Katerina (Aikaterini-Konstantina) Kontopanagou
Aikaterini - Konstantina (Katerina) Chr. Kontopanagou is a native of Patras and graduated from Arsakeio School of Patras. She studied Archeology at the Department of History and Archeology of the Faculty of Philosophy of the University of Ioannina. Her postgraduate studies focused on Byzantine iconography, and her doctoral thesis comprehensively explored the evolution of painting in the final phase of the post-Byzantine period and the cultural creativity at monuments situated in remote areas in the 18th century. From 2011 to 2020, she served as a lecturer in the Department of History and Archeology at the University of Ioannina, teaching subjects of Archeology and Art, and at the Ionian University, teaching Museology and Cultural Heritage management. She also teaches at the Hellenic Open University in the Study Program "Greek Culture."
She also holds a Scientific Associate position in the Ionian Islands Region. Also, she is in Greek Language Education as a Foreign Language to Adults at the Center for the Study of Hellenic Language and Culture (HeLaS) at the University of Ioannina (2009-2019.).
Her significant experience implementing research programs in collaboration with universities and other scientific bodies is a testament to her expertise and dedication (2006-).
Among her research interests include Byzantine and post-Byzantine painting, social and economic development in Venetian-controlled and Ottoman-administered areas, the role of sponsors and local societies in cultural development, the use of new technologies in historical and archaeological data, sustainable cultural tourism, and the relationship between cultural heritage and tourism development. Her commitment to these areas of study demonstrates her dedication and the breadth of her expertise.
Address: Greece
She also holds a Scientific Associate position in the Ionian Islands Region. Also, she is in Greek Language Education as a Foreign Language to Adults at the Center for the Study of Hellenic Language and Culture (HeLaS) at the University of Ioannina (2009-2019.).
Her significant experience implementing research programs in collaboration with universities and other scientific bodies is a testament to her expertise and dedication (2006-).
Among her research interests include Byzantine and post-Byzantine painting, social and economic development in Venetian-controlled and Ottoman-administered areas, the role of sponsors and local societies in cultural development, the use of new technologies in historical and archaeological data, sustainable cultural tourism, and the relationship between cultural heritage and tourism development. Her commitment to these areas of study demonstrates her dedication and the breadth of her expertise.
Address: Greece
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Papers by Katerina (Aikaterini-Konstantina) Kontopanagou
In recent years, cultural projects utilizing digital applications and immersive technologies (VR, AR, MR) have grown significantly, enhancing cultural heritage experiences. Research emphasizes the importance of usability, user experience, and accessibility, yet holistic approaches remain underexplored and many projects fail to reach their audience. This article aims to bridge this gap by presenting a complete workflow including systematic requirements analysis, design guidelines, and development solutions based on knowledge extracted from previous relevant projects. The article focuses on virtual museums covering key challenges including compatibility, accessibility, usability, navigation, interaction, computational performance and graphics quality, and provides a design schema for integrating virtual museums into such projects. Following this approach, a number of applications are presented. Their performance with respect to the aforementioned key challenges is evaluated. Users are invited to assess them, providing positive results. To assess the virtual museum’s ability to attract a broader audience beyond the usual target group, a group of underserved minorities are also invited to use and evaluate it, generating encouraging outcomes. Concluding, results show that the presented workflow succeeds in yielding high-quality applications for cultural heritage communication and attraction of wider audiences, and outlines directions for further improvements in digitized heritage applications.
Keywords: immersive experiences; virtual reality; augmented reality; virtual museums; digital culture; game engines; cultural tourism; software performance; interaction; user experience
https://www.mdpi.com/2227-7080/12/10/196
museology for promoting cultural heritage by analyzing previous works, recognizing
features and approaches that have been proven to be effective and by adopting them in
a new project called v-Corfu which aims to serve as a dissemination medium for the
Corfu's island, in North-West Greece, local cultural heritage and history. The paper
presents the design of a framework aimed to organize the technological solutions for
increased accessibility and effective communication, as well as the design and
development of a virtual reality exhibition, an interactive digital book with
Augmented Reality visualizations and a number of digital mini-games.
Global Journal of Archaeology & Anthropology_ GJAA 13. 4 (2024).
Taking advantage of the emerging 5G technologies, cloud/fog computing, and Augmented/Mixed Reality mechanisms, a common smart device (e.g., smartphone, tablet) could be employed to give a better experience to the end-users. The proposed framework is intended to provide visitors with interpretative information regarding the visited monuments and their paintings. Under the framework introduced in this paper, camera input is uploaded to a cloud/fog computing infrastructure where appropriate algorithms and services provide monument and painting recognition and the mobile application retrieves and projects the related information. In addition, the designed immersive user interfaces assist visitors in contributing in cases of monuments and paintings for which no available
information exists. This paper presents the state of the art in approaches for immersive experiences in Digital Culture, reviews the current image recognition approaches and their suitability for Byzantine
paintings, proposes interaction techniques appropriately designed for observation and interaction of paintings, and discusses the overall framework architecture that is needed to support the described
functionality while stressing the challenging issues of the above aspects thus paving the road for future work and providing guidelines for a test-bed implementation.
Abstract
Co-operative patronage is based on the joint effort of individuals, lay or clerical, couples, families, colleagues, ecclesiastical and military authorities, or fellow citizens. Through the donor inscriptions are revealed the different categories of such co-operative patronage in Byzantine and Post- Byzantine society. In the Greek-speaking Post-Byzantine world, such types of anonymous groups of donors and benefactors most often came from a community as a whole, or certain inhabitants of a region, while collective donations by groups of monks were also widespread. The present paper examines the practice of anonymous collective sponsorships in Post-Byzantine Epirus, presenting the surviving monuments from the sixteenth to the seventeenth century and, in detail, the cases of anonymous collective sponsorships in a specific painting workshop of the eighteenth century, that of the so-called Kapesovite painters.
In Post-Byzantine period the special privileges from the Ottomans and the development of trade, contributed to the Epirus’s cultural development. The tectonic transformations in the residential network of Epirus began in the late sixteenth century and increased after the seventeenth century. During the eighteenth century, the flourishing of Post-Byzantine art is a fact, indicating the gradual rise to prevalence of the parishes and the communities over the monastic establishments and individual donors. The financial and commercial privileges, especially after the treaty of Kucuk Kaynarca (1774), contributed decisively to religious monuments’ construction or renovation. The financial circumstances and the social cohesion of the Orthodox Christians in Epirus favored the increase of anonymous collective sponsorship in the eighteenth century. The monuments of that period evidence a significant amount of co-operative patronage, in which “anonymity” starred among the donors. The anonymous collective sponsorships indicates the community’s cohesion and the benefactor’s desire to create a legacy for future generations.
Abstract—Recent advances in three-dimensional (3D) media delivery technologies, such as Augmented and Mixed Reality, have paved the way towards the realization of high-quality immersive experiences in digital culture applications. Nowa- days, these services play a crucial role in cultural heritage dissemination, transforming visitors from passive spectators into proactive culture caretakers and content creators. Nevertheless, they demand significant computational resources and are subject to low delay tolerances, that are generally difficult to acquire via standard mobile devices. Under this scope, the current paper deals with the preliminary design of a hybrid cloud/edge com- puting platform for the support of digital culture applications. The goal is to recognize computationally intensive services that are to be offloaded based on their resource and time criticality to the cloud or edge respectively, and offer constant guarantees regarding the visitors’ Quality of Experience. The use case of Byzantine Monuments and Churches is also reported to better contextualize the approach and present the platform’s layering and data flow.
Index Terms—cloud/edge computing, computational offloading, digital culture, immersive experiences, quality of experience, virtual/augmented/mixed reality
In recent years, cultural projects utilizing digital applications and immersive technologies (VR, AR, MR) have grown significantly, enhancing cultural heritage experiences. Research emphasizes the importance of usability, user experience, and accessibility, yet holistic approaches remain underexplored and many projects fail to reach their audience. This article aims to bridge this gap by presenting a complete workflow including systematic requirements analysis, design guidelines, and development solutions based on knowledge extracted from previous relevant projects. The article focuses on virtual museums covering key challenges including compatibility, accessibility, usability, navigation, interaction, computational performance and graphics quality, and provides a design schema for integrating virtual museums into such projects. Following this approach, a number of applications are presented. Their performance with respect to the aforementioned key challenges is evaluated. Users are invited to assess them, providing positive results. To assess the virtual museum’s ability to attract a broader audience beyond the usual target group, a group of underserved minorities are also invited to use and evaluate it, generating encouraging outcomes. Concluding, results show that the presented workflow succeeds in yielding high-quality applications for cultural heritage communication and attraction of wider audiences, and outlines directions for further improvements in digitized heritage applications.
Keywords: immersive experiences; virtual reality; augmented reality; virtual museums; digital culture; game engines; cultural tourism; software performance; interaction; user experience
https://www.mdpi.com/2227-7080/12/10/196
museology for promoting cultural heritage by analyzing previous works, recognizing
features and approaches that have been proven to be effective and by adopting them in
a new project called v-Corfu which aims to serve as a dissemination medium for the
Corfu's island, in North-West Greece, local cultural heritage and history. The paper
presents the design of a framework aimed to organize the technological solutions for
increased accessibility and effective communication, as well as the design and
development of a virtual reality exhibition, an interactive digital book with
Augmented Reality visualizations and a number of digital mini-games.
Global Journal of Archaeology & Anthropology_ GJAA 13. 4 (2024).
Taking advantage of the emerging 5G technologies, cloud/fog computing, and Augmented/Mixed Reality mechanisms, a common smart device (e.g., smartphone, tablet) could be employed to give a better experience to the end-users. The proposed framework is intended to provide visitors with interpretative information regarding the visited monuments and their paintings. Under the framework introduced in this paper, camera input is uploaded to a cloud/fog computing infrastructure where appropriate algorithms and services provide monument and painting recognition and the mobile application retrieves and projects the related information. In addition, the designed immersive user interfaces assist visitors in contributing in cases of monuments and paintings for which no available
information exists. This paper presents the state of the art in approaches for immersive experiences in Digital Culture, reviews the current image recognition approaches and their suitability for Byzantine
paintings, proposes interaction techniques appropriately designed for observation and interaction of paintings, and discusses the overall framework architecture that is needed to support the described
functionality while stressing the challenging issues of the above aspects thus paving the road for future work and providing guidelines for a test-bed implementation.
Abstract
Co-operative patronage is based on the joint effort of individuals, lay or clerical, couples, families, colleagues, ecclesiastical and military authorities, or fellow citizens. Through the donor inscriptions are revealed the different categories of such co-operative patronage in Byzantine and Post- Byzantine society. In the Greek-speaking Post-Byzantine world, such types of anonymous groups of donors and benefactors most often came from a community as a whole, or certain inhabitants of a region, while collective donations by groups of monks were also widespread. The present paper examines the practice of anonymous collective sponsorships in Post-Byzantine Epirus, presenting the surviving monuments from the sixteenth to the seventeenth century and, in detail, the cases of anonymous collective sponsorships in a specific painting workshop of the eighteenth century, that of the so-called Kapesovite painters.
In Post-Byzantine period the special privileges from the Ottomans and the development of trade, contributed to the Epirus’s cultural development. The tectonic transformations in the residential network of Epirus began in the late sixteenth century and increased after the seventeenth century. During the eighteenth century, the flourishing of Post-Byzantine art is a fact, indicating the gradual rise to prevalence of the parishes and the communities over the monastic establishments and individual donors. The financial and commercial privileges, especially after the treaty of Kucuk Kaynarca (1774), contributed decisively to religious monuments’ construction or renovation. The financial circumstances and the social cohesion of the Orthodox Christians in Epirus favored the increase of anonymous collective sponsorship in the eighteenth century. The monuments of that period evidence a significant amount of co-operative patronage, in which “anonymity” starred among the donors. The anonymous collective sponsorships indicates the community’s cohesion and the benefactor’s desire to create a legacy for future generations.
Abstract—Recent advances in three-dimensional (3D) media delivery technologies, such as Augmented and Mixed Reality, have paved the way towards the realization of high-quality immersive experiences in digital culture applications. Nowa- days, these services play a crucial role in cultural heritage dissemination, transforming visitors from passive spectators into proactive culture caretakers and content creators. Nevertheless, they demand significant computational resources and are subject to low delay tolerances, that are generally difficult to acquire via standard mobile devices. Under this scope, the current paper deals with the preliminary design of a hybrid cloud/edge com- puting platform for the support of digital culture applications. The goal is to recognize computationally intensive services that are to be offloaded based on their resource and time criticality to the cloud or edge respectively, and offer constant guarantees regarding the visitors’ Quality of Experience. The use case of Byzantine Monuments and Churches is also reported to better contextualize the approach and present the platform’s layering and data flow.
Index Terms—cloud/edge computing, computational offloading, digital culture, immersive experiences, quality of experience, virtual/augmented/mixed reality
The book aims to investigate the reception of Byzantine and post-Byzantine art in the Greek society of the 21st century, attempting new communication practices with the local communities. It researches ways of an experiential and interactive approach to the "monument," using basic principles of Byzantine monumental art through modern technologies, connecting people and the environment in a primary relationship, which can acquire another dimension of projection with new technologies, prominence, and inclusion.
Unpublished archival material from the General State Archives, particularly from the Central Service in Athens, offers new evidence and clarifies crucial issues regarding a ziteia dated shortly before the outbreak of the Greek Revolution in 1821 due to the outbreak of the plague on Crete, already before 1817. Through the parallel presentation of both published and unpublished sources, the protagonists and their roles will be illuminated, the objectivity of the sources will be examined, and light will be shed upon social and historical aspects of the period of the Greek war of Independence of 1821.
ISBN 978-628-5387-49-5
TO DONTI Publications
The element which sets the Kapesovite painters apart from their contemporaries, is their particular clientele: an educated and intelligent audience with already established aesthetic preferences. The combination of Byzantine iconographic structures and post-Byzantine creative eclecticism demonstrate the painters’ knowledge of renewed artistic trends. They were aware of and transferred into their works new aesthetic preferences, representative of the prominent merchant classes, an already established practice in the financial and intellectual centers of 18th century European and Ottoman society. The painters Ioannis and Anastasios from Kapesovo, the last great representatives of a provincial but thoroughly professional – in the broadest sense – guild, participated in the artistic trends and the intellectual and religious fusion of a period of profound social and economic transformations. Eventually, the iconographic wealth of the Kapesovo workshop offers a unique opportunity to bring together terms, concepts, topics and subjects of post-Byzantine art.
http://milenarampoldi.de/de/katerina-kontopanagou-post-byzantine-painting-art-the-kapesovite-painters-workshop-and-saint-george-church-of-negades/
The book provide also information about the history of the area and the monastery of Angelomachou.
The present effort is an initiative of the Kourenta Fraternity, whose honorable members, moved by their selfless love for their ancestral home, wished to present the church of St. George as a “living post- Byzantine monument”, a legacy for subsequent generations.
ετερόκλητη καλλιτεχνική παραγωγή. Στη μονή Βύλιζας, τόσο στο καθολικό όσο και στο
παρεκκλήσιο του αγίου Ιωάννη του Προδρόμου, το πλήθος των παραστάσεων και οι ποικίλοι εικονογραφικοί κύκλοι συνθέτουν πλούσια εικονογραφικά προγράμματα, αντιπροσωπευτικά των θεματικών επιλογών της εποχής. Δύο σημαντικές ομάδες ζωγράφων του
18ου αιώνα, οι Καλαρρυτινοί και οι «ἐκ κώμης Κορύτιανης» Κατσάνοι αποτυπώνουν στις
εντοίχιες επιφάνειες τις εικονογραφικές προτιμήσεις, τις εκλεκτιστικές τάσεις και το ύφος
της ζωγραφικής τους. Στο έργο τους, όπως και γενικότερα στην θρησκευτική ζωγραφική
της ευρύτερης περιοχής, η εικονογραφία παραμένει προσηλωμένη στις επιταγές της μεταβυζαντινής ζωγραφικής αλλά εμπλουτίζεται με νέες εικαστικές πρακτικές.
Abstract of Part I.
The island of Lake Pamvotis, in Ioannina, Epirus (Greece), is home to a monument of exceptional artistic achievement: Τhe Monastery of Philanthropenon. Its wall paintings constitute a strikingly narrative iconographical program with an aesthetically elevated artistic tenor and multiple theological symbolisms. The frescoes of the monastery, which was founded by Michael Philanthropenos in 1291/2, contain elements which comprise the profile of the Philanthropenoi donors. The Philanthropenoi of Epirus were an offshoot of the prominent Constantinopolitan family, which settled in Ioannina in the late-13th c.
Between the extensive illustrations of the religious narrative, the decoration of the exo-narthex is supplemented by a unique iconographical subject: In the western part of the S. wall, to the left of the entrance, continued on the W. wall we have the depiction of seven full body figures of wise men of Ancient Greece. They are seven philosophers, depicted at life-size scale, in a position normally reserved for the full body figures of saints. Theological symbolisms allow a hypothesis regarding the identification of the deteriorated figure which seems to be interacting with the sages next to it: The depiction in this spot of a religious leader might have served as a tangible connection between Ancient Greek philosophy and the enlightened saintly hierarchs of the Orthodox Church, who had made references to the seminal Logos. However, the surviving fragment of clothing does not suggest a religious garb, an element which puts us at odds with this hypothesis. Who then could have been depicted directly next to the entrance – exit, be deteriorated today, and have been in conversation with the young Plato?
An Unknown Icon of the Virgin Kykkotissa from Cyprus
The Virgin of the monastery of Kykkos is an immensely popular example of a mi- raculous icon, whose history begins in the Middle Byzantine period. A notably ex- tensive body of surviving evidence related to it survives in churches and collections, in both museums and private collections, in Cyprus and throughout the Balkans and the Mediterranean. This iconographic reproduction of the loving Mother of God and the Christ Child is due to the miraculous aspect of the icon of the Virgin Kykkotissa kept in the namesake Cypriot monastery. Its iconography displays both historical and morphological similarities with the Athonite type of the Theotokos Axion Esti (Virgin It is Truly Meet).
In the Limassol prefecture of Cyprus an icon of the Virgin Kykkotissa unknown to scholars was discovered. The icon baring new stylistic and iconographic elements provides a vital contribution to the study of this iconographic type. Its hallmarks, the contrapposto of the Child, who is naked from the knees down, the tender stance and the striking veil worn by the Virgin, have been masterfully illustrated by the anonymous iconographer. The established iconography has been supplemented with additional, artfully included iconographic embellishments. The appellative that accompanies the Virgin in the icon appears to be a later addition. It must be noted that in Cyprus during the turbulent 16th century, the appellative began to be included as an essential icono- graphic element, becoming established over the following centuries. Ιt is encountered in five of the six total known 16th-century works, while being completely absent from all of the, nine in total, previous known examples dating back to the 11th century.
The dating of the specific icon to the late 15th-early 16th century corresponds to the increase in pilgrimages to the Virgin of Kykkos during the period of Venetian rule on Cyprus and the diffusion of the Kykkotisa appellative and iconographic type.
Albrecht Berger, Monasteries and Aristocratic Founders in Constantinople, 11th and 12th Centuries
Nikolaos Siomkos, Vangelis Maladakis, Interaction Between Economic and Artistic Settings: Viewing Mount Athos
Jelena Erdeljan, Monasteries as New Jerusalems in Medieval Serbia: Textual and Visual Evidence
*Katerina Kontopanagou, Monks as Donors: Outlining the Artistic Production in the Monastic Establishments in the 15th–17th Centuries.
Abstract
Monks as Donors
Outlining the Artistic Production in the Monastic Establishments
in the 15th-17th Centuries
Katerina Kontopanagou
Ionian University, Corfu
After a prolonged period of social and economic instability, the recovery of monu- mental painted art in the Balkans in the second half of the 15th century was marked by renovative trends and multi-varied sources of inspiration. From the mid-16th cen- tury onwards, the notable financial development of the monastic centers enabled them to become a crucial vehicle for the donorship of monumental art. The monas- tic donations of the late-16th century renounced the experimentations and plural- ism of the artists of the previous century. The monastic communities as donors played a crucial role in accepting or disavowing this art in the following centuries.
The study and insight of the period’s mural art, offers multi level recognition findings, of the society itself. Remarkable data are being collected regarding the artistic activity, the migration and the education of the painters, the significant role and the nature of the donors, as well as the networks and the artistic influence between Epirus and the rest of the Balkans and the West.
Η παρούσα ανακοίνωση, εξετάζοντας αρχειακά τεκμήρια από τα Γενικά Αρχεία του Κράτους της Κέρκυρας, επιχειρεί να παρουσιάσει μεθόδους για την παραγωγή εγγράφων και βιβλιοδεσίας και να διερευνήσει ζητήματα σχετικά με τα υλικά και τις τεχνικές των αρχειακών σταχώσεων τον 16ο αιώνα. Οι εξελίξεις στην τεχνική της βιβλιοδεσίας και οι σχετικές διοικητικές πρακτικές κατά την περίοδο της Βενετοκρατίας στόχευαν στην αποτελεσματικότητα της απομακρυσμένης διακυβέρνησης. Η διαχρονική συγκριτική μελέτη των πρακτικών αυτών, καθώς επίσης και η διεξοδική περιγραφή και παρατήρηση των τεχνικών χαρακτηριστικών των καταστίχων, προβάλλοντας άυλες μορφές πολιτισμού, αποκαλύπτουν στοιχεία για τις κοινωνικοοικονομικές επαφές και τις αλληλεπιδράσεις κατά την παραγωγή υλικών.
(1557-1558)
Την τελευταία δεκαπενταετία πληθαίνει η ερευνητική δραστηριότητα για τα νοταριακά κατάστιχα της Βενετοκρατίας από το πλούσιο αρχειακό υλικό των Γενικών Αρχείων Νομού Κέρκυρας. Ο Νοτάριος και Πρωτοπαπάς Φώτιος Παλατιανός δραστηριοποιείται επαγγελματικά στην πόλη της Κέρκυρας μία εικοσαετία μετά την καταστροφική οθωμανική εισβολή με επικεφαλής τον Χαϊρεντίν Barbarosa το 1537, μία κρίσιμη περίοδο για τη Γαληνοτάτη Δημοκρατία της Βενετίας. Ως τόπος σύνταξης και πιθανής εγκατάστασης του συμβολαιογράφου εμφανίζεται η περιοχή Γαστράδες (Γαρίτσα). Στα Γενικά Αρχεία Νομού Κέρκυρας διατηρούνται δύο φάκελοι του συμβολαιογράφου (1557-1592). Η παρούσα έρευνα εστιάζοντας στο πρώτο τετράδιο (1557-1558) του πρώτου καταστίχου (1557-1569) και διερευνώντας τις πράξεις και τα πρόσωπα, σκιαγραφεί την φυσιογνωμία της κερκυραϊκής κοινωνίας στα μέσα του 16ου αιώνα.
Στο πλούσιο εικονογραφικό πρόγραμμα του ναού του Αγίου Γεωργίου στα Κουρεντα Ιωαννίνων αποτυπώνονται χαρακτηριστικά στοιχεία της τέχνης των Καπεσοβιτών ζωγράφων, ενός πολύ παραγωγικού συνεργείου. Αναφορά στο μνημείο κάνει ο αείμνηστος Δημήτριος Κωνστάντιος στην σχετική μονογραφία του. Ωστόσο η πρόσφατη συντήρηση των τοιχογραφιών, πρωτοβουλία και μόχθος της "εν Αθηναις Αδελφότητας των Κουρέντων, Άγιος Γεώργιος", έδωσε την δυνατότητα για περαιτέρω έρευνα και παρουσίαση πλήθους στοιχείων: για το ίδιο το μνημείο και την ζωγραφική των Καπεσοβιτών ζωγράφων, όσο και για τις συλλογικές χορηγίες κατά τον τελευταίο αιώνα της οθωμανικής κυριαρχίας.
This study is an attempt to classify the basic trends and the current fashion of the regional Epirote aristocracy in late byzantine period out the examination of the founder’s wall paintings. The obser- vations based on the frescos of Kokkini Ekklisia (Vella church) in Voulgareli (1295/6) and of Agia Paraskevi in Monodhendri that are the only donor’s paintings in the byzantine mural art of Epirus that can be dated accurately because of the donor inscription.
The stylistic options of the archons reveal the different cultural and, potentially, the political influ- ences in each era. More representative are the outfits of the noble women, because of the variety of types and accessories.The examination of these donor representations indicates the topical prefer- ences, the aesthetic trends and the relationships with the metropolitan style at the late byzantine period. Moreover the representations encode the values, ambitions and ideology of the provincial aristocracy of the late byzantine period in Epirus that modern research reconstructed.
The Kapesovo workshop constituted a family of skillful and productive painters. They were well-known for their ability to effectively depict their compositions on the spaces available in the monuments they worked. Their patrons, wealthy and prominent donors, are indicative of the fame and popularity Kapesovite’ works enjoyed in the 18th century under the Ottoman rule. The richly decorated places of worship, whether three-aisled basilicas or domed cross-in-square churches, typically of large dimensions, indicate the gradual prevalence of the parishes over the monastic establishments due to the benefaction of their merchant donors. Some local communities of mountainous Epirus, in Zagori region, proceeded to collective sponsorships in order to renovate or build monuments, with the best painters of their era, the Kapesovite workshop, as a legacy for future generations.
The initiative aimed to preserve and promote the cultural identity intertwined with transhumance, the seasonal movement of livestock between summer and winter pastures. Beyond mere preservation, the workcamp celebrates the inventive and sustainable practices of traditional hut construction and the unique connection that transhumance has with the natural and cultural heritage of the area, underscoring their integral role in shaping the region's identity.
As part of the European Heritage Days 2023, this endeavor held great European significance, shining a spotlight on the continent's rich cultural tapestry and the importance of heritage conservation. Through a multifaceted approach encompassing workshops, events, and expert lectures, participants immersed themselves in the social and cultural practices of transhumance, gaining invaluable insights into the customs and traditions of the region.
Το έντυπο προωθητικό υλικό του Υφυπουργείου είναι σχεδιασμένο, για να παρέχει ένα ευρύ φάσμα πληροφοριών στον αναγνώστη για οτιδήποτε σχετίζεται με την τουριστική Κύπρο, όπως τις δυνατότητες και τις εμπειρίες που προσφέρει ο προορισμός, τα σημαντικότερα σημεία ενδιαφέροντος στο νησί, την ιστορία και τον πολιτισμό του τόπου, τις ειδικές μορφές τουρισμού και τα θεματικά προϊόντα κ.ο.κ.
ΚΑΤΑΚΟΡΥΦΟ Μ.ΙΚΕ.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Αικατερίνη - Κωνσταντίνα.
https://v-corfu.gr
Η SPECTRAtech Α.Ε. συνεργάστηκε με την Περιφέρεια Θεσσαλίας στο πλαίσιο του έργου «Μέσα Ερμηνείας Εργων Ανάδειξης Περιβάλλοντος Λίμνης Κάρλας» το οποίο υλοποιήθηκε στο πλαίσιο του ΕΣΠΑ 2007-2013, Άξονας Προτεραιότητας 09: «Προστασία Φυσικού Περιβάλλοντος & Βιοποικιλότητας» του Ε.Π. «Περιβάλλον & Αειφόρος Ανάπτυξη».
Για τη δημιουργία αφενός της μόνιμης έκθεσης του Εκθεσιακού Κέντρου Φυσικής Ιστορίας και Πολιτισμού και αφετέρου της μόνιμης έκθεσης του Κέντρου Πληροφόρησης με σκοπό την ανάδειξη, ερμηνεία και παρουσίαση του φυσικού και ανθρωπογενούς περιβάλλοντος καθώς και των νέων τεχνικών και περιβαλλοντικών έργων περιοχής λίμνης Κάρλας και ειδικότερα για την προμήθεια, υλοποίηση και εφαρμογή των μέσων ερμηνείας και ανάδειξης όπως των εκθεμάτων, των εκθετικών κατασκευών, του εποπτικού και οπτικο-ακουστικού υλικού, των εκθετικών πινακίδων και των πολυμεσικών εξοπλισμών, καθώς και για τις αρχιτεκτονικές διαμορφώσεις.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Κωνσταντίνα - Αικατερίνη
The socio-economic benefits of cultural heritage protection generally surpass the costs of conservation interventions; inappropriate interventions, due to incompatibility problems, however, affect this balance negatively.
Thus, the aim of the project is to configure a robust methodology assessment on the compatibility of new advanced materials and interventions for cultural heritage protection, based on criteria and specifications governed by sustainability concept. As the environmental crisis is emphasized by intense climatic changes, new demands on materials and conservation interventions arise, incorporating sustainability to compatibility, requiring reduced environmental loads and low costs during materials production.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Αικατερίνη - Κωνσταντίνα.
(Ζαγόρι: Φύση και Πολιτισμός - Ψηφιακός οδηγός/ Περιβάλλον/ Ναοί και Μοναστήρια) [ Επιστ. Υπεύθυνη Μ. Ζουμπούλη, ΤΕΙ ΑΡΤΑΣ], 2014
Στην ηλεκτρονική αυτή πλατφόρμα ο επισκέπτης γνωρίζει τα θρησκευτικά μνημεία μέσα από σύντομα συνοδευτικά κείμενα και ενδεικτικές εικόνες (εξωτερικές και εσωτερικές). Η εικονική περιήγηση στους ναούς και στις μονές της περιοχής αναδεικνύει με τρόπο παραστατικό τον πολιτιστικό πλούτο και την πνευματική ανάπτυξη και αποτελεί το ερέθισμα για μία επιτόπια περιήγηση και φυσική παρουσία στα μνημεία του Ζαγορίου.
Εταιρεία ΚΑΤΑΚΟΡΥΦΟ Μ.ΙΚΕ.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Αικατερίνη - Κωνσταντίνα
Το Μουσείο Φυσικής Ιστορίας Απολιθωμένου Δάσους Λέσβου βρίσκεται στο Σίγρι Λέσβου έχει ως σκοπό τη μελέτη, έρευνα, ανάδειξη, έκθεση, συντήρηση, φύλαξη και κάθε πρόσφορη αξιοποίηση του Απολιθωμένου Δάσους της Λέσβου, που αποτελεί Διατηρητέο Μνημείο της Φύσης με ιδιαίτερα μεγάλη περιβαλλοντική, γεωλογική και παλαιοντολογική αξία. Το 2004 το Απολιθωμένο Δάσος εντάχθηκε στο Παγκόσμιο Δίκτυο Γεωπάρκων της UNESCO και το 2012 το Νησί της Λέσβου έγινε Παγκόσμιο Γεωπάρκο της UNESCO, φορέας διαχείρισης του οποίου είναι το Μουσείο Φυσικής Ιστορίας Απολιθωμένου Δάσους Λέσβου. Eταιρεία ΚΑΤΑΚΟΡΥΦΟ Μ.ΙΚΕ.Επιστημονική Σύμβουλος σε θέματα Πολιτισμού, Ανάδειξης - Αξιοποίησης Αρχαιολογικών χώρων και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Κωνσταντίνα - Αικατερίνη
Το ψηφιοποιημένο πολιτιστικό απόθεμα που υλοποιήθηκε στο πλαίσιο της πράξης Αθωνική Ψηφιακή Κιβωτός περιλαμβάνει το αποθετήριο που διαχειρίζεται δυο εκατομμύρια περίπου ψηφιακές λήψεις όλων των κατηγοριών υλικού και ειδικότερα:
Αρχείο Εγγράφων: Το ψηφιακό αρχείο ανέρχεται σε 139.638 έγγραφα που αντιστοιχούν σε 550.000 ψηφιακές λήψεις
Αρχείο Χειρογράφων Κωδίκων: Το ψηφιακό αρχείο των χειρογράφων κωδίκων ανέρχεται σε 3.200 χειρόγραφα περγαμηνά και χαρτώα που αντιστοιχούν σε 900.000 ψηφιακές λήψεις.
Αρχείο Παλαιτύπων: Το ψηφιακό αρχείο των παλαιτύπων ανέρχεται σε 1.512 παλαίτυπα που αντιστοιχούν σε 450.000 ψηφιακές λήψεις.
Αντικείμενα Τέχνης: Το ψηφιακό αρχείο ανέρχεται σε 26.000 περίπου τεκμήρια (φορητές εικόνες και αντικείμενα – κειμήλια) που αντιστοιχούν σε 52.000 ψηφιακές λήψεις.
Οι προδιαγραφές του αποθετηρίου ακολούθησαν τα διεθνή πρότυπα και πρωτόκολλα διαλειτουργικότητας.
Μέσω μιας κεντρικής ιστοσελίδας (portal) είναι εφικτή η πρόσβαση στο ψηφιοποιημένο υλικό. Σχεδιαστικά έχουν ακολουθηθεί δυο κατευθύνσεις πρόσβασης, δηλαδή μια για την ερευνητική και ακαδημαϊκή κοινότητα εν γένει και μια για τον ευρύτερο πληθυσμό που αναζητά Χριστιανικό και ψυχοφελές πνευματικό απόσταγμα.
Το αποθετήριο έχει μια ενιαία αναζήτηση όλων των κατηγοριών υλικού και του περιεχομένου που θα διατεθεί. Από τα αποτελέσματα της αναζήτησης, ο χρήστης θα μπορεί να επιλέξει το τεκμήριο που θέλει να δει επιλέγοντάς το (είτε ως εικόνα είτε ως λίστα) και βλέποντας την σχετική καρτέλα τεκμηρίου.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού: Κοντοπανάγου Αικατερίνη- Κωνσταντίνα
Αντικείμενο της συγκεκριμένης σύμβασης είναι η υλοποίηση ενός έργου που περιλαμβάνει (α) εργασίες για την ψηφιακή επεξεργασία υλικού από τον Αρχαιολογικό Χώρο της Απτέρας, (β) τη δημιουργία Δικτυακής Πύλης, (γ) την υλοποίηση ψηφιακών εφαρμογών περιήγησης και προβολής με τεχνολογίες επαυξημένης και εικονικής πραγματικότητας, όπως και εκπαιδευτικών εφαρμογών στον αρχαιολογικό χώρο, (δ) την προμήθεια και εγκατάσταση ηλεκτρονικού εξοπλισμού για τη λειτουργία τους, (ε) την παραγωγή ψηφιακών ταινιών (βίντεο) και (στ) την αεροφωτογράφιση των μνημείων.
Ο αρχαιολογικός χώρος της Απτέρας συνιστά έναν μοναδικό χώρο πολιτισμού και επιστημονικού ενδιαφέροντος, ο οποίος έχει λάβει ιδιαίτερη προβολή και αναγνώριση από το ευρύ κοινό. Σκοπός του έργου αποτελεί η περαιτέρω ανάδειξη του αρχαιολογικού χώρου μέσα από σειρά ψηφιακών δράσεων και ενεργειών, με σκοπό την προβολή του, την προσέλκυση επισκεπτών, αλλά και την προαγωγή αποτελεσμάτων από έρευνα.Επιστημονική Σύμβουλος σε θέματα Πολιτισμού, Ανάδειξης - Αξιοποίησης Αρχαιολογικών χώρων και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Κωνσταντίνα - Αικατερίνη
H SPECTRAtech Α.Ε. συνεργάζεται με το Υπουργείο Παιδείας για την προμήθεια, μεταφορά και εγκατάσταση εξοπλισμού πληροφορικής και λογισμικών στο Ιστορικό Αρχείο - Μουσείο Ηπείρου.
Στόχος του έργου είναι να συγκεντρωθούν και να εκτεθούν στην έδρα του Ιστορικού Αρχείου - Μουσείου Ηπείρου τα υπάρχοντα ιστορικά τεκμήρια και διάσπαρτες ιδιωτικές αρχειακές συλλογές από χώρες της Ευρώπης, Ασίας, Αυστραλίας, Αφρικής και ΗΠΑ που αφορούν δραστηριότητες γνωστών και επιφανών Ηπειρωτών.
Επιστημονική Σύμβουλος σε θέματα Πολιτισμού και Βιώσιμης Τουριστικής Ανάπτυξης: Κοντοπανάγου Κωνσταντίνα - Αικατερίνη
Ministry of Finance, Operational Programme Competitiveness, Entrepreneurship and Innovation (EPAnEK 2014-2020), Special Action “Open Innovation in Culture”.
Principal Investigator: C. Nikou
University of Ioannina,
Department of Computer Science and Engineering, Commitech A.E.,
Ministry of Culture, Ephorate of Antiquities of Arta.
36 months (2019-2022)
The first chapter presents: a) the historical and land-planning introduction, b) the temple: architecture, inscriptions, pictorial program, iconography and style study of the murals. The second chapter examines the family of artists. The second part of this chapter is devoted to general observations, to the estimation of painters’ art and to the comparison with the murals of the other groups of painters of the 18th century in Epirus.
The second volume includes an expansion perspective of the church and the images (429).
The iconographic analysis identifies the patterns, the preferences, the features of the two painters. The comparison with contemporary works is done at four levels, with a) other wall paintings of the same artists b) wall paintings that have worked together with other family members, c) murals of other painters from Kapesovo d) other contemporary groups, Katsanoi, Chionadites painters etc. The detailed research of the iconography shows that the painters Ioannis and Anastasios are very eclectic to the iconographic choices. They count on tradition knowing that the entity of the maintenance gives glory to their art. Realizing however the pulse of their era enriching the iconography with elements from contemporary engravings. The relations of the donors with Western civilization and the spiritual and theological pursuits of the 18th century in Southeastern Europe reflect in the eclectic selection of patterns and themes.
We observe common iconographic programs, identical theological concepts and similar iconography in the projects of our painters and these of the other family members. The impression given is that there is a person who gives unity and impetus to the murals: this is Ioannis, a proficient painter and head of the workshop. The Kapesovo artists know and carry in their works the new style, which is representative of the dominant merchants’-donors’ class that aspires to the modern lifestyle of the upper classes in the Ottoman and European societies. Last great representatives of a major artistic production become participants of the new style and of the intellectual and religious fermentations of the 18th century: a transitional period with ideological and social changes that eventually will lead the religious art in a break with tradition.