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Greece

 








Giorgos Kordis



 



Breve curriculum vitae



 



 



 



 



Formación



 



Nací en 1956 en Makrirrachi, Phthiótida, Grecia. Estudié Teología en la Escuela de Teología de la Universidad de Atenas y paralelamente me inicié en el estudio de pintura bizantina junto al pintor de íconos Simeón Simeou. Obtuve el Master en Teología en la escuela de Holy Cross de Boston, EE.UU.; al mismo tiempo seguí estudios en la Escuela de Bellas Artes del Museo de Boston, especialidad en técnicas pictóricas medievales. Continué mis estudios en Grecia asistiendo a clases de pintura y grabado con Photis Mastichiadi.



Me he especializado en la estética y teoría de la pintura bizantina. Desde 1991 soy doctor en Teología por la Universidad de Atenas y desde 2003 pertenezco al plantel de enseñanza de la Universidad de Atenas en calidad de profesor auxiliar a cargo de la asignatura “Pintura de Íconos” (Teoría y Práctica).



Me dedico a la escritura de estudios sobre Arte Bizantino, la ilustración de libros, la pintura, el grabado y la pintura mural de templos y otros edificios.



He escrito una serie de artículos independientes y artículos científicos.



He dado conferencias y he participado en muchos congresos científicos. Desde el 2004 hasta el 2007 enseñé Pintura Bizantina en la Yale University (institute of Sacred Music) en EE.UU.; también he impartido clases en la Academia Teológica del Monasterio de Optina en San Petersburgo, Rusia, en la Escuela de Teología de Bucarest, Rumania, en la Universidad Pedagógica de Odessa, Ucrania, y otros.



Desde 1996 imparto la clase de “Pintura de Íconos” en el centro de estudio e investigación de pintura bizantina “Eikonourgia”, del cual soy miembro fundador. Soy miembro también de la Cámara de Bellas Artes de Grecia (EETE) y de la Asociación de Bellas Artes Plásticas de Grecia Central (SKETKE).



 



 



Poética



 



En lo que se refiere a la pintura, el objetivo de mi trabajo es doble; por una parte me propongo continuar la tradición pictórica bizantina y crear una obra con un carácter personal dentro del marco de dicha tradición, y por otra parte activar el sistema pictórico bizantino y crear, como artista que vive en el mundo actual, respondiendo a las preguntas de nuestro tiempo. En este sentido, partiendo de la tradición bizantina he configurado un lenguaje plástico personal, donde se combinan elementos creativos de la tradición y elementos de las corrientes plásticas contemporáneas. En el marco de esta tentativa busco plantear un argumento personal expresando inquietudes de mi generación pero también de mi mitología personal.



Con este lenguaje pictórico personal he ilustrado la obra de diversos escritores griegos (Papadiamantis, Kontoglou, Karkavitsas, Elitis, El Erotókrito de V. Kornaros, Seferis, Kavvadías, Engonópoulos, Kariotakis y otros).



Mis actividades científicas se mueven en el campo de la estética de la pintura bizantina y planteo una lectura del sistema pictórico bizantino basada en la tradición cultural griega. Desde este punto de vista afirmo que los bizantinos, dando continuidad al acervo cultural de la Grecia Antigua, conformaron & 8213;principalmente después de la querella iconoclasta& 8213; una vanguardista civilización de la imagen de acuerdo con la cual el espectador y lo representado no constituyen realidades separadas sino que comparten las mismas dimensiones espacio-temporales. Así pues, la imagen se proyecta en el espacio del espectador, quien a su vez participa de la imagen y constituye una parte inseparable de ella. El sistema de la pintura mural de los templos bizantinos, de esta manera, deviene una “instalación”, la cual entra en contacto con la totalidad de los sentidos del espectador creyente y le ayuda a acceder al mundo espiritual del Reino de los Cielos.



 



 



Pinturas murales



 



1.   Sala de actos del Monasterio Dochiariou en el Monte Athos



2.   Monasterio A. Anargiron Párnonos Laconia



3.   Monasterio de la Asunción de Beocia



4.   Monasterio Mitros Igapimenou de Beocia



5.   Iglesia de San Jorge (Catedral de los Griegos Ortodoxos de Beirut, Líbano)



6.   Iglesia de la Anunciación de Beirut, Líbano



7.   San Nectario, en el Hospital Areteio de Atenas



8.   Iglesia de la Dormición de la Virgen, Geraka, Ática



9.   Iglesia de la Transfiguración de Chalandri, Atenas



10.   San Dimitrios de Avlida, Beocia



 



Mi trabajo pictórico ha sido expuesto en 30 exposiciones personales y en muchas exposiciones colectivas tanto en Grecia como en el extranjero.



 





GEORGE KORDIS 



Lecturer In Iconography



 Faculty of Theology, University of Athens



painter 



 



Academic Distinctions and Appointments



Born in Greece in 1956, George Kordis read theology at the University of Athens.  He pursued his studies at the postgraduate level at Holy Cross Theological School in Boston, where he specialized in both theology and the aesthetics of Byzantine painting, gaining an MA in theology. In 1991 he was awarded his Doctorate in Theology at the University of Athens, while in 2003 he has appointed to the post of Lecturer at the same university.



In addition to lecturing and writing on Byzantine iconography at the academic level, George Kordis also teaches the art of icon painting.  He teaches principally at the Department of Theology at the University of Athens, and also at AKTO (Athens School of Art) and Eikonourgia Cultural Centre. He is a visiting professor on the summer program of Yale University (at the Institute of Sacred Music), at which his last course was entitled Glory on Earth—The Art of Icon Painting.



Iconographer and Artist:



During the 1980s George Kordis worked by the side of the Cypriot master iconographer, Fr Symeon Symeou.  He also undertook courses in painting technique at The School of Fine Arts at The Museum of Boston from 1987–89. Upon his return to Athens in 1990 he continued his studies in painting and engraving under Fotis Mastichiadis.



Kordis is both an icon painter and author of secular works, and has exhibited widely in his homeland and abroad.  He has painted many portable icons and frescos in churches and other holy places. His most important commissions include:



Monastery of Dochiariou, Mount Athos



Monastery of The Holy Unmercenaries, Parnonas Mountain, Lakonia



Monastery of the Ascension, Boeotia



Monastery of Mitros Igapimenou [‘The Mother of Our Beloved Christ’], Boeotia



Monastery of St John the Theologian, Souroti



Monastery of Theoskepasti [‘Veiled by God’] in Sochos, Langada



The Church of St Nektarios, Aretaieion University Hospital, Athens



St George’s Greek Orthodox Cathedral, Beirut, Lebanon



The Church of the Annunciation, Beirut, Lebanon



The Church of Metamorfosis (Transfiguration) Chalandri Athens



The Church of Dormition, Geraka Attikis



 The Church of St. Demetrios, Aulida Attikis



 



 



Publications:



                                                     



“The Meaning of Line in the Figures of Saints at the Church of the Protaton on Mount Athos”, Doma 10, Athens 1987, pp.71-114.



“Andrey Rublev’s Holy Trinity: Historical Aspects and the Workings of the Icon”, Klironomia 20, Athens 1992, pp.205-219.



“Fotis Kontoglou and the Dynamics of Iconographic Tradition”, in Fotis Kontoglou Through His Icons, Akritas, Athens 1995, pp.295-309.



My Tall Cypress, Mimnermos, Athens 1996. With engravings and drawings.



“Fotis Kontoglou and the Study of Hagiography”. Addendum to the book by Fotis Kontoglou, To Hagiographer Evangelos Mavrikakis, Armos, Athens 1997, pp.109-145.



Faces in the Icons of Theophan the Cretan and the Use of Color: An Aesthetic Reading, Armos, Athens 1998.  Includes 16 color prints.



“The Orthodox Icon: Truth and Artistic Language”, Synaxi 67, Athens 1998, pp.56-70.



In Rhythm: The Meaning of Line in Byzantine Painting, Armos, Athens 2000.  [Translated as Icon as Communion: the Ideals and Compositional Principles of Icon Painting]



Icons, Armos, Athens, 2000.  Includes 20 color illustrations.



“Copper Engravings” in the collective volume Parousia [Presence], Dochiariou Monastery, Mount Athos, Greece, 2001, pp. 431-439.



Fayum Portraits and Byzantine Icons, Armos, Athens 2001, p.104.



Greek Folk Painting as Consolation, Armos, Athens 2001.



Luminous Faces: Portraits of the Fathers of the Philokalia, Armos, Athens 2001. Includes 25 miniatures.



The Theology of St Photius and Sacred Art in the Post-Iconoclast Period, Armos, Athens 2002.



The Chamber of the Innocents: The Unutterable Beauty of the Humiliated, Armos, Athens 2004.  14 color prints and inset with commentaries/essay.



Tradition and Creativity in the Work of Fotis Kontoglou, Armos, Athens 2006.



The ‘Ermeinia’ of Dionysios of Fourna: an Aesthetic and Artistic Response, Armos, Athens 2006.



The Character and the Reason of Abstraction in Byzantine Art, Armos, Athens 2008.



 



 



 

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