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Home 07 February 2025
Culture Traditional forms of Art - Professions Wood sculpture Wood sculpture of Gorgopotamos Wood sculptured works Epirus Gorgopotamos

Icon stand, Church of Aghios Demetrios at Monasteri in Skopia (C 17th)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church for the Transformation of the Saviour at Romano (1866)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church of Aghia Paraskevi at Anthochorion (mid C 19th)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church of Aghios Panteleimon at Drosochorion (mid C 19th)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church for the Repose of the Virgin Mary at Mikron Peristerion (C 17th)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church of Aghios Nikolaos at Konitsa (1935)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church of Aghios Nikolaos at Petra of Zagorion (1955)
(Photo: Triantaphyllos Sioulis)
Icon stand, Church of Aghios Nikolaos at Tsepelovo (1764)
(Photo: Triantaphyllos Sioulis)

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Geographic map of Ioannina Prefecture with the works of Metsovo and Tournovo wood sculptors
Geographic map of Ioannina Prefecture with the works of Metsovo and Tournovo wood sculptors

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Wood sculptured works
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Epirus
Gorgopotamos
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14/11/2006
Icon stands

Triantaphyllos Sioulis

© Ioannina Prefecture
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In order to resolve the problem of honouring the saints or the religious events of the churches that had been demolished, it has been mentioned that they transferred the venerated icons on the iconostases, together with the other Despotic icons or they adapted suitable icon stands for these, as for example at the church of the Repose of the Virgin Mary at Stoupaina or they adapted icon stands to the side walls of the church next to the iconostasis or even at rear section of the Despotic thrones, as for example at the church of Aghios Nikolaos at Tsepelovo, etc.
Assuredly, the independent wood sculptured furniture were not absent from the already existing churches in the form of lecterns, with an inclined surface for the positioning onto these of the icon for the saint or the religious event to which the church has been dedicated, for their exaltation. These followed in the main two types in relation to their structure, those that have the shape of a column or that are straight and the monastery type, because they were mainly used at the monasteries.
Throughout the entire Balkans we have encountered the straight icon stands with an apron (or a shield) that is in a column shape, where at the height of approximately one metre the icon has been permanently placed between the small columns or the small semi columns and which usually terminated at a pediment. We have furthermore also encountered the monastery type, which have a square cross section, which carry above the cover, the «sky», which usually terminates at a ciborium with a Cross on its peak, whilst at the height of approximately one metre the icon they carry a slanted surface, on which was placed the venerated icon.
Their position would change in accordance with the size of the church or where its entry was located. Accordingly for example in the small churches they were situated in the narthex, in the large churches at the rear section of the main church or west, north or south, in accordance with the location of the church entry, so that the veneration could at least take place later, where the faithful had been delayed in arriving at church.
As with the Pulpits and the Thrones, so too with the Icon stands, regardless of the type, in relation to the execution and decoration technique, these usually followed the iconostases, since they were constructed by the same craftsmen, at about the same time, barring a few exceptions; More rarely we have icon stands with only a painted decorative or icon stands that have been constructed with the inset technique, as for example at the church of the Repose of the Virgin Mary at Dipotamo of Zagorion, at the church of Aghios Demetrios at Monastery in Skopia and elsewhere. The materials that were used in this case were mainly by ivory, bone or small painted timber panels, of various types.