The panel paintings discussed in this article come from post-Byzantine Anatolia. These works of art are important historical witnesses. They show the vitality and diversity of Orthodox Christian communities in Anatolia before the twentieth century. Even though the Byzantine Empire had ended centuries earlier, its artistic and religious traditions continued to live on in new forms.
These artworks remind us that Orthodox communities in Anatolia were active, creative, and deeply connected to their religious heritage. They were not isolated or passive. On the contrary, they participated in the cultural and economic life of the Late Ottoman period while also preserving their own traditions Istanbul Private Guided Tours.
Keywords and Historical Background
The main themes of this study include the Late Ottoman period, icons, Greek Orthodox communities, Byzantine heritage, the Cretan School, the Ionian School, Phanariot culture, the image of the “Unfading Rose,” and the unusual representation of Saint Christopher as Cynocephalos (dog-headed).
The Late Ottoman period, especially the nineteenth century, was a time of great change. The Ottoman Empire was becoming more connected to the wider world economy. Trade increased, new ideas spread, and Western artistic influences became more visible. At the same time, traditional religious communities tried to maintain their identity and faith.
The Group of Panel Paintings
This article examines a group of Greek Orthodox panel paintings found today in different museums and collections in Turkey. Most of these devotional objects are dated to the nineteenth century. Originally, they were created for churches or private homes as objects of prayer and devotion.
One of the main goals of this study is to question the “ontology,” or deeper nature, of these devotional objects. In other words, what were these icons in their original context? Were they only religious images? Were they also symbols of identity, social status, or cultural belonging? To answer these questions, the article places the icons within the broader social and cultural history of the Late Ottoman Empire A Traditional Saying.
Three Case Studies
The article presents three case studies to introduce scholars to the richness and variety of Orthodox visual culture in Anatolia. These examples show that Orthodox art in the nineteenth century was not uniform. Instead, it reflected different artistic traditions and local influences.
The Cretan School and the Ionian School, for example, played important roles in shaping Orthodox icon painting. Artists trained in these traditions often combined Byzantine models with Western artistic elements. As a result, some icons show a mixture of old and new styles.
These case studies also highlight the uniqueness of Ottoman society in the nineteenth century. Orthodox communities lived within a Muslim-majority empire, yet they were also connected to European cultural movements. This dual position created tension between change and continuity.
Change, Continuity, and Identity
Communities linked to the Byzantine legacy faced important questions. How could they remain faithful to their traditions while also becoming part of the modern Western world? Should they preserve older Byzantine forms, or adopt new Western artistic styles?
From an art-sociological point of view, these questions go beyond style and technique. They also involve issues of identity. The identity of the artist, the patron, and the community all play a role. An icon is not only a painting; it is also a statement about belief, culture, and belonging.
To understand these objects, the article suggests using two important terms from modern scholarship: “Byzantinism” and “byzantinising.” “Byzantinism” refers to a conscious connection with Byzantine heritage. “Byzantinising” describes artistic works that imitate or are inspired by Byzantine forms.
However, these terms must be used carefully. Scholars should also consider the spirit of the time (the zeitgeist) and the specific local conditions of Anatolia. Only by doing so can we fully understand the meaning and importance of these post-Byzantine icons within the Late Ottoman world.
