A theological study of the frescoes painted by Spyridon Papaloukas in the Cathedral of Amfissa

Abstract

This thesis is mainly an investigation into the frescoes painted by Spyridon Papaloukas for the Cathedral of Amfissa with special reference to his concept of ‘colour’ and the possible iconological implications that a precise consideration of colour could have on the functionality of his work. Further to the presentation of the work in Amfissa as a focal point, this research is also expanded to other iconological works of his such as the Church of Saint Dimitrios in Desfina, the Nomikos School Chapel and his portable icons. The study of the use of colours in his iconography is related to the question as to what the frescoes in Amfissa actually express. This can enable one to interpret the work in Amfissa and see this interpretation in correlation with the significance of his entire work. The conclusion is that Papaloukas’ works have revealed a devout (but occasional) iconographer with considerable iconological interests but no systematic religious concerns (such as those of Kontoglou for example). The information endeavours to show that the consideration of light and colours by Papaloukas is in fact emblematic. This also occurs with the vast majority of the secular Greek painters of the generation of the 1930s. Moreover, Papaloukas superseded any ‘ontological’ or ‘objective’ iconological concepts (which are also concisely discussed and explained together with what could be a possible secular and religious influence for him on matters of light, colour and canonicity). The conclusion is that the colours in his frescoes are probably the same as those found in his secular work, which was inspired by a large range of secular and religious artistic trends and this does not affect the canonicity of his work. However, his pictorial styles appear to bring up issues regarding their liturgical effectiveness (functionality).