demetrios at Beltsista, Krapse, etc., as well as the iconography subjects and motifs from the entire Epirus, Thessaly, Aghion Oros and Macedonia.
In relation to the compositions, these have been organised as a rule around the axis that is occupied by the central figure, whilst the secondary figures form on some occasions «open» and on others «closed» compositions, thus framing irregularly the main figures in the representation.
All of the scenes are surrounded by a border and look like paintings, especially in the large churches where a large area is available for this purpose.
The simplicity is the main factor for the recognition of their compositions, motion is suppressed and the rendering of the depth is not amongst their aims.
In relation to the landscape in their compositions here too we note simplicity. There are few plants and transformed rocks.
On the contrary, in relation to the buildings, we note that these played a significant part in the elevation of the figures and for this reason the corresponding architectural landscape was imposing.
The figures are presented as regular, firm and imposing, on occasions they are elongated (where the area requires coverage such as at the catholicon of the Bella Monastery), however they are not lacking in alignment, especially in the faces, a fact that results in lending them a realism and a special expression in the gaze.
The plasticity in the forming of their garments and the very beautiful colour combinations have resulted in works that are spectacular from an aesthetic perspective.
The harmony of the colours, the rich chromatic scale and the perfect combination of the colours, the cool and the warm, the specific attention that has been paid to the details, more specifically in the multi facial representations, as well as in the full bodied tall and lean figures of the male and female saints, who in a regiment subdue the faithful, have demonstrated skilled artisans with a certainty and an excellent knowledge of their objective.
The technique changed in the 19th century, on the basis of the influences that it had undergone. Despite all this, they are considered to be amongst the most noteworthy hagiographers in the first half of the 19th century, since even in the most inferior works of this period, in terms of technique, the monument and the calm as well as the asceticism, the traditional elements are evident.