Abstract
The author gives an analysis of the style of the murals in the Church of the Virgin Eleousa in Veljusa (1080-1093), pointing out the distinctive manner of the outstanding artist, similar in many ways to works produced by the previous generation, such as the frescoes in Saint Sophia in Ohrid. At the same time parallels are drawn between the Veljusa frescoes and works by Constantinopolitan artists of the last third of the eleventh century, including miniatures in manuscripts and the Daphni mosaics. A few additions to the interpretation of the church?s iconographic programme are also proposed.
Highlights
The study of the murals in the Church of the Vir-Church of the Virgin Eleousa in Veljusa (1080–1093), pointing out the distinctive manner of the outstanding artist, similar in many ways to works produced by the previous generation, such as the frescoes in Saint Sophia in Ohrid
At the same time parallels are drawn between the Veljusa frescoes and works by Constantinopolitan artists of the last third of the eleventh century, including miniatures in manuscripts and the Daphni mosaics
The building traditions of Byzantium and fine profiling of the niches, door and window openings, the use of the concealed course technique and the decoration of the exterior with painted imitation of brickwork – all these features may indicate that Bishop Manuel invited Constantinopolitan builders to Veljusa (Fig. 1).[2] neighboring lands, New York 2019, 409–410
Summary
Church of the Virgin Eleousa in Veljusa (1080–1093), pointing out the distinctive manner of the outstanding artist, similar in many ways to works produced by the previous generation, such as the frescoes in Saint Sophia in Ohrid.
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