TEXNOL. MHXAN. KATASKEYON -...

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∫∂ƒ∞ªπ∫∏ ∫∞π π™∆√ƒπ∞ ñ ∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜ ñ ∏ ·Ú¯·›· ÂÏÏËÓÈ΋ ÎÂÚ·ÌÈ΋ Ù¤¯ÓË ñ ∏ ÎÂÚ·ÌÈ΋ ÛÙÔ ÂÎ·È‰Â˘ÙÈÎfi ÚfiÁÚ·ÌÌ· Ù˘ Û¯ÔÏ‹˜ Bauhaus Î·È Ë È‰ÂÔÏÔÁ›· ÙÔ˘ ªÔÓÙÂÚÓÈÛÌÔ‡

Transcript of TEXNOL. MHXAN. KATASKEYON -...

Page 1: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

∫∂ƒ∞ªπ∫∏∫∞π

π™∆√ƒπ∞

ñ ∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜

ñ ∏ ·Ú¯·›· ÂÏÏËÓÈ΋ ÎÂÚ·ÌÈ΋ Ù¤¯ÓË

ñ ∏ ÎÂÚ·ÌÈ΋ ÛÙÔ ÂÎ·È‰Â˘ÙÈÎfi ÚfiÁÚ·ÌÌ· Ù˘ Û¯ÔÏ‹˜Bauhaus Î·È Ë È‰ÂÔÏÔÁ›· ÙÔ˘ ªÔÓÙÂÚÓÈÛÌÔ‡

Page 2: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus
Page 3: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

¶ÂÚ›ÏË„Ë

∫·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ ÌÂÛÔÔϤÌÔ˘, Û ÛÙÂÓ‹ Û¯¤ÛË Ì ÙË ÁÂÓÈÎfiÙÂÚËÚËÙÔÚÈ΋ ÁÈ· «ÂÏÏËÓÈÎfiÙËÙ·», ·Ú¿ÁÔÓÙ·È Î·È ÚÔˆıÔ‡ÓÙ·È ÚÔ˚fiÓÙ·ÂÏÏËÓÈÎÒÓ ÎÂÚ·ÌÈÎÒÓ ÂÙ·ÈÚÂÈÒÓ, ˆ˜ ·Ù¤˜ ·Ô‰Â›ÍÂȘ ÌÈ·˜ ȉȷ›ÙÂÚ˘ÔÏÈÙÈÛÌÈ΋˜ Ê¿ÛË, ηٿ ÙËÓ ÔÔ›· Ë ·Ó·‚›ˆÛË Ù˘ ÂÏÏËÓÈ΋˜ ·Ú¯·ÈfiÙËÙ·˜Û˘Ó·ÓÙ¿ ÙÔ˘˜ ‰ÚfiÌÔ˘˜ ÙˆÓ Ï·˚ÎÒÓ Ù¯ÓÒÓ. ªÔÙ›‚· ·Ú¯·›·˜, ‚˘˙·ÓÙÈÓ‹˜,Ï·˚΋˜ Î·È ÌÈÎÚ·ÛÈ·ÙÈ΋˜ ÚÔ¤Ï¢Û˘ ‚Ú¤ıËÎ·Ó ÛÙÔ Î¤ÓÙÚÔ ÙÔ˘ ÂӉȷʤ-ÚÔÓÙÔ˜ ÙˆÓ Û¯Â‰È·ÛÙÒÓ Î·È ÂȯÂÈÚËÌ·ÙÈÒÓ ÛÙËÓ ÚÔÛ¿ıÂÈ¿ ÙÔ˘˜ Ó· ‰È·-ÌÔÚÊÒÛÔ˘Ó ÌÈ· Ó¤· Â͈ÛÙÚÂÊ‹ Î·È ·ÓÙ·ÁˆÓ›ÛÈÌË ÂÏÏËÓÈ΋ ηÏÏÈÙ¯ÓÈ΋·Ú·ÁˆÁ‹. √È ÎÂÚ·ÌÈΤ˜ ‚ÈÔÙ¯ӛ˜ (Ì ÚÔÂÍ¿Ú¯Ô˘Û˜ ÙȘ ÂÙ·ÈÚ›˜«∫ÂÚ·ÌÂÈÎfi˜» Î·È «∫ÈÔ˘Ù¿¯È·») ¤·ÈÍ·Ó ÛËÌ·ÓÙÈÎfi ÚfiÏÔ Û’ ·˘Ù‹Ó ÙËÓÚÔÛ¿ıÂÈ·. Œ¯ÔÓÙ·˜ ÂÍ·ÁˆÁÈÎfi ÚÔÛ·Ó·ÙÔÏÈÛÌfi, ·ÓÙÈÌÂÙˆ›ÛÙËηӷfi ÙÔ˘˜ Ôϛ٘ ˆ˜ ËÁ‹ ÂıÓÈ΋˜ ˘ÂÚËÊ¿ÓÂÈ·˜ Û’ ¤Ó·Ó ȉÈfiÙ˘Ô ÔÈÎÔÓÔ-ÌÈÎfi ÂıÓÈÎÈÛÌfi. ∞ÏÏ¿ Î·È ÔÈ ›‰È˜ ÔÈ ÂÙ·ÈÚ›˜ ›¯·Ó ÂÓÛÙÂÚÓÈÛÙ› ·˘ÙfiÓ ÙÔÚfiÏÔ: ¤·ÈÚÓ·Ó Ì¤ÚÔ˜ Û ‰ÈÂıÓ›˜ ÂÎı¤ÛÂȘ Î·È ÚÔÛÏ¿Ì‚·Ó·Ó ˆ˜ ηÏÏÈ-Ù¯ÓÈÎÔ‡˜ ‰È¢ı˘ÓÙ¤˜ ÛËÌ·ÓÙÈΤ˜ ÚÔÛˆÈÎfiÙËÙ˜. ∏ ‰Â ÂÁ¯ÒÚÈ· Âϛ٠˘ÈÔ-ı¤ÙËÛ ÙËÓ Î·ÏÏÈÙ¯ÓÈ΋ ·Ú·ÁˆÁ‹ ·˘ÙÒÓ ÙˆÓ ÎÂÚ·ÌÈÎÒÓ ÂÙ·ÈÚÂÈÒÓ Î·ÈÙ· ¯ÚËÛÈÌÔÔ›ËÛ fi¯È ÌfiÓÔ ˆ˜ ÔÈÎÔÛ˘Û΢‹, ·ÏÏ¿ Î·È ˆ˜ ‰È·ÎÔÛÌËÙÈοÛÙÔȯ›·, ÙfiÛÔ Û ÎÙ›ÚÈ· ·ÚÔ˘˜ (fiˆ˜ Ë µÔ˘Ï‹ ÙˆÓ ∂ÏÏ‹ÓˆÓ Î·È Ù· ˘Ô-ηٷÛÙ‹Ì·Ù· Ù˘ ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜), fiÛÔ Î·È ÛÙȘ ȉȈÙÈΤ˜ ηÙÔÈ˘ Ù˘·ÓÒÙÂÚ˘ ·ÛÙÈ΋˜ Ù¿Í˘.

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘:

£ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘

∫·ıËÁ‹ÙÚÈ· ∆∂π ∫ÂÓÙÚÈ΋˜ ª·Î‰ÔÓ›·˜, [email protected]

Page 4: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

™ÙËÓ ·ÚÔ˘Û›·ÛË ·˘Ù‹, Ô˘ ‚·Û›˙ÂÙ·È Û ·Ú¯Âȷ΋, ‚È‚ÏÈÔÁÚ·ÊÈ΋ ηÈÂÈÙfiÈ· ¤Ú¢ӷ, ı· ÂÈÎÂÓÙÚÒÛÔ˘Ì ÙËÓ ÚÔÛÔ¯‹ Ì·˜ ÛÙÔÓ ·Ú¯ÈÙÂÎÙÔÓÈÎfiÎÂÚ·ÌÈÎfi ‰È¿ÎÔÛÌÔ Ô˘ ¯ÚËÛÈÌÔÔÈ‹ıËΠÛÙȘ ÚÔÛfi„ÂȘ ¤ÍÈ ÎÙÈÚ›ˆÓ Ù˘∂ıÓÈ΋˜ ∆Ú¿Â˙·˜. √ Û˘ÁÎÂÎÚÈ̤ÓÔ˜ ÎÂÚ·ÌÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ ¤¯ÂÈ È‰È·›ÙÂÚÔÂӉȷʤÚÔÓ ÁÈ·Ù› ˆ˜ ıÂÌ·ÙÔÏÔÁ›· ÂÚÈÏ·Ì‚¿ÓÂÈ fiϘ ÙȘ ÌÂÛÔÔÏÂÌÈΤ˜Ù¿ÛÂȘ Ô˘ ÚԷӷʤÚıËÎ·Ó Û˘Ì˘ÎÓÒÓÔÓÙ·˜ ÌÈ· ÔÏfiÎÏËÚË ÂÔ¯‹. ªÈ·ÂÔ¯‹ Ô˘ ÎÏ›ÓÂÈ ÌÂÙ¿ ÙÔÓ ‚’ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ, fiÙ·Ó Ë ÂÁ¯ÒÚÈ· ÎÂÚ·ÌÈ-΋ ‚ÈÔÙ¯ӛ· ·‰˘Ó·Ù› Ó’ ·ÓÙ·ÁˆÓÈÛÙ› ÙÔ˘˜ Â˘Úˆ·›Ô˘˜ ·Ú·ÁˆÁÔ‡˜ ηÈÊı›ÓÂÈ ÛÙ·‰È·Î¿. ∆Ô ‚·ÛÈÎfi Ì·˜ ÂÔ̤ӈ˜ Âȯ›ÚËÌ· Â›Ó·È fiÙÈ Ë Û˘ÁÎÂ-ÎÚÈ̤ÓË ÂÓfiÙËÙ· ‰È·ÙËÚËÙ¤ˆÓ ÎÙÈÚ›ˆÓ ÌÔÚ› Ó· ÂÓÙ·¯ı› ÛÙËÓ ÎÂÚ·ÌÈ΋Âη›‰Â˘ÛË Ù˘ ÓÂfiÙÂÚ˘ ÁÂÓÈ¿˜: Âȉ¤¯ÂÙ·È Û˘ÁÎÚ›ÛÂȘ Ì ·ÓÙ›ÛÙÔȯ˜ڷÎÙÈΤ˜ ÛÙÔ Â˘Úˆ·˚Îfi ¯ÒÚÔ, ¤¯ÂÈ ÌÔÓ·‰ÈÎfiÙËÙ· (ÁÈ·Ù› ‰ÂÓ Â·Ó·Ï‹-ÊıËΠÌÂÙ¿ ÙÔÓ fiÏÂÌÔ), Û·ÓÈfiÙËÙ· (ˆ˜ Â͈ÙÂÚÈ΋ ‰È·ÎfiÛÌËÛË ÂÏÏËÓÈ-ÎÒÓ ÎÙÈÚ›ˆÓ), ۯ‰ȿÛÙËΠ‰Â Î·È ·Ú¿¯ıËΠ·fi ¤ÏÏËÓ˜ ÎÂÚ·Ì›ÛÙ˜.

§¤ÍÂȘ ∫ÏÂȉȿ: ÎÂÚ·ÌÈÎfi˜ Â͈ÙÂÚÈÎfi˜ ‰È¿ÎÔÛÌÔ˜, ÎÂÚ·ÌÈΤ˜ ÊÚ›˙˜,ÌÂÛÔfiÏÂÌÔ˜, ÎÙ›ÚÈ· ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜

Abstract

During the inter-war period, in close connection with the general rhetoric of"Hellenism", a series of Greek ceramic productswere produced andpromoted, as a tangible evidence of a particular cultural phase, during whichthe revival of Greek Antiquity met and blended withAncient, Byzantine,Asia Minorand Folk patternsbecame the focus of interest of designers andentrepreneurs, in their efforts to establish a new extrovert and competitiveGreek artistic production. The ceramic crafts (predominantly thecompaniesof "Kerameikos" and '"Kutahya") played an important role in thiseffort. Havingan export trade orientation, they were treated by citizens as asource of national pride through a peculiar economic-nationalistic prism.The companies themselves, too,embraced this roleby taking part ininternational fairs and hiring artists as managers. Besides, the domesticbourgeoisie adopted these artistic productionand used it not only ashousehold, but also as architectural decoration, both in prestigiouspublicbuildings (such as the Greek Parliamentand a number of NationalBank'sbuildings) as well as in private residences of the upper bourgeoisie. In

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜12

Page 5: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

this essay, based on archival, bibliographical and field research, we will focusour attention to thearchitectural ceramic decoration used on the facades ofsix buildings of the National Bank of Greece. The Bank's ceramicdecoration is a field of particular interestasit encompasses all the aboveinter-war trends, concentrating and integrating anentire era in Greece'scultural history.An era thatcloses after the second world war (WWII), whenthe domestic pottery crafts are no longer able to compete withthe europeanproducers, falling gradually into decline. Our basic argument is thereforethat this unit of listed buildings can be included within aceramiceducationprogram of the younger generation for three distinct reasons;it iscomparable tosimilar practices in the Europe,it is unique (as it was notrepeated after the WWII) and rare (in the exterior decoration of Greekbuildings), and was designed and produced by Greek potters.

Keywords: ceramic architecturaldecoration, ceramic friezes, inter-warbuildings of National Bank of Greece

∏ ÂÏÏËÓÈ΋ ÎÂÚ·ÌÈ΋ ηٿ ÙÔ ÌÂÛÔfiÏÂÌÔH ÌÂÙ¿ ÙË ÌÈÎÚ·ÛÈ·ÙÈ΋ ηٷÛÙÚÔÊ‹ ÌÂٷʇÙ¢ÛË ÛÙËÓ ∂ÏÏ¿‰· ·ÓıÚÒÈ-ÓÔ˘ ‰˘Ó·ÌÈÎÔ‡ Î·È ÂȯÂÈÚËÌ·ÙÈÎÒÓ ÎÂÊ·Ï·›ˆÓ Î·È Ë ÚfiÛηÈÚË ·Ó·Ï·-Ì‹ Ù˘ ÂÁ¯ÒÚÈ·˜ ‚ÈÔÌ˯·ÓÈ΋˜ Î·È ‚ÈÔÙ¯ÓÈ΋˜ ·Ú·ÁˆÁ‹˜ ¤¯ÂÈ Û˘˙ËÙË-ı› ÂÎÙÂÓÒ˜ ÛÙË ÓÂÔÂÏÏËÓÈ΋ ‚È‚ÏÈÔÁÚ·Ê›·, ΢ڛˆ˜ ·fi ÙËÓ ÏÂ˘Ú¿ ÙË˜Û˘Ì‚ÔÏ‹˜ Ù˘ ÛÙËÓ ÔÈÎÔÓÔÌÈ΋ ÛÙ·ıÂÚÔÔ›ËÛË. ŸÌˆ˜ Ô Û¯Â‰È·ÛÌfi˜ Î·È Ë·ÈÛıËÙÈ΋ ÙˆÓ ÚÔ˚fiÓÙˆÓ, Ë Û¯¤ÛË Î·ÏÏÈÙ¯ÓÒÓ Î·È ÎÂÊ·Ï·ÈÔ‡¯ˆÓ ‰¤¯ÙË-Î·Ó ÏÈÁfiÙÂÚÔ Û¯ÔÏÈ·ÛÌfi (Àagou, 2008). ∫ÔÌ‚ÈÎfi ÛËÌÂ›Ô Á‡Úˆ ·fi ÙÔÔÔ›Ô ÂȯÂÈÚ‹ıËΠӷ ·Ó·Ù˘¯ı› ÌÈ· «Ó¤· ÂÏÏËÓÈ΋ Ù¤¯ÓË» ˘‹ÚÍ ËÛ˘Ó¯Ҙ ·˘Í·ÓfiÌÂÓË Â˘·ÈÛıËÙÔÔ›ËÛË ÁÈ· ÙË ÛËÌ·Û›· ÙˆÓ Ï·˚ÎÒÓ Î·È‰È·ÎÔÛÌËÙÈÎÒÓ Ù¯ÓÒÓ ÛÙËÓ ·Ú·ÁˆÁ‹ ÏÔ‡ÙÔ˘, ·ÏÏ¿ Î·È ÛÙË ‰È·ÌfiÚʈ-ÛË ÂıÓÈ΋˜ Û˘Ó›‰ËÛ˘. ªÔÙ›‚· ·Ú¯·›·˜, ‚˘˙·ÓÙÈÓ‹˜, Ï·˚΋˜ Î·È ÌÈÎÚ·-ÛÈ·ÙÈ΋˜ ÚÔ¤Ï¢Û˘ ‚Ú¤ıËÎ·Ó ÛÙÔ Î¤ÓÙÚÔ ÙÔ˘ ÂӉȷʤÚÔÓÙÔ˜ ÙˆÓ Û¯Â-‰È·ÛÙÒÓ Î·È ÂȯÂÈÚËÌ·ÙÈÒÓ ÛÙËÓ ÚÔÛ¿ıÂÈ¿ ÙÔ˘˜ Ó· ‰È·ÌÔÚÊÒÛÔ˘Ó ÌÈ·Ó¤· Â͈ÛÙÚÂÊ‹ Î·È ·ÓÙ·ÁˆÓ›ÛÈÌË ÂÏÏËÓÈ΋ ηÏÏÈÙ¯ÓÈ΋ ·Ú·ÁˆÁ‹. √ÈÎÂÚ·ÌÈΤ˜ ‚ÈÔÙ¯ӛ˜ (Ì ÚÔÂÍ¿Ú¯Ô˘Û˜ ÙȘ ÂÙ·ÈÚ›˜ «√ ∫ÂÚ·ÌÂÈÎfi˜»Î·È «∫ÈÔ˘Ù¿¯È·») ¤·ÈÍ·Ó ÛËÌ·ÓÙÈÎfi ÚfiÏÔ Û’ ·˘Ù‹Ó ÙËÓ ÚÔÛ¿ıÂÈ·. Œ¯Ô-ÓÙ·˜ ¤ÓÙÔÓÔ ÂÍ·ÁˆÁÈÎfi ÚÔÛ·Ó·ÙÔÏÈÛÌfi, ·ÓÙÈÌÂÙˆ›ÛÙËÎ·Ó ·fi ÙÔ˘˜

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 13

Page 6: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

Ôϛ٘ ˆ˜ ËÁ‹ ÂıÓÈ΋˜ ˘ÂÚËÊ¿ÓÂÈ·˜ Û’ ¤Ó·Ó ȉÈfiÙ˘Ô ÔÈÎÔÓÔÌÈÎfi ÂıÓÈ-ÎÈÛÌfi. ∞ÏÏ¿ Î·È ÔÈ ›‰È˜ ÔÈ ÂÙ·ÈÚ›˜ ›¯·Ó ÂÓÛÙÂÚÓÈÛÙ› ·˘ÙfiÓ ÙÔ ÚfiÏÔ:¤·ÈÚÓ·Ó Ì¤ÚÔ˜ Û ‰ÈÂıÓ›˜ ÂÎı¤ÛÂȘ Î·È ÚÔÛÏ¿Ì‚·Ó·Ó ˆ˜ ηÏÏÈÙ¯ÓÈ-ÎÔ‡˜ ‰È¢ı˘ÓÙ¤˜ ÛËÌ·ÓÙÈΤ˜ ÚÔÛˆÈÎfiÙËÙ˜. ÷ڷÎÙËÚÈÛÙÈÎfi ·Ú¿‰ÂÈÁ-Ì· ·ÔÙÂÏ› Ë Û˘Ì‚ÔÏ‹ ÙÔ˘ ÏÔÁÔÙ¤¯ÓË ™ÙÚ·Ù‹ ¢Ô‡Î· ÛÙËÓ ÚÔ‚ÔÏ‹ Ù˘∞ÁÁÂÈÔÏ·ÛÙÈ΋˜ «∫ÈÔ˘Ù¿¯È·». ™ÙÔ ∞Ú¯Â›Ô ¡ÂÔÂÏÏËÓÈ΋˜ §ÔÁÔÙ¯ӛ·˜ÛÙÔ ∞.¶.£ (Ê¿Î. ™ÙÚ·Ù‹˜ ¢Ô‡Î·˜) ˘¿Ú¯Ô˘Ó ÙÚ›· Û¯¤‰È· Ì ÌÔχ‚È ÙÔ˘¢Ô‡Î· ÁÈ· ÙÔ ÏÔÁfiÙ˘Ô Ù˘ ÂÙ·ÈÚ›·˜ «∫ÈÔ˘Ù¿¯È·», ÙÔ Î·Ù·ÛÙ·ÙÈÎfi Ù˘ÂÙ·ÈÚ›·˜ (1923) Î·È ÙÔ ÚfiÁÚ·ÌÌ· ·ÚÔ˘Û›·Û‹˜ Ù˘ ÛÙËÓ 1Ë ¢ÈÂıÓ‹ŒÎıÂÛË Ù˘ £ÂÛÛ·ÏÔӛ΢. ∫·Ù¿ ÙËÓ ∞. Yagou (2008) ÙÔ ™˘Ì‚Ô‡ÏÈÔ Ù˘«∫ÈÔ˘Ù¿¯È·˜», Û ·Ó·ÊÔÚ¿ ÙÔ˘, ÙÔ 1927, ÚÔ˜ ÙË °ÂÓÈ΋ ™˘Ó¤Ï¢ÛË ÙˆÓÌÂÙfi¯ˆÓ, ‰‹ÏˆÓ ˘ÂÚ‹Ê·ÓÔ ÁÈ·Ù› Ë ‰Ú·ÛÙËÚÈfiÙËÙ· Ù˘ ÂÙ·ÈÚ›·˜ ‰È¤Ûˆ˙·˘Ù‹Ó «ÙËÓ Î·ı·Ú¿ ÂÏÏËÓÈ΋ Ù¤¯ÓË (ÙËÓ ÎÂÚ·ÌÈ΋) Î·È ÙËÓ ÂÓۈ̿وÓÂÛÙË ˙ˆ‹ Ù˘ Û‡Á¯ÚÔÓ˘ ∂ÏÏ¿‰·˜». ™ÙÔ Ù¤ÏÔ˜ Ù˘ ·Ó·ÊÔÚ¿˜ Ô Û˘ÓÙ¿ÎÙ˘¤Î·Ó ÌÈ· Ì¿ÏÏÔÓ Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÚfiÙ·ÛË-·Ú¿ÎÏËÛË Û’ fiÏÔ˘˜ ÙÔ˘˜«ÏÔ‡ÛÈÔ˘˜ ·ÙÚÈÒÙ˜», Ô˘ ÂӉȷʤÚÔÓÙ·Ó ÂȉÈÎfiÙÂÚ· ÁÈ· ÙË Ï·˚΋·Ú¿‰ÔÛË, Ó· ÛÙËÚ›ÍÔ˘Ó ÙË ‚ÈÔÌ˯·Ó›· «∫ÈÔ˘Ù¿¯È·». ∆Ô ÂÍ·ÁˆÁÈÎfi ÚÔ-Û·Ó·ÙÔÏÈÛÌfi ÙˆÓ ·ÁÁÂÈÔÏ·ÛÙÈÎÒÓ ÂÙ·ÈÚÂÈÒÓ ‰Â›¯ÓÂÈ Î·È ÌÈ¿ ÂÈÛÙÔÏ‹ ÙÔ˘«∫ÂÚ·ÌÂÈÎÔ‡» (25 πÔ˘Ó›Ô˘ 1929) ÚÔ˜ ÙÔÓ ÙfiÙ ڈı˘Ô˘ÚÁfi ∂Ï.µÂÓÈ˙¤-ÏÔ, fiÔ˘ ÂÈÛËÌ·›ÓÂÈ ÙÔÓ Î›Ó‰˘ÓÔ Ù˘ ¿ÌÂÛ˘ ‰È·ÎÔ‹˜ Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ Ù˘ÏfiÁˆ Ù˘ «ÙÂÏÂ˘Ù·›-·˜» ÙÚ·Â˙È΋˜ ÎÚ›-Û˘. √ Û˘ÓÙ¿ÎÙ˘ Ù˘ÂÈÛÙÔÏ‹˜ ̇ ËÙ¿ ‰·ÛÌÔ-ÏÔÁÈ΋ ÂÓ›Û¯˘ÛË Ù˘ÂÙ·ÈÚ›·˜ Î·È Î·Ù·Ï‹-ÁÂÈ ÚÔÙÚ¤ÔÓÙ·˜ ÙÔÓÚˆı˘Ô˘ÚÁfi Ó· ÙËÓÂÈÛÎÂÊı› ÁÈ·Ù› ÙfiÙÂı· «‰È¤‚Ï» fiÙÈ Ë‚ÈÔÌ˯·Ó›· ÙÔ˘ ∫ÂÚ·-ÌÂÈÎÔ‡» fiÙÈ Â›Ó·È Î¿ÙÈÂÚÈÛÛfiÙÂÚÔ ·fi ÌÈ¿·Ï‹ ‚ÈÔÌ˯·Ó›· (˘Ô-ÓÔÒÓÙ·˜ fiÙÈ ·ÔÙÂÏ›ËÁ‹ ÂıÓÈ΋˜ ˘ÂÚË-Ê¿ÓÂÈ·˜).

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜14

∂ÈÎ 1: ∂ÈÛÙÔÏfi¯·ÚÙÔ ∞ÁÁÂÈÔÏ·ÛÙÈ΋˜ ∂Ù·ÈÚ›·˜«√ ∫ÂÚ·ÌÂÈÎfi˜» (∞Ú¯Â›Ô ∂. µÂÓÈ˙¤ÏÔ˘).

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§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 15

∂ÈÎ. 2: √ ™ÙÚ·Ù‹˜ ¢Ô‡Î·˜ ÛÙÔ ÂÚ›ÙÂÚÔ Ù˘ ∞ÁÁÂÈÔÏ·ÛÙÈ΋˜ ∂Ù·ÈÚ›·˜ ∫ÈÔ˘Ù¿¯È· ÛÙË ∞’ ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢

(∞Ú¯Â›Ô ¡ÂÔÂÏÏËÓÈ΋˜ §ÔÁÔÙ¯ӛ·˜).

∂ÈÎ. 3: ∆Ô ÂÚ›ÙÂÚÔ Ù˘ ∞ÁÁÂÈÔÏ·ÛÙÈ΋˜ ∂Ù·ÈÚ›·˜ ∫ÈÔ˘Ù¿¯È· ÛÙËÓ ∞’ ¢ÈÂıÓ‹ ŒÎıÂÛË £ÂÛÛ·ÏÔӛ΢ (∞Ú¯Â›Ô ¡ÂÔÂÏÏËÓÈ΋˜ §ÔÁÔÙ¯ӛ·˜).

Page 8: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

∏ Û˘Ì‚ÔÏ‹ Ù˘ ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜

∏ ·Ú¿ÎÏËÛË ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ Ù˘ «∫ÈÔ˘Ù¿¯È·˜» Ô˘ ÚԷӷʤÚıËÎÂ,Ê·›ÓÂÙ·È Ó· ÂÈÛ·ÎÔ‡ÛÙËΠ·fi ÙËÓ ÂÁ¯ÒÚÈ· ÂÏ›Ù, Ô˘ ˘ÈÔı¤ÙËÛ ÙËÓ Î·Ï-ÏÈÙ¯ÓÈ΋ ·Ú·ÁˆÁ‹ ÙˆÓ ÎÂÚ·ÌÈÎÒÓ ÂÙ·ÈÚÂÈÒÓ Î·È Ù· ¯ÚËÛÈÌÔÔ›ËÛ fi¯ÈÌfiÓÔ ˆ˜ ÔÈÎÔÛ˘Û΢‹, ·ÏÏ¿ Î·È ˆ˜ ‰È·ÎÔÛÌËÙÈο ÛÙÔȯ›·, ÙfiÛÔ Û ÎÙ›Úȷ·ÚÔ˘˜ (fiˆ˜ Ë µÔ˘Ï‹ ÙˆÓ ∂ÏÏ‹ÓˆÓ Î·È Ù· ˘ÔηٷÛÙ‹Ì·Ù· Ù˘ ∂ıÓÈ΋˜∆Ú¿Â˙·˜), fiÛÔ Î·È ÛÙȘ ȉȈÙÈΤ˜ ηÙÔÈ˘ Ù˘ ·ÓÒÙÂÚ˘ ·ÛÙÈ΋˜ Ù¿Í˘.H ·ÓÙ·fiÎÚÈÛË Ù˘ ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜ ÂȉÈÎfiÙÂÚ· Û¯ÂÙ›˙ÂÙ·È Ì ÙÔ ˙‹ÏÔÔ˘ ¤‰ÂÈÍÂ Ô ÂÈÎÂÊ·Ï‹˜ Ù˘ ∆¯ÓÈ΋˜ ÀËÚÂÛ›·˜ Ù˘, o ·Ú¯ÈÙ¤ÎÙÔÓ·˜¡ÈÎfiÏ·Ô˜ ∑Ô˘ÌÔ˘Ï›‰Ë˜ (1888-1969). ªÂ ÛÔ˘‰¤˜ ÛÙËÓ ∫ˆÓÛÙ·ÓÙÈÓÔ‡Ô-ÏË Î·È ÙÔ µÂÚÔÏ›ÓÔ Ô ∑Ô˘ÌÔ˘Ï›‰Ë˜ ¿Ú¯ÈÛ ӷ ÂÚÁ¿˙ÂÙ·È ÛÙËÓ ∂.∆.∂. ÙÔ1917. ∏ ıËÙ›· ÙÔ˘ Û˘Ó¤ÂÛ Ì ÙËÓ ÂÎÙ¤ÏÂÛË ÂÓfi˜ ÌÂÁ¿ÏÔ˘ ÚÔÁÚ¿ÌÌ·-ÙÔ˜ ·Ó¤ÁÂÚÛ˘ ˘ÔηٷÛÙËÌ¿ÙˆÓ Û’ ÔÏfiÎÏËÚË ÙË ¯ÒÚ·, ÙÔ ÔÔ›Ô Î·ÈÛÊÚ¿ÁÈÛ Ì ÙȘ ÂÈÏÔÁ¤˜ ÙÔ˘. √ ∑Ô˘ÌÔ˘Ï›‰Ë˜ ·Û¯ÔÏ‹ıËΠÁÈ· Ï›ÁÔ (ÚÈÓÙÔ 1917) Ì ÙÔ ÂÌfiÚÈÔ ÎÂÚ·ÌÈÎÒÓ Ù‡Ô˘ Isnik ·fi Ù· ÂÚ›ÊËÌ· ÂÚÁ·ÛÙ‹-ÚÈ· Ù˘ ÌÈÎÚ·ÛÈ·ÙÈ΋˜ ∫ÈÔ˘Ù¿¯ÂÈ·˜ (£ÂÔ‰ˆÚ›‰Ô˘, 2012·). ™ËÌÂÈˆÙ¤Ô fiÙÈÙ· ·˘ıÂÓÙÈο ϷΛ‰È· Isnik ıˆÚÔ‡ÓÙ·Ó Û˘ÏÏÂÎÙÈο ·ÓÙÈΛÌÂÓ· ÁÈ· ÙÔ˘˜∂˘Úˆ·›Ô˘˜ ‹‰Ë ·fi Ôχ ·ÏÈ¿, ÙÔ ‰Â Û˘ÏÏÂÎÙÈÎfi ÂӉȷʤÚÔÓ ÎÔÚ˘ÊÒ-ıËΠηٿ Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ Î·È ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·È. Ì ·ÔÙ¤ÏÂÛÌ· ÌÂÁ¿-Ϙ ÔÛfiÙËÙ˜ ·fi ϷΛ‰È·, Ô˘ ¤Ӊ˘·Ó ÔıˆÌ·ÓÈο ÎÙ›ÚÈ·, Ó· ηٷϋ-ÍÔ˘Ó ÛÙË ¢‡ÛË Î·È Ó· ÂÎÙ›ıÂÓÙ·È Û‹ÌÂÚ· Û ÔÏ˘¿ÚÈıÌ· ÌÔ˘Û›· (Denny,2004). ∏ ·Á¿Ë ÙÔ˘ ∑Ô˘ÌÔ˘Ï›‰Ë ÁÈ· Ù· ÎÂÚ·ÌÈο ϷΛ‰È· Ê·›ÓÂÙ·È Û¤ÍÈ (6) ÙÔ˘Ï¿¯ÈÛÙÔÓ ÎÙ›ÚÈ· Ù˘ ∆Ú¿Â˙·˜, fiÔ˘ ¯ÚËÛÈÌÔÔÈ‹ıËÎ·Ó ˆ˜ ÛÙÔÈ-¯Â›· Â͈ÙÂÚÈ΋˜ ‰È·ÎfiÛÌËÛ˘. ∂Ó‰ÂÈÎÙÈÎfi ÙÔ˘ ÛÙ·ıÂÚÔ‡ ÂӉȷʤÚÔÓÙÔ˜ÙÔ˘ ∑Ô˘ÌÔ˘Ï›‰Ë ÁÈ· ÙËÓ ÎÂÚ·ÌÈ΋ (Î·È ÂȉÈÎfiÙÂÚ· ÙË ÌÂÙ·ÊÔÚ¿ Î·È ÂÌʇ-Ù¢ÛË ÛÙË ÓÂÒÙÂÚË ∂ÏÏ¿‰· Ù˘ ÌÈÎÚ·ÛÈ·ÙÈ΋˜ ÎÂÚ·ÌÈ΋˜ ·Ú¿‰ÔÛ˘)Â›Ó·È fiÙÈ ‰ÈÂÙ¤ÏÂÛ ÁÈ· ¤Ó· ‰È¿ÛÙËÌ· Î·È Úfi‰ÚÔ˜ Ù˘ «∞ÓÒÓ˘Ì˘ ∫ÂÚ·-Ì¢ÙÈ΋˜ ∂Ù·ÈÚ›·˜ §·˘Ú›Ô˘» (∞.∫.∂.§.), Ù˘ ÂÙ·ÈÚ›·˜ Ô˘ ›‰Ú˘Û Ë∂ıÓÈ΋ ∆Ú¿Â˙· ÙÔ 1941 ÚÔÛ·ıÒÓÙ·˜ Ó· ·Ó·‚ÈÒÛÂÈ ÙË ÌÂÛÔÔÏÂÌÈÎ‹Ï¿Ì„Ë Ù˘ ÂÏÏËÓÈ΋˜ ÎÂÚ·ÌÔ˘ÚÁ›·˜. ∏ ∞.∫.∂.§ ÏÂÈÙÔ‡ÚÁËÛ Ì ‰È¿ÊÔ-ÚÔ˘˜ ÌÂÙ·Û¯ËÌ·ÙÈÛÌÔ‡˜ ̤¯ÚÈ ÙÔ 1957, Ì ΢ÚÈfiÙÂÚÔ Ì¤ÙÔ¯Ô ÙËÓ ∂ıÓÈ΋∆Ú¿Â˙· (51%) ÙÔ µÚ. ¶··ÁÈ·ÓÓfiÔ˘ÏÔ (24%) Î·È ÙÔÓ Û˘ÓÂÚÁ¿ÙË ÙÔ˘ÂÏÏËÓÔÚÒÛÔ Ù¯ÓÈÎfi ÂȉÈÎÂ˘Ì¤ÓÔ ÛÙ· ÎÂÚ·ÌÈο ™. ¶Ô˘ÏȤ˙Ô (25%)(§¿·-¶··‰¿ÎË, 2006), Ù· ‰Â ÚÔ˚fiÓÙ· Ù˘ ¤Êı·Û·Ó Ó· ÂÍ¿ÁÔÓÙ·È Û·ÚÎÂÙ¤˜ ¯ÒÚ˜ Ù˘ ∂˘ÚÒ˘ Î·È ÙËÓ ∞ÌÂÚÈ΋.

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜16

Page 9: TEXNOL. MHXAN. KATASKEYON - teachers.teicm.grteachers.teicm.gr/theod/files/keramiki_mesopolemou.pdf · this essay, based on archival, bibliographical and field research, we will focus

∏ ‡·ÚÍË ÂÁ¯ÒÚÈ·˜ ÎÂÚ·ÌÈ΋˜ ·Ú·ÁˆÁ‹˜ ÛÙËÓ ∞ı‹Ó· ÙÔ˘ ÌÂÛÔÔϤ-ÌÔ˘ Î·È Ë ¯Ú‹ÛË Ù˘ ÛÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙˆÓ fi„ÂˆÓ ÔÏÈÁ¿ÚÈıÌˆÓ (¤ÛÙˆ)ÎÙÈÚ›ˆÓ ·ÓÙ·Ó·ÎÏ¿ (¤ÛÙˆ Î·È fi„ÈÌ·) ·ÓÙ›ÛÙÔȯ˜ Ú·ÎÙÈΤ˜ ÛÙȘ ÌÂÁ¿ÏÂ˜Â˘Úˆ·˚Τ˜ ÚˆÙ‡ԢÛ˜. ∞Í›˙ÂÈ Ó· ÛËÌÂȈı› fiÙÈ ·Ó Î·È Ë ·Ú·ÁˆÁ‹ ¯ÂÈ-ÚÔÔ›ËÙˆÓ ÎÂÚ·ÌÈÎÒÓ ¤¯ÂÈ Ì·ÎÚ·›ˆÓË ÈÛÙÔÚ›·, Ë Â΂ÈÔÌ˯¿ÓÈÛË ÙÔ˘ 19Ô˘¤‰ˆÛ Ӥ· ÒıËÛË ÛÙË ‰È¿‰ÔÛ‹ ÙÔ˘˜. ∏ ÎÂÚ·ÌÈ΋ ·Ú¿‰ÔÛË Ù·›ÚÈ·Í ȉ·-ÓÈο Ì ÙȘ ÂÎÏÂÎÙÈÎÈÛÙÈΤ˜ ·Ó·˙ËÙ‹ÛÂȘ ·Ú¯ÈÙÂÎÙfiÓˆÓ Î·È Û¯Â‰È·ÛÙÒÓ ÛÙÔ‚’ ÌÈÛfi ÙÔ˘ 19Ô˘ ·È. ‰ËÌÈÔ˘ÚÁÒÓÙ·˜ Û’ fiÏË ÙËÓ ∂˘ÚÒË ÂÎÏËÎÙÈΤ˜ Û˘Ó-ı¤ÛÂȘ. ∫ÂÚ·ÌÈΤ˜ ‚ÈÔÌ˯·Ó›Â˜ fiˆ˜ Ë Minton Hollins Co, Maw Co,Mansfield Bros ıˆڋıËÎ·Ó «art manufactures» Î·È ÔÈ ÂȯÂÈÚË̷ٛ˜ Ô˘ÙȘ ‰ËÌÈÔ‡ÚÁËÛ·Ó ¤¯·ÈÚ·Ó Û‚·ÛÌÔ‡ ·fi ÙÔ˘˜ ·ÎÏÔ˘˜ Ù˘ ‰È·ÓfiËÛ˘ ηÈÙˆÓ Î·ÏÏÈÙ¯ÓÒÓ. ∂ͤıÂÙ·Ó Ù· ÚÔ˚fiÓÙ· ÙÔ˘˜ ÛÙȘ ‰ÈÂıÓ›˜ ÂÎı¤ÛÂȘ Ù˘ÂÔ¯‹˜ (Herbert & Huggins, 1995) Î·È Âͤ‰È‰·Ó ηÏÏÈÙ¯ÓÈÎÔ‡˜ ηٷÏfi-ÁÔ˘˜ ÙˆÓ ÚÔ˚fiÓÙˆÓ ÙÔ˘˜. ∆Ô ¿ÓÙÚÂÌ· ÎÂÚ·ÌÈ΋˜ Ù¤¯Ó˘ Î·È ‚ÈÔÌ˯·Ó›·˜Û˘Ó¯›ÛÙËÎÂ Î·È ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·È., ·ÚΛ Ó· ı˘ÌËıԇ̠fiÙÈ ÙÔ Î›ÓË-Ì· Secession ¿ÓıËÛ ÂÎ ·Ú·ÏÏ‹ÏÔ˘ Ì ÙËÓ ·Ó¿Ù˘ÍË ÌÈ·˜ ÙÔÈ΋˜ ‚ÈÔÙÂ-¯Ó›·˜ ÚÔ˚fiÓÙˆÓ ÔÚÛÂÏ¿Ó˘ (Ô›ÎÔ˜ Zsolnay Co), ÛÙÔ ‰Â ¶·Ú›ÛÈ ÙÔ ArtDeco ˘ÔÛÙËÚ›¯ıËΠ·fi ÙËÓ ·Ú·ÁˆÁ‹ „ËÊȉˆÙÒÓ Î·È Ï·Îȉ›ˆÓ ÙÔ˘Ô›ÎÔ˘ Gentil & Bourdet. ∏ ∞ı‹Ó· ÙÔ˘ ÌÂÛÔÔϤÌÔ˘, ÛÙÔ ÛÙ·˘ÚÔ‰ÚfiÌÈ∞Ó·ÙÔÏ‹˜ Î·È ¢‡Û˘, Âȯ›ÚËÛÂ, Ì ÙÔÓ ‰ÈÎfi Ù˘ ÙÚfiÔ, Ó· ηٷÁÚ¿„ÂÈÛÙËÓ ÎÂÚ·ÌÈ΋ ·Ú·ÁˆÁ‹ Ù˘ ÙÔÈ΋˜ ‚ÈÔÙ¯ӛ·˜ Ù· ‰‡Ô ΢ڛ·Ú¯· ÛÙËÓÂÏÏËÓÈ΋ ÛÎËÓ‹ ÔÏÈÙÈÛÙÈο Ú‡̷ٷ: ÙË Û˘ÓÙ‹ÚËÛË ÙÔ˘ ÓÂÔÎÏ·ÛÛÈÎÈÛÌÔ‡Î·È ÙÔ Î›ÓËÌ· Ù˘ ÂÈÛÙÚÔÊ‹˜ ÛÙȘ Ú›˙˜.

∏ ¯Ú‹ÛË ÎÂÚ·ÌÈÎÒÓ Ï·Îȉ›ˆÓ ÛÙ· ÎÙ›ÚÈ· Ù˘ ∂ıÓÈ΋˜∆Ú¿Â˙·˜

π. ∆Ô ÎÙ›ÚÈÔ ∞گ›ˆÓ Ù˘ ∆Ú¿Â˙·˜ (1923-1926) Â›Ó·È Ù·˘ÙÈṲ̂ÓÔ ¤ÚÁÔ ÙÔ˘∑Ô˘ÌÔ˘Ï›‰Ë. ∞ÔÙÂÏ› ‰Â›ÁÌ· ÂÓfi˜ ÌÔÓÙ¤ÚÓÔ˘ ÂÎÏÂÎÙÈÎÈÛÌÔ‡ Î·È ‰È·ÎÔ-ÛÌÂ›Ù·È Ì ηٷÎfiÚ˘Ê˜ ÛًϘ Ï·Îȉ›ˆÓ Ì ÙÔ ¤Ì‚ÏËÌ· Ù˘ ∂.∆.∂. (ÙËÓÎÂÊ·Ï‹ Ù˘ ∞ıËÓ¿˜ Ì ÂÚÈÎÂÊ·Ï·›·) Î·È ÙÔ ÏÔÁfiÙ˘Ô Ù˘ Û ·Ú¯·˚΋ÁÚ·Ê‹. ∏ ÂÍ·ÎÚ›‚ˆÛË Ù˘ ÚÔ¤Ï¢Û˘ ÙˆÓ ÎÂÚ·ÌÈÎÒÓ Ì¤ÓÂÈ Ó· ÙÂÎÌËÚȈ-ı›. ∂›Ó·È, ÙÔ Èı·ÓfiÙÂÚÔ, ¤ÚÁ· Ù˘ ÂÙ·ÈÚ›·˜ «∫ÂÚ·ÌÂÈÎfi˜» Î·È ı· ÌÔ-ÚÔ‡Û·Ó Ó· ÂÓÙ·¯ıÔ‡Ó ÛÙËÓ Î·ÙËÁÔÚ›· ÙÔ˘ ÓÂÔ·Ú¯·˚ÎÔ‡ Ú˘ıÌÔ‡, fiˆ˜ ÙÔÓÂÚȤÁÚ·„Â Ô ¡. °ÚËÁÔÚ¿Î˘ (2011). ∏ ÂÓÔÔ›ËÛË ÙÔ˘ ÎÔÚÌÔ‡ ÙÔ˘ ÎÙÈÚ›-Ô˘ ̤ۈ ηٷÎfiÚ˘ÊˆÓ ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ Ù·ÈÓÈÒÓ ‰È·ÎfiÙÂÙ·È ·fi ÌÈ· ÔÚÈ-

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 17

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˙fiÓÙÈ· ˙ÒÓË ‰È·ÎÔÛÌË̤ÓË Ì ϷΛ‰È· ÛÙÔ ÌÔÙ›‚Ô ÌÈ·˜ ·ÏÔÔÈË̤Ó˘Û›ڷ˜. ∏ ÂÎÙÂٷ̤ÓË ¯Ú‹ÛË Ï·Îȉ›ˆÓ ÛÙËÓ ÚfiÛÔ„Ë ÙÔ˘ ÎÙÈÚ›Ô˘ ÙˆÓ∞گ›ˆÓ Ù˘ ∂.∆.∂. ı· ÌÔÚÔ‡Û ӷ Û˘ÁÎÚÈı› Ì ·Ó¿ÏÔÁË ¯Ú‹ÛË Ï·ÎÈ-‰›ˆÓ faience ÙÔ˘ ‚ÈÂÓÓ¤˙ÈÎÔ˘ Secession Î·È ÙˆÓ ÎÙÈÚ›ˆÓ (fiˆ˜ ÙÔ MajolikaHaus), Ô˘ Ô ·Ú¯ÈÙ¤ÎÙˆÓ Otto Wagner ۯ‰›·ÛÂ; ¶ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· ÚÔ-Û·ÚÌÔÁ‹ ÛÙ· «Î·ı’ ËÌ¿˜» ÌÈ·˜ ÚˆÙÔÔÚȷ΋˜ Â˘Úˆ·˚΋˜ Ù¿Û˘ Û˘Ó‰Â-fiÌÂÓ˘ Ì ÙÔ arts and crafts ΛÓËÌ·; ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó·Ó ÂΉ˘ÙÈÎÈÛÌfi Ù˘·Ó·ÙÔÏÈ΋˜ ·Ú¿‰ÔÛ˘ ÙˆÓ ÂÂÓ‰‡ÛÂˆÓ Ì ˘·ÏˆÌ¤Ó· ϷΛ‰È·; £· ··-ÓÙÔ‡Û·Ì ӷÈ, ÚÔÛı¤ÙÔÓÙ·˜ fiÙÈ Ë ÙÚ¤¯Ô˘Û· Û›ڷ Û ÌÏ ÙÔ˘ ÎÔ‚·ÏÙ›-Ô˘, Ô Ì·›·Ó‰ÚÔ˜ Î·È Ë ÎÂÊ·Ï‹ Ù˘ ∞ıËÓ¿˜ ÛÙÔ ÎÙ›ÚÈÔ ÙˆÓ ∞گ›ˆÓ Ù˘∂.∆.∂. ÂȯÂÈÚÔ‡Ó Î¿ÙÈ ·Ú·¿Óˆ: ÂȯÂÈÚÔ‡Ó Ó· ‰È·ÛÒÛÔ˘Ó ÙËÓ ÂÏÏËÓÈ΋ÎÂÚ·ÌÈ΋ ·Ú¿‰ÔÛË Î·È Ó· ÙËÓ ·Ó·‰Â›ÍÔ˘Ó. ™ÙËÚ›˙Ô˘Ó ÙËÓ ÂÁ¯ÒÚÈ· ÎÂÚ·-ÌÈ΋ ‚ÈÔÙ¯ӛ· «ˆ˜ ËÁ‹ ÂıÓÈ΋˜ ˘ÂÚËÊ¿ÓÂÈ·˜» Î·È ‰È·ÊËÌ›˙Ô˘Ó Ì ÙÔÓÈÔ ·ÓËÁ˘ÚÈÎfi ÙÚfiÔ Ù· ÚÔ˚fiÓÙ· Ù˘.

ππ. ™ÙÔ ÂÈ‚ÏËÙÈÎfi ˘ÔηٿÛÙËÌ· Ù˘ ∂∆∂ ÛÙ· πˆ¿ÓÓÈÓ· (1931-1934) Á›ÓÂ-Ù·È Â›Û˘ ¯Ú‹ÛË ÎÂÚ·ÌÈÎÒÓ Ï·Îȉ›ˆÓ. ∂‰Ò, οو ·fi ÙÔ Á›ÛÔ Ù˘ ÛÙ¤-Á˘, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÌÈ· Ù·ÈÓ›· ·fi Ï›ÓıÔ˘˜, ÙÔÔıÂÙÂ›Ù·È ÊÚ›˙· ·fiÎÂÚ·ÌÈο ϷΛ‰È· Ì ÂÏÈÛÛfiÌÂÓÔ˘˜ ‚Ï·ÛÙÔ‡˜ ۠ϢÎfi οÌÔ (ÊfiÓÙÔ).∂›Ó·È ÙÔ ÁÓˆÛÙfi ÛÙÔ˘˜ ·Ó·ÙÔϛ٘ ˆ˜ saz: ʇÏÏÔ Ì·ÎÚfiÛÙÂÓÔ ÌÂÁ¿ÏÔ˘ÌÂÁ¤ıÔ˘˜, ÂÚÛÈ΋˜ ÚÔ¤Ï¢Û˘ (∫ÔÚÚ¤, 1995). ÃÚËÛÈÌÔÔÈÔ‡ÓÙ·È ˙ˆËÚ¿¯ÚÒÌ·Ù· fiˆ˜ ÙÔ ÎÔÚ·Ï›, ÌÏ ÙÔ˘ ÎÔ‚·ÏÙ›Ô˘, Ú¿ÛÈÓÔ, Ù˘ÚÎÔ˘¿˙, ̈‚Î·È Î›ÙÚÈÓÔ. µ·ÛÈÎfi˜ ÂȂϤˆÓ ÙÔ˘ ÎÙÈÚ›Ô˘ ÙˆÓ πˆ·ÓÓ›ÓˆÓ ˘‹ÚÍÂ Ô ·Ú¯È-

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜18

∂ÈÎ. 4, 5: ∏ ÎÂÚ·ÌÈ΋ Ù·ÈÓ›· Ì ÙËÓ ÙÚ¤¯Ô˘Û· Û›ڷ ÛÙÔ ÎÙ›ÚÈÔ ∞گ›ˆÓ Ù˘ ∂.∆.∂.

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Ù¤ÎÙÔÓ·˜ ∞ÚÈÛÙÔ̤Ó˘ µ¿Ï‚˘ (1892-1982). √ ›‰ÈÔ˜ ˘ÔÁÚ¿ÊÂÈ ¤Ó· ¤Á¯Úˆ-ÌÔ Û¯¤‰ÈÔ (Ê˘ÏÏ¿ÛÛÂÙ·È ÛÙÔ πÛÙÔÚÈÎfi ∞Ú¯Â›Ô Ù˘ ∂.∆.∂.) Ì ‰‡Ô ‰È·ÊÔÚÂ-ÙÈΤ˜ ·Ú·ÏÏ·Á¤˜ ÁÈ· ÙË ÊÚ›˙·, ¤Ó‰ÂÈÍË Ù˘ Û˘ÌÌÂÙÔ¯‹˜ ÙÔ˘ ÛÙË ‰È·ÌfiÚ-ʈÛË ÙÔ˘ ÙÂÏÈÎÔ‡ ·ÔÙÂϤÛÌ·ÙÔ˜.

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 19

∂ÈÎ .6, 7: §ÂÙÔ̤ÚÂÈ· Ù˘ Ù·ÈÓ›·˜ ÛÙÔ ˘ÔηٿÛÙËÌ· πˆ·ÓÓ›ÓˆÓ (‰ÂÍÈ¿ Î·È Î¤ÓÙÚÔ).

∂ÈÎ. 8: ™¯¤‰ÈÔ Ì ‰‡Ô ‰È·ÊÔÚÂÙÈΤ˜ ·Ú·ÏÏ·Á¤˜ ÁÈ· ÙË ÊÚ›˙·. ÀÔÁÚ·Ê‹ ∞.µ¿Ï‚˘ (ËÁ‹: π.∞/∂.∆.∂).

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Iππ. ªÈ· ·ÚfiÌÔÈ· Ù·ÈÓ›· ·fi ÎÂÚ·ÌÈο ϷΛ‰È· ۠ϢÎfi οÌÔ Î·È ÙÔÌÔÙ›‚Ô ÂÓfi˜ ÂÏÈÛÛfiÌÂÓÔ˘ ‚Ï·ÛÙÔ‡ Ô˘ ηٷϋÁÂÈ Û ÂÓÙ˘ˆÛÈ·Îfi ¿ÓıÔ˜(Û ¯ÚÒÌ· ÌÏ ÙÔ˘ ÎÔ‚·ÏÙ›Ô˘) ¯ÚËÛÈÌÔÔÈ‹ıËΠοو ·fi ÙÔ Á›ÛÔ Ù˘ÛÙ¤Á˘ ÛÙÔ ˘ÔηٿÛÙËÌ· ∫Ô˙¿Ó˘. ∆Ô ˘ÔηٿÛÙËÌ· Ù˘ ∫Ô˙¿Ó˘ÂÓÙ¿ÛÛÂÙ·È Î·È ·˘Ùfi ÛÙËÓ ÚÔÛ¿ıÂÈ· ·Ó·‚›ˆÛ˘ Ù˘ ‚˘˙·ÓÙÈÓ‹˜ ·Ú¿‰Ô-Û˘, Ì ÏÈÁfiÙÂÚË fï˜ ÂÈÙ˘¯›· Û ۯ¤ÛË Ì’ ·˘Ùfi ÙˆÓ πˆ·ÓÓ›ÓˆÓ. ∏ ÊÚ›˙·Ì ٷ ÎÂÚ·ÌÈο ϷΛ‰È· Ù˘ «∫ÈÔ˘Ù¿¯È·˜» ·Ú·Ì¤ÓÂÈ Ì¤¯ÚÈ Û‹ÌÂÚ· ÙÔÎÔÌ„fiÙÂÚÔ ¯·Ú·ÎÙËÚÈÛÙÈÎfi ÙÔ˘.

IV. ∫·È ÛÙÔ ˘ÔηٿÛÙËÌ· ºÏÒÚÈÓ·˜ (1930-1931), οو ·fi ÙÔ Á›ÛÔ Ù˘ÛÙ¤Á˘, ˘¿Ú¯ÂÈ ÊÚ›˙· ·fi ÎÂÚ·ÌÈο ϷΛ‰È·, fiÔ˘ ·Ó·ÁÚ¿ÊÂÙ·È Ì ÎÂÊ·-Ï·ÈÔÁÚ¿ÌÌ·ÙË ‚˘˙·ÓÙÈÓ›˙Ô˘Û· ÁÚ·Ê‹: ∂ıÓÈ΋ ∆Ú¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ (¯Ú˘Û¿ÁÚ¿ÌÌ·Ù· Û ÊfiÓÙÔ ÌÏ ÙÔ˘ÎÔ‚·ÏÙ›Ô˘). ªÈ· ‰Â‡ÙÂÚË ÎÂÚ·-ÌÈ΋ ÊÚ›˙· ̠ϢÎÔ‡˜ Î·È ¯Ú˘-۷ʤÓÈÔ˘˜ ÏÔ¯ÌÔ‡˜, Û ‚˘˙·-ÓÙÈÓ‹˜ ÂÈÚÚÔ‹˜ ÛÎÔ‡ÚÔ ÌÏÂÊfiÓÙÔ, ‰È·ÌÔÚÊÒÓÂÙ·È ÛÙÔ̤ÛÔÓ ÙÔ˘ ‡„Ô˘˜ ÙˆÓ ·ÓÔÈÁÌ¿-ÙˆÓ ÙÔ˘ ÈÛÔÁ›Ԣ. ∆Ô ÌÔÙ›‚ÔÙˆÓ ÏÔ¯ÌÒÓ Û˘Ó·ÓÙ¿Ù·È Û˘¯Ó¿Ì ‰È¿ÊÔÚ˜ ÔÓÔ̷ۛ˜ fiˆ˜:‰ÈÏ‹ Û›ڷ Ì ÎÏËÌ·Ù›‰Â˜, ‹ÔÈ ‰ÈÏÔ› ÂÏÏÈÛÛfiÌÂÓÔÈ ‚Ï·ÛÙÔ›‹ ÛÙÚfi‚ÈÏÔÈ Î·È ÛÙË Ï·˚΋ Ù¤¯ÓË(∫·ÌÔ‡ÚË-µ·Ì‚Ô‡ÎÔ˘, 2004).∆· ÎÂÚ·ÌÈο ÙÔ˘ ˘ÔηٷÛÙ‹-Ì·ÙÔ˜ Ù˘ ºÏÒÚÈÓ·˜ ıˆÚÔ‡-ÓÙ·È (Ì ÔÚÈṲ̂Ó˜ ÂÈÊ˘Ï¿-ÍÂȘ) ¤ÚÁ· ÙÔ˘ ÎÂÚ·Ì›ÛÙ· ªËÓ¿∞‚Ú·Ì›‰Ë, ÚfiÛÊ˘Á· ·fi ÙËÓ∫ÈÔ˘Ù¿¯ÂÈ· Ù˘ ªÈÎÚ¿˜ ∞Û›·˜,Ô ÔÔ›Ô˜ ·ÊÔ‡ ÂÚÁ¿ÛÙËΠÁÈ·‰‡Ô ¯ÚfiÓÈ· ˆ˜ ·Ú¯ÈÙ¯ӛÙ˘ ÛÙ˺·ÏËÚÈ΋ «∫ÈÔ˘Ù¿¯È·» ÂÁη-Ù·ÛÙ¿ıËΠÁÈ· Ï›ÁÔ ÛÙË ºÏÒÚÈ-

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜20

∂ÈÎ. 9, 10: ∆Ô ˘ÔηٿÛÙËÌ· ºÏÒÚÈÓ·˜.

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Ó· Î·È ÙÂÏÈο ÛÙË £ÂÛÛ·ÏÔÓ›ÎË (∫ÔÚÚ¤, 2000; ∫·ÌÔ‡ÚË-µ·Ì‚Ô‡ÎÔ˘, 2004;∑·Úο‰·, 2004). ∂›Û˘ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ ºÏÒÚÈÓ·˜ ÂȂϤˆÓ ·Ú¯ÈÙ¤ÎÙˆÓ‹Ù·Ó Ô ∞ÚÈÛÙÔ̤Ó˘ µ¿Ï‚˘.

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 21

∂ÈÎ. 11, 12, 13: ∏ ÎÂÚ·ÌÈ΋ Ù·ÈÓ›· ÂÁÎÈ‚ˆÙÈṲ̂ÓË ·Ó¿ÌÂÛ· Û ٷÈÓ›· ·fi Ï›ÓıÔ˘˜.

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V. To ˘ÔηٿÛÙËÌ· ¶Ú‚¤˙˘ (1932-1934) Â›Ó·È ¤Ó· ȉȷ›ÙÂÚÔ ÎÙ›ÚÈÔ,΢ڛ·Ú¯Ô ÛÙÔÈ¯Â›Ô ÙÔ˘ ÔÔ›Ô˘ Â›Ó·È Ô ÛηÛÙfi˜ ÂÍÒÛÙ˘ Ì ÙËÓ ˘ÎÓ‹ÎÈÔÓÔÛÙÔȯ›·, ·ÚfiÌÔÈ· Ì’ ·˘Ù‹Ó ÙÔ˘ ˘ÔηٷÛÙ‹Ì·ÙÔ˜ πˆ·ÓÓ›ÓˆÓ. ¶ÔÏ-Ï·Ï¿ ÊÔ˘ÚÔ‡ÛÈ· ÛÙËÚ›˙Ô˘Ó ÙÔÓ ÂÍÒÛÙË Î·È ÛÙÔ ÂӉȿÌÂÛÔ ‰È¿ÛÙËÌ·ÙÔÔıÂÙ‹ıËÎ·Ó Ï·Î›‰È· Ì ÌÔÓfi¯ÚˆÌÔ (Á·Ï¿˙ÈÔ) ·ÓıÈÎfi ÌÔÙ›‚Ô Û Ï¢ÎfiÊfiÓÙÔ, ÚÔÂÚ¯fiÌÂÓ· ·fi ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ Ù˘ º·ÏËÚÈ΋˜ «∫ÈÔ˘Ù¿¯È·˜». ªÂÔχ¯ÚˆÌ· ÎÂÚ·ÌÈο ϷΛ‰È· Ù‡Ô˘ Isnik ‰È·ÎÔÛÌ‹ıËΠÙÔ ¿Óˆ ̤ÚÔ˜Ù˘ ÙÔÍÔÛÙÔȯ›·˜ ÙÔ˘ ÂÍÒÛÙË: saz Î·È Ê‡ÏÏ· Û ڿÛÈÓÔ ¯ÚÒÌ· Î·È ¿ÓıËÛ Ԣڷӛ, ÓÙÔÌ·Ù›, Ì ·Ú·‰Â›ÛÈ· ‰È¿Û·ÚÙ· Ô˘ÏÈ¿ (ÎÔÙÛ‡ÊÈ·, ·ÁÒ-ÓÈ·). ∏ ÎÂÚ·ÌÈ΋ ‰È·ÎfiÛÌËÛË Ù˘ ÙÔÍÔÛÙÔȯ›·˜ ÙÔ˘ ÂÍÒÛÙË Û˘Ó·ÓÙ¿Ù·È ÛÂÔÏϤ˜ ÂÚÈÙÒÛÂȘ ηٿ ÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÂΉ˘ÙÈÎÈÛÌÔ‡ Ù˘ ÔıˆÌ·ÓÈ΋˜

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜22

∂ÈÎ. 14, 15: ∏ ÎÂÚ·ÌÈ΋ ÊÚ›˙· ÛÙÔ ˘ÔηٿÛÙËÌ· ∫Ô˙¿Ó˘ (¿Óˆ Î·È Î¿Ùˆ).

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·Ú¯ÈÙÂÎÙÔÓÈ΋˜, Ì ¯·Ú·ÎÙËÚÈÛÙÈÎfi ·Ú¿‰ÂÈÁÌ· ·˘Ùfi ÙÔ˘ ¢ÈÔÈÎËÙËÚ›Ô˘∫ÈÔ˘Ù¿¯ÂÈ·˜ (1908). ∫·Ù¿ ÙËÓ ∞Ó. ∆˙¿ÎÔ˘ (1984) ÙÔ ÎÙ›ÚÈÔ Û¯Â‰›·Û ԷگÈÙ¤ÎÙˆÓ ªÈ¯·‹Ï ∫·Ó¿Î˘ Î·È Î·Ù¿ ÙÔÓ ¢ÈÔÓ. µÏ·¯fiÔ˘ÏÔ (2003) Ô∞ÚÈÛÙÔ̤Ó˘ µ¿Ï‚˘.

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 23

∂ÈÎ. 16, 17, 18: ÀÔηٿÛÙËÌ· ¶Ú¤‚Â˙·˜. ªÔÓԯڈ̷ÙÈÎfi˜ ·ÓıÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ ÛÙÔ Î¿Ùˆ ̤ÚÔ˜ ÙˆÓ ÊÔ˘ÚÔ˘ÛÈÒÓ. ¢È·ÎfiÛÌËÛË ÌÂ

ÔÏ˘¯ÚˆÌ·ÙÈο ÎÂÚ·ÌÈο ϷΛ‰È· ¿Óˆ ·fi ÙËÓ ÙÔÍÔÛÙÔȯ›· ÙÔ˘ ÔÚfiÊÔ˘ (οو- ‰ÂÍÈ¿)

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Vπ. ∆ËÓ ›‰È· ÂÔ¯‹ ÎÂÚ·ÌÈο ϷΛ‰È· ÂÈϤÁÔÓÙ·È ÁÈ· Ó· ‰È·ÎÔÛÌËı› ÙÔÎÏ·ÛÈÎÈÛÙÈÎfi Úfi˘ÏÔ ÙÔ˘ ̆ ÔηٷÛÙ‹Ì·ÙÔ˜ Ù˘ ∂.∆.∂. ÛÙÔ µ·ı‡ Ù˘ ™¿ÌÔ˘(1931-1932) (∆Û›ÁÎÔ˘, 2001). ™ÙÔ ÔÚıÔÁˆÓÈÎfi ÎÂÚ·ÌÈÎfi ¿ÓÂÏ, Ô˘ ÙÔÔıÂ-Ù‹ıËΠ¿Óˆ ·fi ÙËÓ ÎÂÓÙÚÈ΋ ›ÛÔ‰Ô, ¤Ó·˜ ηıÈÛÙfi˜ ÊÙÂÚˆÙfi˜ ÁÚ‡·˜Ï·ÈÛÈÒÓÂÙ·È ·fi ‰‡Ô ÌÂÁ¿ÏÔ˘˜ ÌÈÓˆ˚ÎÔ‡˜ ÎÚ›ÓÔ˘˜, ÂÓÒ ÌÈÎÚfiÙÂÚÔÈ ÎÚ›ÓÔÈ·ӷϷ̂¿ÓÔÓÙ·È ÛÙË ‚¿ÛË Ù˘ Û‡ÓıÂÛ˘. ∏ ·Ú¿ÛÙ·ÛË Â›Ó·È ÌÔÓÔ¯Úˆ-Ì·ÙÈ΋ (Ï¢Îfi Û¯¤‰ÈÔ Û ‚˘ÛÛÈÓ› ÊfiÓÙÔ) Î·È ÂÚÈ‚¿ÏÏÂÙ·È ·fi ÛÙÂÓ‹ Ï¢΋ÌÔÚÓÙÔ‡Ú·. ∆Ô ÎÂÓÙÚÈÎfi ¿ÓÂÏ Ï·ÈÛÈÒÓÔ˘Ó ÙÂÙÚ¿ÁˆÓ· ·ÓÂÍ¿ÚÙËÙ·¿ÓÂÏ, Ô˘ ·ÂÈÎÔÓ›˙Ô˘Ó Úfi‰·Î˜. ŸÌˆ˜ ÛÙÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ ÎÙÈÚ›Ô˘ ηÈÛ˘ÁÎÂÎÚÈ̤ӷ ÛÙÔÓ fiÚÔÊÔ Ì·˜ ÂÚÈ̤ÓÂÈ ÌÈ· ¤ÎÏËÍË: Ì ϷΛ‰È· Ù¯ÓÔ-

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜24

∂ÈÎ. 19, 20, 21, 22: ÀÔηٿÛÙËÌ· ÛÙÔ µ·ı‡ Ù˘ ™¿ÌÔ˘. ∏ ÎÂÚ·ÌÈ΋

·Ú¿ÛÙ·ÛË Ù˘ ÂÈÛfi‰Ô˘ Ì ÊÙÂÚˆÙfiÁÚ‡· Î·È Úfi‰·Î˜. ∆Ô Ù˙¿ÎÈ ÛÙËÓ

ηÙÔÈΛ· ÙÔ˘ ‰È¢ı˘ÓÙ‹, ÛÙÔÓ fiÚÔÊÔÙÔ˘ ˘ÔηٷÛÙ‹Ì·ÙÔ˜.

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ÙÚÔ›·˜ Iznik Ù˘ º·ÏËÚÈ΋˜«∫ÈÔ˘Ù¿¯È·˜» ÂÂÓ‰‡ÂÙ·È ÂÍÔÏÔÎÏ‹ÚÔ˘ ÙÔ Ù˙¿ÎÈ Ù˘ηÙÔÈΛ·˜ ÙÔ˘ ‰È¢ı˘ÓÙ‹. ™ÙË‚¿ÛË ÙÔ˘ ‰È·ÎfiÛÌÔ˘ ˘¿Ú-¯Ô˘Ó ‰‡Ô ηÏÔۯ‰ȷṲ̂ÓÔÈ·ÌÊÔÚ›˜ ·’ fiÔ˘ ÂÎʇÔ-ÓÙ·È ÂÏÈÛÛfiÌÂÓÔÈ ‚Ï·ÛÙÔ› ÌÂÏÔ‡ÛÈÔ ·ÓıÈÎfi ‰È¿ÎÔÛÌÔ Û¯ÚÒÌ· ÓÙÔÌ·Ù›, ʇÏÏ· Ú¿ÛÈ-Ó· Î·È ÌÏ ÙÔ˘ ÎÔ‚·ÏÙ›Ô˘Î·È ‰È¿Û·ÚÙ· ·ÁÒÓÈ·, ÙÛ·-Ï·ÂÙÂÈÓÔ‡˜ Î·È ÎÔÙÛ‡ÊÈ· ÛÂÏ¢Îfi ÊfiÓÙÔ. ∞fi ÙËÓ ›‰È· ·Ó·ÙÔÏ›ÙÈÎË ·Ú¿‰ÔÛË ÚÔ¤Ú¯ÂÙ·È Î·È ÙÔ ÌÂÁ¿-ÏÔ ‚¿˙Ô ÙÔÔıÂÙË̤ÓÔ (̤¯ÚÈ Û‹ÌÂÚ·) ¿Óˆ ÛÙÔ Â˙Ô‡ÏÈ ÙÔ˘ Ù˙·ÎÈÔ‡.

ÃÚ‹ÛË ÎÂÚ·ÌÈÎÒÓ Ï·Îȉ›ˆÓ Û ¿ÏÏ· ÎÙ›ÚÈ·

ÃÚ‹ÛË ˘·ÏˆÌ¤ÓˆÓ Ï·Îȉ›ˆÓ ¤ÁÈÓ ÙËÓ ›‰È· ÂÔ¯‹ Î·È Û ¿ÏÏ· ÎÙ›ÚÈ·. ∆ÔÈÔ ÁÓˆÛÙfi ·Ú¿‰ÂÈÁÌ· Â›Ó·È Ë ÂÛˆÙÂÚÈ΋ ‰È·ÎfiÛÌËÛË ·ÈıÔ˘ÛÒÓ Ù˘ µÔ˘-Ï‹˜ ÙˆÓ ∂ÏÏ‹ÓˆÓ Û ÔÈÎÈÏ›· ۯ‰›ˆÓ (¢ÂÌÂÓ¤ÁË-µÈÚÈÚ¿ÎË, 2007: 173-177).™ÙË µÔ˘Ï‹ Û˘Ó·ÓÙ¿Ù·È Ë ›‰È· ·ÓÙ›ıÂÛË ·Ó¿ÌÂÛ· ÛÙÔ ÎÏ·ÛÈÎÈÛÙÈÎfi Î¤Ï˘ÊÔ˜Î·È ÙËÓ ·Ó·ÙÔÏ›ÙÈÎË ‰È·ÎfiÛÌËÛË ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡, Ô˘ ·Ú·ÙËÚ‹Û·Ì ηÈÛÙË ™¿ÌÔ. ∂ȉÈÎfiÙÂÚ· ÛÙÔ ¯ÒÚÔ Ù˘ ÚÒËÓ ÙÚ·Â˙·Ú›·˜ Ù˘ µÔ˘Ï‹˜, Ô ÏÔ‡-ÛÈÔ˜ ÎÂÚ·ÌÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ Â›Ó·È ÌË ·Ó·ÌÂÓfiÌÂÓÔ˜. ™Â ÂÎı·Ì‚ˆÙÈο ¿ÛÚÔÊfiÓÙÔ Û˘ÌϤÎÔÓÙ·È Î·Ê¤ ÂÏÈÛÛfiÌÂÓÔÈ ‚Ï·ÛÙÔ› Ì ڿÛÈÓ· Ì·ÎÚfiÛÙÂӷʇÏÏ· (Ê·ÛÎÔÌËÏÈ¿˜), ¿ÓıË Û ¯ÚÒÌ·Ù· ÌÏ ÙÔ˘ ÎÔ‚·ÏÙ›Ô˘ Î·È ÎfiÎÎÈÓÔÎÔÚ·ÏÏ›, Á·Ï·˙ÔΛÙÚÈÓ· Ô˘ÏÈ¿ (ÎÔÙÛ‡ÊÈ·). ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ·Ó·ÙÔÏ›ÙÈÎÔ«·Ú·‰Â›ÛÈÔ» ÂÚÈ‚¿ÏÏÔÓ Û ·ÓÙ›ıÂÛË Ì ÙÔ ·˘ÛÙËÚfi Î¤Ï˘ÊÔ˜ ÙÔ˘ ÎÙÈÚ›Ô˘,ÌÈ· ·ÚfiÛÌÂÓË ÈÛÏ·ÌÈ΋ ÂÈÚÚÔ‹ Ô˘ ı· ͤÓÈ˙Â Â¿Ó ‰ÂÓ ÂÓÙ¿ÛÛÔÓÙ·Ó ÛÙËÓÔÏÈÙÈ΋ ÛÙ‹ÚÈ͢ Ù˘ ÂÁ¯ÒÚÈ·˜ ÎÂÚ·ÌÈ΋˜ ‚ÈÔÌ˯·Ó›·˜ Ô˘ ÚԷӷʤڷÌÂ.

∫ÂÚ·ÌÈ΋ ÊÚ›˙· Î·È ÂÈÙÔ›¯È· ÎÂÚ·ÌÈο Û˘Ó·ÓÙ¿ÌÂ Î·È ÛÙËÓ Î·ÙÔÈΛ·ÙÔ˘ ∫. ª·Ï·Ì·ÙÈ·ÓÔ‡, ÁÈ· ÔÏÏ¿ ¯ÚfiÓÈ· ÚÔ¤‰ÚÔ˘ Ù˘ ºÈÏÔı¤Ë˜ Î·È ‰ÂÓÚ¤ÂÈ Ó· Â›Ó·È Ù˘¯·›Ô fiÙÈ Ô ª·Ï·Ì·ÙÈ·Ófi˜, ÂÎÙfi˜ ·fi Á›ÙÔÓ·˜, ˘‹ÚÍÂ̤ÏÔ˜ ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ Ù˘ ∞ÓˆÓ‡ÌÔ˘ ∫ÂÚ·ÌÔ˘ÚÁÈ΋˜ ∂Ù·ÈÚ›·˜ §·˘Ú›Ô˘(∞.∫.∂.§.) Î·È Ê›ÏÔ˜ ÙÔ˘ ∑Ô˘ÌÔ˘Ï›‰Ë (£ÂÔ‰ˆÚ›‰Ô˘, 2012‚).

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 25

∂ÈÎ. 23: ∆Ô ÎÂÚ·ÌÈÎfi ‚¿˙Ô.

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∞ӷʤڷÌ ‹‰Ë fiÙÈ Ë ∆¯ÓÈ΋ÀËÚÂÛ›· Ù˘ ∂.∆.∂ ¤ÏÂÍÂÙÔ ÊÙÂÚˆÙfi ÁÚ‡· ÁÈ· Ó· ‰È·-ÎÔÛÌ‹ÛÂÈ ÙËÓ Â›ÛÔ‰Ô ÙÔ˘ ˘Ô-ηٷÛÙ‹Ì·ÙÔ˜ ÛÙË ™¿ÌÔ. ∆ËÓ›‰È· ÂÔ¯‹ Ô ÂÈÎÂÊ·Ï‹˜ Ù˘·Ó¤Ï·‚ ÙËÓ ÂÎfiÓËÛË Ù˘ÌÂϤÙ˘ ÙÔ˘ ÃÚËÌ·ÙÈÛÙËÚ›Ô˘∞ıËÓÒÓ (1928-1934). ™ÙËÓÎÂÓÙÚÈ΋ ·›ıÔ˘Û· ÙÔ˘ ÃÚËÌ·-ÙÈÛÙËÚ›Ô˘ Ô ∑Ô˘ÌÔ˘Ï›‰Ë˜ÙÔÔı¤ÙËÛ ÎÂÚ·ÌÈÎfi ¿ÓÂÏÌ ÙÔ˘˜ ·Á·Ë̤ÓÔ˘˜ ÙÔ˘ ÁÚ‡-˜. ∫¿ıÔÓÙ·È ·ÓÙÈÎÚÈÛÙ¿ ˆ˜ıËÛ·˘ÚÔʇϷΘ Î·È ¤¯Ô˘Ó·Ó¿ÌÂÛ¿ ÙÔ˘˜ ÙÔ ¤Ì‚ÏËÌ· Ù˘∂ıÓÈ΋˜ ∆Ú¿Â˙·˜ (ÙËÓ ÎÂÊ·-Ï‹ Ù˘ ı¿˜ ∞ıËÓ¿˜). ™ËÌÂȈ-Ù¤Ô fiÙÈ, ÂÎÙfi˜ ·fi ·Ú¯·˚ÎÔ‡˜Áڇ˜, Ô ∑Ô˘ÌÔ˘Ï›‰Ë˜ ¯ÚË-ÛÈÌÔÔ›ËÛ ÙÔÓ ÔÚÊ˘ÚfiΛÔÓ· Ì ÙËÓ ¤ÓÙÔÓË Ì›ˆÛË,‰ËÏ·‰‹ ÙÔ ÈÛ¯˘ÚfiÙÂÚÔ ÌÈÓˆ˚Îfi·Ú¯¤Ù˘Ô, ÛÙÔ ˘ÔηٿÛÙËÌ·Ù˘ ∂.∆.∂ ÛÙÔ ¡·‡ÏÈÔ (1936-1937) Î·È ÛÙËÓ È‰ÈfiÎÙËÙËηÙÔÈΛ· ÙÔ˘ ÛÙË ºÈÏÔı¤Ë(1934), ¤Ó‰ÂÈÍË Ù˘ ÚÔۋψ-Û‹˜ ÙÔ˘ ÛÙËÓ ·Ó·‚›ˆÛË ÙÔ˘ ·Ú¯·˚ÛÌÔ‡.

∫·Ù·ÏËÎÙÈÎfi Û¯fiÏÈÔ

µ·ÛÈ˙fiÌÂÓÔÈ Û ·Ú¯Âȷ΋, ‚È‚ÏÈÔÁÚ·ÊÈ΋ Î·È ÂÈÙfiÈ· ¤Ú¢ӷ, ·Ó·‰Â›Í·-Ì ÙÔÓ ÂӉȷʤÚÔÓÙ· ·Ú¯ÈÙÂÎÙÔÓÈÎfi ÎÂÚ·ÌÈÎfi ‰È¿ÎÔÛÌÔ ÛÙȘ ÚÔÛfi„ÂȘ¤ÍÈ ÎÙÈÚ›ˆÓ Ù˘ ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜, Ô˘ ˆ˜ ıÂÌ·ÙÔÏÔÁ›· ÂÚÈÏ·Ì‚¿ÓÂÈ fiϘÙȘ ÌÂÛÔÔÏÂÌÈΤ˜ Ù¿ÛÂȘ. ∆· ÎÙ›ÚÈ· ·ÔÙÂÏÔ‡Ó ‰Â›ÁÌ·Ù· ÌÈ·˜, ÂӉ¯Ô̤-

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜26

∂ÈÎ. 24, 25: ∫ÂÚ·ÌÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ ÛÙËÓÔÈΛ· ∫. ª·Ï·Ì·ÙÈ·ÓÔ‡ ÛÙË ºÈÏÔı¤Ë.

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Óˆ˜, Ôχ ¢ڇÙÂÚ˘ ·Ú·ÁˆÁ‹˜, Ô˘ ηٷÛÙÚ¿ÊËΠηٿ ÙË ‰È¿ÚÎÂÈ·ÙˆÓ ¯ÚfiÓˆÓ Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó. ™˘Ì˘ÎÓÒÓÔ˘Ó ÛÙËÓ Ô˘Û›· ÌÈ· ÔÏfiÎÏËÚËÂÔ¯‹, Ô˘ ÎÏ›ÓÂÈ ÌÂÙ¿ ÙÔ ‚’ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ, fiÙ·Ó Ë ÂÁ¯ÒÚÈ· ÎÂÚ·ÌÈ-΋ ‚ÈÔÙ¯ӛ· ·‰˘Ó·Ù› Ó’ ·ÓÙ·ÁˆÓÈÛÙ› ÙÔ˘˜ Â˘Úˆ·›Ô˘˜ ·Ú·ÁˆÁÔ‡˜ ηÈÊı›ÓÂÈ ÛÙ·‰È·Î¿, Ë ‰Â ¯Ú‹ÛË ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ ÎÂÚ·ÌÈÎÒÓ Ï·Îȉ›ˆÓ ÂÚÈÔ-Ú›˙ÂÙ·È Û ÂÈÛfi‰Ô˘˜ ÔÏ˘Î·ÙÔÈÎÈÒÓ Î·È ÂÛˆÙÂÚÈο ηÙÔÈÎÈÒÓ.

∫Ï›ÓÔÓÙ·˜, ı· ÚÔÙ›ӷÌÂ Ë Û˘ÁÎÂÎÚÈ̤ÓË ÂÓfiÙËÙ· ÎÙÈÚ›ˆÓ Ó· ÂÓÙ·-¯ı› ÛÙËÓ ÎÂÚ·ÌÈ΋ Âη›‰Â˘ÛË Ù˘ ÓÂfiÙÂÚ˘ ÁÂÓÈ¿˜ Î·È Ó· Ù‡¯ÂÈ Ù˘ ·Ó¿-ÏÔÁ˘ ÚÔÛÔ¯‹˜ ·fi ÙÔ˘˜ ÂȉÈÎÔ‡˜ Ù˘ ÎÂÚ·ÌÈ΋˜ Âη›‰Â˘Û˘. Ÿ¯È ÌfiÓÔÁÈ·Ù› Ù· ÎÙ›ÚÈ· Ù˘ ∂.∆.∂. Ô˘ ÂÍÂÙ¿ÛÙËÎ·Ó ·ÔÙ˘ÒÓÔ˘Ó ÛÙȘ ÚÔÛfi„ÂȘÙÔ˘˜ ÙȘ ÎÂÚ·ÌÈΤ˜ ÂÈÏÔÁ¤˜ ÙˆÓ ‰ËÌÈÔ˘ÚÁÒÓ ÙÔ˘˜, ·ÏÏ¿ Î·È ÁÈ·Ù› ‰È·Ê˘-Ï¿ÛÛÔ˘Ó (Û ·Ú›ÛÙË Î·Ù¿ÛÙ·ÛË) ÙËÓ Î·ÏÏÈÙ¯ÓÈ΋ ·Ú·ÁˆÁ‹ ÌÈ·˜ ÂÔ¯‹˜Ì ¢·Ó¿ÁÓˆÛÙÔ˘˜ ÛÙfi¯Ô˘˜: ÙËÓ ÂÈÓfiËÛË ÌÈ·˜ ÓÂÔÂÏÏËÓÈ΋˜ «·Ú¿‰ÔÛ˘»Î·È ÙËÓ ¤ÍÔ‰Ô ÛÙËÓ Â˘Úˆ·˚΋ ·ÁÔÚ¿. ∏ ‰Â Û˘ÁÎÂÎÚÈÌ̤ÓË ÂÓfiÙËÙ· ÎÙÈ-ÚÈ·ÎÔ‡ ‰È¿ÎÔÛÌÔ˘, ¤¯ÂÈ ˆ˜ (‰˘ÓËÙÈÎfi) ÂÚÁ·ÏÂ›Ô ÎÂÚ·ÌÈ΋˜ Âη›‰Â˘Û˘ÔÏÏ¿ ·ÍÈÔÔÈ‹ÛÈÌ· ¯·Ú·ÎÙËÚÈÛÙÈο: Âȉ¤¯ÂÙ·È Û˘ÁÎÚ›ÛÂȘ (Ì ·Ó¿ÏÔÁ˜ڷÎÙÈΤ˜ ÛÙÔ Â˘Úˆ·˚Îfi ¯ÒÚÔ), ¤¯ÂÈ ÌÔÓ·‰ÈÎfiÙËÙ· (‰ÂÓ Â·Ó·Ï‹ÊıËÎÂÌÂÙ¿ ÙÔÓ fiÏÂÌÔ), Û·ÓÈfiÙËÙ· (ˆ˜ Â͈ÙÂÚÈ΋ ‰È·ÎfiÛÌËÛË ÂÏÏËÓÈÎÒÓ ÎÙÈ-Ú›ˆÓ), ۯ‰ȿÛÙËΠ‰Â Î·È ·Ú¿¯ıËΠ·fi ¤ÏÏËÓ˜ ÎÂÚ·Ì›ÛÙ˜.

™ËÌ›ˆÛË: ™ÙËÓ ·ÚÔ‡Û· ÂÚÁ·Û›· ÂÈηÈÚÔÔÈ‹ıËΠ˘ÏÈÎfi ·fi ‰‡Ô Û¯ÂÙÈ-Τ˜ ‰ËÌÔÛȇÛÂȘ Ù˘ Û˘ÁÁڷʤˆ˜ Î·È ·fi ÙÔÓ ˘fi ¤Î‰ÔÛË ÙfiÌÔ Ù˘ ȉ›·˜Ì ٛÙÏÔ «¡ÈÎfiÏ·Ô˜ ∑Ô˘ÌÔ˘Ï›‰Ë˜. ŒÓ·˜ ÛËÌ·ÓÙÈÎfi˜ ·Ú¯ÈÙ¤ÎÙÔÓ·˜. ŒÓ·˜ÔχÏ¢ÚÔ˜ ¿ÓıÚˆÔ˜», ÂΉfiÛÂȘ ∆.∂.∂.

¶ËÁ¤˜

– πÛÙÔÚÈÎfi ∞Ú¯Â›Ô ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜

– ∞Ú¯Â›Ô ¡ÂÔÂÏÏËÓÈ΋˜ §ÔÁÔÙ¯ӛ·˜, ∞.¶.£, Ê¿Î. ™ÙÚ·Ù‹˜ ¢Ô‡Î·˜

– ∞Ú¯Â›Ô ∂Ï.µÂÓÈ˙¤ÏÔ˘

– ∂ÈÙfiÈ· ¤Ú¢ӷ

– √È ÊˆÙÔÁڷʛ˜ Â›Ó·È Ù˘ Û˘ÁÁڷʤˆ˜, Ï‹Ó ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ ·fi ÙÔ˘ÔηٿÛÙËÌ· ™¿ÌÔ˘, Ô˘ Â›Ó·È Ù˘ η˜ µ. °·Ï·ÓÔ‡.

§›Ï· £ÂÔ‰ˆÚ›‰Ô˘-™ˆÙËÚ›Ô˘ 27

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µÈ‚ÏÈÔÁÚ·Ê›·

µÏ·¯fiÔ˘ÏÔ˜, ¢ÈÔÓ. (2003). «∏ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙˆÓ ÎÙÈÚ›ˆÓ Ù˘ ∂ıÓÈ΋˜∆Ú¿Â˙·˜ ηٿ ÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÌÂÛÔÔϤÌÔ˘», ÂÚ. ∂Ì›˜ Î·È Ë ∆Ú¿Â˙·.

°ÚËÁÔÚ¿Î˘, ¡. (2011). «√ ÓÂÔ·Ú¯·˚Îfi˜ Ú˘ıÌfi˜ ÛËÓ ÂÏÏËÓÈ΋ ÎÂÚ·ÌÂÈÎ‹Î·È Ù· ÎÂÚ·ÌÔ˘ÚÁ‹Ì·Ù· ÙÔ˘ ∫ÂÚ·ÌÂÈÎÔ‡ ÛÙ· ¯ÚfiÓÈ· 1930-1940», ÂÚÈÔ-‰ÈÎfi ∞Ú¯·ÈÔÏÔÁ›· Î·È ∆¤¯Ó˜, 59-63. ∞Ó¿ÎÙËÛË ·fiwww.archaiologia.gr/wp-content/uploads/2011/06/8-13.pdf

¢ÂÌÂÓ¤ÁË-µÈÚÈÚ¿ÎË, ∞ÈÎ. (2007). ¶·ÏÈ¿ ∞Ó¿ÎÙÔÚ· ∞ıËÓÒÓ. ∆Ô ÎÙ›ÚÈÔ Ù˘µÔ˘Ï‹˜ ÙˆÓ ∂ÏÏ‹ÓˆÓ. ∞ı‹Ó·: µÔ˘Ï‹ ÙˆÓ ∂ÏÏ‹ÓˆÓ.

Denny, W. (2004). «Dispersed Ottoman unified- field tile panels», ÛÙÔ ªÔ˘-ÛÂ›Ô ªÂÓ¿ÎË 4 (∆he annual Journal of the Benaki Museum) 149-157.

∑·Úο‰·-¶ÈÛÙÈfiÏË, ÃÚ. (2004). «∆Ô ÎÙ‹ÚÈÔ Ù˘ ∂ıÓÈ΋˜ ∆Ú¿Â˙·˜ ÛÙ˺ÏÒÚÈÓ· Î·È Ë ·ÚÔ˘Û›· ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ∞ÚÈÛÙÔ̤ÓË µ¿Ï‚Ë ÛÙËÓfiÏË», ªÓËÌÂ›Ô Î·È ¶ÂÚÈ‚¿ÏÏÔÓ 8 (2004) 79-96.

Herbert, T., Huggins, K. (1995). The Decorative Tile: in Architecture andInteriors. London: Phaidon Press

£ÂÔ‰ˆÚ›‰Ô˘, §. (2012·). «∫ÂÚ·ÌÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ ÛÙ· ÎÙ›ÚÈ· Ù˘ ∂ıÓÈ΋˜∆Ú¿Â˙·˜ ηٿ ÙÔ ªÂÛÔfiÏÂÌÔ», MOnuMENTA, Magazine for the¡atural and ∞rchitectural Heritage in Greece and Cyprus, 02-01-2012.

£ÂÔ‰ˆÚ›‰Ô˘, §. (2012‚). «∫ÂÚ·ÌÈÎfi˜ ‰È¿ÎÔÛÌÔ˜ ÛÙ· ÎÙ›ÚÈ· ÙÔ˘ ªÂÛÔÔ-ϤÌÔ˘ « ÛÙÔ ÂÚÈÔ‰ÈÎfi BHMADECO, (54) 26-27, ∞Ú›ÏÈÔ˜, 2012.

∫·ÌÔ‡ÚË-µ·Ì‚Ô‡ÎÔ˘, ª. (2004). “∏ ∂ıÓÈ΋ ∆Ú¿Â˙· ºÏÒÚÈÓ·˜, ‰Â›ÁÌ·ÓÂÔ‚˘˙·ÓÙÈÓÔ‡ ÛÙ˘Ï ÛÙËÓ ÎÔÛÌÈ΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙÔ˘ ªÂÛÔÔϤÌÔ˘”Ú·ÎÙÈο Û˘Ó‰ڛԢ ºÏÒÚÈÓ· 1912-2002. πÛÙÔÚ›· & ¶ÔÏÈÙÈÛÌfi˜, ºÏÒ-ÚÈÓ·: ∞.¶.£, ¶·È‰·ÁˆÁÈ΋ ™¯ÔÏ‹ ºÏÒÚÈÓ·˜, ∆Ì‹Ì· µ·ÏηÓÈÎÒÓ™Ô˘‰ÒÓ, 739-771.

∫ÔÚÚ¤-∑ˆÁÚ¿ÊÔ˘, ∫. (1995). ∆· ÎÂÚ·ÌÈο ÙÔ˘ ∂ÏÏËÓÈÎÔ‡ ÃÒÚÔ˘. ∞ı‹Ó·:ÂΉ. ª¤ÏÈÛÛ·.

∫ÔÚÚ¤-∑ˆÁÚ¿ÊÔ˘, ∫. (2000). «√ ªËÓ¿˜ ∞‚Ú·Ì›‰Ë˜ Ù˘ Û˘ÏÏÔÁ‹˜ ∆¿ÛÔ˘ªÂÁ·ÏfiÔ˘ÏÔ˘», ÂÚÈÔ‰ÈÎfi ∞Ú¯·ÈÔÏÔÁ›· Î·È ∆¤¯Ó˜ (74) 73-78.

∂Á¯ÒÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÎÂÚ·ÌÈ΋ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ˘ ªÂÛÔÔϤÌÔ˘: £ÂÌ·ÙÔÏÔÁ›· Î·È ÂÊ·ÚÌÔÁ¤˜28

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