It is hard to define for which particular reasons some people, whether they were famous or not, cloistered during the Byzantine and post-Byzantine times on the cliffs of Great Prespa. Perhaps, it would be better to let the visitors create their own thoughts and extensions, by letting the charm of nature and human projects of that time, travel their minds. Basically, however, the isolation in hermitages in the rocks, is part of the Christian asceticism and is a sign of love or effort of purification "in communion" with what Christ had suffered.This secluded, serene and charming piece of Greek land was offered and is still offered for this process of internal search.
The cells of the monks are carved in the rocks and beside them are humble temples, built of local stone.The denial of earthly goods and living in harsh conditions do not exclude the existence of paintings, which are also elements of teaching the faith and offering to God.
Wall Paintings of rocks
The first works that one sees, as he moves across on the opposite shore from the village Psarades, are the frescoes on the rocks. Traces of stonework and carvings on the inaccessible shore loops show that the wall must have belonged to hermitages.
The first mural we meet a Panagia-Virgin Mary, with hands raised in prayer and Jesus in front of her chest gives the old Constantinopolitan type of the Panagia of Vlachernitissa.A misspelled sign speaks of renovation of the space with the assistance of a couple. Only the woman's name (Armenka) is saved and the year of the drawing (1455), during the Turkish occupation. Should we assume that under this mural is an older one? That is a subject for future investigation.
Further on a second mural depicts again the Virgin Mary holding in her right hand the Christ. In a human manifestation, mother and child touch their faces with tenderness.The type of representation corresponds to the Virgin Deksiokratoysa-Glykofilousa, but the inscription calles her Panton Hara- ''Allways Happiness''.An inscription below the drawing saves the names of the tributers Michael Constantine and Manuel Dragasia and the year of its construction (1373), at a time that is very difficult.The surname guides us, but without evidence, in a possible relationship of those people with the imperial family or the imperial court.Work with quick and shaped touches are characteristics of an art with a monastic and provincial character, which follows though the great art of the same era.
It is worth to mention another mural located on the side of the village Psarades and somehow more distant, which represents Saint Nicholas, protector of the sailors. The work was done in 1827 and shows the timeless continuity of tradition and significance of the place.
The hermitage of the Transfiguration is the first we encounter directly after the mural of the Panagia of deksiokratousa and perhaps the oldest, since we assume that it must have been made in the 13th century. In a cove on a small beach and into the rock survives a small, stone-built, single spaced church. North of this are traces of monk cells.
Access is by a small wooden staircase. Residues wall murals show that the church had painted decoration, which is not well preserved.
Mikri Analipsi
Further on, high on a rock alcove is the hermitage of Mikri Analipsi (Little Ascension) built. The constructions made nowadays, will make the access to the small and inaccesible hermitage easier for visitors.
Deep in a rock stands the little vaulted, single-spaced church that has only two east apses of the sanctuary and intention.In these spaces are preserved representations Panagia Blachernitissa, the Melismos, Pentecost and Analipsi.They are meticulous artifacts,thought of good art in the region, probably of the late 15th century.
Panagia Eleoysa
Now follows the best preserved hermitage of Panagia Eleoussa. Located on a small beach, high, into a deep cave with nearly vertical cliffs.The tempel is small and built with rocks and plaster.It is small spaced and vaulted.The exterior of the temple is coated and the walls are interspersed with red lines that mimic the adobe decoration of Byzantine times.It is a solution that was used to satisfy the aesthetic perceptions of the era and the community, since the transfer of bricks in this inaccessible area was problematic.
The arched part above the entrance depicts Panagia Eleoysa flanked by a stripe with nice jewelry.The illustration of her like this and its location, shows that the church was dedicated in her name.The church's interior is filled with wall murals.Survives the founding inscription stating that the construction of the church of Virgin Mary was on 1409-1410 with the support, the trouble and expense of three monks, Sava, Jacob and Barlaam, when "lord" was Vloukasinos (Voulkasinos). The question was raised whether the stated Vloukasinos is identified with Vukasin who occupied the region in 1355-1371, but was pointed out that neither he nor his son was at this time alive. What exactly happened with this inscription is not easy to say. Maybe the inscription was written on 1410, when the interior murals were made and refers to the building that may have been built in earlier times. It is true however that the outdoor mural has a different quality from the inner wall paintings.
Another inscription on the south wall quotes as painter the monk Ioannikio.But in this area some wall murals are stylistic different as well, which puzzled about whether the scenes of the upper and lower zone were made by the same painter,because he who painted the Dodekaorton (twelve feasts) on the upper zone has a simplistic technique and style, while the lower zone with the saints follows more effectively the tradition of the Byzantine art of this era.
Some have made the assumption that Ioannikios, who seems to have known the art of painting of Kastoria and Ohrid, is the one who painted the individual styles of the saints. This issue needs further investigation.
Necessary maintenance
Cloistering on the rocks of great Prespa began in Byzantine times and continued during the Ottoman rule.Names of famous and unknown people take us to different times and in different historical circumstances,which have also played their part in some people's choice for complete isolation from the world
The design and maintenance of these few hermitages is a high priority project, not only because of its charm but also because of the risk posed by time and weather.
by professor Stauropouloy-Tsioumi at Aristotele university of Thessalonikι...
by professor Stauropouloy-Tsioumi at Aristotele university of Thessalonikι...
